Future Classic Women Awards – Lola G 211122

Hello and welcome to the 5th edition of 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 Lola G. She was a finalist of the 1st and 3rd edition of Future Classic Women Awards, and she's here today presenting her latest single, Sadness. Hello, Lola! Hi Stefania, buona domenica! Happy Sunday to you, how are you? Well, I can say busier than ever, I'm sure the same for you, and as we were just saying, Sundays are most busy days, you know, never a day off, never a dull moment, of course, without beautiful kids keeping us always busy, and of course all the music projects and, um, and life of course in general. Well, this is very good that we start on this topic because this is a program dedicated to women in music, and we're talking about the pros and cons of this exciting career. And how, you know, it's very important to show how different is life of an artist when there is also children. Their life. And in particular, it's not true that we were not working on Saturdays or Sundays because we would have concerts. So there is really no Christmas, if you like, or New Year's Eve, because those are events where people like to celebrate with music, and you might get a very important concert. So actually they could— yes, but yes, yeah, with children, then there is really no anymore time to rest because the time that we used to rest is now dedicated to spending it with the children. Yes, of course. And weekend is a time for the family, so there's always different activities and you don't want them to miss out on. And of course, a very precious family time because actually they spend most of the days in the school. And so I think it's very, very important to give them, you know, as much attention and the love in this, the weekend, you know. Yeah. Now there is another thing, talking about the fact that they're in school, uh, you know, most days of the week. With the lockdown, uh, we had a completely different, uh, type of life, wasn't it? In particular for musicians and for artists that they work at home. Suddenly having the working space busy with the family, yes, became quite challenging. Yes, and I think most, most parents found it impossible actually to work and to homeschool at the same time. It's just literally, you know, those who didn't have nannies or tutors found themselves in a really juggling act, and it's, it's been, you know, taking a toll, you know, on, on the families because obviously, um, you know, you, you just can't manage everything, you know, doing the work and at the same time having to— especially with little children, I think those children in secondary schools, they are independent and they were able to, you know, seguir, to follow, do what is necessary. But of course, those in primary school, young ones, you know, they missed out on so much. But it's just, for parents, I think it's been a real, real challenge and great stress, you know. Well, actually, yeah, we do have a daughter, each of us, of around the same age. So I remember very well, oh my gosh, I was crying when we had the lockdown, when they said there's gonna be a lockdown in the UK as well. And my daughter, she was 5 years old and I was like, what am I gonna do? Because— Yeah, I think, you know, the first one, everybody, you know, have, you know, no idea. So we all, you know, did our best. But I think the third and the second and the third, this, that was like, for me, it was, you know, really Uh, like, I was so upset about it, you know, because I really felt the children had to go back, you know, that things had to move forward. And, you know, with like a good old English old saying, keep calm and carry on, you know. So the first one I understand, you know, but the second episode, I really feel that was just really, um, such a, uh, you know, such a burden, unnecessary, you know. Uh, and I really— I spoke out also about the, uh, you know, the stupidity really of not allowing kids to sing happy birthday to each other inside their bubbles, you know, inside not being able to sing inside their own groups. And I also spoke as a singer, and I think I got like 30 families behind me. But of course, you know, the government guidelines. But you know, uh, what can you do now? You look back and you just think, oh my God, you know, there's all the things that children missed out on. Um, so I am as an artist and as a mom, you know, I feel of course, uh, you know, like it's, it's been for 2 years, you know. Um, and so, but of course we, we've now got to, uh, go forward. And I think that we are both fortunate because obviously we really, um, I think, I know we did our best to, to give, to be there for them, you know. And, um, I think it's, it's just, I'm, I feel sad for the kids that who, who didn't have, they know, like maybe the presence of the parents so much and they will neglect it, you know. So, um, well, but you know, I'm thinking for example to the key worker that they had to work and the children hadn't had to go to school anyway in an empty school. That was quite, um, sad as well. I had some friends that they had their children going to school and it was empty classes. Yeah, like it's— there is nothing like the joy, you know, of having all the children together, you know, learning and exactly being in their world. Yeah. Yes. And I, I think that, uh, you know, going forward, I think we all feel that this is something that must not be repeated because you can see the consequences of this, especially on the little ones, the delay with speech and language, communication skills. It's just so important, the fact that you can see someone smile and communicate to you. And that's, it's just, for me, it was always logical because as an artist, you use all your face. Of course, now they— we knew that, you know, we knew that, we suspected that, you know, that not having that proper communication and the kids, you know, enjoying the, that developmental stages together, it, it, of course, it, it has a grave negative consequences. And this is where I feel as an, as an artist, you know, I feel also it's our duty, you know, to speak out. Of course, you know, we have to, you know, use common sense and we have to be careful, but I think it's also very important that we, we open up and we, we have create a human-to-human connection, so vital now, you know, more than ever, you know, through our voices, through our arts, you know, through our music projects and, you know, everything else. Because in a way, we are, you know, the cultural ambassadors, but also the fabric in a society that keeps, you know, people closer, you know, regardless of differences, you know, race or religion, whatever conflict. That's, you know, it's a privilege in my small way, you know, I feel that I contribute and bring people together, bring a bit of peace, you know, and love. Um, and I think that's, you know, that's part of our artist, um, to say artist calling. Yeah, yeah, yeah, absolutely. Um, well, you know, I wanted to start with your latest single, but because we talked about your daughter, I think we should start with her. So the song that we're gonna listen first is called Angelica and is dedicated to your beautiful daughter. Um, Angelica which also translates as angelic, isn't it? And indeed, indeed, indeed, the most angelic teacher I've ever seen. She's so beautiful and sweet, and she also plays the piano, doesn't she? Yes, thank you so much. You know, I'm doing my best to pass on to her some, you know, because we have music in our family legacy, as you know. My husband, you know, that's the— my father-in-law sang at La Scala with Fraini and Pavarotti. So it was a golden time of opera, and I had the pleasure and the honor of meeting Vladimiro Gansaroli, who was an incredible warm person, you know. I mean, really the, the loveliest, and he really welcomed me, and he, he spoke Italian. He taught me some Italian, you know, which is great because at the time I didn't speak that well, and I was just learning. Um, and of course, um, You know, Helga Schmidt being the, the head of Covent Garden and Valencienz Staatsoper. So for me, it's like, even if my kids don't do music, I, I will like to instill in them that love, you know, for music, for culture, because I think it will be their best friend for life in a sense. And also, even if they learn the piano to a good level, you can agree with me because you know, you are professional pianist, concert pianist. There is nothing more gratifying, and it's like there is never an end to this journey, and it's a beautiful thing that it can be with you all your life, you know. And there is no end point, so it's a process, it's a journey. So even like, it's also a great way of letting some feelings out, or so it's very beautiful. I think piano is also like such an amazing instrument in a sense because it's got all orchestra. Yeah, sounds all orchestra, all the damage. Um, but of course, I also being having singers in a family, um, you know, Vladimir, um, I, uh, I, I can see that the kids have also the voice. Like, I can see that they both got good ears, so I will encourage them to sing, um, to sing as well. And, uh, hopefully they will enjoy it because singing itself is just very, uh, liberating. And I think, uh, it gives people confidence, uh, and I know that the kids like also through all the last years, you can see some kids got very shy, you know, because they didn't do Christmas plays. Yeah. So it's very important to get them out, to speak out, to sing out, you know, to work on, let's say, on projection of the voice. Because like adults, the children, I think it really boosts the confidence. And I know that there was a time actually last year that Anzhika was getting very shy and she had very philosophical questions about life and death and what happens after. And she had worries, you know, she had really worries. So I could see that, you know, it was— it's important. I can feel that music is also helping her in her inner journey, you know, as a little person. Actually, they are people, aren't they? But oh yeah, yeah, they have their own character already. Yeah, well, funny enough, your daughter— so you are a singer, opera singer today. You are in your songwriter. Yeah, exactly, with your hat of singer-songwriter and crossover. And your daughter is learning the piano. Well, I'm a pianist and my daughter is singing. Oh, well, well, yeah, it's both are important, I think, because at the end of the day, it's like, uh, one is feeding, uh, yeah, absolutely. I think that Lucia, if she put her mind to it, you know, she will put her piano is also— it's quite logical, isn't it? I mean, you— the beauty about the piano is not like violin, you can actually see the keys, you know. Yes, that's true. I think it's much more complicated. I can't imagine, you know, all positions for string instruments. And yeah, complicated, you know, the tuning is and everything. But piano is there, and you know, obviously having it well tuned. And you know, I obviously love the real pianos like yourself, like having a— rather than electric, no, like a real piano with a soul, you know. Yeah, um, yeah, excellent, wonderful. Let's listen, let's listen to Angelica, composed and sung by, um, Lola G. Far away, all near. Beautiful to me. Beautiful, you're my darling girl. Let the follow your heart, follow your dreams, and I'll always be Close to you, my Lord. Close your eyes and hear me beside you. You So deep inside my soul, follow your dreams, your calling, in the presence of God. All will be well for your mother-in-law, darling. Even when I'm gone, you will fill my lungs Remember, always be yourself. Let the follow your heart, follow your dreams, and Peace be with you. Beautiful. And this was Angelica, sung and performed by Lola G. Um, so Lola, actually we're here today to talk about your latest single, uh, that is called Sadness. It's out in all the major streaming platforms. Platform and music shops worldwide. Would you like to tell us about this song? Yes, this is a song that I wrote in memory of my mom, Laura, who passed away in early 2019. The motif in the piano came to me actually— the piano, you know, the part where you've got semi-quavers that you hear at the beginning, something that came to me while she was still with us. But then I completed the song a while after her passing, which was very, very, very sudden in a way because of the 9 months, let's say, between that we found out she was unwell and then So 9 months of that before she was— we found out and then she passed away. So it was very obviously deeply sad and intense time. And I recently released this song, the music video that was shot in London with wonderful videographer and friend Igor Fein. He's independent videographer. Who is based in London and who has a lot of work actually with Vogue and beautiful fashion stars. But also he loves my music. He's a musician, but he got education as a musician. So he's very much kindly supporting my things and making time, you know, for us to do our— for us to have our collaboration. And I decided to shoot it in London because my mom really loved the city. And so I really wanted to capture as much of the city and places we both visited. And the version that you are going to play, it's the original version, so to speak, nude version of voice and piano. It's just the way I wrote it. I just played. The piano in this recording? Yes, yes. I mean, to be honest, with all my songs I do the piano part. I— and I'm also collaborating with a fantastic composer, pianist, conductor, friend, common friend, Dimitris Karlatos, who is actually— he's the one who arranged Angelica song, and I'm looking forward to see what he does with Sadness. However, I thought it also works well just in this intimate way of piano voice and piano the way that I wrote it. Wonderful. Let's listen then to Sadness, composed and performed by Lola Gee. Pain uncoils itself within me as I recall trembling at your touch. Arteries of sadness run through my body when I think Think how fleetingly our lives are joined. Everywhere that I go, I cannot escape from your love. People passing by, laughing out a pretending happiness. They are laughing away through their sadness. Fine, fine, fine, running hot through the pain, all the joy and sorrows I cannot forget. Everywhere, every place I go, trying to find Apart of you, and my soul is searching for you, and my heart reaching out to you. Cold alone, my body, every fiber is screaming for clarity and some peace and light. Looking out for a moment, of happiness, looking out for a glimpse of your love. Flying, falling, running, hot, long the All the joy and sorrows I cannot forget. Everywhere, every place I go, trying to find A part of you. And my soul is searching for you. And my heart reaching out to you. Everywhere that I go, I cannot escape from your love. How beautiful! This was Sadness, composed and performed by Lala Ji. So this is your latest single that has been released and available in all the major platforms. Lala, I mean, we've known each other for 20 years already, since we were students at the Royal Academy of Music as young, you know, musicians dreaming about a future in music and careers, etc. How, how do you see yourself? What would you tell yourself if you could go back in time? Wow, what a wonderful question. Um, well, I think, um, for sure we know it's really about grit, isn't it? And perseverance. So, um I would tell myself to always go forward and not worry about negative critique or something, just to be more like remembering the big picture of things. Because sometimes we can be upset about rejection or negative critique, but it's really a personal journey and if we are truthful to our way and we keep, you know, working, keep going forward, then, you know, great, like, good things would come out of it. I think that it's very important that the young artists also, you know, have this part of the training, you know, because it's very important to have that kind of of psychological, I don't know, preparation, really. Yeah, isn't it? To have that resistance and to believe in oneself. So that's, of course, it's a personal process, you know, but the confidence is just so vital for— this is for young children, but also students, you know, starting the career. And I think Yeah, I guess I tried to do it, but I would say also to surround yourself, you know, with positive people and avoid negative people, avoid negativity, you know, and be very careful about people who maybe want to, you know, take your energy and your— but, you know, just really in life and also, you know, professionally, because of course sometimes difficult to choose, but I think as times go, you know, that it's important to surround yourself with like-minded musicians, artists as much as possible and attract, you know, like a genuine and, you know, positive and, you know, mutual respect is important, you know, like that's, you know, is the base, you know. And I think in whatever we're doing, like, it's very important to, uh, for having, having really a successful, um, like musical, um what can I say, like a musical project. Yeah. Yes. Well, I would say when we were students, we all had our dream and there is this fire burning inside, isn't it? Yes. It's telling you to keep going to— because there is something there. There is a reason why there is something burning in you that is going to make you to follow a path instead of another one, isn't it? Yes. I'm very, you know, after 20 years you look back and I look at the friends that I made at the Royal Academy, for example, or even outside Royal Academy from the other colleges, and the good one, the very dear friend, actually all ended up having very successful careers. So I wonder if this fire's burning inside was burning more into you and me and our friends, close friends, to then allowing us to meet, become friends, and then go. Yeah, exactly. I, I think, right? Yeah, the connections for life, the connections for life. And, you know, the fire that you rekindle, and, you know, the friends that we have, uh, supporting each other, you know, it's very important, you know, because, um, you know, music is— I mean, apart from that, the job is— it can be lonely, right? Really lonely. But on the other hand, it's like, uh, It is about community building and also community feeling. You know, when you perform, you have your fans, people who come closer, people who become friends, you know, from different continents, from different— so it's very amazing. Like, I've got a few people somewhere like so far away in America, and they're constantly giving me positive, like sending me positive messages and asking me, so when is your new single out, and is it on YouTube? Already. So it's very, very like touching, and I'm so grateful, um, to, to, to these strangers but who become like a part of, you know, music family. Yes, it is. Yeah, I mean, fans are very important as well, isn't it? And they are the one that they— um, it doesn't have to be the fans like when you are a big rock star. Yeah, yeah, you have these, yes, but that they're basically giving you back Yeah, you know, I think when this fire is strong, you know that you can't change the course, you know. And music, no matter what obstacles with the music, you go forward, uh, and, and it's like you, you don't imagine doing something else, you know, because this is just so important. And I feel— I'm sure you'll agree— I mean, motherhood is, for me, was very important, and it's just like so sacred. At the same time, I, I, I wouldn't be just happy leaving, you know, my creative side. And my singing is equally important, you know, and I can't just, you know, I can't deny it. It's really strong, and I know that it's— I've got to do that in my life, and I've got to obviously persevere and do more and, you know, grow my visibility and get to know more people. But I'm very grateful because This is something like, it's a privilege, you know, to also to do music in life because, you know, so many people, imagine those people with jobs that can be so mechanical or repetitive or, so in our cases, it's something that gives you an incredible scope for creative life, which actually is at the end of the day, what keeps a human really evolving for me, not the technology, but is our capacity to imagine, recreate, recreate, you know, the, the human-to-human connections, you know. Um, yeah, better than any, you know, greater than any, uh, artificial intelligence computer, you know. Yeah. So that's— yeah. And I feel the voice as well, you know. They, they can try to imitate, but I don't think that one can imitate the ever the human, you know, the human beauty of the face, you know, no machine can do that. Or a really, really beautiful, you know, when you have beautiful Steinway that you work, or a beautiful piano sound. Yeah, like, you know, you don't get that from a machine, computer. No. Yeah. Um, but, you know, we were talking about motherhood, and I remember when I had my daughter, it was really, really difficult to juggle the career with— yes, a younger daughter who couldn't go to nursery yet. I to find monies that they want. And also being abroad, not having grandparents, you know, close by. Family to help you. Yeah, grandparents. And I'm in the same position right now, um, and, uh, you know, and, um, particularly when you think about preschool as well, the children and nursery are so expensive. It's basically— absolutely, yeah. And, um, and so I was very tired in trying to do everything, and I met my neighbor who was a designer for, um, costume designer for television. And she just won an Emmy, and she was showing this Emmy to me, and I was like, wow, how do you do that? Because she had— yeah. And she told me, well, remember one thing, and that's a piece of advice that I always give to my friends' mothers in career, in any type of job, um, that, uh, you know, your hours our talent, our art is part of ourselves. And giving this away to just being a mother would make us not happy, and the children would feel it. And it is good mother. So because there would be always this resentfulness, you know. Yes, yes, completely, completely. Because you wouldn't be truthful to yourself, we wouldn't be truthful to ourselves. And that you, between the notes, between the words, you know, especially children, they pick up everything. We You know, they have this radar. You don't have to say to them, they will feel the energy, they will feel the vibe. Well, now I would like to talk about your next song dedicated to your other child. Um, Saturday morning, right? From— actually, Saturday morning I wrote for my, for my darling husband, my love. Uh, the, the one— You Are My Sunshine is the one. Yes, You Are My Sunshine, right? Because he is incredible sunshine. I would say Italian sunshine, very blazing, blazing hot type of Ponza, you know, summer August sunshine. So I would say it's a song that I wrote for my darling, and I recorded it in one of my favorites, probably my favorite London park, Hyde Park, Kensington Gardens, and Italian Fountains. So that's a part sort of the device, isn't it, the Kensington Gardens and London Heights Park. And it was again a project with Igor Fein, the videographer. So it can be found on YouTube if you, if, um, uh, once types You Are My Sunshine, uh, by Lola Gee, uh, there's lovely beautiful video of it, uh, set in this, um, romantic, you know, setting of the London High Park. Let's listen then. To "You Are My Sunshine" by Lola Gee. Now we are together on our way and bonded forever. On our way, we are born. Oh, we'll bond for life, time and time and again. You were there all along. We are bound for life. We are. You, you are the sunshine and Your smile just fills me with wonder. My sunshine, you are adorable. We will go for life. We are— you're the sunshine. Oh, you, you're my sunshine. Oh, we'll bond forward time and time and again. You were there. Oh my sunshine, my sun. Beautiful. This was You Are My Sunshine, performed, um, and composed by Lola Gee and dedicated to her son Alexander. Now We had the song for your daughter and for your, um, son. Now I'd like you to talk about your wonderful husband. Then he's a friend of mine as well, and he's Italian. Yes, yes, we have our Italian, uh, very, um, very beautiful Italian connection. Um, I mean, I don't have to tell you he's a fantastic person, a human being. The love and light in my life. And it's very funny, I was just thinking the Saturday Morning, I composed it before we had children, so we had this, and before we had the coffee machine, so we used to go out for a coffee every Saturday morning, you know, for walks and go out for a coffee. So it's inside the lyrics of the song that is part of my debut album, Andreamt Dreams. Andreamt Dreams, um, again, is some selection of all original songs, uh, of mine. It's, uh, my— it was my third studio album recording and my first official album, which we had the pleasure also to present, uh, at Covent Garden's radio station, your lovely show. Um, and it, it It's the album that, again, it's a journey, different songs, different stories inspired by film music, also classical crossover. You can say some of the songs are very visual, passionate love ballads. And this one is my love dedication and love story, really, inside of it, it's like what we used to do on Saturday morning, you know, go out for a coffee, uh, you know, and a walk, uh, and, uh, uh, yes. So it might happen again when the children goes to university. So yeah, but you know what, when you have a really good coffee machine at home, you don't need— you just, you realize that you, you know, as a foodie, and I know yourself, you know, we Italian, Italian, I, you know, I consider myself also Italian, no, as much as British and Russian. So Italian, we love good food and the quality stuff. So when you've got beautiful things at home that you also do, you're like, okay, do I really want to go there and, you know, spend 5 quid on something that will— then you can do better at home. Unless it's the Ritz, and even then, you know, if it's a nice— I don't know— that we go out and, and enjoy some beautiful setting. Yeah, I think that, uh, that's the point, you know. You do a good pasta, you do a good risotto, you've got a beautiful— I mean, not good, like delicious, you know, what to do and how to do it. So at that point you think, okay, like, okay, if I go out, I go out for sushi or something, you know, something different. I don't even know how we got there, but I guess it's about going out, isn't it? Going out and with your husband now. Yeah, now we, now we need babysits to come out, you know. And yeah, it's all about planning and planning and more planning. Oh yeah. Um, but you know, um, how was it to when you met with Cangaleão? And you realized that he was coming from such an important opera family, being yourself an opera singer. Yes. Were you like starstruck or— Well, I mean, to be honest, yeah, I was. Apart from the fact that he's a very handsome man and you're a fantastic couple. You know, on the radio you cannot see it, but she's really beautiful too. Thank you, my darling. So are you. And I have to say that when I I met him, I had no clue that he was this young producer impresario, because when I was introduced by this eccentric Italian lady, Marisa Masters, who came from Bari, and she was actually the first interpreter after the war who did British, like, who was married to British man, I think he's quite aristocratic, and therefore she was like translating Italian-English, and they had this incredible well, townhouse behind, behind Harrods, and she used to apparently throw the most lavish parties, you know, during the time. And then she's— her father in Bari was an important impresario, so she obviously grew up with love of opera and music. So Marisa, when she heard me in a concert I did with Royal— with the Royal Academy of Music at the Canada House, she said, you've got to meet Elga. Elga. And I was like, okay, I didn't know. No, because she couldn't say Helga, Helga Schmidt. They are the family. I said, okay, thank you, thank you. And you know how it happens in a concert situation where, uh, people say, I will contact you, I will write you, and then they just maybe like not, you know, go on to the next thing. And but in fact, Marisa was very adamant. She called me the next day, then she called— at the same time she called Gian Gagliazzo. And I was like, it was destiny, you know, she brought us together. But I thought he was like an old, like, you know, like impresario, like, I don't know, like, because the way she talked. I said, so when I was meeting John, I was actually really like, oh wow, it's a young guy, you know, like, and he's got beautiful style because, you know, he has beautiful shoes. It was actually like, you know, my observation. Oh really? I noticed the shoes, the leather, you know, Italian leather. And then of course, um, he got very intrigued because we met for me to pass on, uh, like, uh, to pass biography, like for him to— I passed some music recording as a student. I obviously had to like to give him something that he hears me. Um, and it was meant to be that, uh, that, you know, that we— our life, our destiny, Marisa brought us together. And it was so sweet because she said, I knew that he will love you. So it's quite like— I'm so— yeah, I was really touched. And but this was through the music event, uh, the Canada House and so that's the, the story of our coming together. Yeah, well, very beautiful. Then let's listen to Saturday Morning, dedicated to your husband Gian Galeazzo, performed and composed by Lola G. I'm awake now. We were promised a sunny day. There is no hope in the clouds. I can hear you calling my name, already up for an hour. It's a Saturday morning. Aha, the week is over, and I open my eyes and see your face as you kiss me well. Good morning. Good morning, darling. Come, come. Come here. Come keep me warm, my love. Give me a little longer. Give me 2 minutes more. Let's put that time on hold. Sing me a song you like and we will sing together. I want this moment now to last forever. You are looking at me with your big green eyes. I know so well the message. There is no way we are staying in bed. You firmly need your coffee. It's a Saturday morning. Oh, the week is over. We are out on our way to the nearest café to get a bite and some coffee. Yeah, time for your coffee. I love to walk around under the sun or rain. As long as you are near, we'll always find a way. So many little things that make our day shining. Together they are sweeter. You make your girl so happy. Yeah. Aah! Aah! Aah! I wanna celebrate, I'm never sorry. To celebrate the day and our love together. I sing a song of love. Let's sing together and make this moment now go last forever. I love you, baby. So beautiful. This was Undreamt Dreams, composed and performed by Lola G, and dedicated to her husband, from the album, her debut album Undreamt Dreams. Yes, Saturday Morning from Undreamt Dreams. Yes, Saturday Morning. Super, that was absolutely glorious. Now we're gonna— we're at the last leg of our interview. Unfortunately, it goes too fast. Um, so we're gonna talk— we're gonna listen to your last track of today. Is Meeting in Time in Duo with Natasha Hardy. Tell us a little bit about this collaboration. Natasha was a guest of Future Classic Women Awards, and she's the editor, founder and editor of the Classical Crossover magazine in America. So tell us how you got together. Yes, Natasha is a fantastic human being, I'd say. She's supporting other artists. She's a singer herself, and she runs the series of concerts based in New York, Classical Crossover Magazine. Always very busy, always very positive and supportive, so I really appreciate. And I did the interview, a few interviews with her, and regularly perform, as part of this series of concerts. Um, and, uh, um, when I thought about, um, doing the Meeting in Time, I mentioned it to Natasha, and Natasha also lost her dad, um, quite early on. So we thought it would be a beautiful idea to release the duo on Father's Day and to share it with our friends and loved ones and dedicate this to our dads. Originally, I wrote it in Italian, in English and Italian. So the Italian part to be sung by a male voice. But because Natasha is also like, she's a mezzo soprano, I'm a soprano, so I wrote the lines for her in English. So I did few and she recorded it in New York. I recorded the vocal part in London, and when we did the music video for it, it was lovingly put together by Zhang Galatz and myself using the green screen. So it's nice, you know, we brought this really a meeting in time, you know, because she's in America, I was in London, and it's actually the very first the first song that I wrote. I wrote it for my dad, and it's about time standing still as we meet our loved ones in our dreams. We stay close to them no matter how much time passes by. And the reason behind it is because after many years that since my dad passed, he came to me in my dream, and it was so real, like talking to you now, you know. It was so tangible. It was just— because if you were to ask me to describe him, I would say, well, he looked a bit Japanese, he looked, you know, but I could— but in that dream, it was like just sitting and being with him like if he were there yesterday, you know, together. So it was incredible sensation, you know, that there is no— there wasn't this big gap, you know, of years that— so it's— and then, of course, I felt like he gave me some important messages, you know. One of them, he said to me in the dream, "When you come out into the world, come out with a smile." That was like the exact words. So I wrote it down and I thought to myself, "Wow." I didn't compose at the time, but years later this stayed with me. And also, funny enough, it was an episode where once I had a night flight to Vienna and I missed it. So I ended up being— it was like Austrian Airlines. I had to take a next flight at 7:30 in the morning. So I ended up being in the airport at Heathrow. And I met there a lady who was very interesting. I don't know where she traveled, but she was like, she came to me and she said, "Oh, you are a bird. You're gonna be like, you're a singer." And she said to me, "And you're gonna write a song for your dad." She said, you know? So it was quite interesting. Yeah, so she was, I don't know if she was a visionary, but it was actually years later This happened, from piano, I went more into singing and I sang and then I didn't compose it, I didn't write, but then even further down the timeline, I wrote, I thought, okay, I want to write a song for my dad. And then this song, this duet came into being. Again, I had the ti-da-di-da-dum, da-di, la-la-la. This motif was written in my, like, in my head, it was there. Then again, like, long, long time afterwards, the whole song, like, from this motif, this melody, like, some years later, the whole song start to take shape. But this motif was first there, and then I thought, okay. So this is why it's kind of important for me, because it was the beginning of my journey as storytelling, as writing, you know, because I never really studied composition, as you know. Singing was my main thing, you know, at the Royal Academy. And so, you know, I take my manuscript paper and I scribble things, you know. I don't use computer, but I can't— I don't know how to use computers. But I found that this is— obviously we didn't plan it, but even this whole show today is about family. And, you know, it's about the bond, the sacred bond really in the family. And I think the last years have shown us that there's nothing more sacred. That, you know, parents and children and the children in our care spiritually as much as physically. And of course, you know, I, in my small way, I just, I, it, you know, so we didn't plan it, but it looks like every— there's many songs that I wrote and also last year, which to do with the family, was, you know, was obviously losing my mom, one of them. And so I think the next album will definitely be really be something like that will have to feature Familia, like, yeah, title or something. I have to think about because as a way it's shaping, it's, it's all the dedications and it's about my personal, no, my personal journey in the family. And, um, well, I very much look forward to, to hear your upcoming album then. Now you have to do it because you promised on the radio. Totally. So let's finish. It is definitely in the working and and the cooking. Yeah, thank you so much for— thank you so much for having me. It is so lovely to just spend a Sunday, you know, um, and, uh, to connect like in, in this way. I can see that, um, it's, um, we can— we had both a relaxing hour, you know, from everything. Indeed. Well, um, so we're gonna finish our program listening to, um, Lola's song, um, Meeting in Time. Um, but before we leave, then I'm gonna tell our audience that if you have any questions that you would like to ask our guest or nomination for our Future Classic Women Awards, please email presenters@womensradiostation.com or tweet us @WomensRadioStn. And you've been listening to Future Classic Women Awards on Women's Radio Station, live every day at 10 AM and 10 PM. Meeting in Time. And if you would like to listen to it again or catch up on our previous programs, you can head to my presenter's page, Stefania Passamonte/Future Classic Men Awards on womensradiostation.com. So thank you for listening. So, and I say goodbye to you by listening to Meeting in Time by Lola G and Natasha Barberi. Time's flown, years gone since I have seen your face, yet you and I met so many times, but only in my dreams. You're here in my dreams. I've felt and I've seen you. Hear me, hold me. Wherever you are, I will always find you. For we are bound for eternity. We are here. In my dreams, I feel and I see you. You come to me. I'm here with you. You make the time stand still. Is this a dream? Stay, take my hand. And walk along this way with me. There is no past, no future, only now. Time stands still. This moment you and I are one. And my heart is reaching out to tell you How long since you've been gone? I cry, cry from joy. Come, I am always here for you, my love.