Future Classic Women Awards – Crossover Winner 2023, Joanna Forest, Olga Thomas 180923

Hello and welcome to Future Classic Women Awards with me, Stefania Passamonte, on Women's Radio Station, the program where we search the most amazing new female artists on the classical panorama. Today I'm very excited to reveal the winner of the crossover section of Future Classic Women Awards 5th edition. But before I tell you who she is, or who they are, I would like to listen to this first special piece of today's interview and let you guess who she might be. In the exultation, Charles III. Rex Dei gratia Britannia, Arum omnium, Charles III. Long may they reign, our King and Queen anointed, from the realms anointed, where the glory And so this was His Noble Crown, the latest single composed by Olga Thomas and sung by Joanna Forrest for the coronation of King Charles III. So as you guessed, the winners are Joanna Forrest for the third time and first time for Olga Thomas. Hello, Olga and Joanna. Hello. Hello. We're very excited to have won. Thank you so much, Stefania. Well, thanks to the audience who has been, you know, listening and sharing and liking and supporting you. Well done, well done. So Joanna, this is the third time for you, third time lucky. How does it feel? Oh, it just feels really lovely, and it's just so nice to feel supported and that And then, you know, people want to, like you say, they want to like listen to what you do and they're appreciating what you do. And yeah, it just feels really great. And Olga, Olga, well, you won, if you like, already 3 times because Joanna was singing your songs. This is the first time that we focused on you as a composer. So how does it feel for you as well? It feels very special. This is really a great honor. As I told to Joanna, for me it is like a feedback. If the audience likes what we are doing, that means we are doing something right. What is the better feedback than liking, sharing, and giving us votes? It's wonderful to be voted in by the audience. For me, it is one of the greatest possible award. As a composer, because it is not just by a group of judges. It is judges, the audience. And that is beautiful for creative people to be judged by the audience. Absolutely. Thank you, Stefania. Yeah, you're very welcome. I mean, we're just shining a light on your talent and your incredible success. You've already been a number one best-selling single and best-selling album many times. I mean, is it every time the same excitement or like, you know, once you win so much, it does, it kind of fade away. Definitely nothing's fading away. No, definitely still exciting. Absolutely. Yeah, definitely. So exciting. As exciting as before, because that means that we're still there. We're still doing something right, as I said. So we're not fading. If we are winning, that means we are not fading out, and that is wonderful. It is wonderful. Now, Joanna and Olga, is there a new album coming up soon, or a new single? Because I know you're always making some— you always have something in the pipes, you know. Is it something new like this amazing, um, His Noble Crown? That was an incredible success together with, of course, our King Charles III. You know, becoming king and with the coronation has been really special. But do you have something else already? We were thinking with Joanna about putting a little EP which will be dedicated to love in different aspects, different side of love, because Joanna did two beautiful love songs for me. And I have one instrumental one, which is called Royal Hollywood Love Song, which would be good as an instrumental introduction, like entering in this love territory. Love is in the air. Then Royal Platinum Love Song, like, you know, mature love, love which lasts. Then By My Side, which is eternal love, which doesn't interrupt when people are separated. By travel, by being in different places when they're still together, even by one of them passing away, they're still together. That is By My Side. And finally, Flowers on the Doorstep, which is love for the place where you live, love for your doorstep, which waits for you with the flowers. So just, it was an idea to put it together. Because I think it would be quite nice. And of course we will do something completely new, but that was an idea to put it together. Yes, Joanna. I love, um, that all of the songs have that different aspects of love, and I feel like it covers all types of love, like you were saying, like enduring love, love for your country, love for somebody you're separated from. Um, yeah, I think that's— that'd be a really good idea and also really nice to have everything that we've done so far sort of all together as well. Yes, absolutely. Well, um, for the audience, we recommend that you go and listen to the previous, um, editions of Future Classic Women Awards. You can go all the way to, uh, 2019 when Joanna was revealed as the winner of the very first edition of Future Classical Women Awards with songs composed by Olga Thomas, and then again on the third edition. So, um, but in particular to you, Olga, um, there is, you know, we talked about By Your Side, that is the song dedicated to the person that is sharing the life with you, um, when he's there and when he's not there physically because, uh, you know, is away on a trip or, for example, has passed away. So there is a very special song that we play today, that is "Her Platinum Crown," and this was a tribute to our late Queen because the anniversary happened very recently. Would you like to tell us a little bit about this song, Olga? How the inspiration came for this song and what it meant to you and then to the audience as well, if you received messages from the audience about it? Yes, um, yes, Stefania, I did. And, um, so I— it was one of most unfortunate occasion to write music for the royal family, which I'm doing since year 2009 on behalf of wonderful charity Cruz Behemen Support, where Her Majesty was royal patron for many, many years. So usually there were pieces for happy occasions like birthdays you know, my royal lullabies for weddings, for like Royal Platinum to celebrate some jubilee. But it was inevitable occasion, and I, when it happened, I wanted to put my soul and to express my feeling of my love and admiration for this absolutely amazing person, Her Majesty, our late Queen, and I wanted it to be a celebration of life. It is not actually like most of my pieces when they are in the memory of somebody, like Themes of Life and Glory. It was the first piece I gave to Her Majesty dedicated to the memory of her mother when the Queen Mother died. For me, it is always a celebration of life, and it is Sadness is there, but my admiration, my love, and this great life I try to express in music, this absolutely amazing, amazing person, which it will be never anybody like that. And that's why I thought the piece would be called "Her Platinum Crown," which doesn't mean that It is in general, she's acknowledged for what she was, is, and will remain. That's why, yeah, that was the idea. And this piece, as I said, it is serious but celebration of life still, and I put my soul into it. It was wonderfully received. I was very surprised when— and I had to release it straight away after Her Majesty died, so I didn't have time for any, um, just to, you know, to record, master, and release literally within few days after Her Majesty died. So it was no time to announce, no time for campaign. And I never ever thought that it will get, uh, even, um, you know, it was no way almost expected to get in the charts because it was not announced. And it got number 3 straight away. That is incredible because when you release music independently, it takes so much planning and quite a way before the release date, and it's always a bit of a mountain to climb. So the fact that you did that because, um, the event happened and you needed to record and just get it out there as super quickly as possible, um, that you managed— I've never— it's so incredible. It was incredible, and people were writing me lovely messages about this on social media and personally. And, um, I'm really so touched that it was so well received. And I think that music does have healing qualities. And I think the amount of people that you probably helped who were struggling with the news of this— yes, icon that we'd had all our lives— but to have your music, I'm sure, was just of great comfort. Thank you so much for that. For me, it was— I never knew life without Her Majesty. Even when I was born in different country, I still there. So for me, it was absolutely different world. I had to learn to— and I put my, my soul, as I said, my heart, my soul, my mind into expressing through music like I always do what I Absolutely. I mean, Her Majesty, she is going to be remembered in history for her incredible reign. Long, not just long, but also so coherent with everything. She was a pillar of stability for everyone's life, really, either that you are pro-monarchy or not. And it was a big symbol of this country. It was a big identity of the country internationally for anyone looking from abroad. You and me, Olga, the UK lost the Queen. And you know, her passing, although now we have a fantastic King Charles III, you know, it's a bit like losing a member of your family as well. So yeah, so this is really a special piece, I think, in the heart of everyone. And let's listen to it. It's incredible, you know, how you could do it in such a short time. Let's all hear her Platinum Crown dedicated to our late Queen. So glorious. This was Platinum Crown, a tribute to our late Queen, composed by our winner of the 5th edition of Future Classic Women Awards, Olga Thomas, composer. Um, Olga, absolutely glorious. Um, we, uh, I would like to mention again, um, the incredible relationship you have with a charity, uh, that is supporting, uh, I never know how to say the word, but you know what I mean. People who lose their dearest one. So would you like to talk about this and the connection with the Platinum Crown and with the Royal Family? Yes, of course. So for me, Royal Family is very close to my heart and connecting it to bereavement, losing people whom one loves. I find, I always since my childhood found extremely distressing and painful the fact that in Russia members of the royal family were executed, including little children and young teenage girls, because the idea was it is for the greater good that this way they will never get back into power. So all of the members of the royal family with children and little boy and teenage girls, they were shot dead. And I found it extremely painful that at schools we had to learn about it, that it was a good thing. So something to do with bereavement and royal family was in me since then, they were cousins of our English royal family. So I was always feeling great protection towards the royal family in England. I'm not going to judge what was happening with Russian royal family who were related, but I'm talking about English ones. I think they are absolute— I'm talking about Her Majesty now, King Charles. Her Majesty, as like mother of the nation for me was, and she really was an example, a role model, what to be, how to be a wonderful person, wife, mother, and how to care for the nation, how to put her own things after the interests of the nation, and how she worked during the war, and her messages to children who were evacuated. Everything is on my mind. It's amazing, huge history, her bravery, her absolutely amazing person, including her Jubilee. What a wonderful actress, how she was doing her little video with the— yeah, with the Bond. Yeah, James Bond then, and now with this, yeah, yes, absolutely wonderful. And she never felt, you know, so absolutely incredible person. And, uh, so that was about sort of bereavement, death, and family, how it started for me. But then when I found out about Cruz Bereavement Support, my friend who was paid— who was a trustee there, and she introduced me to Cruz, and I found out that there is wonderful charity which helps everybody who loses loved ones, who helps with bereavement. And I thought it is a charity for for everyone because there are different causes people support. But that is, if we are normal mentally, we always will go through bereavement in our life unless we're sociopath, you know. So we always will experience bereavement because it is not possible being normal going through life without losing people we love. So that is charity in a way for everyone. And Royal Patron was Her Majesty, so it was a wonderful combination. When found that I can do things. I can write music, um, for that charity. I can support it, and my music will go to Her Majesty. My private musical gifts to the Royal Family, it was wonderful way to express my love and support to the Royal Family and a wonderful charity and people who lose loved ones. So that started our relationship since 2009, when first piece which I was greatly privileged to present to the Queen was piece dedicated to the memory of Her Majesty's mother, the Queen Mother, and it was called— is called Themes of Life and Glory. And the fact that Her Majesty was given this CD by me personally on behalf of CROUS, it unforgettable and amazing, which I will cherish forever, this memory. Absolutely. Well, um, Joanna, um, you have been singing so many songs of Olga. How is it to have someone composing a song for you, you know, for your voice? It's amazing. Um, it's, it's like hugely flattering and And I love it that Olga, I think, can sort of maybe like hear my voice now because she knows it so well. So she's composing, she would kind of know what it would sound like before I've even sung it. Which, yeah, it's been a huge, huge honor to sing Olga's just amazing compositions that are just absolutely fantastic. And each time I hear one for the first time, it just absolutely blows me away. It's just so clever and talented to just be able to compose out of, out of your head, Olga. It just always, always is just so impressive. And I know you've described it before a bit like It's always happening in your brain, a bit like computer tabs that are always open, that it never stops and that your inspiration is always around you and music is always around you and in your head. So, how does it work, Joanna? Does Olga phone you up and says, I have a new song for you? Or like you receive, like, it's like a love letter with inside a new song for you to sing because somehow, you know, this is Loving relationship. No, um, usually there's, there, there's, um, maybe a royal family event, a royal family event like, like King Charles's coronation, and Olga will say, I've composed this, and then, and then I get to hear it. Sometimes it's maybe, um, Olga just playing it on the piano, sort of singing it herself, isn't it, Olga? Oh yes, on the phone. Yes. And singing for you. Yes. To give me an idea. And then it sort of gets, um, more and more closer to what it will sound like once it's— once I'd be in the recording studio when and, you know, maybe Olga has chatted to the arranger and decided which instruments and what's gonna— how it's all gonna sound. And then, but the— in the first instance, usually just hearing the piano, or Olga, maybe you're just sort of humming it, and they've got this— it's gonna be a bit like this— gives you like a really good idea of what it's going to sound like at the end. However, when, um, the final arrangement, um, when you get to hear that, that's always really exciting because that's when there'd be lots of instruments and, um, you know, maybe it's been, um, you know, mixed to the, to the sort of highest level, so all of the exciting part of the instruments really pop out And then, and then, yeah, then I get, I get to sing the vocals, which is fantastic. Yeah, which is great for me because Joanna absolutely beautifully delivers and opens up the soul of my music and the deep meaning of the words. And that is with her magical voice, which is a tool to deliver that sense of the composition and poetry and everything. So it is not— what is wonderful about Joanna, it's— there are great singers, but you feel like they're showing off their voice. In Joanna's case, voice, she's not— she doesn't need to show it off because it shines on its own. It is the same as Stefania, you're a wonderful piano player, you would know what I'm talking pianist, you can hear, oh yes, you see how technical I am, you see how technical I am. And you listen to another one and you don't even notice how technical they are because it is part of the piece which has impact as a piece, and that is only part of it. And that is what Joanna's magical voice is from Enchanted Forest. That's very kind, thank you. It is very true. I mean, we had this wonderful concert for the women's radio station where I met you, Olga, for the first time, and Joanna was singing and I had the pleasure to accompany her at the piano. And everyone was commenting how special was her voice, how could, you know, come through in such a natural and, you know, direct way. While, as you said, sometimes people have the most incredible and beautiful voices But they're just concentrated in showing off that incredible talent and not the beauty of the music as it is. Absolutely. Joanna, is there a difference when you are singing a song that has been composed for you or a song that, you know, is a great classic, like when we play together, I don't know, Tonight from West Side Story? Do you feel the difference? Between having a song that is being composed by a person that you know and that you meet and that was meant for you and something that instead is just beautiful as it is? I think there is a difference, and I think the difference is if it's been written for you, you kind of feel like it's yours in a way, and it's very individual to you, and it's probably very unlikely that anybody else has ever sang it. Um, if it's, um, a big classic like Tonight, you're aware of trying to put your interpretation on it. How are you going to make it different? How are you going to make it interesting? Um, and you have a lot of influences from all the other people who've performed it or recorded it that you can kind to kind of take from. Um, but I always think it's important if you are singing one of the great classics to try and make it your, your own a little bit. Um, and trying to find your way of making it real to you. Um, something like, um, Tonight from West Side Story is really fun to sing because it's such like an upbeat, um, happy song. I think, um, there are songs as well that, um, people, especially in the classical world, may have some really big ideas about how, you know, if it's a very, very famous aria, there could be some really kind of, you know, strict ways and rules that, you know, that possibly people think this should be sung in this way. Um, but what I've found is that when you are singing as yourself, in terms of maybe it's, um, a cabaret, maybe it's a cruise ship show, maybe it's a hotel show, maybe it's a live event that it's, um, I don't know, like, like a big award ceremony, or maybe it's a very, um, you know, high-end, um, anniversary or birthday party. I think it's completely up to you how you sing something because you are singing it. So, and you're not singing it in a musical or an opera, so So, so because you're not that character and you're not in that opera or musical, it gives you the freedom to do whatever you like with it. Um, if however you were in the musical or the opera, then of course you have to fit into those, um, the, the limitations of what's required by the, the director and the musical director. Um, but I do think that when it comes to singing very well-known stuff, if you're singing it as you, you're singing it out of context from where it was originally. And I think that's when you can get the most interesting interpretations of things anyway. Well, let's listen now to the third track of today. Royal Platinum Love Song, composed by our winner of Future Classic Women Awards crossover session, Olga Thomas, composer, and sung by the third-time winner of Future Classic Women Awards, Joanna Forrest. So, Royal Platinum Love Song. In a play that ran their whole life through. All along the way, the love has thrived. Two characters today who near a Here I grew to share every scene on cue, two people in a play. So glad to be together, Ranger and Rangerette. So little to regret. And with every dawn, the day lights up and the ashes rise. The Lord has spoken. So beautiful, so cinematic, so fantastic. This was, um, Royal Platinum Love Song, composed by Olga Tomlinson, sung by Joanna Forrest. Um, um, Joanna and Olga, but Olga in particular, I mean, these songs are so incredible in terms of the, um, symphonic writing as well, you know, for the orchestra and everything. And we were talking with Joanna just a moment ago about, you know, the difference between having a song composed for yourself or singing a song from a great musical or from an opera. But Olga, have you ever thought about writing a musical or an opera? Ah, well, writing music for an opera, how interesting. Musical or opera? I would say that my style is classical crossover. I just— it's an interesting idea. I have to give it a thought, but I quite like to do more— how shall I say— music for something like music for the event, music for film, music for the production, which is to underline bits and pieces of the, let's say, plot, or what is happening, or the story. Opera, it is the whole thing. It is just completely musical. I, I, for instance, I wasn't ever interested in pure musical, um, genres like symphony, sonata. It's wonderful, but I'm interested in something which is related to the production. And in a way, my singles all are in some way cinematic. Therefore, like for drama, for the event, for— yeah, rather than pure musical genre. It is not— I know what you mean. I know what you mean, Olga. But you know, I'm a bad person. I like to push people. And I think if you put together some of your songs and you add some others to make a plot, you already have an incredible musical in the style of— now, you know, there is musical and musical, but if you think, for example, Les Misérables, that was composed by classical composers and it became— so in a way it's an opera. And as well, Oh my gosh. Tonight is from again, what's the— West Side Story. West Side Story. West Side Story tonight. Yeah. Yes. It's another musical that actually comes from a big classical composer. And you do have the talent, the knowledge, and the inspiration. You can see it in these songs. So Olga, you gave me an idea. I know it would be phenomenal. Well done. Well done. Stefania, excellent. You are shaking the mobile, so it might be something to give it a thought. Thank you. No, absolutely not. It's so wonderful. So we are on the last leg of our interview. So I mean, and again, and this is a celebration of both your talent and both your achievement. And we did talk about, you know, a future project. Just one last question, crazy question. We are, you know, in September and yesterday we just had, as we said, the commemoration of the death of our wonderful Queen Elizabeth, but also the last night of the Proms. So, and you, Joanne, have been singing at Proms in the Park and, you know, these type of events. Any exciting, you know, plan maybe to sing more songs by Joanna in the future Proms? You know, I pushed Olga and now I push you, Joanna. I love singing at Proms. It's so exciting because you get the orchestra. And, um, there's not that much rehearsal time. It's usually on the day, um, which, which is something that I've really sort of had to get used to and embrace. That when I've done, um, things in the world of musical theater, you are so prepared with rehearsal, rehearsal, rehearsal, maybe up to 6 weeks. Um, so to go from that to then just you know, just basically having a sound check and hearing the orchestra, um, because it's really their rehearsal rather than— and then stepping out and thinking, I hope that this, that this goes well. But I've— each time that I've headlined a Proms, I have absolutely loved it. Um, and it— one of my first, um, things back from COVID when everything shut down was the Isle of Wight Proms, which was lovely to headline. That was such a lovely event and it was a really sunny day and everybody is enjoying themselves. So yeah, those type of events I absolutely love doing and I hope that, I hope that I get, I get some next summer, which would be lovely. Wow. I look forward to it. Yeah. We will come and listen to you. That, I mean, it would be a wonderful trip to do anywhere, really. I heard you on Proms, um, Joanna. It was Bedford Proms when you were doing duet with Daniel Cook, and that gave me an idea to do Royal Platinum for two of you. How, how perfect was that? Oh my gosh, I love that. And loved singing with Daniel. Yeah. Okay, so now for the last leg of our interview, you know, it's normally the one about the funny, uh, things that might happen to you on tour, composing, etc. So, um, did you ever receive a funny letter or comment about your performance? Something that meant to be, of course, nice, but somehow opened your eyes on something that you didn't notice before? About my music? Yes, about your music, or, you know, about Joanna's performance. So first you, Olga, if you have One. Um, okay, uh, so to make sure, and there's some funny comments you said, yeah, something that you thought it was, you know, interesting, different than the usual comment, I love your music, it's beautiful. Um, you know, I think about, uh, I'm sorry it sounds so boring, but what you said last, that this type of usual comments I have, it is not that funny on you. People always comment on my cinematic type of my music, but it is not funny. If we want something a little funny, it is not about comment. It may be how I composed when I was learning to drive, for instance. Instead of learning to drive, I was thinking how I will put in music the situation which I was, you know, coming across. And it was certainly driving my driving instructor absolutely mad, up to the wall, because he wanted to teach me to drive. And this is how I composed something which I called "Roundabout Waltz." It was the piece which had— the end was the beginning, because I found the situation when you cannot exit the roundabout, you start all over again. And I was doing it nonstop. So when you think it is cadence, then it is the beginning. And to my great surprise, this piece came to attention of late Hollywood actor Peter Falk, who played Columbo. And it gave him idea of one, just one more thing, and we turned this piece by his request to the different name, not Roundabout Waltz, but Just One More Thing, when he comes back. And that was very funny, that what happened. In a way, it is a comment about My— he said, "It's like my coming back in the films." And then he asked me to do music for his drawings, which he left to me. Wow. I have relationship professional, and then unfortunately he died, but I managed to do 10 pieces for his drawings, and he gave me a couple as a gift. But that was unusual comment in a way. I composed roundabout waltz, which was really unusual. That's phenomenal. Yeah, and Peter turned it into a piece to commemorate Columbus. I did just one more thing. When you think it's over, you start all over again. Fantastic, that's very funny, beautiful. And for you, Joanna? I feel like I get lots of like funny comments. I'm just trying to think of one. Um, sometimes you get really unexpected Um, so, so after I'd done— so if, say, say you're on a cruise and you're just going to be on there for a few days and then you're going to get flown off, when you haven't done your show yet, nobody really knows who you are. But after you've done your show, um, especially if you've been in the theater and you've done your show 3 times, say the evening before, quite a large percentage of that ship are going to come and come and see you. And I was at the buffet and this lady sat down and usually they say things like, oh, I just, I really enjoyed the show or something like that. She sat down and I said, oh, hello. And she was like, hi, just wanted to come and talk to you. I saw your show last night and I went, all right, okay. Thinking, well, if she's bothered to come over, hopefully she's going to say something nice. Yeah. Yes. You didn't sing my favorite song. Oh no. Oh, I said— It's so sweet. So sorry. What was— What is your favorite song? Yeah. Well, it's Somewhere Over the Rainbow, isn't it? Right. Okay. And I said, I absolutely love that song. I sometimes I do sing it. So I'm sorry that you missed out on me singing such a beautiful song. And yes, because it's my favorite. I was thinking, how was I supposed to know? Like it was personal. Yes. I didn't know it was her favorite. If I'd have known, I could have sung it for her. Oh my gosh. So did you ask her to come back again and you would sing it just for her? No, she'd walked off by then. And I think I was leaving. I think I was leaving the boat that day. She missed out. But I'm thinking, how was I meant to know? Yes, there's always a few sort of strange, strange— sometimes it's just not what you expect them to say. Well, let's listen now to the very last song. I'm so sad we are at the end of our interview. It always goes too fast. But let's listen and celebrate your winning of the 5th edition of Future Classic Women Awards in the crossover section with Flower on the Doorsteps. The stars that shine in the sky always lead me back to you. Whether turning left or right, I feel so alive and free. My sunshine in the sky and my hopes and dreams. Will fly. The warmth of this place, it gathers in my soul where flowers wander step, wait for me. I sit with a heart that is never alone, and flowers on the doorstep wait for me. Summers come and summers go. I count the blessings I receive. Receive winds of change blow in my life. Memories live, may stay with me. Doves are singing in the trees, songs of love. Hallelujah, I say. My rabbi's arrived. And this was "Flower on the Doorsteps," composed by Olga Thomas and performed by Joanna Forrest, winners, both of them, of the 5th edition of Future Classic Women Awards in their crossover section. Tune in on Monday at 10 AM London time to discover the winner of the Opera and Classical section of Future Classical Women Awards. To decide the winner for the Classical and Opera category, listen to their interview on the finalist playlist on the Women's Radio station website and SoundCloud, and share, like, and comment on your favorite finalist tagging the Women's Radio, uh, station and Future Classic Women Awards. And nominations are now open for the 6th edition of Future Classic Women Awards. To nominate your favorite artist, please email presenters@womensradiostation.com or tweet us @WomensRadioStation. Again, a huge thanks to— and congratulations to Joanna Forrest and Olga Thomas. Well done, ladies, and to many more wonderful success. Thank you so much, Stefania. Thank you so much, Stefania, for inviting us and giving us such an amazing opportunity. Yes, we appreciate it so much. Thank you. You're very welcome. You've been listening to Future Classical Women Awards on Women's Radio Station, live every day at 10 AM and 10 PM London time. And if you would like to listen to it again or catch up on our previous programs, please head to my presenter's page, Stefania Passamonte, Future Classic Women Awards on womensradiostation.com. Thank you for listening.