Future Classic Women Awards – Belinda Williams

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. Our guest this morning, it's an incredible mezzo soprano, Belinda Williams. Good morning. Good morning, Belinda. Mezzo soprano is not often that we have a mezzo soprano as a guest. Is that for people that they don't know about opera? What's the difference between a mezzo and a soprano? A mezzo soprano is literally a half soprano and you're not half in size though. So for people that can't see, Belinda is a beautiful blonde talent. A mezzo soprano sings a little bit lower than a soprano. We don't have those stratospheric high notes which characterize the Maria Callas. And so we get the angry women and we sometimes play men and we're altogether more naughty side of the opera spectrum. Usually we don't get the virginal sweet roles. So when you decided to become an opera singer, did you have in mind to become a soprano or you thought you would like to be the mezzo? For example, in terms of characters, of choice of characters. I didn't see my first opera until I was 14 and it was Carmen. All right. And so I thought, well, that's a good one to go for, isn't it a good role? And it's only later that I discovered all the divas like Montserrat Caballer, and I thought, oh, wouldn't it be lovely to sing like them? But I don't think, I don't think that will ever be my type of voice. And you have to go where your talents lie. Absolutely, absolutely. And so how did you decide to become an opera singer? Was it Carmen or. It found me. I always sang in choirs at school, but I was never given the solo. And I remember asking my teacher once, can I sing once in Royal David City this year perhaps? And she said, no way. You sound like a 21 year old. And I was 11 at the time. Oh my gosh. And from there I always loved musicals and the old musicals. I used to watch a lot of black and white movies as a child. Oh, I did as well. And so it was just a natural progression. I studied music and opera became more and more part of my life. You know, I remember as well when I was tiny, let's say four or five, I was watching this musical, Black and White, and I was seeing the people playing the grand piano and singing. So. So I started at 6, but before that time I was pretending to have a grand. I had an upright piano, so I was putting boxes in the shape of a grand piano. And then when finally I started learning the piano, I would sing all the notes. Dore mi FA sofa mire do mi FA so la Because I didn't have words, so I would sing the note because I wanted to, but it's so difficult. Do you play the piano? I don't. My grandfather tried to teach me and I was a very unwilling student. Unfortunately. I can play my. My ladder can play enough to. To learn a new role. But no, I am not gifted at the piano. It's so difficult. I mean, already you're playing with two hands that they're doing two different things, and then on top of that you're singing. I mean, I don't know how you have that. And when. When I work with repetitives, who are the ones in the opera house who. Who play the whole operation? Orchestral roles, all of them. They have an orchestral score in front of them. Often they play from an orchestral score, so they're reducing it to a piano part. And they sing my role on top of that. Or the tenor, who's missing. I don't know how they do it. I have no idea either. I've seen that and like, whoa, that's definitely, you know, I barely can do two lines. Imagine eight or, you know, 10. Absolutely. So you studied the Royal Academy of Music? I did. And then I saw that you went on having. You studied the Trinity as well. Yes, I did. Before I went to the Academy. Yes. And how was going to these big institutions? I would say I'm not naturally a person for big institutions. I have too much of a rebel in me. And so I think I had some wonderful teachers. But I was so glad to get out into the real world and start working. And obviously for opera, you really need the education. It's very important to study. You study for years all sorts of languages and honing your vocal technique. But I think the stage for me was always the. The best tutor. And I learn much more doing the roles than I could possibly do alone in a room or even with some great teachers. You get out on stage and there's a different energy and it's by repetition. You do a role. You do 10 performances of a role by the end is your role, isn't it? That's your practice right now. And right now you are in Germany. I am. And so you're singing a lot of operas I've seen also in German, Right? Yes. Although mezzos don't Sing so much in German. If we think of all of the operetta canon, they often want a pert little soprano singing something delightful in German. And then the heavier opera. I've not yet got into Wagner, for example. I've only dabbled in Strauss, so I mostly sing in Italian or French in Germany. As an English person, that is perfect, you know, that would bring me back, sorry, to Brexit. And thinking about, you know, it's a. Particularly music. We're so much about being international. It doesn't matter where you're from. You know, the language of the opera in particular by any other instrument, you know, it doesn't matter where you're from. The important is what you can give to the art and to the music. And so definitely, I mean, like, it would be crazy not to cast you because you're not Italian for an Italian opera or French for a French opera or, you know. So how was, you know, you. Were you in Germany when we had Brexit or. Yes. So what was the reaction from your colleagues? Pity. Extreme pity and understanding. Straight away, I went into work that week and I felt very embarrassed and I thought, oh, are people going to look strangely at me now because I'm British, or will they think that I'm rejecting them? And actually, everyone has just been very nice and understanding. And for me, it was very important then to secure dual nationality for me and my family, which I did. We became dual nationals, German and British, on 31 January. Congratulations on Brexit day itself. Fantastic. And that was important to me because now in our profession as classical musicians, freedom of movement is everything. And visas, yes, you can come by them, but what if you get the call to sing the role of your lifetime tomorrow and you can't go because you don't have the paperwork? Oh, yeah, it happened to me. Yeah. Well, it wasn't to sing at all, but yeah, it was an incredible contract to perform in television in America. And I couldn't. And I'm married to America, married and mom of American citizens. And they couldn't go because I couldn't get the visa in time. And they don't care that I'm, you know, part of the family. And this is ridiculous because, you know, it's. You have these divisions and there shouldn't be division in show business in particular, I think, in anything, of course, but for us, you know, any opera, any classical music, anything, it's about being together. It's bringing people together in the concert hall, in the opera house, isn't it? Yes. Yeah. And yeah, me too. I'm applying for the British citizenship, so I'm going to be. I've seen some of your test. You have some very strange questions, and they're very esoteric questions. I don't think I'd pass the British citizenship test. It was wonderful, to be honest. For example, I learned the Handel that I knew was just German composer. He actually is in the list of the great British composer because he was naturalized while he was working for the court of King Edward, I think, or King George. Sorry, I can't remember exactly. He got rid of the umlaut. All right. So, I mean, and then I thought, if Handel did it, I can do it. And then in a way, the moment you get a second citizenship is like being born again, isn't it? It's a great relief. And I just think, also I have two children and the options it now gives them, where to study and live, where to fall in love. And maybe they spend all of their lives within a few square miles in Britain, and that's fine, that's wonderful. But perhaps they want to go and study at the Sorbonne or live in Munes or. I mean, it's so enriching as well, for us in particular. I mean, if you're singing Carmen, how can you not go to Spain and see what's happening there? Isn't it? Yes. Well, the next song, the first song that we're gonna listen today, it's worth Warsaws. It's like a vow. Yeah, By Walter Battison. Ains. So you recorded this with pianist David Owen. And this from David Owen Norris. Norris from your CD Song and Sonnet. Would you like to tell. Tell us about this song? Yes. So I recorded it with David Owen Norris, and we made the CD with a view to showcasing some of the composers in the reign of Queen Victoria who have faded into insignificance and have not been remembered. And Walter Batterson Haynes deserves to have his place in the Liederkannon. He was a British composer, but he also wrote in German because it was very fashionable at the time. All right. And this the vow. Ein Fossatz says, I don't want to tell you how much I love you. You should be able to read it in my eyes. And if you can't read it, then don't be angry with the dreamer. Beautiful. Let's listen to ep. Kindly. Welcome to 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. Judy May 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 Meg Matthews. And I'm Carolyn Van Beers. Join us for a brand new show on women's radio station. It's the Meg's Menopause Show. Yes, for the first time on radio, there's an entire show dedicated to the menopause. A fresh new approach where we inform you of all the choices and treatments that are out there, supportive and empowering. This is your show, so join us every week with a host of celebrity guests. Our very own resident doctor where we talk about everything menopause. 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. My name is Ingrid Marsh and I host the Radical Wellbeing show supporting women's wellbeing. On my show, I bring you ordinary women like me and you who are sharing their unique stories. Women who have refused to be defined by their pains to be silenced by stigma or crushed by stereotypes and who are taking back their power. And together, our mission is a simple one. And that's to inspire you to kick away the roadblocks too. To don your wings and be the person that you were born to be. 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 scene 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. 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, Women's radio 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, the program where we search for the most amazing new female artist on the classical panorama. Our guest today is mezzo soprano Belinda Williams. Belinda, where are you from exactly? I am from London. Aha. I am from Wimbledon. Oh, wow. Beautiful place. Did you grow up being a fan of the tennis or. I think we managed to go once because there is a residence lottery. Oh, wow. And sometimes you get lucky and get. I'm such a big fan, you know, I looked about. I didn't get the chance yet to go, so I'm jealous. Beautiful. So. And now you're living in Germany? I am. Right. Where exactly? At the moment we're near Dresden, but we've lived all over the place and both of my children were born there. Wow. I make a joke that I'm having children in each of the Bundeslender, each of the different regions. So how was it to go? I mean, when you received the call to work in Germany? I was thrilled. I was straight into an ensemble, so I was a principal artist at a state theatre and I was on a salary. And for a person who doesn't come from any means, paying the rent as a classical musician is very difficult. And that was a great hurdle. Just coming out of studies where you can get all sorts of funding and suddenly you've graduated and you've got bills to pay. And that's not necessarily the time where you get a lot of work and you're just starting out. And as it happened, straight after leaving the academy, I was. I had this ensemble place and I really enjoyed cutting my teeth in a German theater. The system is very different, but it produces some very good all rounders, I'd say. Did you speak German? I didn't speak a word. I didn't tell them that. Wow. And I distinctly remember in my first weeks of rehearsing, the director, who had a very thick Swiss accent which is impenetrable, telling me what he wanted from the character. And he was talking and talking and talking and I understood the word left. And so when. When we went to repeat the scene, I moved left and he said, perfect, as if I'd understood all this backstory he'd been giving me. Oh, my gosh. So, I mean, how. How crazy was to go to Germany? I mean, you have your husband following, right? So what does your husband do? He is a tanner. So how important it was to have a Husband who share the same career, the same job to. Yeah, I think to support you and come over if you have this sort of job where you're required to travel and where it's very much a passion, you just need someone who understands and supports you. And I'm very lucky that not only does he support me, he wants to champion me. And without him, the support of getting back into work after having babies would have been, for example, very difficult. Absolutely. I heard Caitlin Moran. Caitlin Moran say recently that it's a lie peddled to young women that you can have everything in life. And actually you can have everything in life only if you marry the right. Because it's all very well being intelligent and talented and driven, but if you're stuck at home holding a baby with no one to help, then you're stuck. Absolutely. And also with no family. Right. I mean, you didn't have your family over to. And that's the most difficult thing, I think, because, you know, sometimes also you need some space for you and your husband, and particularly when they are little and they totally depend on you, isn't it? Or mama. As much as the father can help, but it's all about mama. So were you on stage before or after you had the babies? All the time. And that was. That was the great thing about being in this ensemble in the theater. They couldn't fire me, and I was so pregnant, and I was going on stage singing these roles where I should have been this very sexy character. And I was seven months pregnant. And so I took a bit of time out with my first, and I got so bored that with my second, I made sure that I was back at work five weeks after giving birth. Wow. And I just took him with me and had him backstage, and everyone was very understanding. He was just a dressing room baby sleeping on the floor in a travel card. Oh, my gosh. Well, if you needed the baby on stage, isn't it. That's what awful often happen that you have the children being brought over as an extra. So. Wow. So, for example, did that change your perspective on the roles that you were singing, for example? I have a friend, she's a meta soprano as well, and she was singing in Turando, and when the Turando is killing herself, she just had her baby and she couldn't contain herself. And she. She just got this feeling of this agony of, you know, crying for Turandot who killed herself, and thinking about the baby who was left without the mother. Because in that moment, Turandot. I'm sorry, but she's thinking about herself. She's not thinking about the baby who's gonna grow up without his mother. So did you get a different perception of the roles that you were singing? I think I have the. The reaction to motherhood that probably everyone has where suddenly you understand the world as a collection of people's sons and daughters. And I think it does help you with levels of empathy that maybe you didn't have before. I'm not saying I was cold before in any particular way, but certainly I become more of an emotional wreck since having children, which is great for opera because what is every opera character but an emot wreck. Wonderful. So if you had to choose your favorite character apart from the emotional wreck, what would that be? Oh, gosh, I think something. I may never get to sing this role, but I do love Tosca. I think she's so interesting, so powerful as well. A bit silly because she gets terribly silly in jazz. I think she'd be fantastic to play this very fiery, skittish woman. Yes, absolutely. Well, the next song that we're listening is actually from your very first impact with opera. That is Carmen. Right. So you're singing Sigetiya and these being recorded with the pianist Thomas Glaser. Was that recorded in Germany or here in Germany? Yes, he's nearby in Dresden. In Dresden. He's a conductor. Let's listen to Sigidilla from Carmen. Foreign. La. Sa. Sat sam. 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 everyone and welcome to the Femaling show. I am your host, Nicole Goodman and I am a woman's identity expert and coach. As women, we fall into different phases of identity throughout adult life and during these, our challenges can look pretty similar. Here at wrs, I will be talking to you about the real issues we all face and even the ones we can silently struggle through honest, heartfelt conversation. Here at Femaling, you will learn how to accept yourself, understand yourself and be yourself. Hi, I'm Carolyn Van Beers. Please join me for a brand new show here on women's radio station. It's Mother's hour. If, like me, you're a mum juggling far too many balls and dropping most of them, this is definitely the show for you. We'll examine the highs and lows of motherhood and make sure you laugh out loud as we take on this challenging role together with spoonfuls of advice. Incredible stories. It will be refreshing, honest and funny. Look at being a mum. I'm Tamina Zaman, founder of Empower and Enrich. When it comes to money, do you clam up or get confused? Do you wish you could save more money or are you hoping you have enough for retirement? You are not alone. Many women want to be smarter with their cash, but just don't know where to start. @empowerandenrich.org you will find a host of options to help you take charge of your finances and learn how to put your money to work for you in an easy, affordable way. Get in touch with me@empowerandenrich.org and let's change your future together. Are you struggling with money? Turn to us as a national charity helping people struggling to make ends meet. Job loss, illness or bereavement can cause a real financial crisis. We give practical help to get people back on track. Whether you're thinking of having a baby, trying to get out of an unhappy relationship, or just unsure what benefits you may be entitled to, we can help. Visit turntous.org.uk welcome to the Women's Radio Station supporting women's wellbeing Women's Radio Station can give voice to your brand. With a wide range of sponsorship opportunities, including individual programs, we can tailor your experience for you. For more information on how you can sponsor a show, go to womensradiostation.com Women's radio stations supporting women's wellbeing. Welcome back to future Classic Women Awards on Women's Radio Station today. Our guest is meta soprano Belinda Williams. Belinda, we were talking about singing in Germany, singing in German. What was the most difficult language you've been singing? Maori. Pardon? Maori. Wow, that was difficult. I didn't know there is an opera in Maori. No, I sang songs in Maori and opera wise. Wait a second. So Maori. So were you in Australia? I was in New Zealand. New Zealand? Yes. And I was asked to sing some songs in Mori and that was difficult because I had no soundscape for the language at all. And no one Maori was hyping you? Yes, they did. I got a recording of someone speaking it for me. Yes. And so I had to just learn it by ear, stopping and starting a tape. I don't know. I have the basic tools of the international phonetic Alphabet. I don't know if you've come across it. So all the sounds that we make can be transcribed and so in theory, you can look at the letters of the IPA Alphabet and just say it out loud and that will. And slowly, that you will. I'm not explaining it very well. So someone could write out any language for you in this international Alphabet of sounds. And you could theoretically speak in any language except for the ones where we. Where it doesn't have the sounds that we used to in Europe, clicks or aspirations that we don't use. But theoretically, with ipa, you can get a good enough version and then you'd have to have a native speaker to tweak it. So did you think you would become. You would have to work so much with languages when you were a little girl learning French or Spanish School, I had no concept of other languages at school, really. I can't say that I really started learning languages until I was 13 or so. And I got very into Spanish first, and then Italian, a bit of French, German was. Was not in my ken. But I'd go to a very multicultural school, a London school, and everyone spoke a different language and English was our common language. And I remember the boy next to me, for example, couldn't spell his. I didn't understand why. And of course, it was only years later, thinking back, that he was coming from a different script and he didn't know what his name should be in English. And I used to think, this is very strange, this boy can't spell his name. So I was not aware of that. Of other languages and what impact they would have on my life. Absolutely. Well, it's true. I mean, my daughter, she goes as well to an international school and some of her best friends, they are Spanish speakers from Santo Domingo, from Ecuador, from South America. And it's funny because I can speak a bit of Italian, of Spanish, and. And Lucia, so suddenly she found herself in these parties, birthday parties, where they're all just Spanish speaker. But I think it's beautiful now to be able to be in this like you're in a different world. I think there's. There's a lot of fear around learning new languages, especially for British people, because we. I don't think it's fostered very much. When we're young, it's so easy to go all over the world and speak English. And I think it's a myth that you can't learn a language really well as an adult. I had no German in my mid-20s and now I'm fluent. And I will always have an accent, sure. But I'm not afraid of going and learning a new language. I think it's Exciting. And I remember my grandfather, who'd never been. Never been on a package holiday, suddenly in his 70s, wanted to go to Spain and so did a Spanish course. And I thought, if he can do it, he wanted to chat up the barmaid. So he mostly learned how to order beer and speak to women. But still, that's very. That's a good, you know, option. I. I remember I told one of my students, you know, if you want to learn French, you need to get to go to France in holiday, you know, and chat up with all the other French kids. It's the alleyway, isn't it? Good French boyfriend. Yes, I said that, but I wasn't thinking very well. But definitely. Now, what would you say was the most exciting moment in your career? Gosh, I've had some wonderful moments on the operatic stage, but I think, for me, my debut at the Wigmore hall was incredible. Being backstage, all those pitches, the pitches on the wall, who had performed there, and the hall itself, it has something magical about it. And the acoustic, it's just. It's really. You feel that your voice is buoyed up by this very clear and supportive acoustic. Yeah, that was quite magical. Very special place. Yeah. And the most challenging moment. The most challenging. I think it's always difficult to perform when you're sick, not least because you feel like you're disappointing people who have come out to listen to you and see you and who have paid good money for their tickets. And so I think I sang once with bronchitis. That was very challenging. It is possible to sing with bronchitis. It is possible. If you have inhalers backstage and all sorts of medicines, it's not advisable. I think there's a fine line between knowing when to cancel and going on stage. And maybe I was too young then to know that I should have maybe let my understudy go on. Now, what would you say was the most interesting collaboration you had so far? Oh, I've worked with some wonderful people, I think. Recently I did a community opera in Woppertal, which was a new piece. Jonathan Dove, British composer, although I was singing in German, and it's a retelling of Theseus and the Minotaur, but it was very much about parents being separated from their children. And, of course, that's so pertinent at the moment, and the injustices. That were in existence in the classical world and have not gone away. And working with community choirs on projects like that is always so rewarding because they're very fresh and they come to every rehearsal. Just delighted to be there. There's no weary colleague saying, oh, I wish I could have slept in and not had this music call. Everyone is just there to make music and make art. And I'd say all of my community opera has been the most exciting work I've done. And in the way that makes you reminds you of how privileged we are to be able to do this job, isn't it? To be able to live off music every day of our life instead of, you know, having to cut off a tiny piece of time to go to the community choir, for example. Exactly. And some of them had the most amazing day jobs. They were doctors and teachers. And I thought, well, I pale in insignificance next to these people. And yet I do think that art serves a purpose and, and should be supported just as much as teachers and doctors and street sweepers. And it's part of the fabric of what makes us human. Absolutely. Well, on this beautiful thought, we're gonna listen to Santuzza. Voila Sapete from Cavalleria Rusticana by Masc. Mama. Welcome to 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 Meg Matthews. And I'm Carolyn Van Beers. Join us for a brand new show on women's radio station. It's the Meg's Menopause show. Yes, for the first time on radio there's an entire show dedicated to the menopause. A fresh new approach where we inform you of all the choices and treatments that are out there, supportive and empowering. This is your show, so join us every week with a host of celebrity guests. Our very own resident doctor where we talk about everything menopause. 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. My name is Ingrid Marsh and I host the radical wellbeing show supporting women's well being. On my show, I bring you ordinary women like me and you who are sharing their unique stories. Women who have refused to be defined by their pains to be silenced by stigma or crushed by stereotypes and who are taking back their power. And together, our mission is a simple one. And that's to inspire you to kick away the roadblocks too. To don your wings and be the person that you were born to be. 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 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. 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 Twitter womensradiostation, that's womensradio 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 metal soprano Belinda Williams from Germany. From London. From London. Traveling from Germany. Now Belinda, last leg of our questions is gonna be the funny questions. So I'm gonna ask you if you have any strange object to free your mind or relax. Strange? No, nothing strange. I love cooking. I love cooking too. Yeah, and that's the great thing about traveling for opera is that I think, oh, what can I learn? Now I'm here. So when I was in Turkey, I learned how to make the pide. Oh, beautiful. And you have this very long, thin rolling pin. And then recently as I was telling you, I was in Bologna and learned how to make the tortellini. That's amazing. So yeah, I like going around collecting knowledge. Maybe I'll, I'll open an operatic themed restaurant when I'm old. Cook everything myself. Singing in the kitchen, that's fun. No, actually you can make, you know, master classes, opera and cooking. Yes, I do the same. So I have a diary full of international recipe from my musicians friends, so. And I love cooking. The fact of cooking is that you really need to free your mind and concentrate on what you're doing. Yeah. And it's the only thing that makes me forget about, you know, whatever you are learning or what's happening around in your life. And then there is the reward of eating something delicious. Yes, absolutely. Now, do you have any ritual or superstition before going on State? I was taught that it's just a terrible idea to have a ritual that you have to do before going on stage because one day you won't be able to do it. And I think I used to be much more precious before having kids, but then, as I said, having my little son backstage when he was a tiny baby, I would breastfeed him, do up my costume and run back on stage. And so I think it helped not be not having these rituals that I. As soon as I step onto the threshold, onto the stage, I can go straight into whichever character I don't need to do anything to prepare myself to do. So that's a brilliant thing. Very helpful for life. It's a big relief. You know, everybody has their own thing and I wish. Yeah. Beautiful now. And do you have any funny moments that you can recall in your career? I think they mostly involve wardrobe malfunction. So, yes, I've definitely bared all sorts of bits of my body to audiences around the world. All unplanned, of course. Germany's famous for having lots of nude people on stage all the time. Oh, really? Do they? They do, actually. But why is that? I just don't think that they. They're not prudish. They go to all those spas and they're. They're fine to see a naked body. I'm not. No, exactly. Very British. But luckily, I haven't been asked to take my kit off yet on stage. It's just happened accidentally. Wow. Okay. And what's your next recording or project or collaboration? Well, I'm in Germany for the next few months. I'm doing Condit by Bernstein, which is very refreshing and fun. And then I am back into the big operatic roles like Carmen for next year. And I'm going to be back in Britain a little bit excited to be performing somewhere where my family can come in. Fantastic. Yeah. Well, I'm looking forward to see you here and let us know so that we can invite you back again and we can talk about this project that is top secret at the moment. It's gonna come. Fantastic. Now, the next song we're gonna listen, the last one of today is Rosina Una voce Pocofa from Il Barbiere di Siviglia. Would you like to Tell us why you say that so beautifully by Rossini. Would you like to tell us which moment in the opera is this? Yeah. So Rosina has just met the love of her life and knows that she needs to be with him. But her problem is that she is looked after. Her ward is a man who's very jealous and keeps her under lock and key and also wants to marry her. And so she's plotting how she can try and inveigle him with sweetness and kindness whilst really getting what she wants. And I love, I love Rosina. I think she's one of the fierce, fiercest. Yes. Character in opera history. She's so clever and cheeky and she actually win at the end. They sneak out the window and they're able to be together. I think this is of all the opera, the funniest, I think in the My most loved one, really. From the Barber of Sevilla. Sorry I said it in Italian. The Barber of Sevilla by Rossini. So una voce Pacofa Rossini with Belinda Williams and pianist Thomas Glaser. Osar lord. Farojak. Sara. Sa. Thousand tricks I will make before I will be won over. So if you have any questions. This was Belinda Williams with pianist Thomas Glaser and Rosina Unavocofa from the Barber of Sevilla. If you have any questions that you would like to ask to our guest or nomination for future Classic Women Awards, please email presenters@womensradiostation.com or tweet us at WomensRadio A big thanks to our guest Belinda for the great chat and the fantastic music play today. Thank you for having me. It was a joy you have been listening to feature Classic Women Awards on women's radio station live every day at 10am and 10pm London time. If you want to listen to it again or catch up on our previous programs, you can head to the presenter page. Stefania Pasamonte 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 everyone and welcome to the Femaling Show. I am your host Nicole Goodman and I am a woman's identity expert and coach. As women we fall into different phases of identity through our adult life and during these ourselves, challenges can look pretty similar. Here at wrs, I will be talking to you about the real issues we all face and even the ones we can silently struggle with. Through honest, heartfelt conversation here at Femaling, you will learn how to accept yourself, understand yourself and be yourself. Hi, I'm Carolyn Van Beers. Please join me for a brand new show here on women's radio station. It's Mother's Hour. If, like me, you're a mum, juggling far too many balls and dropping most of them, this is definitely the show for you. We'll examine the highs and lows of motherhood and make sure you laugh out loud as we take on this challenging role together. With spoonfuls of advice, incredible stories. It will be refreshing, honest and funny. Look at being a mum. I'm Tamina Zaman, founder of Empower and Enrich when it comes to money, do you clam up or get confused? Do you wish you could save more money or are you hoping you have enough for retirement? You are not alone. Many women want to be smarter with their cash, but just don't know where to start. @empowerandenrich.org you will find a host of options to help you take charge of your finances and learn how to put your money to work for you in an easy, affordable way. Get in touch with me@empowerandenrich.org and let's change your your future together. Are you struggling with money? Turn to us as a national charity helping people struggling to make ends meet. Job loss, illness or bereavement can cause a real financial crisis. We give practical help to get people back on track. Whether you're thinking of having a baby, trying to get out of an unhappy relationship, or just unsure what benefits you may be entitled to, we can help. Visit turntous.org.uk welcome to the women's radio station supporting Women's well Being. Women's Radio Station can give voice to your brand. With a wide range of sponsorship opportunities, including individual programs, we can tailor your experience for you. For more information on how you can see sponsor a Show, go to womensradiostation.com Women's radio station Supporting Women's well Being.