Future Classic Women Awards – Genia 051222

Hello and welcome to the 5th edition of Future Classic Women Awards with me, Stefania Passamonte, on Women's Radio Station, the program for research for the most amazing new female artists on the classical panorama. Today on Future Classic Women Awards, we will be talking to Eugenia. She was a finalist of the 1st edition of Future Classic Women Awards, and she's here today to present the latest single, Evocations. Hello, Eugenia. Hello Stefania, nice to be here. Very happy to have you. I mean, I can't believe, you know, it's so long has been, you know, passed since we actually chatted on Future Classic Women Awards. And you've done so much, you've released so many new albums and video collaborations. So tell us about this new single that is coming out on 9th of December, and it's from your new album Exhale. Yes, vacations, you know, because it has been a very difficult year, I think, for everyone. Everyone has their personal story. And we went— when the year started, I think people, you know, when people are here, not difficult news. And of course, me talking about my background, because I was born in Ukraine, I'm referring to the war in Ukraine, but the war in Ukraine kind of spilled, uh, on many, many issues. So when this war started and people were terrified, there was a lot of anger, there was a lot of, uh, disbelief. And now it has been going for a long, long time, and I think now we are coming to the realization on how we want to deal with this, what we want to do, and we kind of looking inwards and We are trying to quiet our mind and reassess. And this track is kind of representing that. That was my idea. This is why I'm releasing it now at the end of the year. It's kind of an inner, internal summary of the past year. Wonderful. Well, Évocation— how do you say it? Évocation. Évocation. I say it in French. Yeah, wonderful. Well, let's listen to it and then we can talk about this. So you're all gonna hear it for the very first time because this is not out yet. And this was Evocation by Jinia, her latest album that is out— the latest single that is gonna be out on 9th December on all the streaming An online platform. Zhenya, absolutely beautiful, and, um, you know, making us to think about not just, you know, the year that is about to finish, but also, you know, the years before. When did you compose this piece? Oh, thank you so much. Um, I, you know what, I don't remember because I think I, I wanted to say this year, but it could be the end of the last year because Because I started preparing my album, uh, at the end of the last year, and I even went to Spain to write it. And so the whole album is called Exhale, and it's all connected with breathing and yoga. It's a, it's a very big concept. And of course, in the middle of me trying to launch and release all these albums, the war in Ukraine broke down, and all my plans, uh, went out of the window, really. So, so I have numerous compositions, but I just felt that this one was the first one I want to release because somehow that was the most applicable to release right now. Well, it's absolutely beautiful. There is another one that we're gonna listen now, um, and that's an arrangement by an Italian composer, Paolo Cognetti, and it was recorded and produced by you of the Resistance Italian resistance song Bella Ciao from the Second World War. Um, something that I remember I grew up singing when I was a child, that they would teach us this song in school. Um, you know, when they were talking about how the partisans managed to, to push away the German occupation. Yes. Um, so, um, it's Very strange, you know, was taken as well before the war started in Ukraine by this, um, TV series La Casa del Papel that actually didn't watch. Have you watched it? I know, but I heard about it. So this song, suddenly everyone in the world was singing Bella Ciao, and I was like, you know, this is a very meaningful song. So how did you decide to record this song? And then we need to explain that this song, all the proceeds, uh, go to to support the children of Kharkiv. That is where you're from. So tell us about this. Well, because I'm quite active on my Instagram, which is Zhenya Pianist Composer, and when the war started, I used to do daily talks about what I'm doing, what's happening, because I had access to information which many people here didn't have at the time. And Paolo Cognetti, he got in touch with me and he said, look, I have this piece, I want to dedicate it to you and to the people of Ukraine. Yes. And he just sent it to me. He actually sent it to me on WhatsApp, believe it or not. Wow. And I played it and I thought, my goodness, it's such a beautiful arrangement. And I called him and I said, look, Paolo, how do you feel if I record it, produce it, we release it on my label and we'll give all the proceeds to the children of Kharkiv? Because since the beginning of the war, I, started my own foundation. It's called Support Kharkiv Foundation, and I work directly with amazing charity in Kharkiv, and we do a lot of work with children, trying to transport them to save them. And I can talk about it for, uh, almost an hour, a long time, or hours. Anyway, so he said, Jenny, it's a great idea. So this is like, this is an example of the most amazing, like, collaboration where music and creative people come together try to— and I know you, Stefania, have been doing a lot of work and a lot of help for Ukrainian musicians, um, and, you know, so you, you would understand. We are all trying to do something which is within our means. And I was really, really touched when Paul said, yes, of course. And so we released this track. I, I recorded it on my, on my Steinway. And, uh, yes, and I, I just loved it. I love this piece. It is indeed very beautiful, but let's listen to it first and then we can talk more about Bella Ciao. Bella Ciao performed by Zhenya. Very special. This was Bella Ciao arranged by Paolo Cognetti for solo piano, recorded and performed by Zhenya. You know, this last part when it suddenly goes major, it really goes with the words of the song. So it's about a partisan who is about to die and is asking his comrades to bring him up to the mountain and um, bury him under a beautiful flower so that everyone who will come in the future and they will see the flowers, they will know that's the flower of the partisan who died for the freedom of this country. So it's, um, it's, um, yeah, yeah, it's very special, it's very powerful, and it was— it actually was an honor for me to, to to play it and record. And every time I play it, I get transformed like to different level state. Well, you know, it's, um, this gives you another idea of how important is music, um, and, you know, and this role to make people think and, uh, you know, transport them into, um, a different place in different moments. Um, it was very important during the pandemic, uh, for the mental health of, you know, everyone in, uh, isolation, and now, you know, it's still keeping us, you know, very much aware of what's happening in Ukraine. I had the opportunity to help music students from Ukraine, as you said, and we had the incredible chance to perform at Royal Albert Hall for the Proms, for the Youth Proms with Music for Youth, and they were able to play a Ukrainian composer, Skoryk, with, um, Melody, that is basically the, um, hymn to the resistance in Ukraine, um, as it was first performed in Kyiv under the bombing. So music is so powerful, and, um, and sometimes with power there is also responsibility. So it's amazing what you're doing, you know, with your charity, trying to help the children in Ukraine, um, and at the same time, you know giving us such a wonderful, you know, moment of somehow peace, I think, because this is a song for peace, you know, for the future that we want. We all want that, isn't it? Yes, but well, it's kind of— it starts in minor, very dark, but it finishes in major, and I think major kind of shows that there is a hope, and we're all hoping, you know. But I also wanted to mention that on my charity website, which is, um, harkifoundation.org, people can obtain a music score. Because what Paola kindly said, that look, whatever people can give, from £1 to endless amount, they can, if they want to download the score, they just go, and for any donation they can get a music and play it. So if people want to play it, it's a very easy piece to play. It gives immediately, you know, it's very rewarding as well. Well, now I would like to talk about your recent album, that is Voyage Francaise. Now, this one, was that before the pandemic, or was it during the pandemic, thinking when you will be able to— Well, it was kind of Well, it started, it started obviously before because it's dedicated to my travels in France, and France is a country where I lived. I adore this country, absolutely adore it. But you know, when you go somewhere as a tourist, as a guest, you always get the best bits, right, of everything. Of course. Um, so, uh, so it's now when I think about this music, I think I was like on a different planet. But I'm really, really glad that I, uh, released it because it's all pleasures of life. It's about beauty. It's a French theme going through many of the tunes. It's personal experience, you know, in different places with different people during my travels in France. Now, Voyage Française, that is the track that we're gonna listen to today, is then giving the title to your album. So is that like the first one that you composed for the new album and that hence the title, or it came at the end, for example, when you actually realized it? No, no, no, it actually came at the end. It was almost one of the last ones, and it kind of was born like, you know, it's, it's, it's— yes, it, it wasn't the first one. No, no, no, no, it was, it was towards the end. Now this is something very important. I mean, do you speak French as well? Uh, I'm taking French lessons. I, I kind of speak French badly at the moment, so I thought, okay, I should really speak French much better. So I, you know, Japan, yeah. But you know, that's what I want to say is that it's so important for, uh, for us musicians, but then in general, you know, to be able to know the language when you to those countries and kind of, you know, savor the culture at 360 degrees. So with the food, with the music, with the smells of the trees that are, you know, that they grow there, and then of course with the language. So let's listen to your interpretation of Voyage Française from your album Voyage Française. So cute, I really like it. Voyage Française by Zhenya from her latest album Voyage Française. So beautiful, really like it. Now tell me a little bit, um, you were born, if you like, as a classical concert pianist, right? When did you find your, uh, inspiration to become a composer? Did you always have it? I think, uh, never. No, I never had it. I never thought about it. I think it kind of happened because I Obviously I was trained very classical, and at the beginning of my career I had a very classical career. I did concerts with Mozart concertos and etc., etc. And then I went through a stage where I decided to experiment with contemporary music, and I left my agents and I start working with modern composers and even going to— I mean, I released the records of Sofia Gubaidulina. And I played a lot of Philip Glass, etc., etc. And I worked with a lot of living composers, even with electronic music, and I did a lot of stuff, piano electronics. And then somehow I felt that I have my own opinion about certain things. And by working with the composers, you know, you learn a lot by working with living composers and At some point I said to myself, you know what, I want to try to— well, actually, no, it's not how it happened. I wanted to do it, but I never had time to make it happen because, you know, I always had— you always have dates and you need to get ready for next performance, next performance. So to start something new like composing, you really need to make a commitment. And I was doing a private concert for one of the directors of Cafe Nero, and he came to me and he said, he said, oh, you know, do you compose your own music? I said, well, I kind of improvise, but it's nothing. I have nothing published. And he said, well, if you give us something, if we like it, I promise you we will play it in our cafe. Can you imagine? Yeah. And that was like a dangling carrot in front of my nose. And I said, oh my God, that's such a great incentive. And at that time I thought, I'm gonna try to do it, but I couldn't start it in London because my Lifestyle in London was so chaotic, so I arranged to go to Paris, believe it or not. So it's my— and I went to Paris, I stayed there for just over 3 months, and I started to compose in Paris, came back, recorded a little demo, gave it to them, they loved it, and they started playing it at Café Nero. And this is how my career as a composer was launched. Wow. Um, and then the more I was doing it, the more I liked it. And then obviously when you see that other people like it, you think, okay, so I should maybe try to do more and more and more. So that's how it started. Amazing. Well, um, there is also another very, uh, you know, thrilling, um, way to listen to your music, and that's from one of my favorite TV series, that is Killing Eve. We're gonna listen to the track that was featured in one of the episodes of Killing Eve. So tell us, how did that happen? Were you already a fan? Well, because Killing Eve I am a big fan of Killing Eve, but some of my music actually was in episode 1 and episode, uh, season, sorry, 1 and season 2. Ah, okay. So yes, my, my previous compositions, but this one, uh, this track you're gonna hear, it actually, it was trending at some point on Twitter because it's a very interesting scene. It's when there's almost like a love scene between the main, um, characters. Yeah, beautiful. And, um, my Music comes in the background and it all looks so lovey-dovey until the knife goes next, very close to Sandra Ohan, and then my music stops. But it kind of makes my music even more important, you know. So yeah, I just love to see it. Well, what were you— what happened to you when you heard that your music was gonna be used in Killing Eve? Were you jumping up and down? Did you go out celebrating? Could you believe it? Tell us. Well, I just— I don't know. I didn't jump up and down. That's actually quite a good thing to do, jump up and down. But yeah, I was obviously very, very happy. Of course, it's a great honor. I have a friend who managed to get a small part in Killing Eve. She's called Elena Mattson, and she wasn't jumping up and down because with, you know, with the movies, there's always the chances that they will cut you off because for the final editing, there is always something that needs to be tweaked or changed or something. So you really don't know until it's actually out. So did you know that your music was gonna be out for sure, or you learned it when you saw— watched it? No, no, no, no, no. Are you— you at some point, you know, because obviously there is like a paperwork exists, but you don't know for a long time, you know. So yeah, well, let's listen then to Valse à la Française that was featured in Killing Eve. So this was Valse à la Française by Xenia, featured in the award-winning series Killing Eve. Um, Xenia, really, really nice. Um, what I'd like you to ask you now is about your combination of music, composing, performing with your incredible talent as, uh, um, and passion for yoga. Oh, thank you. I don't think we spoke about these in our last interview, so that's something very special that you do. And I was very fortunate before COVID to come to one of your lessons of yoga with the piano, and that was very, very— I, you know, I wish I had more time, and, you know, I should find the time That's the truth, because health is the most important thing ever. Otherwise we can't do things, isn't it? So tell us a little bit about that. Well, um, yes, I developed passion for yoga many, many years ago, um, and initially I just came to yoga because, as many classical pianists, I used to practice for hours and hours, and I start having problems with my back, and then I had to go and see doctors, and then I thought If I have to go and see doctor every week to just have a massage in my early 20s, this is not quite right. So I was looking for alternative ways of how I can work on my body and I discovered yoga. I had an amazing teacher and that was like match made in heaven because I really cured my body and I was really very big. Like it was my passion, biggest passion, yoga. And then separately, I have quite small hands. I always wanted to play Rhapsody on the Sea by Paganini, and we all know that Rachmaninoff, who composed it, had very large hands. And my teacher said to me, can we please ask you never play this piece because this is not for you, this is not for your hands, you will— it will ruin your career. And of course, I was a student at the time at the Guildhall School, Guess what I wanted to do the most? Play the Rhapsody on the Sea by Paganini. And then I remember that I had an opportunity to play with the orchestra. So conductor said to me, "Jenny, so what do you want to play?" I said, "I want to play Rachmaninoff on the scene by Paganini." So I had a date to go on the stage and perform. And then when I opened the music, I said, "Oh my goodness, how am I gonna play all these chords?" You know, it's not just about stretch, it's also about the power. You know, because you can have a stretch on the piano, but you need to have a power to produce these volumes of sound. And I was somehow in my mind— it's quite interesting— determined that there is a system which already exists which would allow you to stretch your hand. I was convinced, and I was looking for it, and I was looking on the internet, in the shops, libraries, etc. And although You could find separate little exercises, there's Lyschitsky exercises, there's some, but there was not one coherent course. And then my deadline was coming and I thought like, either I have to say no, I can't play it, or I have to come up with exercises myself. And I said, I'm gonna come up with exercises myself. And then I sat down and I think, okay, how am I gonna do it? And this is where my mind went to yoga and I think, I healed my body, I changed my body with my yoga practice. How about I use the strategies which I use for my body and just apply to my hands and my fingers? And that's how it started. And I got so much into it, I developed the exercises and they really allowed me to stretch my hands to get the strength. I performed Rhapsody several times. I even have a recording on it on SoundCloud. But that was the beginning. And because I was already teaching, my students were coming saying, oh, can we just try your exercises? And I said, okay, but let's just see if it's gonna work for you. And then I start changing them a little bit because they had different hands. So I had a lot of material. And to cut the long story short, I thought, my God, there is something there much bigger than what I have. And that's how Piano Yoga started. I published Piano Yoga book. And while I was doing all this, I thought, no, I need to get more qualifications in yoga, because at that time I had 4 or 5 qualifications in piano, you know, the piano degrees. And I thought, I cannot be just an amateur yoga practitioner. So I went and I did the yoga teacher training course at the Life Center, which is a British Wheel of Yoga. It's one of the best yoga courses you can get in the UK. It's internationally recognized. The diploma is recognized even in the United States as well as in Europe. And this is— and once I start studying yoga professionally, I said, oh my God, there's so much more to it because you can change your piano technique so much by doing and borrowing principles from yoga. It's first with posture exercises, breathing, psychological things. And I developed piano yoga. Now it's been almost like— it's actually been 20 years I've been doing it. Seriously? Oh my gosh, it goes so fast, the time. I know, I know. And I mean, at the beginning I didn't— it wasn't registered as a trademark. Obviously, let's say you started when you were 5 because you look much younger. Well, I'm a little bit older than 20, am I? So yeah, a little bit, not very much. Gosh, yeah, you're right. I mean, it's crazy. It's 20 years I've been in this country as well. And, uh, and when you look backward, every— everyone is asking, you know, about did you come when you were, you know, in a reception or I'm thinking like, yeah, but it's crazy how time goes fast. Now, with yoga, do you feel the time going differently, or is it goes exactly the same? You know, because it's as well a way of meditation, so it's not just about the physical part of it, is also the mental health. Yeah, of course. Uh, do you mean do I feel time different when I, when I play piano, or you mean in general? Yeah, the way you— like, for example, in our active life, when COVID happened, everyone was absolutely destroyed mentally and physically, you know, suddenly having, you know, to stay indoor for so many months, really weeks and months. And for some people, time was never gonna pass, and we would have been like that for forever and Um, for others like you and me that were always very active, you know, very busy, uh, traveling, performing, doing many things, time is never enough. Does yoga help you? Um, oh, big time, of course. I mean, yoga helps me because even you sometimes can feel that a minute is like 100 years, you know, and at the same time the other way around. But during COVID times, I actually did a lot of piano yoga. I recorded a lot of videos. I have video materials on piano yoga because people were very, very stressed. And, uh, one of the courses I have is a 4.5-hour course, Piano Yoga course, on how to organize your practice, you know, your home practice. It's 4.5 hours, 11 stages course. And it has yoga in it, and it also offers people different strategies. Because do you remember when COVID started, lots of people didn't— they didn't want to have online lessons initially, and then they said, oh, you know, but we don't know how to practice, we're all over the place. And so that was the way— this is what I did. And yoga, yeah, I did yoga every morning. I mean, I do yoga now every morning, but during COVID time, definitely it was every day you did yoga. Wow, it was so important. Well, um, then the next song we're gonna listen to is called Viva la Vida, uh, is from Coldplay and is your arrangement for solo piano. Uh, now before we listen to this, do you have a favorite track that you listen when you do yoga, if you do listen to music? Before or after otherwise? No, I do different. It depends how— it depends on my mood, you know. I can't tell you. It really depends. Sometimes I listen to classical music, sometimes not classical, sometimes New Age, sometimes I don't want any music, sometimes I listen to my music. But you know what's weird? Because now the studio where I go, they know my music and sometimes they play. And, uh, I don't like going to a public class when they started playing my music when I'm one of the participants. I feel very self-conscious. Yeah, absolutely, you know. Yeah, but it depends, it depends, because look, there are different types of yoga, and with different parts of your different types of yoga, you have different temporisms, so your breath is different. So I like to play music which would work with my practice. So if I have very slow practice, I would play very slow, or maybe even sounds, you know. And if I have, uh, something quite fast like Ashtanga yoga practice, which is a bit more fast, you can— some people, I used to practice Ashtanga with a metronome, so you, you adjust your breathing to the metronome. Then you, if you choose the music for yourself, you will find music which is a little bit more upbeat. You know? Okay, so now Viva la Vida by Coldplay, is that something that you like playing? How did you come with the idea of arranging Viva la Vida? Okay, okay, first of all, this is not a yoga track. I just want to make it clear. Okay, and maybe before you ask the yoga— yeah, it's a very, very fast, but it's, um, I, I've been asked to do something in the past. It was one of the materials which is one of the projects because I also do a lot of collaboration with pop artists and electronic artists. And this was— this track, I kind of did it and then the project didn't go through and it was kind of lying in my house. But every time I would go somewhere and play, people who are not into classical music, they said, "Oh, we love it, we love it, we love it." And I thought, you know what, I am still trying to do something for Ukraine. Why don't I just record it, release it? And again, all the proceeds on my part, they are going to Ukraine, to charity to support kids. And this is track which, you know, would work for maybe people who are not into classical music. Maybe they will connect with it as well. So that was the idea behind it. Wow. Well, let's listen then. Viva la Vida by Coldplay, arranged and performed by Zhenya. And this was Viva la Vida by Coldplay, performed and arranged by Zhenya. Um, Zhenya, wonderful, wonderful arrangement. Now, um, so you do yoga, you wrote a book about piano yoga that is wonderful, and I recommend everyone to get it because it's really, really useful and interesting. And, um, and then also you perform, you compose. Um, what else do you do? Because I'm sure you do something else. Do you have a profession, for example? Sorry, paint? Yeah, no, I, I don't paint, but I do, I do dance, and I dance and I do a lot of barre classes, which is kind of in Yeah, that's my hobby, which I'm very committed to. And I think I need it because all the other activities, they are quite sedentary. And, you know, yoga I do, but I do it professionally now. And I want to do something where I can make a complete fool out of myself and just have fun. So yes. Talking of which, you know that the last part of our interview, normally we ask about, you know, some funny episodes, you know, when you maybe made yourself full of yourself going on stage or something. Do you have an episode that you can share with us? Yes, I, I do. Actually, it was my last concert. It was such an important concert. We did a concert for Ukraine, and, uh, we have had amazing British and Ukrainian musicians performing with the great British actors Bill Nighy and Chiwetel Ejiofor. And it was a big gala concert at the other palace, and a beautiful design kind of just hand-created a dress for me. So everything was perfect, everything was perfect, perfect, perfect. And because it was concert for my own charity, not only I was talking and performing, I was kind of wanted to make sure that everything goes well. And only when the concert finished— and you need to remember that I'm quite small, right? So only when the concert finished and I was packing everything, I suddenly saw my concert shoes shoes lying unopened at the corner of the dressing room. And to my horror, I realized that I forgot to change my shoes. What do you mean? It means that I didn't play in my concert shoes, which is supposed to be on the high heels, because I always play on the high heels. Yeah, the dress would have looked amazing. And then because I'm so petite, you know, I would look tall. And next to all these people who were so tall, and so when obviously I received all— look at all the pictures, I'm so tiny compared to everyone. I was like, oh no, this never happened to me. Never ever. And I had such beautiful shoes. Yes, exactly. Exactly. And it was, I didn't even know what to say. I think I was so upset. And then people say to me, come on, you had sold out show. You raised so much money. It was such a great event. But I was like, for 48 hours, I was so upset because of this. But you know what, I still have nightmares, you know, of going somewhere and then forgetting the shoes or forgetting the dress and not having, you know, the things that you're preparing, you know, you leave them on the bed, for example. So I have— that's— I think that's a nightmare for everyone. But, you know, having it there and being so busy and forgetting to put them on, well, at least you are comfortable, isn't it? No, actually I didn't like it because when I was playing, I said like something is— because I was wearing other shoes which I, I just don't— I wouldn't ever choose to play in them, you know. They were not as comfortable. And I have my playing shoes because I love them. They are comfortable, they are glamorous. And, and I felt something was wrong, and I couldn't understand what it was, you know. I just said something is not quite right in me, within me. And I did my yoga, I did all the checks, and that was what was wrong. The shoes, Mama Mia. But shoes are important. The shoes gives us grounding, you know. It's very important shoes for, for everyone. When we play piano, it's so important. Well, do you have— sometimes they— I have— I get this feeling when I play with very high heels, uh, that sometimes the knees start to dance by itself and it's hard to keep it steady Do you ever get that? No, I don't get it. Just my right one, because it's the one that I use the most, you know, with the pedal. So somehow there is something that just clicks in it and it's like, uh, and I fear everyone can see my dress dancing, really. Oh, you know what it is? It's a back— it's a back muscle of your leg, you know, where your ankle is just like— yeah. 'Yeah, this is what it is. You probably over-tense it. It can be, but it can be because of the shoes.' It's very important to see how the heel is positioned, you know. Yeah, sometimes you see on Instagram this pianist with these impossible super high heels and you think, 'How are they playing with those?' You know, they're too hard to balance somehow. On the other hand, it's good to practice, you know, to play the piano with the heel because helps them. I, I feel, you know, helps better with the pedaling, so you have more control and more, uh, subtle movement to get, you know, off the pedal or this type of things. So yeah, there is a whole technique for that. Probably we should, uh, do you— I know you have a collaboration with the designer for the dresses. Do you also have a collaboration with a shoes designer for the shoes? Not yet, not yet. Okay, wonderful. Now, um, your next project then is gonna be, uh, the— your album. When is that coming out? Well, it's gonna be— I'm gonna do like a waterfall release. I'm gonna every 2-3 weeks release a different new track starting from January, um, and yes, that would occupy pretty much big part of 2023. Wow. You know, and then, and then Sorry, and in each track I'm going to connect with the yoga and with breathing patterns. That's what— but this is why it's called Exhale, so people can just listen to it if they want, just, just listen, or there will be some other things they can do while they're listening, you know, that's the idea. Wonderful. And next time we can see you performing live? I actually have, um, it's Cockpit Theatre on the 5th of December. It's, I think it's when this is gonna come out, isn't it, this interview? Yeah, that Monday. Yeah, so it's Monday, we're gonna be live at 10 AM. Yeah, uh, it, well, okay, but I will be playing. I actually, I don't know what time I'm playing. It's a big concert again for support for Ukraine. Uh, I was invited to play, so Yes, I'm gonna be there. Say it again, where? Where? Uh, Cockpit Theatre. Cockpit Theatre is off Marleybone. It's a beautiful theatre. So if you can make it, please go to the Cockpit Theatre and listen to Zhenya live. And it's gonna be a surprise what she performs because she's gonna reveal that that evening. Okay, wonderful. So, um, and next year, do you plan already? Are you already writing some new— a new album or you would be the— I always write. I always write. This is when you ask me, when did you write something? I don't— I can't tell you exactly because I always write, and then I decide when to give it, like, you know, when to give official birth to this music. So yes, yes. Do you have— can you tell us a little bit about the theme? This one is gonna be Focus— no, um, Exhale. So it's an album dedicated to your yoga, in a way, um, career. And at the same time, the one before was Voyage à la Française, dedicated to your trips to France. The next one, do you already have a, a clear view, or is gonna be— I have a very clear view, I just don't want to reveal it. I just want to say it's gonna be quite go. It's going to be quite a hot album. All right then, we look forward to that. Well, thank you very much, Xenia. You've been an amazing guest, um, for future, for future Classic Women Awards. Um, 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@womensradiostation.com or tweet us at women's radio STN. And again, a big thanks to our guest Zhenya for the great chat and the really beautiful music played today. Thank you so much, Stefania. Thank you. Zhenya, it's always a pleasure. And next time you're gonna come back as soon as your new album is out, because we can't wait to listen to it. And 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. And if you would like to listen to it again or catch up on our previous programs, like the interview with Genia from the first edition of Future Classic Women Awards, you can head to my presenter's page, Stefania Passamonte/Future Classic Women Awards on womensradiostation.com. Thank you for listening!