Future Classic Women Awards – Eulalie Charland, Winner Of Classical Instrumental 5th Edition 021023

«Ce n'est pas la vie, c'est la mort.» «Ce n'est pas la vie, c'est la mort.» Ciao e benvenuti su Future Classic Women's Awards con me, Stefania Passamonte, sulla stazione radio delle donne, il programma in cui cerchiamo le più fantastiche nuove artiste femminili nel panorama classico. Oggi sono entusiasta per rivelare il vincitore della sezione classica e instrumentale della quinta edizione dei Future Classic Women's Awards. Ma prima di raccontarvi chi è, vorrei ascoltarvi una prima parte dell'intervista di oggi e farvi capire chi potrebbe essere. ♪ ♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪♪ ♪♪ ♪ ♪ ♪ ♪ Grazie mille! E quindi, la vincitrice dei Futur Classic Women's Awards Classical Instrumental Section è Eoli Charland! Ciao Eoli! Buongiorno Stefania, grazie! Come stai? Felicitazioni! Grazie mille! Questo è stato Schubert's Sonatina, solo per le persone che si chiedono. Nella D maggiore, il primo movimento, hai suonato nel Club 1901, quindi è una recensione in vivo, con un pianista che si chiama? Maiko Mori. Sì, quindi è il tuo compagno duo a lungo, vero? Sì, abbiamo lavorato insieme per oltre 20 anni ora. Wow, ricordo che stavamo parlando di questi più di venti anni, oh mio Dio! Sì, lo so! Lo so, il tempo piace! Lo so! Allora, Oeli, prima di tutto, dove sei ora? Perchè è piuttosto eccitante! Oh, sì, beh, non sono in Londra nera. Adesso sono sotto il cielo blu di Rapallo, vicino a Genova, in Italia, e sento che l'estate mi è spostato un po', che è meraviglioso. Quindi ti parlo dal terreno del mio hotel, e posso vedere le montagne, il mare e gli automobili in distanza, e è piuttosto bellissimo. Lo conosco molto bene, è Cinque Terre, è la parte italiana di Canto Azzurro, se ti piace, ed è una delle parti più belle d'Italia. Tutta l'Italia è bellissima, ma lì hai la focaccia, hai la focaccia? No, I haven't had focaccia yet, I have had pesto, beautiful pesto, and I have had, last night we had a tasting of different cured meats, some of the most amazing prosciutto I have ever had, and a specialty also of pork that was, I don't know how it was prepared, but it was prepared in fennel and chili, and oh my goodness, it was delicious. Fennel sausage, yes, I know very well. You have to have the focaccia, you know, in theory focaccia has been invented in Genoa. Oh, right. Oh my gosh, you're gonna eat just that for breakfast, lunch and dinner. Oh, wonderful. I'll add that to my list. So today is gelato, focaccia and swim. Allora, mi raccomando, dove eri tu? Credo fosse un posto migliore per ricevere le notizie di vincere l'edizione cinquanta degli awardi di Futur Classic Women, ma dove eri tu esattamente quando ti ho mandato il messaggio? Assolutamente, sono molto onorata e, in effetti, quando ti ho mandato il messaggio, Stavo lavorando perché il mio compagno è stato invitato con il suo trio jazz per fornire la musica per un evento di due giorni. Oh, il Rapallo Jazz Festival è un festival molto famoso. Yes, but that's not the one that we're at actually. It's an event that's organized by an old friend of my partner's. He works with people in the mining industry and so they organized this networking event. So we had dinner on the sea in this beautiful little restaurant last night and my partner's jazz trio was providing the music for that and then tonight there's another dinner in a traditional Italian restaurant and he's also providing the music. And his friend is very involved also in various parts of the music scene in the UK, classical music scene. So he said, well, you know, would you like some classical music as well, like mini concerts? And so my partner Maiko is here with me as well. Last night we played a little bit of Bach and a little bit of solo Bach as well. And we played Liebesleid by Kreisler and just, you know, some entertaining, just for a different flavor in between the jazz. Yes, and we're here with Dominic Pipkin, who's this amazing New Orleans jazz specialist. So if you ever see him advertised in London, it's really worth going to hear him. Fantastico! Well, you know, I had a strong, you know, desire of having a conservatory, the Lando Performi Academy of Music, where classical and jazz were equal. That is something that rarely happened in conservatories. There is always a smaller department, while we have the largest department of jazz in all the UK, if not in all Europe. Ma come exactly does it work to have a personal relationship with the jazz? Is it luring you into the jazz or are you keeping the two, classical and jazz, separate? Oh my goodness, Stefania, I wish, I wish so much that I had learned when I was a child that I had had the opportunity to learn improvisation. I mean, through my partner, I have been meeting some of the most incredible improvisers and I am in awe. I mean, what they do is absolutely extraordinary and it's a completely different skill from what we are taught to do in the classical In the classical world. And I am sad for that. I think I'd need another lifetime to learn how to do what they do. So for the moment, I just enjoy what they do and talk to them. But I don't play jazz myself, I'm sad to say. Well, I'm sure your partner and their friends, they know very well about the influence of classical music into the jazz. There are some of the most amazing, well, you are French, there is this fantastic jazz pianist that was making, you know, the jazz variation on Bach. Gosh, this very moment I'm missing his name is on the tip of my tongue. Lo sai chi sono io, vero? Sì, e non riesco nemmeno a pensare il nome, scusami. Tra noi due. È il mattino, per questo motivo. Sì, in effetti. Allora, torniamo a noi. Ma lo sai, sappiamo molto bene che la musica baracca all'epoca, lo sai, la luce della musica classica era molto concentrata sull'improvisazione e poi, in qualche modo, andiamo all'altra parte, 400 anni di più, tornando all'improvisazione attraverso il jazz, quindi è un po' un cerchio che si chiama. Non suona la musica barocca, a parte la classica interpretazione di Bach, no? Oh, yes, well, I'm not a trained... Specialist. I'm not a specialist, but I do... In fact, last year I played all the Bach sonatas for violin and harpsichord with wonderful harpsichordist David Wright. And I am one of those... He's one of the best. Yes, he's wonderful. A bit of a rock star. I know, I like him. Yes, I love playing with him and I am one of those players, even though I play with a more modern technique, on a modern instrument, with a modern bow, I am very aware of what it is likely, what the music would have likely sounded, the way it would likely have sounded with the old instrument. So I try to respect that and I play with minimal vibrato and I try to do, you know, so I am I am a modern player who does try to play in the Baroque vocabulary as much as I can. But I do, I love it. How can one not love Bach? You can spend your entire life learning and playing that music, and still every time you find something new to explore, something new to express, it's just endlessly beautiful. And it's that kind of music that reminds us why we're doing this, which is really being able to connect with something which is bigger than ourselves. And well, nobody does it better than Bach. Lo sono, non lo sono. Soprattutto la beautìa della linea. E' qualcosa che ci siamo tutti attaccati a quando siamo in momenti scuri nella nostra vita. Durante la pandemia, per esempio, quando c'è un momento I was reading an article that was saying that listening to classical music for nine minutes, if you're happy, makes you super happy and excited and full of energy. If you're sad, it only takes 13 minutes to change your mood and bring you back to being happy. Have you ever noticed a difference in your mood when you play music? Oh, Stefania, this is a really interesting question because I know that I know from studies as well from anecdotal evidence that many, many people use music to alter their moods. I have to say that I don't know if it's because I've chosen to become a professional musician, but I tend to listen to music and choose the music according to my mood, if that makes sense. I see. I think the analytical part of my brain kicks in too much for it to truly alter my mood. Although, yeah, it's a funny one. But yes, I don't really relate to that. Depending on how I'm feeling, I will listen to different things. And of course, after a long day of teaching or a long day in sessions or a long day in practicing, the truth is that I actually am saturated at that point and I don't listen to music after I've done my work. So yeah, it's a slightly different take on things. Hai apprezzato qualcosa di molto importante. Sono venuta da un maratone di concerti ieri, un reperto molto chiedoso, bellissimo, spaventoso, ma allo stesso tempo mi chiedo se, perché siamo musicisti professionali, quindi lo ascoltiamo con una differenza, l'audience normale, se ne prende un costo in quantità di musica che possiamo ascoltare. A volte, per esempio, il mio marito piace lavorare ascoltando musica, ma non posso farlo perchè mi distraggono troppo. Sì, esattamente, sono la stessa. Se lavoro sul computer, non posso avere musica. I think it does, the way that we listen is different and I think that impacts on how we listen. This said, it does have its advantages because my children are now at the age where they are developing their own taste in music and we have this game when we have long journeys in the car, we have this game where each person in the car gets to choose a track in turn and and it's it's lovely because it means that you know the rules of the game is that we have to respect everybody's track we can't just say oh this is rubbish turn it off so uh my son amias will choose a track and and my son odin will choose and i will and my partner will and we kind of go around and when the children you know they they choose tracks often that their friends are listening to or whatever and very sadly not always but but a lot of the time the tracks that they choose are of much lower quality to other things. But they have qualities that will unpick. So I'll say to him, okay, so what do you like about this? He'll say, oh, I like the bass line or I like the the percussion or I like the the edgy sound here and I'll go oh well if you like that have a listen to this and then I'll be able to show him and let him listen to to something that has the same qualities that appeals to him but is let's say produced better or or recorded better or just played better with the different you know with a better spirit and better Und so it's a nice way of introducing him to a repertoire which he probably wouldn't gravitate towards, you know, because he's at the point where he's rejecting anything that Mummy Likes is going to be, you know, no, I don't want this. But in this way, I kind of start to have him pay attention to what he's listening to so that it's not, that he's not just, you know, taking it in and not using any of his critical Sì, esattamente. Quindi, lo sai, c'è la linea di silvere. Mi ricordo di avere un amico, quando ero in scuola primaria, la sua madre era una critica del film, e noi dicevamo, oh, quanto sei fortunato, perché puoi andare a vedere la premiera di tutti i film e di tutto, con tua mamma, sai tutto ciò che sta succedendo. E lui direbbe no, è terribile, perché mia mamma conosce tutti i dettagli e tutti i dettagli professionali che sono fatti bene o non bene, prodotti bene o non bene, quindi spoila tutto l'amore di guardare un film. E mi chiedo se i nostri bambini hanno lo stesso problema di avere una mamma che è una musicista professionale dicendoli a cosa deve essere guardato con un occhio più critico, o no, o è un'avvantaggio, sentite? I don't know. I mean, I'm very careful not to criticize what he's listening to, just to kind of invite him to listen and compare and try and get him to really use his own judgment. And also, they both are really supportive of what I do. You know, when, for instance, that Ugly Duck project that I was telling you about the last time, when When I performed on the 30th of March, he came to that concert and he was making himself really helpful with the organization, and he kept coming and checking on me and saying, Mommy, do you need a glass of water? And he chatted to all my colleagues. And then afterwards, you know, he was the first one when I walked off stage, he was the first one to give me a hug and said, Mommy, I'm so proud of you. That was so cool, you know? Oh my gosh! How old is your son? He is 12 and he is such a beautiful soul, yes. So while talking of which, shall we listen to il progetto Ugly Duck che hai registrato. Ti ricordo l'episodio vincente che ti ha portato a vincere l'edizione quinta di Future Classic Winner Awards. Stavamo parlando, annunciando il prossimo progetto Ugly Duck e questi incredibili concerti. Stiamo per ascoltare la live premiere di Florence Monders, Coda Fats. Coda Habits, sì. Coda Habits, sì. E poi potresti raccontarci un po' di questo meraviglioso pezzo. Ascoltiamolo. ទំទំទំ ♪♪♪ ეეეეეეეეეეეეეეეეეეეეეეეეეეეეეეეეეეეეეეეეეეეეეეეეეეეეეეეეეეეეეეეეეეეეეეეეეე� ♪♪♪ ♪♪♪ ლალელელელელელელელელელელელე ♪♪♪ ♪♪♪ ♪ ♪ ლელელელელელელელელელელელელელელელელელელელელელელელელელე ♪♪♪ ლელელელელელელელელელელელელელელელელელელელელელელელელელელელელელელელელელელელელე� ლელელელელელელელელელელელელელელელელელელელელელელელელელელელელელელელელელელელელე� ♪ ♪ ♪♪♪ Assolutamente fantastico! Questo è stato Coda Hafez di Florez Monders, performato dal progetto Ugly Duck, guidato dal nostro vincitore della quinta edizione degli awardi Future Classic Queen, Ola Lee Shirland. Ola Lee, raccontami di questo incredibile pezzo, è tutto e ancora di più. I agree, Florence is brilliant. And I should say as well, the Ugly Duck project is named after the place where we performed, which is a fantastic art venue in London. If you haven't had a chance to go there, they have all sorts of incredible art and installations. It's really worth paying a visit. My group was performed by Synchrony, that's the name of my chamber orchestra. That's okay. Florence wrote this piece just before Covid and it was supposed to be premiered by an American women's orchestra and of course Covid happened and it was never performed and so when I approached her and said do you have anything for 12 musicians 12 strings she said yes you can try this one and and we completely loved it and she describes it as persian heavy metal which you can kind of hear how it um how it would be how how she had that sound in her ears when he when she um when she wrote it um so yeah so it was it was great to be able to perform that uh in london and also we performed it a few weeks later in malta at the Malta International Festival. I have a very big question. Is Florence connected to Persian culture, heritage? Did she get influenced by that through a trip to Iran, for example, or was it influenced by, you know, living in London and maybe, I don't know. Do you know? That's a good question. I'm not sure. She has used in the past quite a lot of these Middle Eastern rhythms, which she integrates into her music in really cool ways. But actually, I don't know for sure the answer to your question. We'll have to ask her. Okay, next time we invited her. Yes, that sounds like a great idea. Absolutamente. Well, you know, I was at this concert last night and there was this Australian singer who was singing in Brazilian music and then she was singing Bella Bartok in Hungarian and she was playing, singing something Spanish with this Greek guitarist. And what I was amazed, it was the quality and the beauty of the fact that you had Australian, Greek performing in the style of Spagnoli, Brasiliani, Ungari, Tuscani e il fatto che la musica sia una lingua universal che quando si usa in un culturo specifico, un folk, in a different style, it brings you in a different land without having to travel. And the power of an amazing musician is when they can give you this language without actually being from that country. Do you feel the same when you perform with violin pieces from Ravel, for example, or Debussy, because they have these exotic pieces, for example? Ja, natürlich, und die Künstler, die von allen Artisten spielen, sind immer reisen gegangen und immer von Kollegen aus anderen Ländern beeinflusst worden und von anderen Orten inspiriert worden. Und das ist eine der größten Tragödie von Brexit, weil es das in vielen, vielen Fällen restriktiert. The UK benefited for many, many years from being this lighthouse, this cultural lighthouse, and Brexit has just completely restricted this in many in subtle and not so subtle ways. And it's something that we are all suffering from. And the population at large and our culture at large, it's going to become more and more evident as time wears on that what a complete and utter mistake this was. Culturally, there is absolutely nothing positive that is coming out of Brexit. You can hear I feel very strongly about it. I think everyone, any musician feels this strongly, particularly when you have to tour and there is now all this crazy. You know, I remember when I was a student and I was living with this amazingly talented Bulgarian double bass. very young kid, he was 18 and I remember at the time he had the freezer full of food that his grandma prepared for him and he had it ready to have it, oh my gosh, so I was cooking for him, I was like the older sister, the big sister. I remember the problem of him with the visa and I was like, you know, this is ridiculous. He's the most talented young musician ever and he deserved, you know, he received the scholarship to study at the time at Gilder and he deserves to be here. And I felt so lucky to be European and not needing any of this nonsense. E poi, sì, il Brexit era come un punch in the face, ma in qualche modo tutti noi ci sentivamo tanto a casa, a Londra, o all'UK in generale, per questo abbracciamento della diversa cultura. E' per questo che ti stavo chiedendo del compagno e di questa persiana influenza nel suo bellissimo pezzo. Questo è il più open-minded culturalmente, e questo è ciò che dà la ricchezza a questo paese in musica. Ma sul lato superiore del Brexit, se volete, ero forzata a ottenere la cittadinanza britannica. Avete ottenuto la cittadinanza britannica? Sì, l'ho fatto. Ho avuto bambini, quindi non potevo... Esattamente. Quindi sento che'era più una manovra per rendermi britannica che per dirlo. No, sto scherzando. Non sono sicura che fosse così. He was very expensive and luckily I had a friend who was so ashamed of the decision that he decided that he would sponsor my citizenship. But a lot of us can't afford to do that and I'm not sure that in the middle of my divorce I would have been able to afford doing that. But yeah, he was kind enough to. To sponsor me in that way. And yeah, if it weren't for my children, honestly, if it weren't for my children keeping me in the UK, I probably would have tried my luck elsewhere after Brexit. Ma, ad esempio, il vostro fantastico gruppo, Synchrony, non abbiamo parlato abbastanza di questo. Voi championate queste incredibili compagnie femmine, è composto da femmine, e quante culture sono all'interno del vostro gruppo? Etnicità e cultura. I mean, it depends, but it does tend to be varied. On this particular recording, there was a woman from the Netherlands, there was an Italian, there was a Brazilian, there was, let me think, there was a Polish woman as well. Yes, so it's very multicultural, but I mean, like you were saying, this is London, and that is the beauty of London and what we're all attracted in the first place. So, what is the next project with this amazing group? Well, so I had intended this year to try and embark on a very big project which included a new commission for poetry and music and workshops, education workshops and also, and also all going well, an artistic short film. I honestly this is such a big project. It would mean me for two years having three full-time jobs and I am not 20 anymore and I just don't think I can do it at the minute. So I am putting that aside until I can find somebody who can help me with the whole side of things you know the fundraising and writing grants and somebody who's brought to fruition that kind of project so if you know anyone please put me in touch because i'm realizing you know there's a moment where you have to accept and realize what what you're missing because you that you can't do it i i certainly can't do everything to do with this project but i have spoken to a few people about it and they say that it's it's it's a really amazing idea and i i it's been rattling around and my head for such a long time and I just know that I can't do it by myself. So this is what I'm on the lookout for at the moment and in the meantime I am currently, this is a smaller project and this one involves only me, I am currently putting together a program of short pieces for solo violin all written by by living women composers, and it's shaping up really beautifully. I've got some beautiful pieces by Jessie Montgomery and Florence Monders, who you know. Oh, and Odaline de la Martinez, which you may know as a conductor, and I discovered her as a composer. She's fantastic. So yes, I'm putting together this program. Hopefully I'll be performing it in the coming year. I think I will be performing it almost certainly at the Malta Festival in April. And that's to be confirmed, but that seems to be probably going ahead. And then in the slightly longer term, so in a year's time or so, I'm hoping to to raise the money to record that. Nowadays, recording isn't a financial thing, it's more just having something that you can leave to you can leave behind basically and show what you've done and yeah I think it's worthwhile. So that's my project that I'm keeping busy with at the moment. I'm also in the slightly longer term coming up with an interesting album and program with my colleague Maiko which would be, we have this idea of und das Jazz-Idiom in eine klassische Klavier- und Piano-Sprache integrieren. Das ist also ein bisschen länger. Aber ja, ich halte mich beschäftigt. Und dann natürlich, dass ich sicher bin, dass ich Zeit habe, die Mutter zu sein, die meine Kinder brauchen. I'm teaching lots of things to my lovely students, so yeah, that's what's on the horizon in the coming year. Looks like a lot, to be honest. Looks like a wonderful horizon and full of wonderful projects. C'è qualcosa che penso che l'ho menzionato prima in altre interviste, ma qualcosa che mi ha toccato davvero quando avevo appena il mio bambino, e ho trovato tutto un po' spaventoso, sai, perchè arrivi da essere 100% concentrato sulla carriera, i progetti, la musica, e c'è sempre, non so se ha a che fare con la nostra mente creativa, o è solo noi che abbiamo questa incredibile energia, sai, che spinge avanti, Having a baby suddenly you realize there is something else in life apart from music and that's a big part of the life of any mother really, no matter which work you do. Questa amica era la mia vicina all'epoca. E' un'autorizzante designer per i costumi per la televisione e il film. E lei ha vinto un'Emmy. Era una serie che lei aveva fatto. Stavamo parlando tra le pietre dei nostri jardini e lei mi stava dicendo, Stefania, che ti ricordi qualcosa. che, prima di tutto, sei un'artista, e se lo metti a un lato per essere solo una madre, non sarai mai raffinato, e non sarai mai una buona madre al tuo figlio, quindi devi continuare a andare con l'arte per essere felice, e poi sarai una madre felice e il tuo figlio lo adorerà. E allo stesso tempo lei stava dicendo qualcosa d'altro. Oh, ho sentito, sai, nella nostra lunga vita già, è il fatto che i figli dei musicisti capiscono molto bene il nostro mondo perché vivono con noi 24 ore al giorno. Quindi capiscono il sacrificio e lo rispettano perché sanno che è ciò che rende le loro mamme chi sono. Although sometimes we feel guilty not to be with them. For example, yesterday was Sunday and I had to spend the whole day out for concerts instead of being home with my daughter. But they know, they understand and they are fine with it. Do you have that? Oh, absolutely. I believe that. The music is part of my life. It has always been part of my life. And, you know, it's exactly as you say, my children, they really understand that. And I think they actually enjoy, I notice that they enjoy when I'm practicing and they're with me. The way that they play changes, so their play becomes quieter, and I can tell from their body language that they're playing, doing whatever they're doing, but they're also listening. And they know that they only come and bother me if they absolutely need something. You're right, the respect is absolutely there and it does make us better parents, I think. And it's interesting because I was hearing you saying what your friend said to you. You know, when I was in court fighting for my kids in my divorce, the judge, it was during COVID, so at the time I had lost all of my income. and I knew that it would come back at some point. But the judge actually looked me in the eye and said to me that my job was not compatible with being a parent and that if I wanted to be a good mother, a good mother in inverted commas, I needed to go and get a job stacking shells at Sainsbury's. Are you joking? I am not joking. Non, je ne rigole pas. Et vous savez, c'était le pire genre d'électricité institutionnelle. Je ne savais pas qu'il y avait telle chose, mais j'ai appris la manière la plus difficile. Et vous savez, ça a rempli mon coeur d'entendre vous dire ça. Je veux dire, nous savons que ce sont des artistes, mais d'être dit que ce que je savais dans mon coeur était vrai, era sbagliato. Era davvero, davvero doloroso e traumatico. Ma, in effetti, lei mi l'ha detto. Wow. Era una donna di giudizio. Sì. Oh, mio Dio. Ma credo che il problema principale del nostro lavoro sia che non è un lavoro comune, ma è lo stesso per gli attori, se ti piace, o per i scrittori o i compositori, diciamo. L'artista, in generale, non è un lavoro da 9 a 5. E' un lavoro da 9 a 5. E' un lavoro da 9 a 5. E' un lavoro da 9 a 5. E' un lavoro da 9 a 5. E' un lavoro da 9 a 5. E' un lavoro da 9 a 5. E' un lavoro da 9 a 5. E' Felly un lavoro da 9 a 5. E' un lavoro da 9 a 5. E' un lavoro lavoro da 9 a 5. E' un lavoro 9 a 5. E' un lavoro non è facile e ho avuto alcuni guesti sul nostro programma radio che dicevano di sbagliarsi di essere madre perchè volevano avere una carriera. E non è il caso. No, it shouldn't be. And there are some organizations now that are like PIPA, which stands for Parents and Carers in the Performing Arts Charity, which is doing really fantastic work and working with employers in the arts to make working practices more carer and parent friendly. So there is some awareness starting to be fostered by this kind of organization. But you know, it not being a 9-to-5 job can also be an advantage. I mean, yes, there are moments with the touring and the traveling which can be more difficult, but somehow I always manage to So I'd practice and then do something with the children and then practice some more and then do something with the children. Or for instance, I have fantastic memories of teaching in my front room with my little one having had dinner. He'd kind of sneak in and come and sit on my lap while I did my teaching. Et comme tu dis, ce n'est pas la même chose que d'être devant un ordinateur dans un bureau avec la porte fermée. Donc même si tu travailles, le fait que ton présence est là... Je veux dire, souvent les enfants, ils n'ont pas besoin... Désolée pour le bruit. So yes, sometimes children, it's not so much the kind of active input that they need, but just being in the same room as you while you're doing something which is creative, something which is soul nourishing, if you know what I mean. That is enough. That's often all that they need. Sì, assolutamente. In these words, let's listen to an amazing piece by Béla Bartók, recorded again live at the Ugly Duck Project from the Synchron Room. The Ugly Duck Project! E' un'acqua molto bellissima, per dire la verità! Sto spogliando perché è un'acqua bellissima! E' un'acqua bellissima! E' un'acqua bellissima! E' un'acqua bellissima! E' un'acqua bellissima! E' un'acqua bellissima! E' un'acqua bellissima! E' un'acqua bellissima! E' un'acqua bellissima! un'acqua bellissima! E' un'acqua bellissima! E' un'acqua bellissima! E' un'acqua bellissima! E' un'acqua bellissima! E' un'acqua bellissima! E' un'acqua bellissima! E' un'acqua bellissima! E ♪ ♪ ♪ ♪ ლელელელელელელელელელელელელელელელელელელელელელელელელელელელელელელელელელელელელე� ♪ ♪ ទᾶ ទᾶ ទᾶ ទᾶ ទᾶ ទᾶ ទᾶ ទᾶ ទᾶ ទᾶ ទᾶ ទᾶ ទᾶ ទᾶ ទᾶ ទᾶ ទᾶ ទᾶ ទᾶ ទᾶ ទᾶ ទᾶ ទᾶ ទᾶ ទᾶ ទᾶ ទᾶ ទᾶ ទᾶ ទᾶ ទᾶ ទᾶ ទᾶ ទ� ლალელელელელე ♪♪♪ ♪♪♪ ♪ ♪ ♪♪♪ ♪ ♪ ♪♪♪ Hrvatska, Hrvatska, Hrvatska, Hrvatska, Hrvatska, Sieg Heil! Sieg Heil! Bene, Bella Bartok è sempre così divertente, mi piace molto. Questo è stato Divertimento, il primo movimento di Bella Bartok, Divertimento for Strings, performato in sincronia e guidato dal nostro vincitore della quinta edizione degli Awards, Olali Sherland. Olali, di nuovo, ringrazio, è un piacere parlare con te. Grazie mille, Stefania. Siete molto benvenuti e buona fortuna con tutti i vostri progetti, non possiamo aspettarvi di avervi di tornare con nuove fantastiche performanze. Fasciate attenzione, lunedì a 10.00 a Londra, per scoprire il vincitore dell'Opera dei Classic Women Awards, l'ultima categoria della quinta edizione. Per decidere il vittore, ricordatevi di ascoltare la loro intervista sulla nostra playlist finalista sulla pagina di Radio Stagione delle Femmine e SoundCloud, e condividete, lasciate un like e commentare sulla vostra finalista preferita taggiando la Radio Stagione delle Femmine e i premier classici del futuro. Le nominazioni sono ora aperte per la sessanta edizione dei Future Classic Women Awards. Per nominare i vostri artisti preferiti, per favore emailate i presentatori su www.womensradiostation.com o su Twitter su www.womensradio.stn. Avete ascoltato i Future Classic Women Awards di Women's Radio Station, in vivo ogni giorno a 10.00 a 10.00 a.m. a Londra. E se volete ascoltare questo fantastico episodio di vittoria con Olly Charland dei Future Classic Women Awards, Oltre che vorreste capire i nostri precedenti programmi, portatevi alla mia pagina di presentazione, Stefania Passamonte, Future Classic Women Awards su www.womensradiostation.com. Grazie per l'ascolto! ლელელელელელელელელელელელელელელელელელელელელელელელელელელელელელელელელელელელელე� ទᾶ ទᾶ ទᾶ ទᾶ