Maggie Cooper & Daniela Ironside

Hello and welcome to Future Classic Women Awards with me, Stefania Passamonte on Women's Radio Station, the program where we search for the most amazing new female artists on the classical panorama. We're live today on Future Classic Women Awards with soprano Maggie Cooper. Welcome back. Oh, thank you. And artist Daniela Ironside to present the project Portrait of a Woman that will be on 6th of October at the Omnibus Theatre in Clapham. So, Maggie, how is it to be back on the women's radio station? Ah, amazing. Thank you. Thank you for inviting us back. It's a pleasure. And we're going to listen to wonderful music that you're going to sing with in this special concert. Can you tell us about this project, how it was born, the idea, where that comes from? Yeah. So we were in contact with the Omnibus Theatre in Clapham. They have these Sunday music evenings in their studio theatre. I think the idea was to do something new and experimental. So I work a lot with Leticia and Federici. Bless you. Sorry. And we were chatting about various different projects we could put to the Omnibus and this is what they chose, so it's really, really exciting. And we're working alongside artist Daniela and we've come up with a program celebrating women's life and love and dreams and also including lots of female composers. And there will be artwork that Daniela has been working on inspired by the music, but then there's also an element of live artwork. So we're sharing the platform. Yeah. The performance stage with Daniela. It's something very new. I can't find any research on the Internet showing that this has been done before. Right. So, Daniela, how is the interaction with music? How did you decide to do something you've done before? To be honest with you? No, I haven't done anything like this before. Obviously, I paint all the time, but actually painting live as part of a collaborative is something totally new. So it's been quite a challenge to sort of think of what I'm going to do. I'm hoping very much that it's going to work extremely well. I have a run through coming up and I'm very much looking forward to the performance. So when you paint, you never listen to music or. I do. I listen to music all the time. I'm a great fan of classical music. My grandmother was a pianist, so I have that sort of musical interest right from a very early age. So it was a challenge to me to be able to use my imagination to interpret the pieces that Maggie and Letitia have chosen. And that was what really appealed about Taking part in this actual performance. A question. So. About the music that you're representing with the art, is that something that's going to be abstract or is going to be representative of women, for example? So each piece that I've created so far and will be creating during the performance is very much influenced by the music as a whole. But certain pieces of music have obviously stood out much more to me. And I've had a vision, shall I say, when I've listened to them. So there will be pieces that are probably much more easily interpreted by the audience. And obviously they can be interpreted generally as part of the whole performance. Well, I'm sure you know about the Impressionism, the period of the music composed by the BC by the French in particular at the time. Programmatic music in general. So we have the picture of an exhibition by Mosovsky as well. So he got inspired by an exhibition. So here is the other way around. So instead of being the music inspired by the painting, is the painting that is inspired by the music? Yes, yeah, definitely. I think the music's obviously a much quicker form of art to interpret visually. You tend to spend longer looking. So I'm hoping that combined together, the impact will be quicker and more receptive. There is one very big question. I mean, the songs are quite short. How can you paint in only four minutes or even two minutes? We have some songs for long two minutes. The actual activity that I'll be doing will be going on for the whole of the first half. And then there'll be a second activity in the second half which will end with a final piece at the end of each. I see, I see. Okay. And there will be an exhibition after that with the pieces in a gallery or in the theatre. The work will be on display during the exhibition and in the actual theatre. Fantastic. I'm not sure what I'm hoping that it may lead on to other things. It'd be nice to have the work exhibited. Yeah, absolutely. Well, I'm very much about this integration of art, you know, this breaking the walls and making interaction. Not integration, the interaction between the different forms. And that's something fantastic. I see a beautiful painting there on the table. The listener cannot see that one. But is that about the first piece that we're going to listen to that is the Susur Fringe. How do you say that? That means It's Schumann. It's from his song. Song cycle. Sorry, I don't speak German or. You want to tell us something about this song? Yeah, sure. So this song cycle, it's pretty amazing. The composer and the poet are both male, but they've their collaboration. The music is amazing. It follows a woman from falling in love with a man and she's very young. And then the next song, she can't believe it, but he has expressed his love for her. Then he asks her to marry him and then, then they get married. Then there's a song for their wedding day and then she announces that she's pregnant. The following song is about her breastfeeding and how amazing it is to breastfeed. And the words, actually the text expresses how she says, well, a man can never feel this. They can't have that same bond. And then very sadly, the last song, he dies. And. And it's. And we go back to when she first met him and. And realize our own immortality. And so Zuse Freund, the song that we've brought today, this is amazing. It's the moment that she tells her husband that she's pregnant and she looks around the bedroom and she imagines where they're going to put the cottage and imagine looking at the baby. So let's listen to Sister Freund by Schumann with Maggie Cooper. Sam. Holy. 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 wellbeing and we're talking all things autism women. The possibilities are endless. That's what makes us different. Hi, I'm Lauren Mishkon. I'm a birth doula and mum of three and I'm passionate about supporting women to have empowering and positive birth experiences. Please join me for my brand new show From Tummy to Mummy here on Women's Radio Station. Every week I'll be here with an expert guest talking about women's reproductive health, everything, fertility, pregnancy, birth and baby related, right through to the menopause and beyond. Please join us for an informative and fun hour. Hello, my name is Ingrid Marsh on Women's Radio Station and coming soon is the Radical Wellbeing show to help support women's wellbeing. Each show I share the airwaves with ordinary women like me and you doing extraordinary things. Women who've overcome huge obstacles in their lives, who are now here with me to empower you on the Radical Wellbeing Show. You'll be inspired to kick away the roadblocks and live your life to the fullest. If you're ready to get radical about your well being, then this is the show for you. 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 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 Station 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 Women's Radio STN 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 searched for the most amazing new female artists on the classical panorama. Our guests today are soprano Maggie Cooper and artist Danielle Ironsides. Daniela, where are you from? That's a good question. My father is Maltese and my mum is from Edinburgh, Scotland. Oh, wow. I like to think I'm sort of somewhere in between those two places most of the time. Okay. But I spent most of my childhood moving around due to my father's job, so I tend to feel that Malta is probably more Maltese than anything. Okay, so how do you like Scotland? Love Scotland. But you live in London, right? I live in London now. I spent a great deal of my childhood in Scotland and went to art school there in Glasgow. So it is sort of a home from home as well. Wow. Okay. So how did you meet with Maggie? That's an interesting one. My children's piano teacher Happened to be Leticia, and she's an amazing piano teacher. She's an amazing pianist as well. And she introduced me to Maggie. Letizia is the pianist that we're listening on these tracks. Right. So that's how we met. Really Fantastic. Now I'd like to talk about what does it mean to be a woman artist, then? It's not every day normally we have this question for the woman musician, so why not? It's the same as anything, I think. We work hard. We work hard to be seen as a mother. You're working every day to sort of raise your family and you're still thinking about your career and as always, being organised, fitting everything in and trying to stay on top of, as I said, what you do as an individual and keeping your independence. And I think it's having that opportunity and knowing people in a similar situation and keeping a wide network, which helps. Right across the creative board, I think. Did motherhood help your creativity or was maybe hard at times? I think it. Maybe at the time, sometimes it seemed that it put things on hold, my career on hold, but. But as I've grown older and with more experience and having been a mother for longer, I've actually realized it's made me a better. It's made me a better artist in the sense that I have more patience and a better understanding of people. And I do. My interest in art is very varied. I do enjoy painting portraits and having figures in my art and I do spend a lot of time studying people. And with children, you're constantly meeting people all the time. Ah, yeah, that's true. And your understanding of sort of human nature is, you know, grows with that, I think as well, which influences my work anyway. Yeah. My neighbor, she was an Emmy Award winner, costume designer Annie Simond. And I remember when I had my daughter and I was very, very tired and we met in the street, you know, she was really next door and we met and I was telling her, you know, I'm so tired and I need to work, I need to practice and I have concept coming up and I don't know how to do it. And she told me, just never give up because you are an artist and if you put away your art, you won't be a bad mother. You will be, you know, sorry that you're not doing what is part of your life, isn't it? And that was the best advice I ever had. Because sometimes, you know, you can't juggle things with a baby if you don't have a family around to help. And There are mothers who don't have husbands around as well. Or, you know, so it's not. Or you have more than one. So I'm lucky. I got husband at least. But, you know, it's not easy. And you know that when you have baby, he needs mama as well. We were talking about it before the baby needs to be breastfed or. Anyway, mama is the one who understand the baby somehow. There is that special bond. Yeah, no, definitely. And it was interesting about the Schumann cycle that we heard before. There was a special song you said about breastfeeding. And it's funny that the songs were not written by a woman, but by a man. Yeah, yeah. And I remember my husband, he used to be, like, hypnotized when I was breastfeeding. By the miracle of giving life with your own body without needing anything else but yourself, isn't it? It is. And that bond that, you know, when your child needs feeding and that. Oh, yeah. Well, that gave me the inspiration for doing something completely different. I've always played the most dramatic music ever. The most passionate, the most, you know, belligerent music. And then I thought, there is nothing really good for my. For my. Well, she grew up being super. She's only five, but she's a super tough woman, you know, So I think it's the fault of the music I was feeding into. But, yeah, that inspired you. Did. Did motherhood inspire you in doing something? Maybe more. Did you ever thought about creating something for your children, like these paintings? They are definitely nothing that a child couldn't see. You see what I mean? But there are sometimes hard. That is artists also, that they are more about something very dark or. Yeah, I think it's. I did try to create artwork for my children, but let's say my artwork's perhaps not so child friendly all the time. They always used to say, please don't leave it in my bedroom. But I think the thing that I hopefully have passed on to them is the fact that they are all very creative, even if they don't like to admit it. They do lean towards the arts themselves so they can create their own art in their own way, I think. Maggie, do your children go to music? Do they like music? They do. They do. My son is learning the trumpet at the moment, and he loves it. So that, like, the best instrument for him. He was inspired. He was inspired through, well, friends of ours, actually, and then became obsessed with the trumpet. So he's full of beans. So playing the trumpet was the best for him. I do teach him the piano at the Moment. But I'm not sure how much longer that's going to last before I think I need to get him another teacher. It's really, really tricky relationship to teach your child and then get them to practice. Yeah. So it's like, when is it the lesson and when is the practice? The practice when it's trumpet, you know, he can ask me for help. I can accompany him. That's lovely. Or he'll do it on his own. But when it comes to the piano. My mum's a pianist, though, and we had the same relationship. I had lessons with her for a while and then went to somebody else. So how do you teach your daughter? I can't. She wants me. But then she want me to sit next to her, pretend to be the teacher. And then I. I cannot touch the keyboard. I cannot do. I cannot say anything because she knows it's like what? I think that's very difficult to teach your own children anything. I think it's just impossible. You get to a stage where you do need to pass them on to someone. Someone else. Same with art, you know. The problem is them, to a certain extent. You do think you know best, don't you? Of course. That's the thing. It's just like. Well, it's gonna be difficult. Anyway. The next song we're gonna listen to is the Gretchen and the Spinning Wheel by Schubert. Yes. What's about the song? I mean, I see the painting and there is this incredible. How do you call that? Thorns. Thorns, yeah. All around her face. And she's not very happy. Suggestive of sort of. Entrapment? Exactly. Best word I can think of. Absolutely, yeah. She is trapped. Schubert took the text from Goethe's Faust. So the story is that Gretchen was living with her mother. She's a very young, innocent girl. And Faust comes along and tricks her. He leaves some jewels out for her and then he suggests that she's stolen them. Anyway, she becomes absolutely obsessed with him. And after this song, she kills herself in the play. And Schubert, you can hear in the music. Schubert so cleverly composed. The piano part sounds just like the spinning wheel. She's so obsessed with him and she can't concentrate on her spinning. Halfway through the song, it stops. And she says, oh, you know, his hand, his handshake and his kiss. All right. And then she's back. She's back in the cycle. The spinning starts again. Let's listen, Find peace. Let's listen then to Letizia and Maggie singing the Gretchen and the Spin Wheel. Sh. Sam, my. Shout. 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Was it you, Mackie, who thought about it or. It was by meeting together. Was a commission by the theater. How does that work? How does someone put together a program on women's and portrait and art? Yeah. The theme of women came from the theatre. Okay. So I suppose that was kind of the commission. Oh, fantastic. For their festival celebrating women and women in the arts. So that was really exciting. I've worked with Liticia a lot and we've done similar programs, especially on motherhood. Motherhood and childhood. And so it was wonderful to come work on this program and decide what music we're going to choose, especially with Daniela's artwork in mind and what could work with. With that. The song cycle. We're kind of staging it, so I'll be acting, if you like, with a few props. And that's not so traditional. Vocal recital. Okay. But some of the other music that we've chosen is either by a female composer. So we're representing Clara Schumann. 200 years of Clara Schumann this September. September, yeah. And the most amazing song by her, which starts the program based on the legend of the Lorelei. What's the legend of the Lorelei? Oh, she. I see a beautiful painting by Daniela. There is a lady under the water. Is she a mermaid with fish around? And the painting is absolutely stunning. She's blue and blue green. And there is the waves around and something that you have to go and see because it's hard to say, to describe at the radio. What would you say about the painting? I'm hoping it sort of gives you the impression that it's alluring. The idea of the mermaid was that they lured young handsome men to their deaths with the sound of their voices and their beauty. So I've tried to convey that in a way that is easy to interpret, perhaps by the audience to accompany the music. The music is very, very beautiful. And one of my. I have to say, one of my favourite pieces. And I think I enjoyed perhaps making this painting the most. The most. And Maggie, what were you saying about then, the legend and the song is really talking about a specific moment in the legend or is all of it is telling us the whole story? Yeah. The narrator says Oh, I can't get this story out of my head. And it's troubling the narrator. So then he tells the story of how the Lorelei sits up high on her rock overlooking the Rhine, and there's a sailor in his tiny little boat, and he doesn't notice the rocks. And his. As he looks up in awe at the beauty of the Lorelei, who sat there combing her golden hair with a golden comb. And her jewels are sparkling, and he doesn't notice the rocks. And he's taken over with a sudden pain that she inflicts on him. And that's it. Boat and boatman destroyed. It's a very dramatic song. It's quite strange. It's quite original. I think that Clara chose a song that is so not favorable to women, in a way. I think the story of the mermaid in general. First of all, why are they half a fish and half woman? And they are so beautiful. And why they are so beautiful to actually killment, isn't it? And if you think about the Odyssey with Ulise from Homero, you have also Medusa. Medusa, yeah. That is another beautiful woman, although she had hair made of a snake. And so it's always the beautiful woman that is dangerous, isn't it? The beautiful and clever. And these women have been scorned as well, I think, because in the legend of the Laurel icon, remember the exact ins and outs of it. But she's. The Lorelei has been treated terribly and is absolutely heartbroken. And that's why she decides, that's it. I'm gonna get my own back on mankind. All right, well, we're not gonna listen to that, but we're gonna listen to Copland. Their heart. We will forgive him. So again, is woman right, that is singing? It is, yeah. So the American composer Copeland has set 12 of Emily Dickinson's poems. I've always loved Emily Dickinson's poetry, and I've always liked these songs. And then it just popped into my head. Well, this would be perfect for our program, but there are 12 of them, so we've. We've picked four of them for our concert. Hearts. We will forget him. It's very intense. The emotion is very intense in it. And she said how she's trying to forget this lost love. She's trying to forget her lover, but she can't because the memories are causing her so much grief. And she's talking to her heart. It's kind of unusual. She says, we will forget him. Me and my heart and my heart. Like if they are two separate Things. The pain she feels in her heart. So, yeah, I can see in the painting by Daniela that the woman is really, you know, in pain. She has a very sorrow face and expression in her mouth and closed eyes. And I can see there is in the background, the portrait, the shadow, actually, of a man. Right. It's a reflection of the man, whoever he. Obviously whoever he was. Now I'm wondering, why did you choose a sort of, like, peacock ornament around her dress? I was looking to sort of create a tear. Teardrop, again, to reflect the sorrow. Almost sort of a symbolic, you know, symbol for the tears. I didn't want to make it too cliche with tears coming down her face. And again, I just put it into the design of her costume that she's wearing. That is very impressive. And there is another thing that struck my eyes, the fact that it's all on the shadows, on the shades of blue. And then suddenly we have this dark red that is going through the blue. That something on the lips. Yeah. Really, it's just. I suppose it's just that contrast of cool blues which. That sorrow and the passion in the lips. I suppose I was trying to inject that into the emotion of the painting as well. The frame of the mirror is in sort of a guilt. So when you see it in real life, it sort of glows a little bit more than a copy, but not too much. So I have a question. You both are mothers of daughters, as I am. If, when it will happen, that our daughters will be in that situation. Shall we sing shall we play Coupland Song or shall we give better advice? Maybe both. Maybe both. It would be hard. Yeah, we've all felt that pain. I was going to say it's knowing that you can get over that, move through it and move forward. That's what's difficult to convey to youth, I think. To youth. To anyone. Yeah. Someone who hasn't been there before. Well, there is that later on as well. And the moment you lose your. Like Before We Were the other song where the. The lover dies and that's definitely not coming back. Yeah. So that's something that you have to deal with, but doesn't appeal just to women, really. It's for men, too, isn't it? So this type of feelings, they're not necessarily specifically for a certain gender. It's for everybody. So that's why I would advise to go and see this exhibition and concert. Both, if you're a man or a woman. Well, shall we listen then to the Heart We Forget him by Copeland, played by Maggie Cooper, the beautiful voice of Maggie and Letizia at the piano. Let. Me. You have done. La. 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 Lauren Mishkon. I'm a birth doula and mum of three and I'm passionate about supporting women to have empowering and positive birth experiences. Please join me for my brand new show From Tummy to Mummy here on Women's Radio Station. Every week I'll be here with an expert guest talking about women's reproductive health, everything, fertility, pregnancy, birth and baby related, right through to the menopause and beyond. Please join us for an informative and fun hour. Hello, my name is Ingrid Marsh on Women's Radio Station and coming soon is the Radical Wellbeing show to help support women's well being. Each show I share the airwaves with ordinary women like me and you doing extraordinary things, women who've overcome huge obstacles in their lives, who are now here with me to empower you on the Radical Wellbeing show. You'll be inspired to kick away the roadblocks and live your life to the fullest. If you're ready to get radical about your well being, then this is the show for you. 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@media mattersforwomen.org you're listening to women's radio stations supporting women's well being. Women's radio Station is creating a global network for the empowerment of women and we want you to be involved. Join us on Instagram and twittermensradiostation. That's womensradio stn or Facebook. Women's radio Station to keep up to date with all our exciting programs. Foreign. Welcome back to future classic women awards on women's radio station. Our guests today are soprano Maggie Cooper and artist Daniela Ironside. Now, during the adverts we were chatting about the fact that we didn't sleep very much last night. None of us. So somehow might be the moon or what. And so Maggie was saying something very interesting. Do you want to tell us again the fact that. Yeah. In the lead up to a recital, I just, the words just go through my head and you know, I find it tricky to sneak because of that. And I mean sometimes I, I take my kind of stress and angst nerves about the concert to bed, but sometimes I'll just be lying there and then I just notice that the same tiny little phrase has been going over and over in my head. It's really difficult to get it out. Well, to me it happened that I dreamed that I have a concert and I do have a concert coming up. And so in my dream, the concert coming up is actually even bigger. I have to play with the orchestra and I go in and I have to run concerto in my mind. I didn't practice that concerto and I'm like, oh my gosh, I played Rachmaninoff and I have to play Chopin. How do I do that? And so I run out and I look for the music and thinking maybe I can play with music. But you know, piano, it's absolutely impossible to play siompay and concerto with the music. So, yeah, so I have this type of nightmares. What's your nightmare? Oh, my nightmare would be in an opera, just completely, you know, sad in the dressing, not, not making it on stage, you know, just forgetting a cue just there. It's never happened to me. Oh yeah. I just have this kind of image that I'm in the dressing room having a great time, having a coffee or something. Something. And that's it. I'm meant to be on stage. Oh yeah. In the wrong costume. Brava. That happened to me. I don't have costume, but I have the concert Dress and then realize I forgot it and I'm like, I can't go on stage with jeans and that would be awful. What's your nightmare as an artist? As an artist, it's running out of time and not finishing. But then it's probably less obvious with what I'm doing if what I'm doing is finished or not. Well, not necessarily. I mean, if you have an empty canvas. So right now my current nightmare is just running out of time and visually things not working. But I think it's an ongoing nightmare that, you know, it's like going to sit an exam and then forgetting to take a pen or it's just an anxiety thing. I know I will get it finished, but it's just not finishing is always my biggest worry. And when you wake up after this type of nightmares, what do you do? Do you run and paint or do you run and practice or you just leave it because you know it was just a dream? Yeah, just a dream. I mean, to be honest, you wake up and that's it. Kids, get them ready. Get the breakfast out to school. I have to work. Time to worry about. Just reach for another cup of coffee. Am I going to manage a shower today or is it going to be whack the hair up? Well, that's another one that you go on stage and you didn't do your hair. Like, do you have the nightmare of having an opening and of an exhibition and not having like losing your canvas or something like that? Did it ever happened? No, it's never happened. I tend not to worry about when it's the real event. I tend not to worry. Okay. Because I just think, well, you know, whatever happens, happens. But I think it's having the time to worry beforehand is not good because then you do, you do worry a little bit. I generally go with the optimistic approach that it will be fine. Whatever happens, it will be fine. Because only I know what I'm expecting. Oh, yeah. So, you know, if you make a little mistake, hopefully. Hopefully no one notices. If you forget something, hopefully nobody notices. But I would again, just now I have a question. Normally on the last session we have the odd question and this. If you have any embarrassing moment that you can recall on an exhibition, in this case or something like maybe someone making funny comment or I don't know, does that happen in art, in music? We have that, right? Yeah, not the funny comment. I'll ask Maggie about it. But I think it's always interesting if people don't know that you are the artist. Ah, yeah. Ah, that's a good one into conversation. Maybe that's not always good. It can be interesting to hear people's personal opinions, you know, when they're being a little bit more open to their friend and perhaps to honest. More honest. But I think the best, the best comments always come from children. They're the most honest and they're wonderful. They can be so funny and so true. Do you take inspiration by your children sometime? I do all the time. Mostly because they're very chilled out. I try and take a leaf out of their book and not worry about things. But also because they have so many wonderful ideas which I'd like to hope that rub off on me sometimes. I'm always asking them for help these days instead of the other way around, which is nice. Yeah. And they're always usually quite willing to help. Now, Maggie, you said apart from this fantastic concert you're gonna do with Daniela, you're also preparing for the Magic Flute and you're gonna sing Papagena. I'm singing Pamina. Pamina. Sorry, I know the other p. So that's a sort of a children opera in a way because it's telling a magic story, isn't it? About this, the Queen of the Nights. And so is that the choice of this program was yours or. Yes. Yes. So was that inspired by the fact that you have young children and you wanted to do something for them as well or just in general because it's a beautiful opera? Yeah. Yes. Well, both probably. We are. It's for a company I co founded with my husband called Car Shorten Opera and we set it up for our local community and it's really taken off and it's very popular and we're very pleased. But the idea really was to bring amazing professional singers and orchestral players to our local community and put on operas that are accessible for children. So even though the Magic Flute is the perfect opera for children to go to for their first opera, we've even cut it down. So we've cut a couple of the characters to simplify the children. Our audience tends to be anything from babies to teenagers, but for very young children, even the ins and outs and convolutions of the story of the Magic Flute can get a bit too much. And it's just two 30 minute halves. And working with an amazing conductor, Robin Page. We sat down last year after our production of Hansel and Gretel and came up with a plan of the next kind of five years. It was a five year plan and he chose the Magic Flute as that one that we should do next. Absolutely. Well, we're gonna listen now. The song of a nightclub proprietress. Did I say it right? Yeah, you did. By Madeleine Drink. And with Letizia Federici at the piano and Maggie Cooper at the Voice, The excavator emptied the cleaning unattempted And a squash to bottle to sandwich on the floor I poured aside the figment and her curtains so Regency stair, Regency my dear. And a wholesome little spider. When everything is feeding to the sea I wonder beyond wonder that human lord is. When my core would never cross if I was elated. And this was song of night nightclub propertress Proprietress. Ah, I say. Right, first by Madeleine Drink with Maggie Cooper at the Voice. Soprano so if you have any question that you would like to ask to our guest or nomination for our future Classic Women awards, please email presentersomensradiostation.com or or tweet us. Womensradio stn. A big thanks to our guests Maggie Cooper and Daniela Ironside for the great chat and the beautiful music play today and the beautiful painting that we saw by words. Right. Yeah, it was very interesting. It was fantastic project and I hope I can maybe make it by the 6th of October. And definitely you that you're listening, go to the. What's the name of the. The Omnibus Theatre. The omnibus Theatre at 7:36. You've been listening to Future Classic win awards on women's radio station live every day at 10am and 10pm London time. 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