Future Classic Women Awards LIVE SHOW – Rossella Rubini (Colli – Rubini Duo)

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 Rossella Rubini, a pianist and member of the duo Colli-Rubini, with Martina Colli. Hello, Rosella. Hello. Good morning. The Colli and Rubini duo was founded in 2010, and after a friendship that started when the two pianists were just kids. So can you tell us a bit more about this? Yes. Martina's mum was my piano teacher at the conservatoire, but also privately before I got to the conservatoire. And so I've seen Martina when she was very young, like a toddler, basically. And I was also really young, and we grew up together until we went both in the Conservatoire, and we've met again there when we were older, in Rome, of course, as well. And we decided to start this duet, and apparently it is well working because we are still here, and we are about celebrating 10 years now. That's amazing. Wow. Okay then. So I know that you are here in the UK. You're based in Oxford. Yes, that's right. And where is Martina? Martina is in Berlin in Germany. So how do you have a duo, one in Oxford and one in Berlin? I know it sounds weird, but actually it's working really well. First, we are very well organized. So when we decide to do something, we are structured. We do what we've we told ourselves to do. And so when we meet, for example, during half-term times or during the holidays, we dedicate 1 week or 10 days to rehearse and to plan our future, to see things, and then we communicate via email very steadily. So— You don't by any chance have rehearsal via Skype? We were talking about this with another I know that it is possible, but we haven't tried yet because there is a little bit of delay. I know. And then we must— I think that you must have very good equipment to do it. But anyway, maybe one day we'll try it. And so have you been to Berlin? Yes, yes, I've been to Berlin in September for a concert. And but I occasionally go and Martina occasionally comes here. So we travel quite a lot. Once a month at least. So how would you— do you— could you tell us, could you describe the difference between Berlin and the UK, for example, if you have noticed any difference, um, musically speaking? Yes, so Berlin is really lively, but I guess also London is extremely lively, for instance. Um, I guess, um, it's the venues are maybe different, but I, I think that people are willing to do, to produce lots of music. So it's, well, of course the language is different. Well, it is very different. I can speak a little bit of German, but I guess I lose lots of the communication levels when I'm there. So I'm not sure, but it's very lively. And then people are really nice there as well. So we have, yeah, we've noticed that it's quite lively and fun also, of course. So Martina is also a composer. Yes, she is. And she's doing a lot in the duo, right? Yes, yes. We are using her composition skills for us because she is transcribing the orchestral music for piano, for four hands piano. And at the moment, this is our main interest in the duet. Okay, fantastic. So we're going to listen later to some of her transcription for your upcoming album, but now we would like to listen to Project. It's from your British album with Mastercore Records. That's the Slavonic Dance Op. 46 No. 8, the Furiant. Presto. And this was Dvořák's Slavonic Dance, Opus 46, No. 8, Furionto, played by the Collier-Rubini duo. Rossella, this album is from an album called— pardon, this piece is from an album called De Voyage. Can you tell us about this album? Yes, it was recorded in 2012 and it contains pieces, dances by Dvořák and Grieg, the Norwegian dances by Grieg. It also contains this sonata for four-hand piano by Poulenc, and so we consider this a travel through Europe with music. So it's very lively and of course dances, and also the sonata by Poulenc describes his— describes Paris or France through his own eyes, so it's quite interesting. It's quite fun. Yes. All right. And so the other album, your debut album instead, it was a very different— Yes, it's completely different. It was produced by the Italian label Tactus and it contains music by Gino Marinuzzi Junior. And he was an Italian composer who died in 1996. And it is maybe interesting to notice that I am doing a PhD about this composer now. So here in London at the— here at the University of Surrey. Exactly. And so what is going to be your subject? Why is the University of Surrey interested in— in Gino Marinuzzi Junior? It's because I am planning to record all the music, the piano music, the complete piano music by this composer. And of course, half of it is already done. But the other half contains— well, includes pieces for orchestra, for piano and orchestra. And so I needed an orchestra, I needed— yeah, also I also wanted to discover more about this composer. And also I want to— I'd like to being able to give the scores to other people for being played. So a university in this case is a perfect environment for doing all these things together. And they are giving me very useful support for that. So can you tell us the name of the university? Yes, University of Surrey. It's called University of Surrey? Yes. Ah, right. Sorry. Amazing. Okay, fantastic. Well, 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, I'm Sue Openshaw, owner of Ferme du Ciel, the luxury ski chalet in Samoies in the Grand Massif, France. We are open for skiing from mid-December to end of April, and we're only 1 hour from Geneva, so perfect for short breaks or longer holidays. Single or multiple bookings, contact us on fermedesiel.com or 077 33 1000 Hi, I'm Farah Brown, founder of Femnesty. Femnesty is a platform dedicated to women all around the world. Through Femnesty, you can connect with like-minded women, share any positive or challenging issues you may be facing, either work-related or personal. Together, we can all learn from each other and be stronger. So sign up today! At feminesty.com or download our app Feminesty. 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 MediaMattersForWomen.org. Women's Radio Station will give a voice to your brand. Advertise your product, services, or goods on air with a package tailored to suit you. For more information, visit womensradiostation.com. Welcome! 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 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. Our guest today is Rossella Rubini, pianist from the piano duo Collier-Rubini. How interesting is the piano duo, the four hands, right? Formation in chamber music. It's a very special ensemble. Ensemble, exactly. So what would you say, how did you get into this? Ensemble. Do you do other types of chamber music, for example? Yes, yes, I occasionally work with strings and flute, for instance. I had a duet with a flutist. How different it is to have 4 hands on a piano instead of 2? Yes, well, it's fun and amazing in both ensembles, but I guess piano music for 4 hands is really complete because it really gives you the chance to reproduce the entire orchestra and the sound could be massive as well. Of course, if two people are playing the same instrument, which is massive anyway. And so it's quite interesting because there are lots of voices that can be brought into the music. And yeah, creativity is really powerful. When you play with other instruments, you've got two different sounds. And so this is the pro of it. So you've got Yeah, you can find colours with two different kinds of instruments. But of course, it could be powerful as well. Very, yeah, powerful music. But of course, it's different, but it's fun anyway. Absolutely. And you've been talking, you know, about being in the university doing PhD. Do you see yourself becoming a university professor, for example? Or do you like teaching? Or it's very different, for example, from having a performing career? I would love to be in the academic circle, and I'm trying to. Also because here universities and colleges are amazing. So I think that because, for instance, in Italy we don't have performance and musicology studies in one place, but here you can. And so you can— I also have a musicology degree, bachelor and master degree, so I can combine both things. Both educations in the same life, or in the same building, let's say that. And this is amazing, so I would love to. I'm trying at the moment to get to, so to combine performance with my academic studies, with some academic teaching or collaborating in some ways. And I wanted to ask another thing, so what do you think of classical music then? Today, you know? Classical music? Today, in general. Yes. Well, today we're very lucky because we've got the internet, and this is a very interesting and unlimited tool to share, to explore. And also we've got technology, which I'm very interested about. Classical music is still great today. It has maybe developed more ways of being produced and delivered. For example, combining electronic sounds or electronic music with classical music instruments, that's really interesting. So contemporary music is really open to anything and that's That's great, I love it. However, also we can't forget, and luckily we don't forget, classical music, purely classical music. And we've got a huge number of great performers today. So which one is your inspiration, if you have, you know, a favourite pianist or group, duo? Yeah, I've got, well, a pianist, Mariangela Vacatello, who I think she's one of the best of the world. She was one of our first nominees in the program. Yes, I know. And I was really happy for that. And I also like Janine Jansen, the violinist. I think she is incredibly good. I mean, everything. Yeah. Wow. Okay. And what do you think it means to be a classical musician today? Is it the same as you think? Maybe you're studying it, right? So you're studying the history of the great composer, artist, etc. Do you think it's any different today? Compared to, like, old times, yes. Okay, so today I think being a classical musician means that you must be also a good manager of yourself. So it's not just having involved performance, or playing skills, but also managing skills. And it's also a matter of— well, it always was, but today with technology, with, well, other things, we really have to develop these skills. So how to write an email, how to propose the concert, who to contact and when. So all these things that maybe 20 or 30 years were not asked to the performance. So we're going to listen to Marinuzzi, the Lagerlieder, Kaczewska and the Gypsy Song. Can you tell us about this Lagerlieder? Yes, the Lagerlieder is a composition that was written in 1944 when the composer Gino Marinuzzi Junior was in a labor camp, Nazi camp in Germany. And he was writing notes on pieces of paper or sacks, potato sacks. And then he managed to carry them out with him and write the music. And he was— well, he composed this music when he was listening to his companions, singing their traditional songs. So this is a collection of traditional songs or dances, because we've got also a Gopak, for instance, dances from people from Europe, for the, the, the whole Europe, from especially from East Europe, but also from Italy, from other, yeah, Europe in general. And it's quite interesting because we imagine that some, we, well, we expect something that was written in a, in a Nazi camp being a little bit like, um, um, dark. Yeah, dark, but it's not actually. So that's the hope of the composer. Let's listen to it then. And these were Kachuska and Gypsy Song from the Lagerlieder by Marinuzzi, played by the Colli-Rubini duo. We will be back after a short break. 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 a 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@hazelmaytravel.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? You are not alone. Many women want to be smarter with their cash but just don't know where to start. At empowerandenrich.org, you will find a host of options to help you take charge of your finances and learn how to put your money to work for you in an easy, affordable way. Get in touch with me at empowerandenrich.org and let's change your future together. Are you struggling with money? Turn to us as a national charity helping people struggling to make ends meet. Job loss, illness, or bereavement can cause a real financial crisis. We give practical help to get people back on track. Whether you're thinking of having a baby, trying to get out of an unhappy relationship, or just unsure what benefits you may be entitled to, we can help. Visit turntous.org.uk. Women's Radio Station will give a voice to your brand. Advertise advertise your product, services, or goods on air with a package tailored to suit you. For more information, visit womensradiostation.com. 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. Today we're talking to Rossella Robini from the Colli-Robini Duo. Rossella, we've been talking about, you know, studying and performing and recording. What's the difference between performing, for example, inside the university for your dissertation for your PhD, or performing on a concert, or performing on the recording studio? I guess it should be kind of the same, but they are different because of course if you play in a studio, you must know, for a recording, you must know that the microphones are very close to the strings, so you don't have to project your sound far from where you are, far from the instrument. Whereas if you are in a hall, of course your intention is to reach the last the furthest person that you've got in the hall, even if there is nobody. And then, so I guess this is the difference, is the way, but practicing is the same. Very good. So what would you say to an aspiring young student or younger self if you could go back in time? Oh, I see. Well, to practice. Practise a lot, and practise a lot finger technique, and also to listen to a lot. Because sometimes I've noticed that students are playing maybe a piece by Chopin, but they don't really know how to— because they haven't listened to enough around Chopin, Romanticism, or post-Romanticism music, or post-Romantic music, or Baroque music. So to listen, to listen. A lot. Wonderful. And what would you say was the most challenging moment in your career, if you had any? Well, the most challenging moment, that's an interesting question. I think it's not a moment, it's a project. So first is this PhD project. I thought it would have been a little bit smoother, but it was not. Like anything, you know. Exactly, yes. I've been told it's normal, so I'm part of the class. And which one was the most exciting moment in your career? The most exciting moments are when Martina and me are playing our own transcriptions and we receive feedback from the audience. This is great because this is something that we really believe in. And when we receive good feedback or when we play, when we feel a very nice atmosphere in the hall, It's the most rewarding feeling that I've had music-wise. So you want to listen to Gershwin. It's a live recording from a performance of you and Martina. Tell us, how was this project born? The American in Paris or the transcriptions in general? Yes, the transcriptions. We wanted to 'We want to have the opportunity to play orchestral pieces in normal halls without an orchestra.' And so we decided, because Martina is a composer, and so she has the skills to do it, so we decided to start this transcription project. And then it became bigger and bigger until we decided to go for very long and articulated pieces. And so this is why we decided to do An American in Paris, because apparently there is not a four-hand version of it. And so we said, well, why not? It's a great piece. So we were playing at the moment, we were playing Rhapsody in Blue. And so we said, what about An American in Paris? Oh, there was nothing around. Great. Fantastic. So a question, is that bringing you towards a sort of crossover, or you define yourself as classical to cool? Maybe we are a little bit out of the boundaries, especially when we play, for instance, I don't know, well, Martina did, well, transcribed also Material Girl. I shouldn't say it. Why not? Why not? We don't perform it, not to go really out of the boundaries, but yes, we did it. It was just for fun. It was an experiment. So I guess, yes, well, we do classical music through our transcriptions. But yeah, we can do anything, if this is what you mean. We can do anything, and maybe we will do it in the future, yes. So what do you think about crossover music? Because we can see mostly it's singers bringing songs into the classical world, for example, or vice versa, bringing classical songs to the pop. Audience. Do you think there is something like that for the piano duo, for example? I wish, yes. I wish it. If it's not, I wish it will in the future because there's nothing wrong with it. As long as you do it in a very good quality, there's nothing wrong. And if this is a means to get people love classical music, pure classical music, why not? So, do you listen to any other type of music? Oh yes, oh yes, yes. I love Dave Matthews Band, for instance. It's an American band. It's coming to London. Oh, okay. And then I love an Italian band, very famous. Should I say the name? Why not? Of course. Elio e le Storie Tese, of course. Yes, of course. And other kind of music. I mean, Italian music, like, um, you know, usual ones like Guccini, De André, all these things. The Italian pop songwriters. And do you listen to rock or hip-hop or— Yeah, I like, for example, Radiohead. Oh yes, I love them as well. Um, I listen to, I guess, well, I also have a little bit of hard rock, but not I don't listen to it steadily. Occasionally, yeah, I love any kind of music. Wonderful. Okay, well, shall we then listen to An American in Paris, transcribed by Martina Colli and played by Martina and Rossella? And this was Gershwin, An American in Paris by Martina Colli and Rossella Rubini. 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 April 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, I'm Sue Openshaw, owner of Ferme de Ciel, the luxury ski chalet in San in the Grand Massif, France. We are open for skiing from mid-December to end of April, and we're only 1 hour from Geneva, so perfect for short breaks or longer holidays. Single or multiple bookings, contact us on ferme-des-siels.com or 07733 100020. Hi, I'm Farah Brown, founder of Femnesty. Femnesty is a platform dedicated to women all around the world Through Femnesty, you can connect with like-minded women, share any positive or challenging issues you may be facing, either work-related or personal. Together we can all learn from each other and be stronger. So sign up today at femnesty.com or download our app, Femnesty. 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 MediaMattersForWomen.org. Women's Radio Station will give a voice to your brand. Advertise your product, services, or goods on air with a package tailored to suit you. For more information, visit womensradiostation.com. Women's 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 are 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. Our guest today is Rossella Rubini from the piano duo Collier-Rubini. Rossella, now it's time for the odd question. Oh, oh dear. I was expecting that. Do you have any strange hobby to free your mind or relax? Oh, I see. Well, I guess I just go out with friends. That's a very good hobby. Yes, because you know that our work is very solitary sometimes. It could be. Practicing, practicing. And then yes, I guess I go out with friends. I just chill out. Yeah. Lazing around, probably. I don't know. All right. Do you go dancing? Oh, well, clubbing. I go to the gym, of course. I run. Yeah. Oh, all right. Running. Okay. And do you have any superstition or ritual before going on stage? No, no, no. I guess that also Martina doesn't. So we are quite normal before the stage. We just think about what to say. We talk, we talk during our concerts, so we just revise what we are going to say. But no, we don't have it. You don't have any special color you don't want to wear, for example? I try to avoid black. Ah. Unless it's, yeah, it's, yeah, I must be elegant, or well, appear elegant, but I like to be elegant with other colors. So what do you think about the dressing code, the dress code on stage? Is this something that you follow as a duo, or you like to break? The rules? We do think of what to wear also as a couple. I mean, so it is all thought in advance. I don't like when, for example, people— can I say— when people don't iron the shirts. Okay. It doesn't happen in great concerts or in big halls, of course, but it does happen sometimes with students. I would say just I try to iron the shirts at least before the concert. But yeah, there is a— as long as it's special, it's a special dress. So it's a special— it means there is a special occasion. So I think the performers should have a special dress, but not really— I'm not really fussy about it. The concert gown and the long— yeah, it depends. It depends what— yeah. From where you're performing. Yes. And do you have any funny or embarrassing moment that you want to share with us from in your career in general? I've been on stage or going on stage or embarrassing moments. I have to think about it. Maybe, maybe it was that day when I had to perform with an American guitarist and there was a strike by a train. So basically And of course, I'm quite early when I have to perform, but I arrived just in time for the concert. So basically, the American guy arrived before me from America. No way! Yeah, but yeah, things that happen. It must be quite stressful when you arrive later. Yes, it is. How do you go on stage with the heartbeat doing boom, boom, boom, boom? I know. Yes, I know. But yeah, this is something that you have to face. Just saying that I was expecting some delays, and also it was raining, so very awful day. But then, you know, you prepare, I think, before you arrive in the train. I was concentrating. Do you have anything that you eat particularly before you go on stage, or not eat or drink? Yeah, maybe I don't eat very much. No, I try sometimes I don't eat at all just after the concert. Yeah, somehow people don't realize, but being a classical Composition is very physical, isn't it? Yes. So you really need to prepare sort of like an athlete. So there are some things that they make you too heavy and you're not able to react. Yes, that's right. Yeah, for me, my stomach must be empty, and sometimes I forget water with me, so I, I don't even have water. Really? That's amazing. That's impressive. But because I forget, no, it's not intentional. So what's your next project, or Our next project is a very exciting CD which will be called Riding Americas and will contain An American in Paris by George Gershwin, Appalachian Spring by Aaron Copland, and 4 dances by Alberto Ginastera from the ballet Estancia. Fantastic. So you would like to listen something from this upcoming album? Yes, that would be great. Malambo, the last dance. Very exciting. From Ginastera. From Ginastera, yes. All right, let's listen to it. And this was Ginastera Malambo, the dance number 4 from the ballet Estancia, played by Martina Colle and Rossella Rubini from the duo Colle and Rubini. If you have any question that you would like to ask to our guest or nomination for our future Classic Women Awards, please email presenters@womensradiostations.com or tweet us @WomensRadioStn A big thank to our guest Rossella Rubini for the great chat and beautiful music played today. Thank you for inviting me. It was a pleasure. 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. 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, the UK travel consultant for Hazelmere 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@hazelmeretravel.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? You are not alone. Many women want to be smarter with their cash but just don't know where to start. At empowerandenrich.org, you will find a host of options to help you take charge of your finances and learn how to put your money to work for you in an easy, affordable way. Get in touch Get in touch with me at empowerandenrich.org and let's change your future together. Are you struggling with money? Turn to us as a national charity helping people struggling to make ends meet. Job loss, illness, or bereavement can cause a real financial crisis. We give practical help to get people back on track. Whether you're thinking of having a baby, trying to get out of an unhappy relationship, Or just unsure what benefits you may be entitled to, we can help. Visit turn2us.org.uk. Women's Radio Station will give a voice to your brand. Advertise your product, services, or goods on air with a package tailored to suit you. For more information, visit womensradiostation.com. Women's Radio Station. 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 371483, or alternatively zm@womensradiostation.com.