Future Classic Women Awards – Eulalie Charland 270323

Hello and welcome to the 5th edition of Future Classic Women Awards with me, Stefania Passamonte, on the Women's Radio Station, the program where we search for the most amazing new female artists on the classical panorama. Today on Future Classic Women Awards, we have a very special guest, violinist Élodie Charland. She was our guest on the very first edition of Future Classic Women Awards, so quite a few years ago. How are you, Élodie? I'm all right, Stefania. Thank you for having me. You're very welcome. You can call me Eulalia. Eulalia? Yes, that would be very easy for me. How actually do you say properly your name? Let's see if I can— In French it's Eulalie. Eulalie. Perfect. Yes, I can say that. Eulalie Charlande. Charlande or Charlande? Charlande. Charlande. All right, hola, Lee Sharland, fantastic. So, hola, Lee, you're here to promote a very special concert that is happening this very week on the 30th of March. Would you like to say about this concert? Ah, yes, well, my— the group Synchrony, which I set up before lockdown, we were invited to open the Malta Spring Festival on the 11th of April in Valletta, and it was such a fantastic program that I thought to myself, oh, I really need to put this on in London somehow. And this is how the Ugly Duck Project, which is what I called this, came to be. It's such an unusual program. We're going to play Ramifications by Ligeti. It's his centenary year, so a lot of groups and a lot of concert halls are going to be putting on music by Nigeti. We're going to play Stravinsky's ballet music Apollon Musagète, and we'll also play the crowd-pleasing Divertimento for Strings by Bartók, which is one of my favorites and which I haven't played since I was in youth orchestra. And finally, we're going to premiere a work by composer Florence Anna Monders, which is called Koda Hafez, and it's, yeah, it's a fantastic piece. So with this program, I thought, ah, I wanted to put it on in London in an unusual place because it's an unusual program. And so I looked around and I found this wonderful art venue in London Bridge called Ugly Duck, and so I decided to go go the whole hog and do everything: promote it, rent the hall, fix the players, and just basically do the whole project from scratch, as well as lead the musicians and learn the music. So it's been very intense, and I still have a couple of— yes, I have just a few days to go, but yes, I'll be able to sleep better in a few days' time. Well, tell me a little bit about this venue. Actually, I don't know it. Is it just open, or— Yes, it's a fantastic art venue. It is set up to give a space to underrepresented voices in the art world. So there's a real fantastic community that revolves around it, very strong in the LGBTQ community, and they put on lots of visual arts, installation art, lots of edgy things. And they also have a time banking scheme for, for artists and musicians who need a space to, to work in. And it's basically, it's a, it's, it's, it's a dry space but really atmospheric, you know, with exposed bricks and, and beautiful rafters where we'll be playing up under the roof. So there'll be a lovely acoustic. And yes, I'm very excited about it. Now, you know, talking about venues, it's very different to perform in a big concert hall, let's say like Royal Festival Hall, for example, or Barbican Centre, or performing in a chamber music venue like Wigmore Hall, or in an alternative venue, let's call it like that, like the Ugly Duck. You had the opportunity to perform everywhere. What changes in terms of your relationship with the audience, for example, and the way you might be inspired when you're on stage? That's a really good question. Um, in recent years I have been, I have been slightly frustrated by the formality of the traditional concert halls, which by the way only really came to be in the 20th century. It's a fairly recent thing where the performers are really separated from the audience. And what I found is that as grassroots education in music has become defunded gradually over the years, we are finding that our audience, the younger audience, doesn't have the idea or in their culture to go to these very formal concerts. And also it's a kind of music that is less familiar to them. And so I think that there's a barrier created by this formality. People who aren't familiar with that world, they go in and it's a little bit intimidating and you don't know when to applaud, whether it's okay to cough or— And there's something that is lost in live music when this happens. Not that there isn't a place for it. I mean, of course. And my whole idea behind Synchrony was partly, it was to celebrate women, of course, but it was also to try and reconnect with our audience in a different way and to give people who come to hear us this experience of the magic of classical, of performing, the magic of live classical music. It's not something that needs to be formal necessarily in all cases, and especially with chamber music. You know, there's something very special about being close enough to the players that you can hear them breathe, see the expression on their faces, you know, see the amazing things that they do. It's like watching a tightrope walker, right? What we do is incredible. And if you can see it up close, It's absolutely magical. So that is my idea behind doing this project in Ugly Duck is to see how we can reconnect with our audience in a more unusual venue. And in fact, I'm encouraging all our audience to bring yoga mats and cushions. There will be chairs, of course, but, um, yeah, to see if there's a way of making things more immersive. And I know that some people who have, you know, who suffer from complex PTSD or, or, or even just back pain might find it very difficult to sit for an amount of time on a chair. So the possibility of being able to be more connected with our bodies as we immerse ourselves in live music was something that I wanted to try and we'll see if it works. Now I have to say, um, Bartók, Béla Bartók, for example, you said you're gonna perform the Divertimento for Strings. Yes. And Béla Bartók is very famous for incorporating, elevating, if you like, the popular folk music into the classical music. So it's very rhythmical, it's very dance-like. So whenever I listen to Béla Bartók, I think never ever I managed to stay still. I have to move and feel the rhythm. So I have a very provocative question. My sister Last night she was, uh, in Italy watching— she went to the concert of the Måneskin, that is this Italian rock group that took the world by storm, you know, when they won the Eurovision, etc. They've been in the Grammys, they've been in the Brit Awards, blah blah blah. Um, but what is fun is that, uh, the singer, for example, threw himself on the audience. And so my sister showed me the picture of the singer, typical rock style, right, where the singer threw himself on top of the audience and the audience gave him all the love by basically shifting him back with their hands to the stage. And I think this is very symbolic of the relationship, the close relationship that there is between a rock performer, a rock, you know, pop performer, and the audience, where they put their trust so much into the audience that they think, I can dive in. Have you ever watched the movie School of Rock? No, I'm afraid I haven't. Oh my gosh, you have to! It's super fun, particularly if you have kids. That's the most fun movie ever. So there is the guy, the main character, who threw himself on the audience, and the audience just moves. So he slams on the floor. Oh no. So what I wonder is, would you feel like doing something like that if ever this was appropriate in classical music? And again, why why should that be appropriate just for rock and pop? You see what I mean? I mean, this type of close relationship with the audience where you can actually throw yourself into them and knowing that they will take you, you know, and bring you back to safety on stage. Well, um, well, you're— I mean, it's a funny question, but it also has a lot of very serious undertone. So on the funny side of things, I don't think this is quite possible for us, if only that we are carrying in our arms priceless instruments, and throwing ourselves into an audience would not end well. Now you would have to leave the violin on stage and then throw yourself. Yes, yes. Well, I'll think about it. But the interesting thing about what you're asking is, I think what you're asking is why classical musicians seem to struggle so much to have a kind of following, the kind of following that rock stars have. And I think there are many reasons for this. And one of them, of course, is that The classical idiom is one where having a little bit, well, huh, it's a tricky one. But if you like your play— Yeah, I think there's a cultural thing happening. It's a cultural thing. So classical music over the years has been portrayed as something that's elitist. And, uh, I, I feel so sad about that because it really, really isn't. Um, and, you know, now it, it used to be that everybody played an instrument. It used to be that every local library had scores of the Beethoven string quartets, and people, even who— people who just enjoyed music would take their, their score to concerts and, and and read the score as they listened to the concert. And it was something that— it was a language that everybody understood. So I think there's a question of the language here. And what I said earlier as well, it's about the musical education being eroded gradually over the years. So we have— we're now facing, you know, new generations that don't have the kind of access that was once possible. Plus, there's also the question of how expensive it is for classical, you know, for classical music concerts to be put on. We work and we learn to play our instruments as children, and we spend our entire lives doing what we do and getting better at what we do. And, you know, our fees are— our fees will never cover the amount of time that we've spent on it. And we know this, we accept this. And as prices, as the price of everything grows, well, you know, the price of the— goes up as well. So sorry, I apologize. That's my dog Kafka telling me there's someone at the door. Perfect. Well, let's listen then to the very first track of today, that is Mussorgsky, On the Southern Shore of the Crimea, and is performed live by your group synchrony. Wonderful. And this was Mussoski on the Southern Shore on Crimea, of the Crimea, performed by the Synchrony Group, um, of, um, founded by our guest, Olaly Charland. Olaly, this was absolutely exciting. Now tell us a little bit more about Synchrony. So Synchrony was founded in 2018, and it's a chamber orchestra made by women, founded by women, and the members are all women. Am I right? Yes, yes, that's absolutely right. I should also say that the Mussorgsky was arranged by a friend of ours called, um, Atesh Orga. It's not originally for string orchestra, so I thought I'd just— Absolutely, yes, thank you very much. So, so Synchrony, yes, I, I set up Synchrony with cellist Gabriella Swallow back in 2018, um, and it felt— I mean, it was in the middle of the MeToo movement, and, and all of that has had a lot of press. I think I think that I've always been aware of the danger of making it sound as an exclusive project. And in fact, nothing could be further from the truth because I think what I want with Synchrony is, well, my dream is to have a collective of women musicians who come together and who bring to the mix whatever their skills are, even beyond the playing. I'm slowly working my way towards that. But the idea is that I noticed that when women are working together without the presence of men, especially in figures of authority, there's something different that happens. It's not better or worse, it's just different. And I think I wanted to explore that, to explore a space where the feminine with a big F, um, and that those soft powers that have traditionally been suppressed, um, can be given free, free flow, basically. And to see what, what happened when, when women were really given a chance to work as we would naturally, which I think tends to be with models that are less authoritarian, more collaborative, and, and yes, I mean, softer. It's, it's interesting because we're taught— it's very difficult to, to be able to tell what, what is our intrinsic nature and what has been taught us since we were born. And I think there's definitely a move towards towards softening that. But I mean, all of us have been told to man up, or we have been aware that if we express that we are not feeling well, or that we have children waiting at home for us, and we don't want— those things are going to damage us professionally if we express those things. And And surely it seems to me that those things can actually make us stronger if we respect the bodies that we're in, if we stay connected to our bodies, then our creativity flows more naturally. And the fact that we have children should be, should be supported and celebrated, and that also is part of our creativity. It's not something that should be relegated to the, the eves or the you know, the side of our lives. So I, I think this is what synchrony means to me in terms of it focusing on, um, on that feminine power, which I'm trying to give a special space to in a creative way. Um, did you watch the, the movie Tara? Yes, I did. What did you think about the representation of women? In this case, they decided to have a woman conductor That it's now happening more and more, and we're very grateful about this. I remember we had the guest on Future Classic Women Awards, one, one of our nominees, that was saying that, um, one of her booking in Germany, uh, was actually cancelled when they realized that she was a woman and not a man because their name is the same for a man or a woman. Um, so What do you think about this? In particular, I've seen other movies about classical music. Somehow women, when they're the protagonist, they're always represented as the crazy one. But that's right, that right there is interesting, right? Yeah, we're not all crazy, are we? Well, in the sense that, you know, there is so much more to it to make it interesting. It doesn't have to be necessarily someone who has such a dark side. But in particular, what do you think, you know, you spoke about Synchrony being born, you know, to give the power of women in music, and also was, I remember from our previous interview, it was, you know, on the wave from the MeToo movement, and we saw recently some professors from major conservatoires that has been dismissed for sexual misconduct. I don't know your personal experience, but I heard so many times, and I had mine too, you know, of people trying to take advantage of their positions because we were attractive young women, if you like. So, um, do you think synchrony as a group is something that gives as well a safe, um, space to be creative without having the fears maybe sometimes to get other attention that you don't want to. Uh, yes, absolutely. Um, and, and it's— yes, I mean, that, that is definitely something. And I have had colleagues say to me what a relief it is to know that they can say that they have to leave the rehearsal as soon as it ends to go and relieve the babysitter without it being held, held against them. Um, and, and for all sorts of reasons that, that Yes, the safety of the space is one thing, but I think more than anything, it's, it's, it's about just, just, just being curious about what happens if the, if the structures are different. And I find it interesting that you talk about Star as, as, as crazy, how women are often portrayed as crazy in films. And I, I wonder if Tara had been a man in the film, if, if we would be talking about them as being crazy. I think it's, it's pretty— any position of power will come with a certain amount of stress. Yes. And that will bring out the best and the worst in anyone, men and women. I mean, Maybe would it be less shocking if it had been a man? I mean, is it something that we would just almost expect? Probably. I mean, I think any classical star is always portrayed as a crazy person. Yeah, most probably we have, all of us, an element of craziness to want to embark in this incredible a career that is demanding of so many sacrifices on all levels. Uh, you know, how many times I've been told from, you know, friends outside the music world to say, you know, but you have a degree in law, why don't you just get a job as a lawyer, for example? You know, it would be much easier and make more money. Yeah, yeah. We don't do it for the money, that's for sure. No, no. And it's, and it's diff— if it's difficult to, to, um, explain this. And, you know, going back to your earlier question, I think that's one of the reasons why we struggle to nurture a relationship with our public, because being at the top of our game requires so much sacrifice in terms of time on the instrument and perfecting our skills and honing our skills all the time. A lot of us, although we are getting better as a group, but a lot of us find it very difficult to do all the tasks that come with the performing. So, you know, I know for one that with this project I've had to engage with social media in a big way. And I have to admit that I haven't enjoyed it very much, but I've had to do it and I've had to learn how to engage and start to build a following in that way. And I think this is— I think you're right. I think this is a thing, you know, the job, the activity of making music at this level requires so much dedication that anything extraneous becomes— well, often we prefer to play the ostrich and not deal with it at all. But there's a price to pay for that, and we're paying it now with audiences that are dwindling, at least in part because of that, not just because of that. But no, that's definitely part of the picture. Yeah. But the reward that we get when we manage to perform, you know, at the best, you know, to communicate what we've been working so hard for and get the emotion from the audience, that's really— Yeah. And I think, yeah. And I think all of us, we know deep down in our hearts the intrinsic value of what we do. I mean, music has the power to, to change us. To change the people who hear it. It is like all art. Music is something that brings people together because, um, art is all about distilling human emotion and human experience into something that is recognizable by anyone. And, and this is where it is so powerful. And the— for me, the greatest struggle is knowing this deep in my soul and yet living in a society where, especially these days, um, where the messages that are coming from, um, the political classes and the world at large and the culture around us is that what we do is, is not, is not valuable because it can't be monetized. And, and this is, this is something that I feel as that I feel as, as something that is really painful because I sound a lot of the time I feel like I'm, you know, shouting in the wind. But, um, yeah, it's, it's art and music is, is part of what makes us, uh, really come alive and brings out the best in us as human beings. And I, I will— I have always believed that and I will always believe that and I think I'll probably be shouting it into the wind until the day I die. Absolutely. Well, you know, there's something I told many friends over and over again: if you don't say it out loud, it will never be heard. If you don't try. So there is no other way but just to keep saying it until someone will listen to it. And, you know, the wind can really go far. It has a big power. So on these words, let's listen to William Walton, the violin sonata recorded by, euh, Olaly Charlande for Radio France. Wow, I'm so sad to have to fade this. This is absolutely glorious. William Walton, the violin sonata performed by Aurélie Charland. Who is the amazing pianist playing with you? It is my partner, duo partner of 20 years now, Michael Mori. Amazing. Yeah, we met in college when we were both students, 20 years ago this year. And in fact, we've just performed a couple of all Schubert concerts here in London and in the Cotswolds. And she's a dear friend and an amazing pianist. She really is the most extraordinary musician. So yes, and we recorded this Walton Sonata back in 2010. Ah, fantastic. Ah, beautiful, beautiful, absolutely beautiful. This really started like the wind, and I love it how there is this crescendo, and that's exactly how it is. The Me Too movement started the same way. It was one person. Who had, you know, the courage to say it out loud, and then others followed one by one, and then it became something that took the world by storm, basically. So I believe in the power of, you know, our voices. So never be afraid for anyone to speak out if something is not fair and something needs to be told. No, that's right. And encouraging those, those men who are supporters. I'm, I'm, I have two sons and I'm raising them to be aware of, um, all these things that we're talking about and, and, you know, how power plays happen between people regardless of gender. And, uh, just, I'm just trying to raise them to live their lives from their heart with kindness and, um, and creativity. And, uh, yeah, absolutely. Well, so, um, let's talk about, you know, how did you decide to become a violinist? Can we speak about that? Is it different to play in duo, for example, with your 20-year partner, or to perform with an orchestra and, you know, having a new hat right now of being, you know, the organizer and of the concerts and everything, the social media, PR, and everything connected to it? Would you ever thought when you started playing the violin that one day you would have had to do all these other jobs? No, I didn't. But I mean, my parents are not in music, and I don't think they had any— well, I know that they have no sense of what it's like to be a musician in the industry of today, let alone— well, the industry back then, let alone the industry of today. So, um, I had no idea what I was getting myself into. I think I just, um, my, you know, my mother wanted me to do something creative, and it happened to be the right time, the right place, and I started, and I took to it like a duck to water. So, so playing, you know, I started when I was 2 and a half, so playing has always been part of my life, and that's something that's Yeah, it's been with me forever. And then going through college and trying to carve out a space for myself in the industry, my great love has always been chamber music. And of course, chamber music is where there is the least possibility for having a financially fruitful career. So, but, you know, I've stuck with it and I've done a little bit of freelance. And yes, I mean, it's very, very different. You know, the chamber music that I do with Michael is probably some of my best creative work because after 20 years we are hardly ever have to— well, we hardly have to talk to each other. We have— we feel what the other is going to do. And in fact, there's this very funny story of a performance that we gave of the Schubert— I think it was the G minor sonatina. And the first movement ends on a G major chord, or should end on a G major chord. And on this particular occasion, for some reason, we both played that chord as a G minor chord. Oh, really? Yes, it's a complete accident. And it was so, you know, perfectly executed that we couldn't help but laugh because it was, you know, nobody could have predicted that. It never happened before and it never happened again. It was just one of those things. So it's that synergy that happens when two people play together this way for such a long time that I really enjoy with her. And then playing in an orchestra as a freelancer can be more or less rewarding. Um, I tend to find that the, the model, um, that this country tends to operate on, where you come in and you have, um, one or if you're lucky two rehearsals and then perform immediately, I've always found that less pleasurable because you're always, you know, playing by the skin of your teeth. And it's about being the most extraordinary sight reader, which musicians in this country really are. Phenomenal. But there's not so much— there's never time to really get into the music and to really make it part of you in that way. And And of course there's a cost attached to more rehearsals, but in a country where everything is freelance, it's going to be— it's really going to be restricted in that way. And then, well, as you know, setting up Synchrony, that's an entirely new challenge. And, well, what can I say? With the lockdown, I mean, you launched it in 2018 and then we had 2 years of nightmares basically with this lockdown, you know, how did you manage to keep this project going? Well, the answer is I didn't. Lockdown coincided with me having to go to court to fight for my children in a difficult divorce after a 17-year abusive marriage. And I discovered, you know, I was fighting for my life. I was fighting for my kids. I discovered that the family courts in this country are deeply misogynistic, and the 2 years of lockdown spent in court left me with complex PTSD, which I'm now recovering from, I'm happy to say, and emerging from slowly but surely. So yes, I mean, synchrony didn't happen. It became dormant and during lockdown, and I just, I wasn't very active professionally. I just tried to survive, which I'm thankful that I did. Well, um, I think as a mother you have this extra responsibility. Yes, yes. Your life doesn't belong to you anymore, it belongs to your children, isn't it? So you have to survive for them. That's right. And, um, and it's, it's always, for me, it's always a question of how do I— so everything that I do in my life is, um, about how— what I want to model for them in terms of, um, resilience and, um, uh, love. And, you know, all, all those things that we want to, to give our children. I mean, I, I want to be— I want them to think back and to be able to look back on my actions and, and how I dealt with the challenges that were dealt to me and say, well, she wasn't perfect, but, you know, she did her best and she did it with love. And so, yes, it's, it's not just about surviving for myself, but surviving for them and in the best way I can. Absolutely. Well, there is something— did it ever happen to you? Um, to me once but actually more than once, several times. Um, you know, I don't have pictures of my daughter on social media. I talk every now and then here on the radio, um, with my wonderful guests, um, but I tend not to talk about her because when I have to be a professional, strong woman, um, you know, and, and then they discover I have a daughter, they say, oh, how do you do that? Oh, I didn't know you had it. So somehow it's seen as a disadvantage. Yes. And as a woman, while as a man no one would care because they know there is a mother at home taking care of the children, isn't it? Yeah. And in fact, and in fact, that's, that's one of the reasons behind Synchrony is that as a freelancer, I noticed that, you know, in the late 30s, early 40s, most of the freelancers that you see on the scene are men and young women or women without children. And all the women who have gone into having families, or very— the vast majority of them kind of disappear because the freelancing work is not reliable. It's all— it's often in the evenings when babysitters are difficult or very expensive to come by. And it still seems, although it— I think things are slowly changing, it still does seem that when there is a choice to be made between the two inside a marriage, between the two partners' work, it does tend to be the, the father's work that is prioritized, not least because it's, it's almost always going to be better remunerated. So there's an economic reason behind this. And in fact, for this particular project at, at Ugly Duck, I made sure that I had many wonderfully talented musicians who were mums on my list. And, um, I had, I had 5 or 6 of them say that they wanted to do the project 6 months ago. And as we got closer, um, all but I think 2, 1 or 2 of them had to pull out because, um, work things came up for their partners and they had to be with the children. So it's, it's It's still very much something which is, um, which is a problem. Uh, we are disadvantaged in that way in a country where childcare is, is obscenely expensive. And yeah, um, what is incredible, I remember when I had my daughter and I had to pay the babysitter so I could practice the piano because I was touring Rachmaninoff's Second Piano Concerto, and they told me I couldn't deduct that because, uh, it wasn't deductible. And I was Yeah, but if I didn't have a babysitter to take care of my child, I would have not been able to spend the hours at the piano. Yeah, it's like if I have to go to the office. So exactly why that's not deductible. Yeah, that was really— and I was spending basically another salary just in two babysitters and then into nursery. Yeah, I believe you, you know that. Yes, yes, yes. And then having more than one child is basically prohibitive. It's just It's just, it's not possible. Well, we are already towards the end of our interview. I mean, it's going so quickly. I don't know if we will be able to listen to more than one track. So I would like to ask you if we could talk about Pierrot, because I'm very intrigued by this performance, you know, by T. Musgrave. So would you like to tell us a little bit about this piece? Yes, I would love to. She is the only composer that you'll be playing from my track who is a woman, and I plan to rectify that in the near future. But C.M. Musgrave is one of my favorite composers. She wrote Pierrot to be— so it's for, first of all, it's for violin, clarinet, and piano, and each instrument represents one of the characters from La Commedia dell'Arte. So the violin is Pierrot, the piano is Harlequin, and the clarinetist is Colombina. And on this recording that you'll hear, this is a live recording that was done in Malta in also in 2019, and Michaela Mody is on the piano, and so she's Harlequin, and the clarinetist is Max Mausen. And for this, for this performance, it's semi-staged, so we need to move around on the stage so that there's a different effect from where the sound is coming from. In performance. And also beyond that, I had for this performance ordered handmade leather masks in Venice for us to wear. And so Harlequin had the beautiful colorful mask on, and Max Mausen had a very, had a very feminine, delicate black colombina. And Pierrot, who doesn't normally wear a mask, normally his face face is whited out, but I had asked the mask makers to make me a mask that covers most of my face with the, you know, so that it's white with a little black tear under one eye. And so visually it was really lovely, and we were all wearing black, so playing around with the genders in this love triangle. So yes, this is Pierrot by Thea Musgrave. Well, let's— before we listen to it, do you know the story about the Arlequin? Why is it so colorful? I think I must have known, but I can't think right now. I remember when I was a child, you know, in Italy the carnival is very important, like in all Catholic countries really. It's a pity they don't have it in this country. They have the Notting Hill Carnival, that is the Brazilian version, but it's not at all to do with the Catholic one that happens in February. And Venice is the heart of the carnival really. And the Arlecchino was a little boy who was to poor to have a costume to go to the carnival. And so all the friends gave him a piece of cloth and, uh, they, they pieced it together. And so he had this very colorful patchwork costume. And so, yeah, so that's how it was. And this is a very good example, you know, of, uh, and the power as well of this character. Although then he became the mischievous Arlequin and he's having fun with Perrault and blah blah blah. So then of course the story changes, but that's how started. And this one, and this particular Pierrot is a sad one because it's the one where Pierrot is in love with Colombina and Colombina is in love with Arlecchino. So there you are, a sad love story. Wonderful. Let's listen to Pierrot by Thea Musgrave. Wonderful. Well, we cannot listen all of it. This is Pierrot by Tchaikovsky, performed by our guest of Future Classic Women Awards, Oulalie Charland. Um, how does it finish? Can you tell us the end of it? Does Arlecchino manage to get Columbina or Pierrot? Yes, I'm afraid so. Yes, poor Pierrot. Poor Pierrot ends up singing to the moon with his heart broken. Singing to the moon. I know the little song, the French one. How does it go? Oncle de la lune. No, that's the one. That's the one. That's the one. Poor Pierrot singing to the moon. Fantastic. Well, that was absolutely Beautiful, I loved it. Now we unfortunately are at the end of this wonderful interview with Orlali Sharland for Future Classic Women Awards, so would you like to remind us about the concert? Where is it, what time, and how people can get the tickets? Yes, of course. So Synchrony will be playing at Ugly Duck venue in London, which is on Tanner Street, on Thursday the 30th of March. The concert starts at 7 PM, but doors will open at 6:20. Um, you can buy, um, you can buy tickets on the door, but it's probably easiest to go on the Eventbrite app and, um, and you can find us there. Uh, and we are, we need, uh, well, we are selling tickets, but we are also looking for sponsors because because just like most performance events, ticket sales don't cover all our costs. And also we are trying to involve local schoolgirls in the area, and we've reached out to them and trying to get them to come to the concert for, for, with tickets at a nominal price. So we're trying to subsidize their tickets. And so yes, and, and young people are welcome and encouraged There's a discount for young people on the Eventbrite tickets links. So yes, I really hope you can join us and bring your yoga mats and cushions. Absolutely. Well, I look forward to it, everyone. Let's go meet at the Agli Dacchi to listen to Synchrony performing a wonderful program of Stravinsky, Balá Bartók. What was the first composer? Ligeti. We're playing Ligeti. And Ligeti on his 100 years. Yes. Fantastic. Well, if you have any questions that you would like to ask to our guests or nomination for Future Classical Women Awards, please email presenters@womensradiostation.com or tweet us @WomensRadioStn. Again, a very big thank you to our guest Ola Lysjarland for the great chat and the beautiful music played today. Thank you, Stefania. You're very welcome. I hope to see you very soon. 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, you can head my presenters page, Stefania Passamonte, Future Classical Women Awards on womensradiostation.com. Thank you for listening.