Sam. Satan. Sam. Hello and welcome to future Classic Women Awards with me, Stefania Passamonte on women's radio station, the program where we search for the most amazing new female artist on the classical panorama. Oh, well, today actually we're without gas. The guest of today is Maite Aguirre. She's an amazing Spanish pianist. She's coming here to present a new album and she got delayed because our train got cancelled. I mean, this is something that happened to everybody in London at least 20 times, if not more per. Per month or something like that. And because we are live, as you may know, we have to go ahead there. So what we're gonna do, we will start listening to our first track, the Le Suiree d' Angrenat by dbc, hoping that she will maybe make it in the meantime. And otherwise you will be listening just to me. Sa. How beautiful. So this was, I'm sorry, the granade from a stamp by DBC played by Maite Aguirre. This is from her debut album. No, second album actually, that is called Once Un Granade. So this is a French title. It means one evening in granade. And it explore, actually. Oh, door is knocking. Hello, my. She made it. This is your microphone, you life as we speaking. Oh, I'm incredibly sorry. Absolutely. Look, we just enjoyed listening to your first track of today. That is the title of your debit album of the second album. I don't know why I keep saying debit album in Soaria and Granada. Do you want to tell us something about this album where you got the inspiration? Okay. Wow. It's. The actual recording was very quick in the end, ever since I did the Kickstarter. But the planning of it was actually much, much slower. Very like Slow brew, I'd say, because after I did my first album, I really. And that was Granada's only music. And I realized that, well, I actually, you know, as a first album is something quite special. But I always thought that if I do the next one or when I do the next one, I would mix more different composers because that's something that I like to do when I program. Absolutely. But the idea wasn't really there in 2017, I think I was curating a different program with Monpo, Granados and Debussy. And that's when I began playing Lise Reus, which is the last piece of this album. And that's when I sort of started to think I want to do more Debussy's time. Now it's not a composer had worked much before and. Yeah. And then I started to look at his Spanish pieces. I think through that I came to a stomp which actually canate is part of that. And then Ricardo Vinas and then my previous teacher Pamela Lydiard, whom I adore. Hi Pamela. And we occasionally meet for chats and coffee and she said, oh, he has these four compositions for Cat Romage. So I started playing those as well. And you know, after a while I thought, oh, I think I am onto something here. And I like how these pieces relate to each other and how the composers relate to each other. And then as for the title, I just thought that Granada seems to be such a special place for composers. Also for Albani for example, who for a while I considered featuring as well in the city. But in the end I thought that's for another time. And yeah, I think in the end I decided to turn the title slightly around. Instead of the night in Granada, one evening in Granada where they all can meet. Absolutely. That sounds fantastic. It's actually, you know, I have a big passion for Spanish music. I've been myself studying in Spain for a little bit with let's say the great grand pupil of Albanit himself. And I remember being in Spain, the Spanish music played by the Spanish pianist was totally another thing, another language, something that you can only discover if you are visiting the places. So I was playing in Albanitz and I was playing in the Iberia Suite and there is, you know, the color of the heat when it's melting the stones. How involve you and how the harmonies blend is when you feel the scorching heat in the south. You can really. Indeed. Well, you know, we're going to listen to more after a short break. Welcome to women's radio station. I'm Sarah Louise Ryan and welcome to Love Lessons live on women's radio station. Hello and welcome to future classic women awards with me Stefania Passamonte on women's radio station. Hello and welcome to Julie Mae is listening. Hi, this is Anna Kennedy and we're at women's radio station supporting women's well being and we're talking all things autism women. The possibilities are endless. That's what makes us different. Hi, I'm Falguni Desai of Action Coach. Are you a business owner with more than five employees? Do you want to grow your business? I'm a London based business coach who helps small and medium sized businesses to grow and make a profit. I will help you identify the strengths and weaknesses in your business and then work with you to improve it using a structured framework to find out more contact me on 072-16-54640 and book your one hour complimentary one to one coaching session. Thank you. Hi, I'm Tracey Weeden of Brownhill Insurance Group. We are an award winning family run insurance broker covering a wide range of insurance products ranging from commercial lines to personal household, high net worth and fine art. You can contact us on 0208-658-4334 or visit our website www.brownhillgroup.co.uk for your free no obligation quotation at Brownhills. We've got you covered. Hi, I'm Hazel Butterfield, a blogger, book lover and mental health advocate and you can listen to my show get booked here at Women's Radio station daily at 5am and 5pm throughout my shows we'll talk about the books I've read, new releases, chat to authors, publishers and book enthusiasts, all with the theme and aim of supporting women's emotional well being. If you have a book to tell us about, get in touch at Presenters at Women Join me on my show and share my love of books and writing. Hi, I'm Valentina Barbacci and I'm the Executive Director of Media Matters for Women. We're a registered charity operating in Sierra Leone and the Democratic Republic of Congo and we produce and share podcasts via Bluetooth on mobile phones focusing specifically on women and girls excluded from information due to extreme poverty. We empower those living in rural areas with media that transforms, informs how they access, own and share information. To find out more and be part of this movement, come check out our website@mediamattersforwomen.org you're listening to Women's radio stations supporting women's well being. Women's Radio Station's creating a global network for the empowerment of women and we want you to be involved. Join us on Instagram and Twitter womensradio Station, that's Womens Radio SG or Facebook Women's Radio Station to keep up to date with all our exciting programmes. Welcome back to future Classic Women Awards on Women's Radio Station, the program where we search for the most amazing new female artists on the Classical panorama. Today we are talking to Maite Aguirre, a fantastic Spanish pianist. You're also a conductor. I read and I mean you do so many things. I like to keep busy. How does that work? You're also a mom, isn't it? Yes, I am a mom of a wonderful 21 month old daughter whom I absolutely adore. Absolutely. And she's just fantastic, which I'm totally in love so it's busy, it's hectic, but I still think it's important to make time for her. And I cut down on some things and maintained others and tried to make it all work. I think one thing influences the other. I still also teach quite a lot, which I love as well. And yeah, I think it reflects that. At different stages in my career, I've had different interests and I think at some point I thought things were far apart from each other, playing from conducting, but now I feel that actually they. They influence each one another quite a lot. And yeah, I like combining things. Well, I'm very impressed, you know, from conductors in general, the idea of having this big instrument that is made by so many musicians as well, that they all have their own mind and they have to follow your ideas. I mean, that's tough job. I actually think that's exactly the. The key for a conductor or the main job is to try to inspire other musicians to come on board with you and not fight with you. That's exactly the job. I think one of the things, though, that I feel, for example, I love better from playing the piano, I think I always will be more a pianist at heart, is the actual craft. I love the craft of playing the piano. I just love sitting and practicing and discovering things with my hands. And obviously as a conductor, you also are working with. With your hands. And in some ways you can see sometimes the sound comes to your fingertips, but it's a different relationship. Yeah, but I've learned, I think, especially, I think when you perform as a musician, you can relate to your orchestra or singers well because you understand the pressures they are onto to keep on the, you know, on the craft themselves. And then on the other hand, what you get from learning, working with orchestras or singers, to translate that onto the piano is wonderful. Well, there is so many pieces, beautiful pieces, like Claire de Luyno, that is written for piano, then it's been orchestrated by Ravel. So that gives you a different understanding of the piece, isn't it? And there is so many conductors that are actually amazing pianists, starting with Ashkenazi, if you like Barenboim. I think it's pretty difficult to. Well, how some of them do it. Like he plays and conducts so much. That man has such a brain. I mean, I don't understand how he managed to do everything he does. But yeah, I think it's a natural fit from the piano to the orchestra because we have quite an orchestral texture when we play the piano and we have the harmony and we play. I would Say in Vulgata, but so many notes at the time. And I think that already gives you a very good understanding. But on the other hand, there are also many, many very good conductors that. That are not pianists. And I'm thinking Hannigan, and she's a wonderful singer and mentor of young singers. And, you know, it's. Yeah, yeah. There's one very big question I have to ask you. I mean, you're a woman conductor. You can see that many. Do you. No, unfortunately not. And they're coming up. They are coming up. We're getting more. We are getting more. I would say it's. It is tough out there to be a woman and to be a conductor. I cannot say it otherwise. And. But I don't think I am, I don't know, old enough to be able to tell you all the stories I have in my head. But yeah, it is a little bit. It is a bit. Is it overwhelming as well, having. No, no, no. You don't feel the fact that you're a woman. No. And in fact, every time I've worked, the musicians, they've always been very responsive that, that the orchestra itself, I. I never have felt any reticence. There are other things surrounding the profession of becoming a conductor. What I would say, the politics. Okay, yeah. And that's, you know, I knew the physical part of it. Think people don't know, but you get problem with the shoulders by keeping your arms up. There is a specific, specific. I have a friend who had this problem. Yes, exactly. Yeah, but no, I think that would happen to a man as well as a woman. No, no, not because you're a woman. I'm saying, in general, people don't understand how physical it is. Actually standing there for so many hours moving your arms is as difficult as actually playing the instrument. Yes, yes, that it is. But on the other hand, an orchestra, it's much more, Much more forgiving than an instrument is. So I always find that conductors can get away with Mercer, is it? Yeah, Well, I heard stories from friends. Conductor. Well, from France playing in the orchestra and French conductor. So there is some very famous conductors that they were very scary. So they would gain the respect from the orchestra by being super scary. So you would see the jaw just tighten up. And everybody knew that after their interval, someone would have gone. Yeah, but what I mean, for example, is that, you know, if you have the trust and the respect of the orchestra, you don't need to do that. No, but if you make a mistake, they will rescue you. They know the music inside out in that way, your instrument doesn't respond to that. And I've seen others, other nightmare stories. You know, conductors have nightmares, like instrumentalists, for instance, for a pianist, the worst nightmare. What is it? You know, what is it? No, no. Memory fail. Exactly. Yeah. To be blank on stage and like. Oh, yeah, that happened to the greatest. It happened to everybody. It happens to everyone. At some point, you just have to. You just have to accept it and accept that vulnerability and that edge. Yes. I think it was Brandon. He was playing Schubert sonata, and there was the repetition, and he just forgot the key to go to the next bit. So he did the repetition, like 10 times or something like that. So they should be. So instead of being longer 10 minutes, it was 20 minutes. For me, The. The nightmare situation, it's even worse, I think, if you're playing a concerto and you're playing with an orchestra, playing with a conductor. But that even happened, I think it was to Yundili, not long ago, and they had to stop and. Oh, they stopped completely. Yeah, but. But you know what? Absolutely. Another funny story is Polini, they told me he went on stage, stage, and he started Beethoven Fourth Piano Concerto, because the piano starts before the orchestra. And the conductor looked at him like, what are you playing? It was a different concerto. He forgot they were playing different programs. And he went into. So he just stood up, walked out, recollect himself, and then went back in. I think these are stories that you have to share with the audience. People need to know and with the students. Very important. Absolutely. Because we. We need to be truthful about that. On the other hand, sometimes I wonder, why don't we play more with music? I mean, you know, I'm actually doing a Ph.D. researching a female pianist from the beginning of the 20th century. Blanche Selva. She was. I was, I would say now, quickly, mega at the time. Well, Blanche. Is she French? She's French. Catalan. So she was born in French from a Catalan father. She's actually the first person, not just woman, the first person to have played the integral of Bach. Yeah. Okay. In 1902 or 1903. Now, before. Before Arau. But she's. Did she record it? Yeah, she recorded unfortunately, very little in the. In 1929. 1930. Might be the reason why we don't hear not much. Yeah, I think it's a combination of factors. Unfortunately, she died by 1940, and then there was the Second World War, upheaval, and she recorded little. But I also think that we have a selective memory when. When we go on to recording what you know Maite, we have too much to talk. Oh my gosh. Well, the next piece we need to listen now is Debussy by Defaye and we talk more after the interview. Okay, thank. You. Sa. Welcome to Women's Radio Station. I'm Sarah Louise Ryan and welcome to Love Lessons live on Women's Radio Station. Hello and welcome to future Classic Women Awards with me Stefania Passamonte on Women's Radio Station. Hello and welcome to Julie Mae is listening. Hi, this is Anna Kennedy and we're at Women's Radio station so supporting women's well being and we're talking all things autism women. The possibilities are endless. That's what makes us different. Hi, I'm Falguni Desai of Action Coach. Are you a business owner with more than five employees? Do you want to grow your business? I'm a London based business coach who helps small and medium sized businesses to grow and make a profit. I will help you identify the strengths and weaknesses weaknesses in your business and then work with you to improve it using a structured framework. To find out more, contact me on 072-16-54640 and book your one hour complimentary one to one coaching session. Thank you. Hi, I'm Tracey Weeden of Brownhill Insurance Group. We are an award winning family run insurance broker covering a wide range of insurance products ranging from commercial lines to personal household high net worth and fine art. You can contact us on 0208658-4334 or visit our website www.brownhillgroup.co.uk for your free no obligation quotation at Brownhills. We've got you covered. Hi, I'm Hazel Butterfield, a blogger, book lover and mental health advocate and you can listen to my show get booked here at Women's Radio station daily at 5am and 5pm throughout my shows we'll talk about the books I've read, new releases, chapter authors, publishers and book enthusiasts, all with a theme and aim of supporting women's emotional well being. If you have a book to tell us about, get in touch@presentersomensradiostation.com join me on my show and share my love of books and writing. Hi, I'm Valentina Barbacci and I'm the Executive Director of Media Matters for Women. We're a registered charity operating in Sierra Leone and the Democratic Republic of Congo and we produce and share podcasts via Bluetooth on mobile phones focusing specifically on women and girls excluded from information due to extreme poverty. We empower those living in rural areas with media that transforms how they access, own and share information. To find out more and be part of this movement, come check out our website@mediamattersforwomen.org you're listening to women's radio stations supporting women's well being women's radio stations creating a global network for the empowerment of women. And we want you to be involved. Join us on Instagram and Twitter womensradio station, that's Women's Radio STN or Facebook Women's radio station to keep up to date with all our exciting programs. Welcome back to future Classic Women awards on women's radio station. Our guest today is Maite Aguirre, a Spanish concert pianist with a very eclectic career. Composer, mama, researcher, pianist. So my Teja, we were sorry we had to go into the advert. That's the problem of a live show. But what were we talking about? Blanche. We were talking about Blanche Selva and I was bringing her into the conversation because she refused to play from memory. She actually thought it was an unnecessary display of virtuosity that was not really showcasing anything for the music. And so she made the point of really never do that. And she played all sorts of concertos, all sorts of the whole 32 bet of Ensenadas, the whole Bach Integral Iberia from Albenit. She's the first person to have done it all. She actually worked with the composer. That's how I started my research following a little bit how my initial research question was how the first Iberia may have sounded like because that wasn't recorded. I. There is a piano competition or a conservatory in Spain dedicated to Blanche Selva. Not as far as I know. Okay. No, no, no. She. His name is not new to me. That's why she. Well, I think she's mostly remembered now for having been the dedicatee of the second CA of Iberia by ALV that was dedicated to her. She opened a school in Barcelona. Several actually, like different academies, but they don't exist anymore. And in fact I actually think she's quite forgotten those days. Even in Spain or in France? Not so much in France. I think they tend to remember her there a little bit more. But she was really influential. She brought Iberia to the London stage. She came here as well. She had teaching positions in Prague Conservatoire and in Strasbourg, Ecole Normale de Paris. So many, many different things. So you were telling me you're doing this PhD at Guildo School of Music and Drama and that's about Blanche Salva and you discovered that there is so many more Female musicians. Well, yeah, researching her, I came to a very, very interesting paper and it was discussing how actually important female pianists at the 19th century were. Marie Pleyel, for instance, one of them, and others. And I think we tend to forget that it was them who were carrying out the interpretative outpour of other composers, because the male counterparts, they were the pianist composers themselves. And the female pianists, they were the ones who actually were playing, I don't know, Bach or Mozart or the compositions from Adam. What we do now, which is we are not nowadays usually pianist composers. We don't perform our own music. That tradition actually started predominantly with women who tend to be now forgotten. And that's actually. Yeah, that needs to be changed to. What I'm actually discovering is how many more there were that we don't know about. And it's fascinating, really fascinating. On the other hand, Sam, repertoire, for example, was deemed too masculine and not appropriate for female players. So something that shocked me is that in the Paris conservatoire until the 1900s. Yeah. 19th century. Sorry, 20th. 20th century. Exactly. Beethoven was forbidden to be played by women. No way. Yes. What? Yes. You were not allowed to play Abetto Venzonata. Oh, wow, I cannot remember. It's 1901 or 1910. But yes, funny enough, it reminded me of my piano teacher and she was a woman, and she always thought that only man could be soloist. And me as a pianist, as musical as I was, I could just be a chamber musician. And that's why she was saying I couldn't play a Passionata sonata. I couldn't play, you know, the big list. I could only play Chopin and Mozart. But then, on the other hand, for example, one of the first founding fathers in investing commerce because she's a woman of the Paris Conservatoire. Precisely, is Helene de Mongeroux, who was an aristocrat, so somehow managed herself to get rid of, you know, don't go through the guillotine. And she was the first and only. Sorry, she was the first teacher for superior class in the Paris Conservatoire. Okay. So there was no other man doing that. And she was a woman. And she's one of the first there. The thing is, because she then had quite a busy life and also wrote a huge treatise that no one. Well, very few people know about, though it's in imslp, and we don't tend to know about these fantastic women. They've been really obscured, but they were there. Well, I think there is more attention right now today, I think, on women in climate, classical music, women in any job really trying to rewrite the history, try to cancel and forget about them. Isn't it? Yeah. I think the thing that I am now that I am researching, what I'm finding out is that it's not so much a case about somehow trying to shoehorn women into those positions. No, no. It's the fact that they've been erased. Yes. You know, I am not having to try to fit someone into there just to say, well, there were some women doing this. No, no, no. Is they were there at the time. They even were really highly regarded. But when history has been recorded, they've been left out. Yeah. And I think that's also very important for us to understand. It's not just trying to fit in, just to have our own history. No, no. We were already there as women. It's an amazing time. I think today really, we are really working on it. I mean, we just noticed recently this show on BBC you were telling me about where they were talking about the most amazing pianist. Yeah. So there was this perfect pianist show on BBC iPlayer. Well, it was on BBC4. I watched it on iplayer. Lots of enthusiasm, because I love that kind of show. And then. So of course, it was contingent on those pianists having broadcasted for the BBC between 1950s and nowadays. But they only showed three women and they left out, I don't know, Marta Gehry, Chalicia de la Rocha or Natalie Nikolaeva or. There are so many women. And I thought whoever has done this program has really done a selective job because this is in my living memory. Absolutely. I've grown listening to female pianists. And to me, the terror that causes me is when I think, gosh, what if, you know, this program is shown in 10, 15 years and my daughter watches it? That's what message does she get of what was going on at her mom's time? Or, you know, it's 20th century, we're not discussing here. 18th or 17th or whenever is yesterday. And on our living memory, these things go on. That's how history is already being recorded. And I think it's really scary. In the 21st century you have someone already making this selective. Very androgynous. Well, I know for sure. I had other guests over and they were saying that they were doing this program on. They wanted to do a program on BBC about classical female composer. And this is why there is not enough classical female composers to talk about and to make a program just on them. And this is ridiculous. I mean, there is so much. And they were all amazing. And I think the harder you have to fight to earn your place, particularly in a male dominated world. The more amazing you are. So definitely they are worth to be heard. They are worth to be. No, no. I think this is something we all have to be very conscious about and supportive about and keep on going. I think there is quite a lot to be done. I know that there is already institutions that take a lot of effort to make to make amends. But if I, for example, may say something else that I'm slightly critical about. Another tendency I have seen for female conductors is to arrange master classes for women only conductors. I think we have to stop here. Maybe I tell you about this later. Well, yes, it's time to listen to another song of yours. Sorry, that's Un verlamineur by Vos. Welcome to the women's radio station Supporting women's well being. Women's radio station is all about diversity from opinions, career, ethnicity, education and most importantly, women's well being. We aim to celebrate the individuality of every woman everywhere, providing opportunities and the platform for your voice. Visit our website, womensradiostation.com for more information. Hi, I'm Liz Van Linden, a UK travel consultant for Hazelmere Travel. People come to me as they want unique experiences and a personalised service. This happens from the moment that they inquire till they come back home. I work with luxury different tour operators. 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For more information on how you can sponsor a Show, go to womensradiostation.com Women's radio station supporting women's wellbeing. Welcome back to future Classic Women Awards on Women's Radio Station. Our guest today is Maite Aguirre. She is a conductor, a pianist, a mom, researcher. We've been talking too much, so much more to talk. I didn't ask you anything of my usual questions. I don't know, how are you gonna. You have to come back probably. Oh, thank you, that'd be lovely. No, we were discussing about conducting and I just was about to be slightly critical, so I need to measure my words. But with the courses that are destined for female conductors, I mean, I think the idea is great in the sense that if that gives female conductors more visibility. So that's obviously good point. And on the one hand, of course, I don't want them to stop being there for us or for them. But on the other hand, my critical point is that I feel they perpetuate a little bit the idea that we need to keep being ready and uber prepared. Of course we have to be ready. But my feeling is that male conductors, they are given the chance to learn on the job and they don't have to demonstrate all the time, you know, all the papers, the titles, I've done this, I've done that. Yeah. But there is one thing that really surprised me is the fact that these conducting courses are specific for female conductors. I mean, if you're talking about I organize international master classes, piano master class classes, and when I teach to women, I explain them that there is some way of playing the piano, technically speaking, that has to be adapted to your physicity, to your body. So that would make sense to have, you know, someone that knows more. In that case, would Be a famous female concert pianist. To teach female aspiring concert pianist how to resolve the differences that you have physically between you and the man. But a conductor, the orchestra is there. So what's different between a woman moving the stick and a man? I agree. I know that I've heard comments before saying how, you know, to get the power from the orchestra. You know, you see it. Yes, yes, yes, I've heard that. I know it. I've heard that being said. Yeah. And then on the other hand, I think it's the opposite because actually so many passages, they just require much more. I would say, I don't know if we are now, I guess, sexualizing gestures, but something more of a form effeminate stuff. You know, you see all these male conductors doing small movements, very effeminate. But women get always told, oh, because you won't get the power. I said, now it's, yeah, how to wear trousers on the. On the pit, on the conducting pit, isn't it? Oh, yeah, yeah, yeah, yeah. This is. And then don't get me even started from. From actually professional discriminating, totally not. Not necessarily orchestra musician, but from fellow conductors and managerial people. You know, you even get told what to dress. If you wear trousers, it's wrong. If you wear a dress, it's wrong. It seems you cannot please everybody because if you're trying to dress too much, I don't know, with a trouser suit, then you're trying to be like a man. If you are wearing a dress, then you are being too much like a woman and showing your arms. So what do you wear exactly? You can't make it. I actually, I think one has to know in Spanish we say it comes through one ear and leaves from the other. So you just have to not listen to those things because the music is definitely not there. I think in that case, if you. Male conducting master class is more about how to survive all the matches, the comment and how. Not entirely sure that that really gets taught up, but that could be a good idea. That's what you want, is that I think out there for the opera houses, for the orchestra managers who are in the position to hire conductors, that they ought to be open to female as well and not to expect all female conductors to already have all the accolades in the world. The same as the male conductors they tend to hire don't always have all the accolades in the world. So there needs to be that trust. And I think it is often the case that women have to demonstrate in a way much more that they are ready and that's what we need to, in a way, make the situation much more equal. Equal to both. It's about perception. And sometimes, yeah, we are not perfect and we will get things wrong. That's fine. You know, man and men are not perfect either, are we? You know, that's. We're not equal. Talking about, you know, you know, very female problems. We have that time of the month where you get special headache or whatever women do. Some do, some, some don't. And the man has other problem too. So I think everybody has their own things, isn't it? So we all have our ideasyou can't think about, you know, the machine. No, no, no, you cannot. And you cannot standardize. And it's not because you're a man. You're better than. Exactly. No, no. Definitely not. Well, the next piece we're going to listen is Liz Roy Jar from the City to be from Debussy. So that's concluding your album. So your album is now available. Yes, it's out there. So it can be bought. If you wanted the physical copy, it can be bought through my website, which is mytagirre.com but it's out there on Spotify, on Amazon and itunes. And there is a small video trailer as well on YouTube that I did before I recorded it. And, yeah, it's quite, quite an adventure. I think it always is an adventure to release a cd. Quite scary as well, because in a way, it's not been that long ago and I already feel that some pieces are changing. Absolutely. But it's a moment in time and I wanted to record it as well because I began playing some of the pieces when I was pregnant. And then last year when I had my daughter and she was practicing with me on the baby sling. And so I feel it's a little bit like the soundtrack of this very important time in my life. And so I just wanted to have it done. Somehow the idea popped to my mind and then I was like, yeah, this has to be out. And that's a very beautiful piece of art, if I may say so. Let's listen to Lisa Le Joyeuse by Debussy. Sam. Sa. Sa. Sam. Sa. Sam. How fantastic. I love listening. Reused by the bc. This was Maite Aguirre playing for us, our guest. Thank you so much for coming today. Thank you so much for having me and for winning against time and the train cancellation and everything. We definitely want you back because we had so many more questions to ask you. In the meantime, if you would like to ask more questions to our future Classic Women Awards. Please email presenters at Women's Radio station or tweet us on Women's Radio stn. A big thanks again to Maite. You've been listening to Future Classic Women Awards on Women's Radio Station live every day at 10am and 10pm London time. And if you would like to listen to this episode again or catch up on our previous programs, please head to my presenters page. Stefania Passamonte Future Classic Women Awards on womensradiostation.com thank you for listening. Welcome to the Women's Radio Station supporting women's well being. Women's Radio Station is all about diversity from opinions, career, ethnicity, education and most importantly, women's well being. We aim to celebrate the individuality of every woman everywhere, providing opportunities and the platform for your voice. Visit our website womensradiostation.com for more information. Hi, I'm Liz Van Linden, a UK travel consultant for Hazelmere Travel. People come to me as they want unique experiences and a personalised service. 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