Join us for an intimate conversation with Gloria Campaner, a virtuoso Italian classical pianist who is anything but conventional. In this episode of Future Classic Women Awards, Gloria discusses the launch of her stunning debut album ‘Home’ on Warner Classics, a deeply personal project dedicated to her favorite composer, Robert Schumann. Recorded live at the iconic Teatro La Fenice in Venice—the city where she grew up—this album beautifully intertwines her childhood memories with masterpieces spanning from the passionate Piano Concerto to the delicate Kinderszenen (Scenes from Childhood).
What makes Gloria’s approach to classical music truly unique is her fearless willingness to experiment and collaborate across genres. From her days playing ska music in a rock band during junior high school to her current collaborations with DJs, electronic producers, and jazz musicians, Gloria embodies a refreshing philosophy: music should transcend traditional boundaries and celebrate dialogue between artists. She reveals how her professors at conservatory not only accepted but embraced her unconventional path, understanding that her explorations ultimately made her a richer, more versatile musician. Through our conversation, Gloria shares insights into how playing Schumann’s works—pieces she first studied at just six years old—continues to reveal new worlds even after 26 years of study.
Main Topics
Gloria Campaner launches her debut album 'Home' on Warner Classics, a live recording from Venice featuring the Philharmonic Orchestra and conductor John Axelrod
The album is entirely dedicated to Robert Schumann and explores his solo repertoire, orchestral works, chamber music, and lieder, deeply connecting to Gloria's personal story and childhood
Kinderszenen (Scenes from Childhood) holds special significance as the first Schumann piece Gloria studied at age six, and these miniatures remain central to her artistic journey 26 years later
Gloria's unconventional career encompasses collaborations beyond classical music, including work with jazz artists, electronic producers, DJs, and her own experience with rock and ska bands
She studied classical dance and tango for ten years, demonstrating a multidisciplinary artistic approach that enriches her musical interpretation and prevents creative stagnation
Gloria's conservatory professors supported her experimental nature, recognizing that exploring diverse musical genres ultimately deepened her understanding of classical masterworks like Beethoven
The album was recorded on a Fazioli piano built near Venice, with all elements intentionally chosen to reflect Gloria's connection to her birthplace and the concept of 'home' as both physical and emotional
Full TranscriptHello and welcome to Future Classic Women Awards with me, Stefania Passamonte, on Women's Radio Station, the program whe...▼
Hello and welcome to Future Classic Women Awards with me, Stefania Passamonte, on Women's Radio Station, the program where we search for the most amazing new female artists on the classical panorama. Today on Future Classic Women Awards, we will be talking to Gloria Campaner. A unique classical concert pianist with a repertoire that spans from Bach to modern to contemporary composers. Hello, Gloria. Hello. Hello, Gloria. You are today in London for a very special occasion, are you? That is so true, yes. It's the launch of my new CD, so I'm very excited and very honored. The CD is released by Warner Classics, and today there is like the official UK presentation, so Actually, yeah, it will be in Jack Samuel Pianos, kind of intimate setting with, you know, like a few friends and colleagues, maybe some journalists, just, you know, to share this very good news with the public. So this is a very special project for you. Can you tell us why? Yes, this album is completely dedicated to my favorite composer, Robert Schumann, and it's called Home. One would wonder what has home to do with Schumann for me that I'm Italian, in fact. But first of all, this is a composer that was the closest to me since I was a child. I explored not only the solo repertoire and the one with orchestra, but chamber music and a lot of chamber music with singing and leaders. And so I kind of really went into this composer. But Home is because it's my personal story, like it's my story of my childhood, it's the story of my life. It had been recorded live in Venice where I grew up, and it is a live concert in the big Teatro La Fenice with their Philharmonic Orchestra, and John Axelrod is The conductor was American, but he's very close to Venice himself because he bought a house there and he likes very much that place. And we chose also to record on a Fazioli piano, which are also built just a few kilometers away from Venice. So in a way, you know, this whole album talks about something that is related to my childhood and the place I was born. Since I travel so much and we all travel, me and my colleagues, I mean, it's a life of on the road. It's important sometimes to find the space inside you and rebalance with yourself and kind of see the difference between being at home and feeling at home. So sometimes you can have this feeling even if you're not in a real physical place. And this is what I have been thinking about while recording this music and while playing it, and, you know, I bring with me this music wherever I go. And so my idea is to convey this feeling to the listeners and, you know, that everybody will be able to feel at home and feel comfortable and feel loved and embraced, maybe with this beautiful music. So somehow this is the feeling. And it is indeed very beautiful. And with the orchestra of Fenice, and I just want to know why the Kinderszenen with all the Schumann repertoire? Yeah, exactly. This has also to do with the title because I, of course, we decided, it was my dream to record this concerto. Let's explain, Kinderszenen means the scene of the children. Yes, exactly. Scenes from childhood. So it's a cycle of little miniatures that are all dedicated to childhood scenes. But it's interesting because the point of view is anyway from an adult that is looking into this world of imagination and innocence and kind of surprise. So it's very beautiful to try to even playing them as an adult, to always try to go back to this innocent world and try to feel as we used to feel when we were children. And children have— they have the most amazing imagination because they see reality with the eyes of the heart and not with, like, real eyes. This piece, it was very important for me to put in the album. Because it's the first piece I've ever studied by Schumann, so I was myself 6 years old. Those pieces are very difficult, even if they're dedicated to children, but they're absolutely not written for children. So it was really difficult to play them. Some are also, like, technically demanding. And so it was— I'm very glad to present them now in this little music box of album because they accompanied me for more than, let's say, 26 years by now of my life. So I kind of— Oh, that's your age. Yeah. Okay. So then, yeah, more or less. Let's leave it at that. But, you know, it's— Very little. She's beautiful and young. But I mean, you know, so every time I open the score, it's always like a new world revealing and coming back to me. So for me, it was very important to complete the album with something that was really dear to my heart and dear to my soul. So that's why, basically, "Home." Wonderful. Well, I really would like to listen to some of it. Shall we start? What would you like to listen first? I think, of course, the most— well, the ones that speak the most is probably the opening of the album, which is the first movement of the piano concerto, which, you know, It's a song of love, of pure love, completely dedicated to the love for Clara. And we can hear the name of Clara inside the main theme. Of course, it's— Schumann is naming her. And yeah, it's like a loving song. And it was written, first of all, as a fantasy. So he just added the second and third movement later. At the beginning, he just wrote a fantasy for piano and orchestra. So I think it's very interesting because it's very free and very full of pathos. Affections, expressions, and beautiful themes. Yeah, totally. And you know, Clara is the soundtrack of our program, is the music that opens and closes the show. So it was the inspiration of the Future Classic Women Awards. Oh, wonderful. So let's listen then. Schumann Concerto, Opus 54, first movement from the debut album Home, with Finnish Philharmonic Orchestra and John Axelrod. Played live in Venice by Gloria Campaner. And this was first movement of Schumann Piano Concerto played by Gloria Campanella in her debut album. Home. We will be back after a short break. Welcome to Women's Radio Station, the voice of women worldwide. This is Women's Radio Station. You're listening to Avril Price with Kitchen Sink Spirituality. It's Anna Kennedy talking all things autism, and my guest today is Karen. Welcome to Future Classical Woman Awards with me, Stefania Passamonte, on Women's Radio Station. I listen to Women's Radio Station. Women's Radio Station. We want to hear from you. Women, the possibilities are endless. That's what makes us different. Hi, my name is Katie Young-Gerald and I'm the founder of Bespoke Textiles and author of best-selling book The Textile Touch. I've been working in luxury fashion and textiles for over 25 years and I help brands design luxury bespoke uniforms to high-end limited edition collections We've been doing this for clients such as The Ivy Collection to royal households, and we do it inside of a sustainable supply chain that saves waste. You can find us on bespoke-textiles.co.uk. Hi, my name is Julia Sturland. I'm a figurative painter in oil and watercolor. Please visit my website, juliastrurland.com. J-U-L-I-A S-T-E-R-L-A-N-D, or phone or text 07986 563 552. Hi, I'm Valentina Bravacci, and I'm the Executive Director of Media Matters for Women. We're a registered charity operating in Sierra Leone and the Democratic Republic of Congo, and we produce and share podcasts via Bluetooth on mobile phones, focusing specifically on women and girls excluded from information due to extreme poverty. We empower those living in rural areas with media that transforms how they access, own, and share information. To find out more and be part of this movement, come check out our website at mediamattersforwomen.org. Women's Radio Station is a not-for-profit community interest company supporting women Education is our passion. We're currently welcoming donations to help towards our running costs to keep this important initiative alive. To donate, simply head to our website. Every little will help. Hi, I'm Zena Mosconi, Head of Business Development at Women's Radio Station. Radio advertising is the most cost-effective way of reaching a huge audience globally. Moreover, our sponsorship and advertising packages can be tailored to your needs, whether it be a product or brand service you're looking to promote. If you are interested in sponsoring or advertising, please contact me on 07956 371483, or alternatively zm@womensradiostation.com. Welcome back to Future Classic Women Awards on Women's Radio Station, the program where we search for the most amazing new female artists on the classical panorama. Today we are talking to Gloria Campaner, an Italian pianist with a unique career. Gloria, so I read on your CV, and actually by hearing your music, that you're not just a usual a classical concert pianist. Well, if you say so. And if other people say so, then I accept it. Well, okay, actually, experimentation, like being experimental, was always something inside me since I was a child. I always wanted to try new things and I always wanted to experiment just for the sake of growing up, because I think when you're growing, then you're safe. And so I used to go to jazz concerts with my dad. I had a rock band myself, you know, I had a band with my friends. So when I was in the junior high school, we had the band, we were touring everywhere and we were playing ska music. And meanwhile, I had to finish my conservatory. So imagine, like, I was completely, like, divided in two, like, either playing all Bach, all temperate clavier, or going on tour and playing ska music. A bit like the white swan and the black swan. Next one. Yeah, exactly. So I always have been twisted into this too, and I love— I did a lot of classical dance myself. I danced tango since 10 years, and I love ballet. I love, you know, modern dancing, modern arts, electronic music. So I'm like experimenting, you see, like that's my need just to grow up as an artist, to have sharings with wonderful other artists. So I meet lots of amazing people, and they teach a lot to me. So it's not only chamber music that I do, but it's like chamber music in a wider range. So I would play with DJs, I play with electronic producer, with amazing jazz stars, and so and so. How was that taken from your professors in the conservatory, for example? Yeah, I mean, they never— I think my professors All of them, they have been so great. I was so gifted to find always people that kind of understood me from the very beginning and they understood my core and understood that I really was like that. I never wanted to show off or I never wanted to be like different from others. Not that I wanted, I just couldn't help not to explore something new just for me. And then I would open back maybe a Beethoven sonatas and I would find like new things, you know, because you can see how Beethoven can be so modern. And we keep forgetting about it. You know, we are sometimes very conservative in the thinking, and we are taking care of, I don't know, like the upper notes, thriller, or how to put the pedal. But at the end, music speaks by itself, and you just have to play and feel free. So yeah, they kind of— probably they were laughing at me, but they also loved me, and they accepted me. And that was the most— that's the thing I'm most grateful of. And by now, I think I am a cocktail of so many things I even don't know myself. But I can tell you, playing should be about fun. And that's also in the word playing. And I have so much fun when I do all of those different projects and I never get bored. And my ear is so colorful of different experiences and it really makes me be a better person. Absolutely. A better musician. I think so. I think so. Because there are still some people that like to keep music in boxes, in styles, in, you know, different things. Different departments. While I do believe, as you, that music has to be— Well, you know what I believe the most? Inspired by each other. Inspired and especially shared, and dialogue happens when you are more than one person. If you're just by yourself in your room playing, you're not going to get that far. And also, nowadays, there is so much going on, so many people playing, and We— me especially, that I'm just an interpreter in a sense. I'm not a composer. I mean, I explore, but if we look at reality, I don't write my own music. So I'm just, in a way, just transporting and giving to the public what had been already played many, many times and had been written years and centuries ago. So, you know, at the end, what is important, the real thing that is important is to have something to say. There is something that impressed me quite a lot. You were the first classical music DJ to collaborate with speaker and webcaster in Milan, a very famous one from the Italian radio. Yes. How was this experience? Yeah, that was collaboration. That was so, that was so amazing because this, this DJ, he is so famous and he, he has also a very famous voice in the kind of, uh, pop well, in the non-classical music features of radios. So he once proposed me to just improvise a DJ set only taken from classical music pieces. And he was teaching me how to manage the plates and, you know, to run a feature in front of lots of people, but most important, in front of so many thousands of thousands of listeners. So I had to speak and I had to make this 75 minutes being, like, very groovy and very interesting. And bearing in mind that I was anyway proposing music for people that usually listen to completely something else. So this was a real challenge, and it was so successful that I could continue it in other— I could repeat it other times with different choices of pieces. And I think by then this was probably the most satisfying event of my life because I could see how this music was actually transmitting, like, such a strong message. And a lot of people got me— gave me feedbacks. And a lot of young people discovered pieces they would never think they exist. Classical music, yeah. And on top of it, they also started to come to my concerts. So I just would see them sometimes in Milan or nearby. So I thought this was a real, you know, victory in a way, because it's about sharing. Absolutely. This is not a type of music that should stay in a box and just to stay for an elite amount of audience. In a small concert hall, for example. In small concert hall or kind of, you know, older audience or whatever. Everybody is always complaining, ah, there are not enough young people at concerts. But one has to build this. You have to work to get this, you know. I work with students, I teach students, I teach creativity workshops. So you have to get the young people loving you and then that's how it goes. So we would like now to listen something from a live concert that you did at the Enterfest festival, right? It's Prokofiev's toccata in D minor. Yeah, with Leszek Możdza. But with a very special twist. Let's listen to it. And this was Prokofiev to Katya Indy Minor played live at the Enter Festival with Gloria Campana and Leszek Moszcz. Yes, I know it's very difficult to pronounce his name. Actually, he makes fun of it every time. He says like, oh, my name is— but let me try. Leszek Moszcz. He's a fantastic jazz pianist, actually definitely a star of jazz nowadays. So this collaboration for me had helped me both in the— as an artistic— from the artistic point of view, as human point of view, as spiritual point of view. I really grew up as a human being thanks to this collaboration. The show is very interesting because it's called Heart of Stone. And we not only feature different pieces from the classical repertoire twisted into something really groovy and jazz, but in the middle of the show, I also stand up and play some sounding stones. They're actually sculptures. They come from Sardinia, from the Sardinian sculptor Pinuccio Sciolla. You may know of this sculpture. He is now dead, unfortunately. But he was teaching me how to caress those instruments. They are just sculptures, they are stones, and you caress them in a special way and they start to sing very beautifully. So this project is also dedicated to nature in a way, and Mother Earth. Fantastic. All right. We will be back after a short break to talk more about your very interesting career. Women's Radio Station is a fresh new broadcasting platform driven by love and passion, connecting women around the world in a global network. Is all about diversity. From opinions, career, ethnicity, education, we aim to show the individuality of every woman everywhere, providing opportunities and a platform for your voice. Women, the possibilities are endless. That's what makes us different. Hi, I'm Liz Van Linden, a UK travel consultant for Hazelmere Travel. People come to me as they want unique experiences and a personalized service. This happens from the moment that they inquire till they come back home. I work with luxury tour operators. You can contact me on 07825 44 12 12 and liz@hazelmayortravel.co.uk. I'm Tamina Zaman, founder of Empower and Enrich. When it comes to money, do you clam up or get confused? Do you wish you could save more money, or are you hoping you have enough for retirement? 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To donate, simply head to our website. Every little will help. Hi, I'm Zina Mosconi, Head of Business Development at Women's Radio Station. Radio advertising is the most cost-effective way of reaching a huge audience globally. Moreover, our sponsorship and advertising packages can be tailored to your needs, whether it be a product or brand service you're looking to promote. If you are interested in sponsoring or advertising, please contact me on 07956 +41 371 483, or alternatively zm@womensradiostation.com. Welcome back to Future Classic Women Awards on Women's Radio Station, the program where we search for the most amazing new female artists on the classical panorama. Today we are talking to Gloria Campaner, an Italian pianist with a super eclectic career and with a very special side of it, that is the humanitarian side. Gloria, can you tell us more about how you decided to become an ambassador for the children? Yes, well, it was not exactly like a decision that I made one day. It just started to happen, you know, by a natural flow and the natural flow of instinct and loving energy. I started to travel to South America and Brazil already 10 years ago. And, you know, you naturally go there maybe to play concerts, and then you realize what's the situation and the paradoxes of extreme wealth and extreme poverty. And so it just started like that in my life. I decided that I have a code, I have a universal code, which is music that I can share. I don't need to speak the language. So I started to do project with children all over the world, basically. So South America, Africa, South Africa, Myanmar, Asia, inland of China. And I even went till Easter Island, actually, Rapa Nui, which is definitely one of the most exotic place I've ever seen in my life. But this was really just a need to share a message of love, because love heals and helps and can really nourish people. So of course those people, they are poor and they are completely disadvantaged. They don't have a chance to— they would never go to a classical concert. They would never go to concerts themselves. But so it's not that I want to impose our Western society music, not at all. It's just that that's what I can do. And to be— it's funny enough, connected to this album I'm presenting, I actually brought with me the kindersen and very often offered to those children because they're very little, they're very short, they're easy to handle, they are easy to— they are very easy to express and everybody can understand the message. And so I ask the children normally to draw something or to tell me how they feel after I play and to try to guess what their titles are. And that's very, very funny because as I said before, Children have such incredible imagination, so they actually could create their own stories, and they were giving such funny titles that sometimes I was myself afraid to reveal what was the real title from Schumann, you know. So I tried, sometimes I kept it secret because what they were saying was more funny. And this made me, I got so much richness out of those experience, you know. It really made me be a better person and Yeah. And remember, remind myself how privileged we are and keep grateful for, you know, continuing the pathway we're on as artists. You have to be humble and look around, really open your eyes and your heart. Absolutely. So from this Kinderszenen, and we would like to listen some of them, do you know which one is the favorite of the children? Yeah, actually, actually they love those ones that are a little hasté and they are maybe, for example, the one that is Catch Me If You Can or whatever, Catch As Catch Can, which is like, you know, the one that you have to catch somebody while you are blindfolded. And so at the end, when you catch it, you can really feel that his hold and catch are— or they like also the horse, how do you call the wooden horse? Because then I ask them to guess what's the title. And then they start to see that I'm swinging. So they start to see, oh, something is a swing or it's a horse, hockey horse. And well, they love that. And my favorite also is the one near the fireplace because it's really about family life. And, you know, this whole album is dedicated to children. It's dedicated to a foundation that helps children. It's called Cometa. So it's an Italian association that help children that are without family or that have such difficulties that had been taken away from their families. And funny enough, we don't need to go to Africa or, you know, the farthest place in the world to see that there is need for help. And so I decided to dedicate some help to this association, which is in Italy but is helping thousands of people and thousands of little children. So whoever buys the album also has a chance to support this association. Beautiful. Then let's listen to Schumann Kinderszenen No. 3, Catch a Catch Can, and No. 8, By the Fireplay. And now actually to finish this third section, how about we listen a bit more of the concerto? Yes, please. The finale maybe? Okay, the finale by— concerto by Schumann. I'm listening to Schumann Concerto No. 54, the finale, from the debut album Home with Fenice Philharmonic Orchestra, John Axelrod, live in Venice with Gloria Campanella. We will be back after a short break. Welcome to Women's Radio Station, the voice of women worldwide. This is Women's Radio Station. You're listening to Avril Price with Kitchen Sink Spirituality. It's Anna Kennedy talking all things autism, and my guest today is Karen Knight. Welcome to Future Classical Woman Awards with me, Stefania Passamonte, on Women's Radio Station. I listen to Women's Radio Station. Women's Radio Station, we want to hear from you. Women, the possibilities are endless. That's what makes us different. Hi, my name is Katie Young-Gerald and I'm the founder of Bespoke Textiles and author of best-selling book The Textile Touch. I've been working in luxury fashion and textiles for over 25 years and I help brands design luxury bespoke uniforms to high-end limited edition collections. We've been doing this for clients such as the Ivy Collection to royal households, and we do it inside of a sustainable— supply chain that saves waste. You can find us on bespoke-textiles.co.uk. Hi, my name is Julia Sterland. I'm a figurative painter in oil and watercolour. Please visit my website juliasterland.com. J-U-L-I-A S-T-E-R-L-A-N-D. Or phone or text 07986 563 552. Hi, I'm Valentina Barbacci and I'm the Executive Director of Media Matters for Women. We're a registered charity operating in Sierra Leone and the Democratic Republic of Congo, and we produce and share podcasts via Bluetooth on mobile phones, focusing specifically on women and girls excluded from information due to extreme poverty. We empower those living in rural areas with media that transforms how they access, own, and share information. To find out more and be part of this movement, come check out our website at www.media-matters-for-women.org. Women's Radio Station is a not-for-profit community interest company. Supporting women is our passion. We're currently welcoming donations to help towards our running costs to keep this important initiative alive. To donate, simply head to our website. Every little will help. Radio Station. Hi, I'm Zena Mosconi, Head of Business Development at Women's Radio Station. Radio advertising is the most cost-effective way of reaching a huge audience globally. Moreover, our sponsorship and advertising packages can be tailored to your needs, whether it be a product or brand service you're looking to promote. If you are interested in sponsoring or advertising, please contact me on 07956 371483, or alternatively zm@womensradiostation.com. Welcome back to Future Classic Women Awards on Welcome to the Women's Radio Station. Our guest today is Gloria Campaner, an exciting Italian pianist with a very, you know, athletic career, going to humanitarian expeditions, to amazing jazz crossover music, and then playing, you know, Schumann piano concerto with the Fenice in her hometown, Venice. So, Gloria, what would you say was the most exciting moment in your career? Oh, most exciting. From excitement point of view, definitely was when I probably first played with an orchestra in my life. I was only 11 years old, and I couldn't believe that actually— that I couldn't believe it could exist such an embrace of sound. Because as a listener, when you listen, you don't believe that it can be so amazing, embracing. And then you are there, and then everybody is around you and playing around you and actually for you, supporting you. So this was definitely— it made me really cry. I remember also when I played for the first time one of my favorite concertos, Rachmaninoff No. 2. And when I finally listened the theme of the second movement, I was so touched by listening this flute playing it that I completely messed up all my trio accompaniment because I couldn't believe, you know, he's so close to me and playing so beautiful. Got really overwhelmed. Yeah. But as other funny stories, I actually have a few because, for example, I once went to Accra in Ghana and I had to do one of those kind of solidarity concerts and helping the people there. But it was a kind of big event. And funny enough, they had prepared amazing everything— flowers, red carpets, reception, cocktails. I mean, everything that you can imagine. They were— everybody was so thrilled. And then When I asked to go to see the concert hall, because I was a little bit skeptic, then guess what? There was no piano. What? And they said, like, oh, didn't you— we thought you would bring it with you. So this was maybe, you know, kind of very funny situation. At the end, at the end, they had to carry a piano from a library in a sense. They had to drag it literally with their back. And it was like incredible experience and finding like an old lady that could tune it and some keys were missing and Well, it was really, really strong experience. Another one that I can tell actually happened in London, one of my first concerts in London, in St. Martin-in-the-Field, in the beautiful church. But as you remember, there is alabaster marble everywhere. So, like, it's very, very slippery. And there was a wonderful instrument, brand new Steinway there. And, like, you know, like, fantastic sound. I was so happy and so thrilled. I had to play only Beethoven, so it was a very important concert for me, Beethoven recital. And I was so stressed and trying. And then guess what? I start to play, and for some reasons the piano was amazing, but it didn't have the— It wasn't stopped. It was not stopped well, and we found out it was broken. So they thought they're stopping it, but it didn't. Those stops, the brakes, how do you call the brakes? The brakes, yeah. The brakes didn't work. So can you imagine, like, it was full of people and I start to play like C, da da da, of Beethoven's Appassionata. And then on F, the piano starts to slide away, you know, it slides off my hands and it goes towards the public. Literally, somebody had to stand up and stop it because there were old ladies and children. So this went on for even a second time as like, you know, Benny Hill sketch. It never ended. And then at the end, they had to hammer it and they like literally tied it around the altar and they made like a triangle with ropes and to make it stable. And so you can only guess how much this was like provoking laughter and people really laughing so loud and myself too. I mean, it definitely turned down all the excitement. I was not so afraid anymore because after such an embarrassment— It's a great icebreaker, isn't it? Yeah, it was such an icebreaker. Talking of which, what do you do to relax your mind before going on stage or in general? That is a very kind question of yours. I work a lot on that because I had a crisis myself when I was around 17, 18 years old. I found out none of my teachers, despite they were amazing, they never really told me how to— because we learn how to play, but then nobody is really teaching us how to actually go on stage and how to face this extremely stressful situation, which is something you don't get to experience every day. This is very important. And that's what I teach to my— all my students. And I do even workshop about it. I do creativity workshops to help people to overcome the stress and like psychophysical stress situation. So I actually found into the yoga as being like a very good help for myself. So this was the pattern I chose. But to be quite fair, without even having to follow all the exercises, you just have to concentrate on your breathing. And there are a lot of incredibly good breathing exercises that even sports people and any athletic people are just following. So there are ways to slow down your heartbeat so that it doesn't— it just stays kind of stable and you can control it. And that's the only way you can approach your performance. And so you go on stage, you are not really relaxed, but you're under control, and that's how you can express yourself better. I totally agree. You know, people forget, but it's very physical, the way of the life of a musician. You practice a lot of hours and you work on the muscles of all your body, basically. And— You need to be able to, like football player, they got the masseur on the pitch. Absolutely. And we don't have it. We don't have it. And you have to, we have to respect our body. You know, it's like the place we are hosted in this body. And it's our first instrument. And so we have to take care to nourish it, to caress it, give it love and give the good food. And it's our instrument is how we perform. And yes, I think, and the breathing at the end. Breathing is everything, you know, just be aware. So breathing is what makes us feel alive. We are alive because we breathe. And so controlling that, which seems so basic and banal, we don't think about breathing. People don't know how to breathe. And so if you start up having a technique about it, actually the development is incredible. The results and the benefits are incredible on all fields of artistry and performance. To finish our wonderful chat today, what would you like to listen then? Oh yeah, maybe we can go back to one of my experimental projects. So I'd love to, maybe we can finish with one of the most even famous piece of music, which is Libertango by Piazzolla. And, but this is again another twisted version. So it's again me with Leszek Mosier. Live from Enter. Fantastic. Let's listen to it. And this was Libertango by Piazzolla in the jazz version, played by Gloria Campaner and Leszek Moczcer. If you have any question that you would like to ask our guest or nomination to our future Classic Women Awards, please email presenters@womensradiostation.com or tweet us @WomensRadioStn. A big thanks to our guest Gloria Campaner for the great chat and the beautiful music played today. Thank you. You've been listening to Future Classic Women Awards on Women's Radio Station, live every day at 10 AM and 10 PM London time. If you would like to listen to it again or catch up on our previous programs, please head to my presenter page, Stefania Passamonte, Future Classic Women Awards on womensradiostation.com. Thank you for listening. Women's Radio Station is a fresh new broadcasting platform driven by love and passion. Connecting women around the world in a global network is all about diversity. 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