In this episode of Future Classic Women Awards, host Stefania Passamonte speaks with acclaimed violinist Eulalie Charland about identity, belonging, and the power of music to inspire change. Eulalie shares her unique multicultural background—born in Rome to Canadian parents with French heritage, she grew up across Europe before settling in the UK over 20 years ago. She opens up about the profound impact of Brexit on her sense of home and the European classical music community, discussing how freedom of movement has been essential for cultural collaboration and the survival of orchestras across the continent.
The conversation takes a deeply personal turn as Eulalie discusses founding Synchrony, her ambitious orchestra project launched in 2018 during a period of global uncertainty and personal challenge. She reflects on motherhood, postnatal depression, and the gender inequalities that persist within both the music industry and family life. Through candid storytelling—from juggling concert preparations with childcare to navigating the unequal distribution of domestic responsibilities—Eulalie makes a powerful case for why artists must continue to create and fight for change, even when the world feels like it’s falling apart. Her message is clear: art and music are not luxuries, but essential forces for hope and transformation.
Main Topics
Eulalie Charland's multicultural identity shaped by being born in Rome, holding French citizenship, and having Canadian parents, while finding her adopted home in the UK
The profound impact of Brexit on European musicians and the classical music industry, including visa complications and threats to freedom of movement that has enabled cultural exchange since WWII
The founding of Synchrony orchestra in 2018 as a response to political upheaval, climate anxiety, and personal crisis, representing a commitment to artistic activism
Challenges of motherhood and postnatal depression, and how becoming a parent exposed systemic gender inequalities in both professional and domestic spheres
The intersection of gender, economics, and artistic value in classical music, where women musicians struggle to balance career ambitions with childcare responsibilities
The essential role of the arts and music in times of social and political crisis, arguing that creative work is a form of resistance and hope
Full TranscriptHello and welcome to future Classic Women Awards with me, Stefania Passamonte on women's Radio station, the program wher...▼
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. To today, on future Classic Men Awards, we will be talking to violinist Elolie Olali. Sorry, Holali. Charlotte Holali. Welcome. Thank you. Stefania. It's a French name. All right. Yes. So you're French? It's a little more complicated than that, but yes. So, yes. You were telling me you were born in Rome. I was born in Rome, yes. I have a French passport because. Because of my grandparents who after the war immigrated to Canada. And so my parents are actually Canadian from Quebec. And to make it even more interesting, my father was a diplomat. So I grew up all over the world, mostly in Europe. And so that's why when people say, are you French? It's part of the truth, but only a small part. How do you feel then, European? Fantastic. Very much so. What do you think about Brexit? Do you really want to go down that road? This is the crazy bit, isn't it? Well, I'll tell you what. I came here to study 20 years ago now, and I fell in love and got married and had two children. And this is the longest I've spent in one place. And I really adopted the uk. I fell in love with so many things. You know, the countryside here is some of the most beautiful I've seen in the world. There's lots of. Lots of things in the culture. The long walks in the countryside, the love and companionship of dogs. I know this sounds random, but this for me is a very British thing. The BBC National Treasure I learned to laugh at. I'm sorry, I haven't a clue. All of those things. I really felt like this was my home. I have two children with British passports, for goodness sake. So it was a real shock. And I'm still coming to terms with what happened three years ago, because waking up that morning and finding out that what I thought was my home actually was telling me, nope, you don't belong here and you never will. It's taken. Like a lot of Europeans in the uk, we've had. Well, it's been a depressing time and we've had to look after our mental health because it's been very difficult and the hostile environment is still in place and there are still so many uncertainties. And in my profession, I mean, we're deeply, deeply worried because this is going to affect absolutely everything in our industry. All the orchestras are wondering what on earth is going to happen, whether they're going to be able to survive. We musicians and anyone who's involved in culture depends on freedom of movement. It's been the most wonderful foundation for peace for the last. Well, since the Second World War. It's been the longest time of peace that we've ever seen in Europe because of this freedom of movement, because of this free exchange of ideas, of people, of, you know, being able to fall in love with somebody somewhere else in Europe and moving without having to overcome so many obstacles. All of those things are in the danger of being lost. And it's deeply saddening. I mean, on my personal point of view, I know perfectly that musician, I mean, you're a part of you too. It's so important to collaborate, and it's so fantastic to be able to be free to work with Germans, Italians, French, Spanish even. You know, the problem I always found is I had amazing friends, super musician, and they had trouble with visa because they were not European. And now we're, you know, extending this program to everybody else. That's right. It makes it that much harder because the cultural industry is one that brings in a lot of money to the overall economy of the country, and yet those who engage in it tend to be very badly paid. And so we're all kind of surviving. And these sorts of obstacles like visas make really will have a massive impact on what we are able to do and what we're not able to do. Absolutely. I think we are, with the globalization that we have through the social media as well. So the industry is gone global, and it's very important that you are able to reach your funds as well, that they are in America, in Canada, in South America. I have funds in Japan or whatever. So it's already difficult to be able to go there. Imagine just to go nearby, just to cross the river and, you know, the Channel and go to Paris. I studied in Paris for a year at the Col Normal. I would take the Eurostar every two weeks in the morning, very early in the morning, then come back with a nice French cheese. I still go to Paris a couple of times a year for a haircut. I know it sounds frivolous, but, you know, you know, whatever make you feel, you know, the. The freedom. There is nothing more priceless than that, isn't it? Exactly. And yeah, that's a sad thing subject, but, you know, we're not out of it yet, so who knows? Things might change, I'm hoping, until I'm hanging with my nails and with my. Yes, same hair. Wonderful. So there is something that actually you. A project that you started in 2018, so during this crazy climate of Brexit that is called synchrony. So somehow it's like the opposite of the current political mood. So would you like to tell us something about it? Yes, I would love to. I started it and started thinking about change, really right in the depths of, well, the lowest point that I was feeling when, I mean, there was a year, I don't know if you remember, but there was a year where it felt like we turned a real. We got to a turning point in the world in general. I think that we underestimated down in the south of the uk, we underestimated how disenfranchised so much of the population felt. And that's one of the reasons behind the vote that happened on the referendum. And then a few months later, Trump was elected. And then the acceleration and realization that we don't have as much time as everybody was hoping we had, climate wise. And it just feels like everything is starting to unravel and it shouldn't be a surprise because we have had warning signs for a long time and that really affected. It really affected my mental health. It was also at a time when my marriage was disintegrating and I was just putting myself completely under scrutiny and just asking myself, what am I doing? Everything is going pear shaped in the world and here I am trying to make music and barely making a living. And what does that mean? What is my place in the world? And I guess I came to the conclusion that we have to fight. It is in the arts, in these moments when things are going pear shaped, that it's especially important for those of us who have dedicated our lives to art and to making music or anything else. This is the moment where we have to fight more strongly. Just stay strong and fight even harder. That is a very big concept. We need to talk more about this, but first I'd like to listen to a bit of your Walten Sonata in A Minor with pianist Meile Mori. Yes, Michael Mori. She's a wonderful pianist. We've been working together for 15 years. Fantastic. So let's listen to it. It. Welcome to Women's Radio Station. I'm Sarah Louise Ryan and welcome to Love Lessons live on Women's Radio Station. Hello and welcome to future Classic Women Awards with me, Stefania Passamonte on Women's Radio Station. Hello and welcome to. Julie Mae is listening. Hi, this is Anna Kennedy and we're at Women's Radio Station supporting women's Wellbeing. And we're talking all things autism women. The possibilities are endless. That's what makes us different. Hi, I'm Tracey Weedon of Brownhill Insurance Group. We are an award winning family run insurance broker covering a wide range of insurance products ranging from commercial lines to personal household, high net worth and fine art. You can contact us on 0208-658-4334 or visit our website www.brownhillgroup.co.uk for your free no obligation quotation at Brownhills. We've got you covered. 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 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. 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 and daily at 5am and 5pm throughout my shows we'll talk about the books I've read, new releases, chapter authors, publishers and book enthusiasts, all with a theme and aim of supporting women's emotional well being. If you have a book to tell us about, get in touch@presentersomensradiostation.com join me on my show and share my love of books and writing. Hi, I'm Valentina Barbacci and I'm the Executive Director of Media Matters for Women. We're a registered charity operating in Sierra Leone and the Democratic Republic of Congo and we produce and share podcasts via Bluetooth on mobile phones focusing specifically on women and girls excluded from information due to extreme poverty. We empower those living in rural areas with media that transforms how they access, own and share information. To find out more and be part of this movement, come check out our website@mediamattersforwomen.org you're listening to women's radio stations supporting women's wellbeing. 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 womensradio Station 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 the Program where we search for the most amazing new female artist on the classical panorama today. Our guest is the exceptional Holali Charlong with this fantastic synchrony orchestra. So can you tell us more? So we were starting and then we wanted to listen to. To you playing. Yes, well, I started it in an effort. Well, in an effort to become part of a change that I think is needed in our industry and in general, my experience of motherhood. I had my first son eight years ago and my second almost four years ago now. And the experience of motherhood was a very difficult one for me. I think I had this idea that I would be able to do it all and have it all. And I had terrible postnatal depression after my first one. And I had to learn how to pull myself out of that and recover from that. And then it being a mother also brought to the fore the inequalities that women face everywhere, not just in the. Not just in the workplace and in our very unusual workplace, but also within their marriages. And I wonder how many of your listeners would recognize situations where they are desperate for some time to do some of their work without the kids in tow and have to negotiate and plead with their husbands or partners to make that happen. Because men still today tend to earn more money. And in a society generally where everything is measured in terms of money, not so much in terms of well being, quality of life, these things have been consciously and unconsciously left to the side and everything is measured in money. So even I found, talking to colleagues and other women, that there is even within couples this feeling that whoever is earning more, their work is more important. So I found myself in this situation where I wasn't able to do what I wanted to do. I mean, I remember going to concerts, organizing, giving concerts myself, organizing for a neighbor to come on the train with me. I'm having to pack my concert clothes and my violin and the push chair and the baby's clothes and the nappies. Breastfeeding right before going on stage. No way. And oh yeah, I don't know any man who has to work that hard just to do his job. If he's out there, please let me know. The main problem is that unfortunately, men cannot breastfeed. Although I had friends who had the husband giving the bottle. But it's not exactly the same. Same feeling. And it's so important breastfeeding, isn't it? If you can, not everybody can, but when you can. And what I noticed with mine going away is the fact that although the father. I'm. I'm lucky I have a wonderful husband who, who did as much as he could. Still, he is not mommy. And his mommy is irreplaceable. Irreplaceable when you have her. Of course there are children. I read, I have friends, you know, that they don't have mommy and that's. I think it's a tragedy. But you know, the fact of having you know who you are and also depends also from the mom, isn't it? From the woman. There are mothers that they don't mind, but others looks like you do mind, like me. And we, we make children because we love them so much and we would like to spend. So there is this duality of being the performer, the one who lives, who has a passion for music, who thinks we are creating music as well. Those are our child, in a way, and the actually biological child that you love as much. And the moment you're going away, you feel guilty, isn't it? No, not for me anyway. I know a lot of women feel this way now. I've come to a place where when I'm with them, I'm completely with them and when I'm not with them, I am my own woman. And I think it's also important for them to. To learn that mummy does things outside of the family, isn't at their service constantly, and what I do is of value. And then there's all the repercussions of being a woman in the workplace and being a mother. And you know, recently I, very kind, very lovely impresario said to me that he hadn't asked me to perform in a particular project because I had children and I had to bite my tongue and ask, can you tell me more? He said, well, you know, it's a week away in the middle of the summer and it's not child friendly. I said. And he said, well, you don't want to be away. He said, well, it's your choice, isn't it? It's my choice. Exactly. And they have a father and first ask me and then maybe. And it got me thinking, you know, how many opportunities have I missed out? Because this assumption was made perhaps very kindly, but it is an assumption. And then, you know, you know how we network as musicians. We all go for a drink after a concert and if you're paying a babysitter by the hour, you know, I've gone to these drinks. You tend to find yourself with women who don't have children. That's right. You tend to find yourself in the pub with women who don't have children. And men, a lot of them, who do have children because they have the mommy at home. So there's all these opportunities. It's very hard to gauge how much we're missing out. But this was kind of the idea of doing synchrony was I wanted it to be an ensemble that put women at the center of its creative drive. Synchrony is an orchestra made only we give priority to women. It's not that we don't want to work with men. It's just that in order to try and balance out these inequalities and these lost opportunities that are hard to assess how many there are, it's a way of bringing back some balance, doing things on our terms and understanding that rehearsals, you know, rehearsals will have to finish at a certain time because people have to run and relieve the childminder or. And the fact that they're not there for drinks isn't going to penalize them and things like this. And in fact, I've had colleagues who, with children who have said what a relief it is to be able to go to rehearsals and to know that there is this understanding that it's not going to be penalty at a certain time. You have to go. You can't stay there just because. Exactly, exactly. So that was a little bit what I had in mind. Plus, I don't know if you saw the numbers that just came out, I think last week that out of the 15 orchestras, the top orchestras around the world, only 8% of the repertoire that they are performing is made up of women's music. And in the 21st century, I find this. Actually, it's not good enough because there are amazing women composers out there. More and more are being brought to the fore. Of course, we'll never know about those who are published under their fathers and brothers names or partners names. And we won't know about all the ones who could have possibly developed their voices if they had been encouraged, which traditionally wasn't the case. But now in the 21st century, we have wonderful female composers and it's really not good enough that as performers we're not making more of an effort. So there are some things that are starting to change. There's this scheme, key change that festivals and orchestras are signing up to, and that's a really good thing, which is a pledge people are pledging to program 50, 50 men and women's music. And that's a step in the right direction. Amazing. Well, let's listen now to another of your wonderful recording. That's Oration for Solo Violin by Timothy Salter. Sam. Sa. Sa. 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. 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. Hello, my name is Natasha Ann Kelleher. Welcome to you lovely lady listeners of your very own women's radio station. Over the coming months, I'll be doing a survey in big brand coffee shops, interviewing customers, asking why they like to drink coffee and if they would like to give us a health tip. For our listeners, the most shared and liked post will be the winner of a prize. Stay tuned for further details. 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. 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 programmes, 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 well being. Welcome back to future Classic Women Awards. On Women's Radio Station Today we're talking to Ole Charlot and about her fantastic group, Synchrony Orchestra. So Synchrony Orchestra, where is it based? It's based here in the uk and in fact, I wanted to say that apart from the whole redressing the balance for women issue, really it's about music. It's about bringing live music to audiences who are familiar with it and also, and perhaps especially to audiences that aren't. I am always saddened and surprised to realize how few people have the reflex and the cultural reflex to go to a concert. And I think part of it is our fault as performers because in the 20th century, music became something that was very formalized. So we have the audience in one place and the stage in all the performers on a stage. And it's quite isolating and the audience is expected to be quite passive and all these rules. Now that the education about classical music has been eroded for so many years, people aren't sure whether they can applaud or not applaud. You know, bottom line, this is a question I've asked myself so many times when I was thinking about how I wanted to take my career forward after I had children. What is music for? Why do I feel that it's so important? And there's something about music which, I mean, we were making music, we were singing, we were making rhythms as humans, before we spoke, before we had organized language. It's something that is so basic and necessary to us. And of course, classical music is very structured and very complex. It can be very complex. But the bottom line is that it doesn't matter what you're playing, an electrifying performance, whether it's Schoenberg or Mozart, somebody who has never, from any culture, who has never heard that type of music, faced with the reality of this skill, this super, almost superhuman skill that musicians have to organize sound and to connect with each other, to create something that is very difficult to define in words. People react to that in a unique way. And it's a really uniting. It's a uniting experience. It's a language that talks to everybody. Yes, exactly. And it puts us in touch with our common humanity across all cultures, all ages, all backgrounds, everything. It has the power to put us in touch with emotions that we perhaps haven't experienced yet, or that we have experienced and repressed. It's something that is it's quite magical. And. I think that we have to work harder in this day and age when we have this solution of facility. You know, we can fill our brains with these, whatever is going on in our, on our screen, you know, these really quick sound bites. We have to work harder to reconnect audiences with the magic of live performance. So my idea is to start breaking down some of these boundaries. You know, performing in unusual spaces, unusual layouts. I would like, if I can manage to get the funding that I need for this. I have in my mind this idea of cross arts performances with working with poets and artists and perhaps even dancers and just bringing. Making it something that is holistic and that isn't experienced as something that you need to experience in a passive way. Something much more immersive. Just in the concert hall, in the quiet place. Exactly. Trying to get away from that. Because, you know, I have yet even I play a lot of contemporary music. In fact, you heard this wonderful piece by Timothy Salter, who was my, who was my supervisor for my masters and I play a lot of his music and I. Even when you play contemporary music that people are less familiar with when they hear it live. I have yet to find somebody who doesn't come up to me afterwards and said, oh, I didn't know, I didn't know whether I would like this. In fact, I'm not sure I liked it. But it was the most amazing thing to watch you play and to listen to what you were doing and to be there as you were creating this. So I think that's the answer. Absolutely. So you don't really need, let's say, let's bring back classical music to what it was at the beginning. Because nowadays classical music is seen as just something where you have to have a big knowledge behind it to be able to appreciate it. When it was composed, it was actually contemporary music at the time and it would become a popular music at the same time. And the fact that stood the test of time is actually making it special. And that was special at the time. It should be special today because we are the same human being is not because we live in a different technological world, that music shouldn't touch you. Because the soul that we have inside is the same, isn't it? It's been the same for million, if not more years. That's right, it is, yeah. So something that I normally ask is, what do you think? What does it mean for you to be a classical musician today? Well, I think I probably answered part of that. I. One thing that I haven't said yet, though, is to do with education. And education is such a buzzword. But what does it mean? It really means just finding new ways and continuing to fight to bring these values and the ethos of people who have dedicated their lives to become experts and to experiment and explore the limits of what we can do in whatever field we're doing it in, in bringing that expertise and that enthusiasm and that love to children and putting them in contact with them and giving them the. Empowering them to do this. I mean, this is something that I talk to the children where I teach at the Guildhall regularly. I coach chamber music, and this year I was running the chamber music program. And the children, you know, the transferable skills that they get out of doing this go way beyond the musical skills. You know, it's about. If we're going to evolve as human beings, we need to keep on learning. And as musicians, we are expert at doing this because every piece that we play, we need to learn. And we need to learn not just the notes, but how it sits in our body and how we can communicate it so that it means something to people who are listening. So there's the learning aspect, there's the compassion that comes with working with other people and understanding that different people will have different strengths and different weaknesses. And in a chamber group, a small chamber group in particular, it's those skills of that joy of helping each other out. And, you know, the sum of the parts is the whole is bigger than the sum of the parts is what I'm trying to say. So I think it cultivates the. Making music in this way, cultivates our best human values. And this is something that our children really need. In an era where they are measured constantly by numbers. They have to do exams way too often. They don't have the time or the space to explore their creativity. And I. I admit I haven't quite found the way forward with my group specifically, but this is something that is very close to my heart. And I will never stop fighting to find new ways of bringing music to children and giving them this opportunity. Talking about children, if you could go back in time, or what would you say to an assistant, aspiring young students, who wants to start our career? I would say to them, if you can't imagine yourself doing anything else and you need this to be a whole human being, then do it. Otherwise, go and do something that gives you more security and come to the concerts and become, you know, become somebody who's engaged in the arts and not dedicating their life to it because it's such hard work. It can be wonderful and it really is a struggle. So do you think you kind of feel the call of being a classical musician sometimes? You know these jobs where you feel the call of being a doctor? Oh, yes, it's a vocation. I mean, I think. I don't know about you, but I knew that I wanted to do this when I was four. Me too, actually. Before. Yeah. I started when I was three and a half and for my birthday my parents took me to see Itzhak Perlman. We were living in Dallas, Texas at the time. And I remember sitting on a cushion and just being able to see him on stage really far away between the shoulders of two adults in front of me. And I was just, I was completely mesmerized. And I knew from that point onwards and I've had moments of doubt, of course, haven't we all? But essentially I still believe in what I do and how much and what it contributes to people, to society. Fantastic. Then let's listen to Ravel Violin Sonata from the Violin Sonata Blues with Ololie Charlan and Milo Michael. Sa. Welcome to Women's radio Station. I'm Sarah Louise Ryan and welcome to Love Lessons live on Women's radio station. Hello and welcome to future classic Women awards with me, Stefania Passamonte on women's radio station. Hello and welcome to Julie Mae is listening. Hi, this is Anna Kennedy and we're at Women's radio station supporting women's well being and we're talking all things autism women. The possibilities are endless. That's what makes us different. Hi, I'm Tracey Weedon of Brownhill Insurance Group. We are an award winning family run insurance broker covering a wide range of insurance products ranging from commercial lines to personal household, high net worth and fine art. You can contact us on 0208-658-4334 or visit our website www.brownhillgroup.co.uk for your free no obligation quotation at Brownhills. We've got you covered. 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. Hi, I'm Hazel Butterfield, a blogger, book lover and mental health advocate and you can listen to my show get booked here at Women's Radio Station daily at 5am and 5pm throughout my shows we'll talk about the books I've read, new releases, chapter authors, publishers and book enthusiasts, all with a theme and aim of supporting women's emotional well being. If you have a book to tell us about, get in touch@presentersomensradiostation.com join me on my show and share my love of books and writing. Hi, I'm Valentina Barbacci and I'm the Executive Director of Media Matters for Women. We're a registered charity operating in Sierra Leone and the Democratic Republic of Congo and we produce and share podcasts via Bluetooth on mobile phones focusing specifically on women and girls excluded from information due to extreme poverty. We empower those living in rural areas with media that transforms how they access, own and share information. To find out more and be part of this movement, come check out our website@mediamattersforwomen.org you're listening to women's radio stations supporting women's well being. Women's radio station is creating a global network for the empowerment of women and we want you to be involved. Join us on Instagram and Twitter womensradiostation, that's Womens 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. Our guest today is Oralisha Long with their fantastic Synchrony Orchestra. So what's the next project of the Synchrony Orchestra? Well, the next thing for me is to make more space to get it off the ground and find the funding that I need, the investment and the funding that I need. It's been a very steep learning curve because I have no background in running a business and so far it's going well. And given that I was fitting in all the work to get it off the ground this year, in between 30 hours a week of teaching and looking after my two children and performing myself fairly regularly, I think I'm ready to take the plunge and let go of some regular income and see if I can actually get this off the ground property so that I can start earning a living from it. So that will be the next step for me. We had our first performance in Malta in April. In fact, the last recording that you'll hear is February from this and we can't wait to listen to an arrangement of Schoenberg's book Of Hanging Gardens, which is. Which was written for. No, it was written for piano and voice and the arrangement by a friend of mine, Karl Fiorhini. He made the arrangement for string orchestra and voice. Yes. So that was our first performance and now I'm looking to find. Find someone who can take us on tour. I would like to. I'd like to find the funds to record this book Of Hanging Gardens, probably in depending on how much money I managed to raise, either commissioning a new work by woman composer or finding or finding a work that has. Along the same themes, along the same theme of nature and gardens or that sort of. Of thing, and putting together an album. So, yes, things like that and developing and not forgetting, developing an education program that could possibly work and. Yeah. So lots of work ahead. Well, you know, normally in the last session of the interview, I asked for some funny question. So is there any funny moment you can recall working with this, a fantastic ensemble? A funny moment? That's a good question. Oh, yes, well, I. I have a funny moment. So the day. So as always in our. Well, as very often in our industry, our. Our fee didn't cover quite enough rehearsal. Well, the ideal. Not the ideal number of rehearsals, let's put it this way, for the difficulty of the repertoire that we were presenting. So we were very, very restricted and doing our best within that time. And we had two rehearsals before we left for Malta and the day before the first one, my double bassist told me that she couldn't do it and she arranged for somebody else to replace her. When you talk about short notice. Ah, yes, short. So on the day of, the next morning, day of the rehearsal, the person that she had lined up to replace her was ill. And I was thinking, you know, we cannot have. I think it's just when we have. So we happened to be rehearsing in a close friend's house and he happens to be a double bassist. So I sort of looked at him and I said, well, can you wear. Well, we don't wear dresses, so it would have been unfair to ask him to put on a dress. But it ended up that we played our first international performance with one man on stage. That's funny. And that's why I say. And that's why I say, you know, it's not that we don't want to work with men, it's just we try and it's easy to give priority to women because there are so many wonderful and wonderful women musicians out there. It was a bit like that last week when I interviewed. Interviewed Dimitri Ennis as well, two weeks ago he stepped in. He stepped in indeed. Right, wonderful. Then why don't we listen to Schomburg from the Book of Hanging Gardens arranged for orchestra by Carl Fliorini and performed by the Synchrony Orchestra. Sam. Sa. Jesus ram. Ram. Sa. Sam. What a fantastic performance. This was a live performance? Yes. Yes. All of these recordings were live? Yeah. Where was that? That was in the Archaeological Museum in Malta in Valletta. And our singer was the beautiful Claire Gigo Maltese. Maltese singer. Fantastic, wonderful voice. Well, thank you so much, Holalie for the wonderful music play today and the very interesting, interesting project of the Synchrony Orchestra. We are looking forward to listen to it with a fantastic new album. If you have any questions that you would like to ask to our guest or nomination for our future Classic Women awards, please email presenterswomensradiostation.com or tweet us @womensradiostn. Again, a big thanks to Holaly. We will be inviting you soon again and you've been listening to future 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 program, you can head to the presenter page. Stefania Passamonte, Future Classic Women Awards on womensradiostation.com thank you for listening. Welcome to women's radio Station. I'm Sarah Louise Ryan and welcome to Love Lessons live on women's radio station. Hello and welcome to future Classic Women awards with me, Stefania Passamonte on women's radio station. Hello and welcome to Julie Mae is listening. Hi, this is Anna Kennedy and we're at women's radio station supporting women's well being and we're talking all things autism women. The possibilities are endless. That's what makes us different. Hi, I'm Tracey Weedon of Brownhill Insurance Group. We are an award winning family run insurance broker covering a wide range of insurance products ranging from commercial lines to personal household, high net worth and fine art. You can contact us on 0208-658-4334 or visit our website www.brownhillgroup.co.uk for your free no obligation quotation at Brownhills. We've got you covered. 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. Hi, I'm Hazel Butterfield, a blogger, book lover and mental health advocate and you can listen to my show Get Better 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. Hi, I'm Valentina Barbacci and I'm the Executive Director of Media Matters for Women. We're a registered charity operating in Sierra Leone and the Democratic Republic of Congo and we produce and share podcasts via Bluetooth on mobile phones focusing specifically on women and girls excluded from information due to extreme poverty. We empower those living in rural areas with media that transforms how they access, own and share information. To find out more and be part of this movement, come check out our website@mediamattersforwomen.org you're listening to Women's Radio Station supporting women's well being. Women's Radio Station's creating a global network for the empowerment of women and we want you to be involved. Join us on Instagram and Twitter womensradio Station that's Women's Radio STN or Facebook Women's Radio Station to keep up to date with all our exciting programmes.
