Future Classic Women Awards – Elizabeth Sillo 251021

Hello and welcome to Future Classic Women Awards with me, Stefania Passamonte on women's radio station program Search for the most amazing new female artist on the classical panorama. Today I am very happy to start the fourth edition of Future Classic Women Awards with a very special guest. This is Elisabeth Sillo from Hungary. Hello, Elizabeth. Okay. Hello. Hello, Stefania. Hello, everyone in the uk, in London, wherever you are. Hello from Budapest. From Budapest. Our Elizabeth actually is based in the uk. You are based in Canterbury at the moment, am I right? Yes, you are. And Elizabeth is an incredible opera singer, project manager, collaborator with the Hungarian Embassy at the BBC choir, and she's also a professor at the London Performing Academy of Music. And. And how many other things are you doing, Elizabeth? I mean, you are too much. Yes, maybe, but hopefully not. Hopefully, I'm not too much, but I do different types of projects. Simply, they found me in a way. You see, you start as a musician and I was singing in Hungary for quite a few years in an opera choir, in concerts. I was a soloist as well. But in the meantime, I have a degree in mathematics and economics and teaching English as well. So that's why I did lots of different things. And in the uk, first I was singing in the city of Manchester Opera. Then I became the PR manager of them, and then we moved to Cardiff. So I spent four years in Wales. He moved to Kent. This is why, basically, you can see a wide range of activities on my life because we have to move a lot. Wow. Well, how was Wales compared to England? I mean, it's a beautiful country here and region. And how was it? When did you move to Canterbury? That was interesting. So first we moved for two years to the uk. We lived next to Manchester and then we moved to Cardiff. And in the beginning, you know, it was difficult to say Wales, because I always wanted to say, like, here in England. Oh, no, no, no. Here in Wales, you know, I had a difficult few months, you know, to change my mindset. But from a musician point of view, I think it was a great step because I learned in Wales that Wales, in the land of songs, is the land of songs, which I hadn't known before I moved to the uk, to be honest, because as a central European musician, I thought that Italy, France, Vienna, Hungary, we are kind of musical countries. So it was. It was very interesting to see what they meant because I said, like, oh, I thought that Hungary is the land of folk songs because of Kodai and the Bartok. So it was. It was very interesting. Really, really interesting. For me, it was a Great step in my life. Wow. So how did you arrive actually to the uk? I mean, that's a long way from Hungary. Yes. If I can be honest with you, I had no reason to move. It is because of my husband. So he's a doctor and he was recruited from Hungary and we were recruited to a brand new hospital in the Royal Stoke Hospital. So this is why we moved because he's not Hungarian, he is British, but he's Greek as origin. So he spent some time in the us, in Greece, in Hungary, in the uk. So finally we decided to move together. I couldn't move because of myself. I just followed my. My husband. Well, you know, you never know where life bring you, isn't it? I mean, would you ever thought you would be living one day in the uk, working with the BBC choir and doing so many international projects? No, I would never believe. So actually before that, Stefania, I lived few years in the UK to learn the language and I got a scholarship once in Norwich in the. In the East India, in the University of East Anglia. So I was quite familiar with the country. Although I, I wouldn't have thought that I would live there for a long time really. I was moving back and forth. I still like the, the European atmosphere as well. So I, I didn't know that I would end up in the uk, to be honest. Well, and now. So you're back in Hungary and that's why, why you are our very first. It's a wonderful way to celebrate the start at the beginning of the fourth edition of future Classic Women Awards today. So you are back in Budapest for a very special event. Would you like to tell us about it? Yes, it's a great journey, even for my mind. Like I came yesterday to Budapest and I said, oh, go. Okay, I'm in Hungary right now. So we came for a word premiere of a new piece written by Dr. Dimitri Scarlatto, who is a composer living in the UK. He's from Rome, Roma, initially. So I came because of his new composition premiered by the Hungarian National Chorus in Budapest. So the concert, the premiere will be tonight and we attended with this, the rehearsal today. And it was very emotional. It was, it was a great, it was a great experience. Yeah. So this is a celebration of the 17, 700 years since of Dante. So the concert by the Hungarian National Choir, we wish we had the recording in time for our live broadcast, but that is going to be available probably later in videos as well. So you, you're very welcome to search for it and it's going to Dimitri Scarlatto's new piece composition called Alle Superne wrote in world premiere there in Hungary, in Budapest. And so in this case, you were the link and the project manager for this incredible celebration since the death 1321 of Dante when exiled in Ravenna from his beloved Florence. And it's a beautiful concept because in his opera, Dante speaks about men and women of today, asking to read, to be read and studied and imitate his journey towards happiness, towards the infinite and eternal love of God. What would you take from these incredible power that was Dante as a writer and as a, you know, example of the Italian literature worldwide? You know, I. I was always thinking when I. When I read Dante first, like, what is our task in life? What is the connection between God and us? How are we ready for the eternity after our death? So I think it is a very, very serious, very serious discussion wannabe. But what I saw today was a really colorful palette of music with lots of different thoughts. I don't know if I could really phrase them. I would really say that I would think about eternity. I wouldn't think about our life right now. The rehearsal opened my mind completely for Heaven. I really. I really recommend it to everyone. And what was surprising for me. So basically this is a choir concert with one piano. Most of the time acapella most of the time with acapella pieces. And you believe it or not, it is sold out. Wow. Something like 10 friends of mine could not buy any tickets. A very famous event, it seems to be. And it is like the Dante 700. Great. It's very emotional and very inspiring for our thoughts. Absolutely. Well, we don't have a recording, as we said about that, but we have a recording of the opera that Dimitri composed, the lockdown opera that Dimitri composed. And the tube performed as one of the characters in this short opera. It's called a live reset. So we're gonna listen part of it and then we're gonna talk also about you as performer, Sam. Satan. I'm always whole. I'm always here. In this place. Come counting peace Counting time. Possible. All I have is in this room. I watch this screen and. She's always home. It's always on. I feel connected watching us rolling us this is the. Way single. Before she always home but us. To hear feel the night. And this was the first part of a live reset by Dimitri Scarlatto sung by Elizabeth Sillo. And Elizabeth, would you share with us the name of the other singers? Oh, I. I have to check them. Kirsten was the. The soprano, the. The soloist and please don't ask me now, Mrs. Bowley. And, you know, I. I just met them online. Amazing. So tell us how that was born. I mean, how can you. How can you record an opera in lockdown? How was that possible? That was very difficult. It was my first lockdown opera in this way. So Ambros Sorentino called me from Opera Copro, where I work for Opera Co Productions, and she asked me if I could record it on my own, like all of the singers. We had to record our parts at home and then it was cut together. I really don't know how they could do it technically. It must have been a very difficult work. It was quite difficult for us. You see, that we just met on Zoom and we were in completely different time and different part of the world. Amazing. Well, this was part of a competition, wasn't it? It was called, and it was the Opera Harmony Competition. Sorry, Opera Vision. Yeah, Opera Vision, yes, yes. About the digital opera. And so Dimitri, it's actually making an upper. About the COVID 19 lockdown. So the protagonist is Hannah, who lives alone and has the opportunities Live Online now offers to her and will be with these opportunities last. So what would you say, was this strange as well, to make an opera so much about what happened in that very moment? It was such a unique moment in history, in human history. Never, ever we had the world stopping for this Covid and to be able to examine all the aspect, psychological and of course, physical as well, of being in a way, you know, confined into your house without being, you know, in prison or anything. So that was really challenging time for anyone in any personal life and historically, worldwide. So did that had an effect on you as. As a performer, as a person, as a mother? I know. You're a mother as well. Absolutely. It had. It had really, really different aspects of my life and it was completely different than we had before. On one hand, I saw the doctor trying to say the word. As you see, like, we speak about lockdown, but the NHS and the doctors were working very hard. So I saw that part and I saw, in the meantime, the other part, which was ours, we had to stay at home and we had to find a completely new way of communicating with the world, a new way of studying. Yes. As a mother, I had to stay there with my two sons who had Zoom meetings every day with the schools. But I have to tell you one positive thing which affected me greatly. It was the opportunity that the lockdown opera says, like, if somebody is bound to stay at home all her life, when we have a Lockdown, it is equalized with anybody's life. So in this respect, I got new opportunities myself with Zoom to connect through the opera core, to connect different projects in different parts of the world. So if I want to be honest, it had a positive effect on my own professional life in this way, of course, if you speak, if you think about staying at home and you cannot see the audience in front of you, I cannot say that we could do the lockdown all our lives. It is actually nonsense to say, but I think from project management point of view, these equal opportunities gave us a great perspective, because no matter where you are, you could be connected with different opera houses of the world and you didn't have to travel there. I would say this is very important. And the time reset. Opera speaks about the same thing. And life reset. Yeah, absolutely. And I mean, what is incredible, as you said, is that now you can actually. It's more normal as well. It's more acceptable to be doing meetings without having to travel all the way. Before, it was the priority. You had to be in that place at that time. Now instead, you can be anywhere. So you can be meeting with someone in America and at the same time being in UK or in Hungary or. Have you been anywhere else since the lockdown last year? Have you been traveling anywhere else? No, I went back to Wales. I was there two weeks ago. I mean, since the lockdown. Yeah, I went back two weeks ago, actually. I didn't mention to you the greatest. The biggest negative effect on me. So I was supposed to hold a Welsh Hungarian concert in Cardiff back in 2020, March, March 14th. So was holding our event. I was preparing from Kent, everything and everybody was ready. And then my event was the first, which was canceled just one day before the concert. No way. Yeah. And all the performance was so, so disappointed. And then I had to write 200 letters, really, to everyone, to the audience. Sorry, sorry, sorry. It's canceled. We are waiting for the. For the green light. And we waited one and half years. So my event was rescheduled for October 2nd. The Earth hall in the Wales millennium was supposed to open its stage for us and with us. So that was a very negative event 1 1/2 year ago, but it became a very positive, cheerful event just two weeks ago. And I was so, so, so happy that we could hold it finally. Yeah, I see it. So it was the fourth Welsh Hungarian concert and folk dance event, and it was introduced by the major Gilles de Mayor, Jill Kibble and Montgomery Town. And you were performing there. So you were performing as mezzo soprano and also being the chair of the event. So that's double responsibility. I mean when one thing is to manage an event, organize it and make everything to go, but at the same time to also have to perform. It's an incredible double pass, isn't it? Oh yes, indeed it was. It was very difficult, to be honest. I don't want to do it for, for, I wouldn't say a long time. I said I would like to have a more relaxed life, but I cannot have it. I will, but I'm going to right now. So I'm the, the chairman of the, of the newly formed during the Rocktack Hungarian Cultural association and I'm the heart of this Welsh Hungarian concert series. Because when we lived in Wales I was trying to think about my own vocation, you know, my, my task in life in Wales. So singing in the BBC national course of Wales, I was always thinking like, what is the connection between Welsh music within Hungarian music and within the Welsh and Hungarian musicality, musical attitude, folk, folk dances, folk songs. So this is why I started four years ago and because I met my Welsh English equivalent Dorothy, who is a violinist, a violin teacher and an accompanist as well. And she started to teach violin based on the Kodai system, which is a Hungarian sort of a job based music education system. So she had been working on the Kodai system before we met a few years before. So we met together, that was four years ago. And then we decided to build a bridge between these two nations. Even if she's English, you know, she was interested in Welsh music, English music, Hungarian music, anything which is great at the moment. And I'm thinking to open our arms maybe like Welsh, Hungarian plus. So I would be very happy to make like a British Hungarian concert or, or something new with some new add ons with Italians, with Greeks and whoever is interested in the building bridges concept, which I think which is our vocation, whatever music we are making, well this is at the heart as well of the London Performing Academy of Music of which you're one of the main professors with relaxation technique and Kodali technique for our students. And I mean this is something that is really important nowadays what we're doing with the London Performing Academy of Music. And it's to create musicians that they're like you, that they are able to manage concert, to build bridges and organize international event like the one that you did in Hungary and here in Wales and many more now. When you were little, did you ever think that you wanted to become an opera singer and that Becoming an opera singer then would make you to also become a project manager. Or this is something that you had already when you were little. I'll tell you why. My, my sister, for example, when she was little, she loved to play by putting her dolls one next to each other and by, you know, teaching them in them what to do. So we call him the General. She has this way of being really managing. So where this type of child or that came later in your life? That's interesting. I was a teacher type of child, it's true, and I was a performer, but not at every single moment. Like, you know, there are some girls like, you know, maybe you were one of them who were always, always at every situation wanted to perform. I wasn't like this. I was much more silent. So I was digesting the music. I was watching others. But slowly, slowly it built up in me. So I became a teacher first as mathematics and music teacher, because I loved math as well. So I couldn't decide just to perform, you see, like I was, I would say, like a more complex personality. I mean, that is incredible. I mean, even Einstein, I know he loved to play the violin. There is a picture of him performing with Rubinstein and high. So I mean, a mathematician. I know that mathematics and music sometimes are related. And you're not the first mathematician I know that became an opera singer. Actually, there is a dear friend of mine, Loic Gauguin, who was as well a mathematician. How do you combine mathematics with music? You know, if. If I think about the mathematics in music, if I think about and the modern music compositions, I think there's so much mathematics in it. And the philosophy, the depth of music is very much connected to math. And you know that in Phoenicia, like thousands of years ago, mathematics was part of music education. So I truly think mathematics, music and even the language, they have connections. So this triangle is strongly demonstrated in my mind, if I can say that. Wow. Wow. So would you say that it would be useful for students in school to learn music as much as Mathematic? Absolutely. I would really, really push this idea. You know, in Hungary, the codex system is very important. And in the music schools, in the Kodai based music schools, the kids are much better in math than in every school. That's why I really would like to be the advocate of music education in a very strong way. And you agree with me, because music will give you power for thinking in physics, in mathematics, thinking about waves, about different systems, the connection between accords is like connection between different rules in maps. So I truly think that these areas should not be distinguished totally separate as most people think they are. Absolutely. Well, you know, I'm going to go this afternoon at the Ranglia Ruskin University where there is a conference dedicated exactly to these about the importance of music in school in education and that's been organized by the worshipful company of the educators. That is a wonderful living company dedicated to education in the whole sense of it, but is really working hard in bringing music back into schools at all levels. And there is a scientific studies as well that they're proving how important is music. And you're a wonderful example of it actually how much in your career, I'm sure Mathematic as well is giving you this frame of mind that is allowing you to organize and to be, you know, to be able to manage so many tasks at the same time. So yes, you're right. Like we have to have the quick problem solving abilities and you are one of them as well, Stefania. And we didn't mention one thing about the lockdown. So this is how we met. I don't know if listeners know that we've never met Stefania. Well, I feel like we met forever and ever, really. And you know what? I've never met Dimitri Scala though. We just saw each other today. Really? Yes. Oh my God. Okay. You are. That's so great. So that was just a hint of the past questions about lockdown. But coming back to the mathematics and music, I truly believe, Stephania, that we should learn like a Renaissance man hundreds of years ago. Like we shouldn't be just musicians, just mathematicians, just physics oriented people. And it's quite interesting that if I think about the Hungarian State Opera, I know myself to physics teacher and one mathematician who are absolutely gorgeous singers. So I truly think that you know these sciences and I would call music science as well, these sciences built up on each other and this renaissance idea I was, I was very happy with, to be honest. Absolutely. Well, how about we listen more of the Dimitri Scarlatto opera? I found all the credits to be given and that is. Is that the libretto? So the text of the opera was written by Laura Gianfoli. The director of the opera is Julia Osman. And Anna, the protagonist is soprano Kirsten Sharpin and the chorus was made by you, Elizabeth Silo, Philippa Poil and Victoria. Victoria. Yes. Victoria Barbell. Let's listen to a live reset part two. This is my chance. I always hope home. No outside lies are missing on the. Walls included. But couldn't it always. Take my. Screen. Sam. Lo. And Desert. Is this the new forever normal? The midst of this. How beautiful. This was a live reset by Dimitri Scarlatto with the wonderful voices of Christine Charpin as Anna and Philippa Boyle, Elizabeth Sillo, Victoria Barbet as the chorus. It was basically constructed a bit like a Greek opera where you get the chorus who's kind of like the. What do you call it? The conscience, Right, The. The mind speaking out loud to what the protagonist, Anna is actually feeling. Do you feel more. Did you feel more like. More like Anna or like the chorus? Actually, I felt more like Anna for the very same reason. I told you before, like I have two thumbs and it's. It's quite difficult to. To travel from place to place. So I found myself in the same situation like her, although I never thought myself the same. When I realized after the opera, like, oh my God, yes, she's right. Like she's equal now. She's not like a disabled girl who cannot be part of different events because she cannot go away. I felt exactly the same like her. That life gave me a chance to be connected. And that was. That was the main motto, I think of the operation to be connected, to be alerted and to be connected with different parts of the world which couldn't have been before. To sing the chorus while I was thinking about the other side. You're absolutely right. Absolutely. Well, now let's talk a bit more about you as a performer. So if you had to choose a character from the operas, which character would be the one that mostly you dream you had the courage to be all that you are, for example. That's an interesting question. Tosco is number one. Is the top, top, top, number one. So I think I would be her, especially if I was born Italian. Absolutely, absolutely. Tosca is one of my fav. Topper as well. Number two would be Santuca. Yeah, yeah. Stefania, you wouldn't believe it that as I said, I came from the south part of Hungary. Maybe I didn't say it before here. Anyway, so the southern part of Hungary from Saged and Mascagni was conducting his own opera in the arena of Saged there is an open air theater. Oh, wow. He was conducting Cavaliere Ruscano and it was amazing to sing in that stage. I was singing in Aida in Nabucco, in, you know, great productions. But going back to the. To the main character's question, you know, I would be the next. Which is not a character. I would like to be the alto in Berdy Requiem. Interesting that as a little girl you asked me what I did. I was always thinking about maps, about studying. And I was playing the organ in the church because it was like a miracle. And then once I've heard Verdir Quiem on TV and it just captured me so much that I was sitting down as a little girl and I. And I couldn't move and my mom didn't understand, like Requiem funerals or that. I said, wow. Yes. But the music was so fascinating. And after that I was part of it. I sang like a little girl in Maestro Gardelli. So it was amazing. I would be part of. Part of a kind of oratorio something. And one more. Sorry, yeah, one more. I would be Judith in Bartok Blubber Castle, but in a different way. I don't like horror stories, but I'm fascinated by the idea of the deepest philosophical love and, you know, how we can go into the heart of a man and, you know, this kind of philosophical way of thinking would always fascinate me. Wow. Well, I have to say, you know, you mentioned singing when you were little in the choir, and I remember I was singing as well in the choir. It was part of the training when I was the conservatoire and wanting to become a pianist since a very young age. Age, I didn't think about singing, of course, but that's so important in the formation of any child, even if you don't want to become a professional musician in. In general. But, you know, having music in education and singing in a choir, the voice is the first and the best instrument we can use, so. And the power that you get, the empowering force that you get when you are singing in a choir and your voice is not any more a tin voice of a child, but it's the voice of a huge choir. That is so. I mean, the energy is just unique, isn't it? Absolutely. You know, I was literally crying today listening to the. To the Hungarian National Chorus. You know, it's like a snowflake Musicians, I would say it was a sensitive musicality in the beginning, and then later on, the music was built on and on and on, and then, you know, they became so powerful as a real oratorio chorus. I said, oh, my God. Know some tears dropped from my eyes. Absolutely, yeah. When you speak about the energy, you know, it is. It is part of our life, even if we believe in it, even if we don't, even if we ignore it. Our whole life is about energy, isn't it? I think it's the way of thinking. And, you know, I was. I was singing in the. In the church a lot of times a Solo singer in the little church of Kunagatang. This is a village which you would find if you, if you Google it. Kunagata. It's called the Welshest village. And the British press wrote more than 400 articles. Oh, wow. So this is, this is why we set up the Welsh Hungarian Cultural association with Ballenbunner. I prfnt so my little village and the church of my little village became an icon in my life. So it was also very important. And I did Gregorian chant. That's why me about opera. I would say I would be really part of an oratorio of a religious oratorio because it was very important for me. And as a mathematician, I wrote my diploma work in Gregorian naomas, the Latin words of pes, pes quadratus to be punctis. Like I know how nomas are built on each other. And I found out that Gregorian chant is not as boring as we think. You know, when you listen to the church, let's be honest with the listeners, I cannot most interesting music. But when you understand it and when you see in the religious this pure voiced music, that there is, there is passion, there is a different na when we speak about Jesus, there is a different when we speak about Mary and there is a different na when we speak about disbelief in God. So I. I like religious music as well as very passionate Tosca Pucci. Wow, Very interesting. Now, you know in the last part of our interview, normally we're gonna listen to a little bit more music or maybe first we should listen to the choir, because we were talking about the choir, so might be a very good moment to hear the hungarist choir. You sent us a fantastic example of the final chorus from the Psalmos Hungaricus by Zoltan Kudali. And so this is sung by the Hungarian National Choir and conducted for the Budapest Festival Orchestra and conducted by Sir Georg Salty. Sam. Satan. Jesus. How beautiful. So this was by Kodali and conducted by Great. Yeah, could I. By great conductor. Hungarian. British. Hungarian born Hungarian. And the naturalized British conductor, Kjork Salty. You know, Sorry, he was knighted as well. So he's Sir George. Yeah, of course. Yes. Sir George Salty. Amazing. Well, so in the last part of our interview we got to the funny questions, so I'm gonna ask you, do you have a first of all, any ritual that you do before going on stage to perform? Yeah, absolutely. Yeah. I don't know where you want to start from. From 10 hours before, for two days or just before? Just before. I always stop just before the stage I always close my eyes. Yeah, I always close my eyes and I count from 10 to one. You know, just very, very, very, very quick meditation, kind of few seconds. And I imagine that I would be successful and I would give a message to the audience. Actually, it's quite interesting. You asked me before about my childhood and so on. It was always important to me, the message to give audience and to have an overall acceptance task, not just to think for myself, but to give them something that they can take home with them. Which of course every musician says the same, that I always felt that there is a glory around me and I got this talent from God or from the universe, whatever we call it. And I try to bring this few seconds to my mind before I step to the stage. And I had a very, very nice vocal teacher when I was 15 and she said that you always, always think about the audience, that you are lucky that people are listening to you. And if you think about that, then you will forget how difficult the piece is, how much you are afraid of certain parts of your musical piece. So I was. And I'm still so happy every time I step in front of the audience that oh my God, there are people. You know how big thing it is that we find people to give their time for you. And I think this message should be emphasized to everyone, to little children, to every people, performer, because it's very important, really. Indeed, you're perfectly right. The audience is as important as. Yeah, the audience is as important as the performer, isn't it? There is no performance if you don't have the audience there listening for it. Receiving the performance could be online, of course, since the recent times, but we are performing even at the radio, if you like. Our program, our chat is not just for you and me. It's to give a message to the persons that they are listening to us, to share our story and make them excited about or finding similarities as well with their lives. In any other type of job. Well, so do you have any hobby apart from doing all the million things that you do and being a mother and taking care of the children and you know, project managing international faculty festivals and performing? Do you have time for something else? Look, I already. I already deal with maps. I teach the children maps at home and then a bit of cooking and then talking and then writing emails. Actually, I will tell you what I did. I was a tourist guide. I was a tourist guy, yeah, for foreign delegations when I lived in Hungary. So I was the, the tour guide of the Nobel Prize holders as well. So if I Say, this is my hobby in a way that I was a performer, I was an educator for them. I always sang, like when we went to the church, I didn't just say like, you know, this church was so boring. But I sang the Gregorian chant to them and I asked if there were children. I asked them to count the echo, how many seconds you hear that? And I signed Gregorian also for professors. And I think this is my hobby because this is the connection of a performer, of an educator, of a pedagogue. And you hear all these different stories from mathematicians, you know, from physics specialists, from doctors, and from really, really different types of people. So I would say this is my hobby. Tourist guiding and building beauties. Now, you know, I'm going to ask you a very funny question. Normally we ask. I ask a question about performance. So if you have any embarrassing moment or funny moment that you can recall going on stage. But I like to ask you as well, if you have any funny moment that you might recall by being a tourist guide or by teaching mathematics. Is there anything ever happened that is funny when you teach mathematics? Oh, there's so many funny things. That's why I stopped teaching it in the school, because I'm so serious. Like, you know, I don't know which one to say, like when you're trying so seriously to explain something. And you just asked me about completely different things, like, is there any connection with this? And then I started to sing a song. I said, there is, there is something strange about it. And if I sing this song, you will remember the theorem I'm going to teach. It's not so embarrassing, it's just. It is just embarrassing. Sometimes in front of kids, if you say, yeah, you know, by the way I sing and they say, oh, it's not possible, you know, teacher should not sing. So I had strange moments, strange moments like this. And instead going on stage did ever any funny episode or managing organizing something when episodes, something goes completely horrible. And then after you can laugh about it, of course. But it happened last March. Yes. We were in the studio in Manchester and we recorded a little Belgian Hungarian music concert for the Go Bay Fest. And then I had a very nice pair of high heel shoes and at the very, very end there was an encore and I wanted to. To dance a little bit, you know, a tiny little bit. And then there was the Parchetta and my shoes got stuck there and I almost felt, you know, like when you cannot move and no way I had the momentum and my shoes stayed there. I stepped out of my shoes within I don't know. Within two seconds I had to go and it was, it was so embarrassing. And now. And my Welsh partner took out the shoes. Still stay. And second time again, I found another hole in the Porchetto. No way. So again it happened then I didn't want to stop everything and I didn't want to show it. So actually you can see that my, my Welsh singing partner was a gentleman. So it showed the real gentle that can happen to any woman, isn't it? That's the problem with ills sometimes. Yeah. When you leave your shoes on stage, it happens. Oh no. Yeah. You know, you have to go back for it. But I saw the same in the Oscar winner whatever. I don't know, years ago. I don't know if it was Mary's trip or someone else. Oh, really? No, I didn't see that. Okay. Yeah, like, like Cinderella. Yeah. So I don't think Cinderella story was so much made up, isn't it? Particularly if you're running away. It's very easy that your, your shoes get stuck wherever it is. Absolutely. Yeah, you are absolutely right. Well, we had stories of singers going, having to go or even musicians having to go on stage with no shoes because they forgot the concert shoes or going with the tennis shoes. I think my fear most of the time, Stefania, when I travel, you know. Yeah. Am I sure? Am I sure? Am I sure I have the shoes? Do I have issues? Yeah, well, my. To be honest, because we normally perform with long dresses, I think it would be more stressful to forget the dress. You forget the tight. I do have, have. I do have nightmares where I forget the, the dress and thinking, oh my gosh, where can I go and buy a dress last minute? Because you know, normally we wear dresses that you can't just buy last minute, whatever. So absolutely this is. Yeah, this is true. Like that's so many things what women performers have to be aware of and you know, like have to be ready for. Especially if you're a mother, you know. Like. Oh yeah. Before you leave the house. Oh my God, this is a nightmare. You know, it's. I think many, many listeners know what we are talking about. Well, Elizabeth, it was a pleasure having to you having you with us today at future Classic Women awards and to open our first fourth edition of the program on the women's radio station. So to the audience, this is live every day at 10am and 10pm London time. And you can catch up online from anywhere around the world when it will go as well in podcast. So if you have any question that you would like to ask to our guest or nomination for our future classic Women Awards, 4th edition, please email presenterswomensradiostation.com or tweet us @womensradiostn. Again, thank you so much, Elizabeth. It's been a pleasure talking with you today, and best of luck with the concert tonight. Okay, thank you very much. And I would encourage everyone to come to Budapest or come to the Welsh Hungarian concerts or come to our November 10th London concert in the Covent Garden. Wonderful. Well, thank you so much, and thank you for listening. Goodbye. Okay. Goodbye, Stefania. Ciao. Thank you. Bye. Bye. Bye, bye.