Future Classic Women Awards – Isabel Pérez Dobarro, Music equality and diplomacy

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So where are you right now? New York or Spain? I'm right now in Spain. I'm right now in Madrid. But you're right, I've lived in New York for the past 10 years. Quite a long time. Yes. And so you moved back to Madrid from the lockdown or for good? That's correct, for the lockdown, for now. And I'll be here for this year for sure. And I'll see. I'll evaluate the situation and see if I shall go back to New York. But yes, right now I'm in Madrid. Do you miss New York? Well, of course, you know, New York is fascinating. It has so many opportunities. You meet such extraordinary people. But right now, with the lockdown, I think that part of New York is quite missed. But of course, you know, there are places that I miss city which I lived a lot at the personal and the professional level. So I'm really. Of course I miss parts of it, but I'm very happy Madrid. I really like the city. I've studied here. Back in 2007, I did my Bachelor's degree here in Madrid from 2007 to 2010. So I knew the city and I came here quite often in this past 10 years to play concerts, so. And part of my family is from Madrid, so I know the city pretty well and I feel very comfortable here. Wonderful. Well, I've been in Madrid too. Madrid is such a wonderful city. I have some good friend of mine that perform for there. They are a Soloist for the orchestra, the symphony orchestra in Madrid. And. Yeah, it's a beautiful place indeed. And actually you had a. A wonderful snowstorm like we did yesterday. I mean, this, this is very magical. How was this, the snow in Madrid for you? Well, it was quite extraordinary. I mean, I've seen, of course, snowstorms and quite frequently New York, but I've never seen quite a snowstorm like this in Madrid. And you can see people, you know, their excitement and how new it was, everything for them. So it was, it was quite beautiful to see that. And especially in these very harsh times, having this, this kind of experiences. I think it's. It's beautiful. Yeah, I know. I mean, the snow has this magical power to make everything beautiful, at least for a while in the first days. Then, you know, afterwards you don't feel so good about it. But in the first days, it's truly magical. Yeah. Afterwards it's high sea, it's dangerous, it's good. Well, you know, if. If I can. Every winter we go to Denver, where my husband come from, and we have a lot of snow there, or we go skiing on the Alps and it's so beautiful. You know, you get the, the sun and the wonderful air from the. From the altitude, and then you get the hot chocolate and the spa, and that's the charm of winter. And so my daughter. Yeah, my daughter was saying, you know, it's not. It's not winter. It's not Christmas without the grandparents, and it's not winter without the snow. So finally we got it in London, too. That's great. So how was the lockdown for you? I mean, it was, I think for everyone, it was a very challenging period. It was a period of self exploration, of course. And, you know, I got a lot of concerts canceled. Some of them very relevant, I think, for my career. One of them was Conference Women Now Conference with Hillary Clinton, Kathleen Kennedy. I was going to. Yeah, I was going to play there the Clara Schumann concerto, and then I was going to speak to. So. So that was. But apparently it's going to happen this June, so I'm really looking forward to that. Yes. Oh, my gosh. And then I had a tour in Argentina, which also got canceled, and a concert at Lincoln Center. My solo debut at Lincoln Center. It was an homage to Alicia de la Rocha. So it was all Spanish repertoire, both contemporary and Albani. So that was meant to be on October 12th. But as you know, in New York, they're not doing concerts right now, or at least, you know, major concerts. So all that got Cancelled. But in a way it was good because I got time to research, I got time to finish the text of my dissertation, which I had to do. Had time to write a book which is going to be published soon about women composers. Interviews with women composers from Spain. Actually, not only most of them are composers, but they're also performers. They're also women in the recording industry. So, you know, a little bit getting their impressions on how the. What's the women's situation in the sector. And of course, I did a series of interviews in which you participated. You honored me with your presence there. And it was so interesting really to know about all your projects. And it was truly wonderful. And that was so interesting also for me to get to learn so much from all of you. So all those things were good in a way. And also spending time with the family when you are abroad for so many years, in my case, you know, you get to see your family, but not as much as you want. And I got to spend time with my parents, I got to spend time with my grandma, I got to spend time with my little nephew Carlitos, the cutest baby on earth. So really that was. That was. I think it was a change, not a change in priorities because my family is always there as the first priority. But still you spend more time with them. And that was something that I dearly missed in those years in New York. Absolutely. Well, I love what you were saying about what you learned by talking with other women in the music industry is absolutely what we're doing with this radio program as well. There is so much that we can learn from each other and together we can make it better as well for the next generation of musicians that will decide to take the music career like we did. Unfortunately, there is still problems in equality, there is problem in diversity, and it's the fact that the music industry has always been, particularly the classical music has always been quite traditional and with some stereotypes and, I don't know, priorities in the career that they were not considering. The necessities of being a woman, for example, to being a mother, to being a wife and to be able still to perform. I think we're very lucky to be doing this career today because in a way we have access to the recording industry that is so beneficial for making us to continue to be known and to bring our art to the world without the necessity of touring every day and changing city and nation to keep the name alive, like Clara Schumann had to do. So. It was 200 years of the birth of Clara Schumann, and that's Clara Schumann, who brought me to the women's radio station with this and the inspiration for this program. And I am very interested about your concerto with Clara Schumann and your conference that you were gonna do with Hillary Clinton. If you can give us a tiny snippet of what is that gonna be on television? Can we watch it? It's gonna be recorded. Well, we definitely hope so. The conference, I mean, that's the idea. But again, it depends if it's finally done or not. But the idea is that it's celebrating in June and it's going to be definitely streamed. So it's going to be really a very beautiful opportunity. You know, I've seen your project with Clara Schumann and it was truly, truly extraordinary. So inspirational and really, really beautiful. And. And I think we all have to get inspired by this extraordinary woman. What she was, the strength she had, the capacity to overcome difficulties at that time and how she managed to have a concert career. An amazing compositional output dealing with of course, her family, her husband and everything also really, she's such an extraordinary figure. And of course, for the 200th anniversary programmed her Concerto de Palau de la Musica Catalana. The concerto, this concert was postponed due to the riots, independentist riots in October 2019. So it was done in January 2020, on 27 January 2020. And it was beautiful because it was all symphonic works by women. There were two contemporary works, so one by Teresa Catalan, another one by Clara Hill. So one is a very already consecrated, very ren composer Teresa Cataran. She's a national, national prize in composition. And then you have Clara Gil, who is a young composer, but fantastic, really fantastic young composer. And then we did also the Amy Beach Gaelic Symphony and then the Piano Concerto, the Clara Schumann Piano Concerto, which closed this very special concert. As you know, the Palau de la Musica Catalana. It's a really strong place. So it was very moving to play there. And afterwards there was this opportunity for the women now conferen. And I'm planning right now, we have to say planning because nothing is set in stone because of the pandemic, but there actually two more opportunities to perform this piece in Spain with two orchestras. Wonderful. So my idea is to keep performing this work because as you very well know, it's underrated. However, it's such an extraordinary piece from various points of view. First of all, from the formal point of view, it's just in one movement. It has the cyclic form, meaning that the themes reappear throughout the piece. It has the cello on the middle section. Because we cannot call it movement because there's only one movement. Right. And these three features were so advanced at the time. Right. So when you think about a one movement piece with cyclic form, you think about Lis Sonata. But this work was earlier. She was just 13 years old when she composed it, which is amazing. And from 13 to 16 she completed in those three years. And also the cello on the second part was imitated by Brahms, his second piano concerto. So you have this duo between the piano and the cello which Brahms uses, but he uses it way after Clara Schumann proposed this idea so formally. It's very interesting and from a pianistic point of view, it's a highly virtuosic piece. There are some leaps in there that are so hard, but amazing, you know, beautiful piece. And I think you know everything. It's melodic content, it's harmonic, monumental relations. I think it's. It's a very, very important piece that should be incorporated into the general concerti repertoire in my. I totally agree. I heard it, I love it. And I think I will have to learn it too because it's just too beautiful. And we're gonna listen to your second movement, the scherzo, where actually the piano have a wonderful introduction alone. How wonderful. And this was Clara Schumann Concerto with the second movement live played by Isabel Dubarro as a pianist, Claudia Dube, conductor, and Carlos Sanchez, cellist. Isabel, so you are not just a pianist, you're actually as well a lawyer and a diplomat, a young diplomat for the United Nations. Would you like to tell us how that, that goes with. How does this goes with your piano career? Yeah, well, you know, since I was very young, so, I mean, growing up, most of my family are either architects or lawyers. I don't have any musician in my family. So law related conversations were the normal or architectural based conversations were the normal back home. So I always had an interest for law. And I think knowing about law, it's very important. I think everyone should know at least some notions already at school, you know, because I think, you know, in the future, your future career, you're going to encounter several legal problems that, you know, if you have some notions, it's going to help you very, very much so. I think it's a very formative career, a very important career to have. And so what happened is that I did my bachelor's in law by distance university to be able to combine it with everything. And I'm currently doing the DLLM in order to, you know, there and be able to practice lawyer in the future if necessary. But it's right there to have it at least, at least since I had the bachelor. It's good to have everything, the complete education there. And you never know, especially in these uncertain times. But that's the idea about the law degree. And for me it's more this formative element that it has. And I think that it. It's important to have some notions and if you can do the degree as we have done it, I think it's very. It gives you another depth and another understanding of these issues. Now, in terms of international relations, yes, I did a graduate certificate at Harvard University and I have been very involved in the promotion of the Sustainable Development Goals. Now, as you know, everyone knows, these 17 goals were approved in 2015 to emit in the year 2030. So it's true that there is, especially in these goals, as opposed to the Millennium Development Goals. So this new set of goals put a special emphasis on young people and what young people can do. So in order to meet these goals by 2030. So, you know, of course by time goes by, you become less younger, but. But still I think there's. We are still. Stefania, you and I are still in the bracket, so I think we can do a lot of work. And basically what I've done, you know, is participating many conferences related to the SDGs. And one of my goals is how to relate the SDGS to the arts. Why? Because a lot of times when I introduce myself, I was, you know, I would say, you know, I'm an artist. That's what I'm first. I'm a pianist, right? So everyone would look at me a little bit like, oh yeah, that's so cool, but what are you doing here? And I think we can do a lot. I think as artists we are change makers. I think as artists we can contribute, of course, in a different way that a doctor can do it, a physician can do a different way than an engineer can do it. But we can contribute. How? I was published in an article that I written recently for iesa, which is an institute in Vienna for science, and it has this section on the intersection between science and arts. I think there are four ways in which the arts and the SDGs can interact very naturally. One of them, of course, is raising awareness. So a piece of music can raise awareness about these issues. When you try to move people to action, we're talking about moving. So you're not only convincing them rationally, but you have to move them also emotionally. And I think the perfect combination between rational and emotional understanding is are the Arts. Right. A second way is through the effective interaction between science and arts. And I think a lot of times we don't. We don't really understand that. Music back in medieval times was part of the same block of studies that the science was. And a lot of science advancements happened through musical knowledge, you know, all the electronic music, all the advancements there. And so there can be a lot of interactions between these two worlds in the arts in general, and particularly music. The third one is music as an enabler of dialogue. Right. So when you perform a piece with other people that don't think exactly the same way that you do, you have to reach an agreement through that to get to that common goal. And in this sense, you know, the arts, as, you know, the sports also do it. But I think the arts is a very, very powerful way to bring people, people that might be even going through important tensions. So this SDG 16 about achieving peace and peaceful societies is better, is very well achieved here. And of course, the fourth pillar is music education. I think music can be a good means to transmit many of these ideas on sustainability, on gender equality, as we are doing here, which is SDG5. So I was very, very interested to see these interactions within these four levels. So, of course, the most obvious, the one that I'm cultivating the most, is SDG 5. So gender equality. And here we are promoting women composers, etc. But I truly try to see it in a transversal way. So really see all the, you know, all the SDGs and see how can I, as an artist, how can I contribute to each one of them or to several of them specifically together? Absolutely. Well, you know, I believe music is the first language for anyone, really, and particularly the classical music, the instrumental music, where you don't have words, so everyone can understand the passion or the sadness of a minor tonality, for example, or the happy tune of an allegro, for example. So this is something that can reach out anyone without touching them as well. It's something that can make them tune in with you to be empathetic as well. And so I believe it's the strongest art of all. And I totally agree with the message that music can give in. Diplomacy has been used in the past, if you think about, in any generation, in any century, really has been used politically, has been used socially, has been used to educate, to teach the language as well. So has been used in so many ways. And then now that we are in the 21st century, somehow has been taken for granted, particularly during the lockdown, people have musicians has been let down, musicians and artists in general. But then the politician as well. They appealed to us to perform, to keep the spirit up and to help people going through the lockdown. So the two things don't really go together, even medically speaking. You know, I had my. I know that there is so much, with music therapy, there is so much about the impact that music had on people in coma coming out, you know, from dementia as well. So. And there is a lot that has been explored this very moment by scientists, by doctors. And so it's really important to bring it at the highest level, as you are doing with the United nations, with the big conferences, et cetera, where the politician as well can actually touch with their hands, you know, the power that music and music education has. And so to give hope as well, for new generation of musicians that if never this will happen again, they won't be let down. No. And I think we should also understand this work of the un and I think it's relevant to see how it works, creating these common goals for all of us to have a common plan of action, which I think it's very powerful. You can criticize other things, but I think specifically in this matter, I think it's very useful. So all these youth conferences in which I had the chance to participate, really, you could see that. You could see this common language, this common set of goals, and how young people from all over the world were gathering to see the best possible ideas towards this achievement of the SDGs. So that's, you know, that was very powerful. And I think it's a great experience. And again, you know, sometimes as an artist, you don't approach this world because you think, well, I don't really belong in this world of conferences, in this world of. Because that's not my place. You know, I just have to be on stage. But I think it's very interesting when you start interacting with people from, of course, other sectors, you start to see there's mindset. And when you have this, this common goal in mind, then putting your expertise, your particular expertise, they're putting their own expertise together, you just add up. And it's. It's a very interesting experience and fascinating one, I would say. Absolutely. Well, let's listen now. Another piece by Clara Schumann. That's a very virtuoso solo piece. And that's the Scherzo number two. How beautiful. And this was Clara Schumann, Scherzo number two, played by the wonderful Isabel Perez Dobarro. Isabel, now we're going to talk a little bit more about Your career. So I'd like to ask you, I mean, you said that you come from a family of lawyers and architects. So how did you decide to become a musician, a performer, a classical concert pianist? What happened? Right, so basically. Well, there were two factors. One of them is that everyone in my family loves music, so they're not musicians. My partner are not musicians, but especially my mom. She adores classical music. And all my childhood memories are surrounded by music and mostly classical music, I would say. So I was, you know, I was aware about classical music. I went to concerts since I was very, very young. I was 3, 4 years old, so. And I really liked it. And at the same time, my sister, I mean, she did not pursue a career in music, but she did up to the eighth degree. So the eighth year of the musical career, which was just the last year before entering the bachelor's degree back then in music. So we have this grado elemental, Grado medio and grado superior. So she did everything up to the grado superior. Back then it was 10 years, now it's 14. So she did 8 out of 10, let's say now it's 14. It's a lot. It's 4 of elementary, 6 of this medium degree. And then you get into the bachelor's and are four years. I see. So they integrated, they integrated the super. The superior years with the bachelor, basically. That's correct, yes. An equivalent. So basically. Well, I remember when I did it, it was 10 years. The conservatoire was the same. I was, was in elementary, but yeah, it was the inferior, we call it degree, then the middle degree and then the superior degree. But the superior degree was the equivalent of the bachelor degree. So, and checking with the, you know, we just launched this conservatory here in London, the London Performing Academy of Music that is following the UK standard conservatory bachelor program. And. But yes, it's, it's a bit strange when you try to compare the systems from the other. From the other states, isn't it? Yeah, it is. For example, you know, in the United States there's no formal education basically until they enter in the bachelor's and same here in the uk. Yeah, so it's, it's quite different. And actually, well, first I have to congratulate you for this amazing conservative you've created. And it's, it's really extraordinary, especially in these times. I admire you so much and it's, it's going to be, well, an incredible success knowing how well you manage everything and knowing the people that you got involved. It's, it's going to be a success, really, you know, it's been a blessing in disguise, this pandemic, because it allowed me to reach out to professors that I would have never dreamed to have in the faculty. And it's something that is very, you know, needed today. As you were saying, with your talk about the diplomacy. They need to know some law. As you know, I too have. Me too. I have a degree in law, and I found it super useful in my career. And of course, we don't expect them to become music lawyers, but at least to be able to understand how to read the contract, how to talk with an agent. You cannot be just a musician today and hope for the best and hope to be in the right hand at right time. Absolutely. And I think, you know, this very complete education that you are providing and very innovative. I think it's the right path to follow, and I hope more conservatories follow this path, because I think it's so necessary. A lot of times, you know, the formal education in music is just about playing the right notes and that's it. Play your right notes of the Rahmaninoff. And that's so. And no, absolutely. In today's world, there has to be more. You have to play the right notes. That for sure. But you need to know, you know, much more. Absolutely. You have to know. What you said about law, about the music business, you. You need to have a wider understanding of what it means to be a musician. And so you. What was the first? Well, yeah, we were talking about Miami Guineas. That's true. So, yes. So I started in Santiago de Compostela. That's where we met. Where we met in Music Compostela, this fantastic Spanish music festival. And you were playing so amazing. It was great. And then after that, I went to Madrid. So I entered the bachelor's when I was 15, here in Madrid, in the Superior in Atocha. And I studied there with Elena Robio for three years. I did third and fourth in one year. And then he moved to the United States States to do my master's degree, editing. And there I started teaching as an adjunct instructor when I was 19. And after that I did a professional certificate, professional studies certificate at my Hatton School of Music, and then the PhD. So that's the education. And you also did law and you also performed. And I mean, how. I mean, I love studying. I'm a very curious person. So I always, you know, I like very much to read, I like to research. But it's true, you know, sometimes I didn't sleep enough. And that's bad. I should. But it's. Yeah, I mean it was a lot of work, but I think it pays off in the sense that the more education you can have and the more knowledge that you can have in anything in performing one piece, you know, it's the better I think it's going to be. So I think that was. That was very important for me. And yeah, in terms of career right now what I'm focusing mostly on is in the promotion of women composers. This has been a goal for the last already four or five years. I started this project of women in music with Metro soprano and a Tona and her idea was to do exchanges between countries. It's almost diplomatic in a way. Right. So it's exchanges between countries. So you us, Spain, Spain, Portugal, we're also doing Spain, Germany, using or performing works by women composers from all ages. We had from teenage girls to 98 year old margariter back in time. So from these two countries. Right. So it's a way to, you know, showcase the works of these women, visualize what they're doing. And at the same time I think there's a very rich interaction between these women from different countries. Right. What are the trends in each of them? And it's a very beautiful exchange. So starting from that, I start building solo programs. This program with songs with soprano Natona Concerti, which is really a program, you know, that you don't see in concerts. You don't see concerti by women composers. There are a lot of them and it's something that I've been focusing. I will be playing Wijelmin von Prussia's concerto. This Wilhelmine from Prussia was the sister from Frederick ii. Therefore she knew Bach. And this is a very. And actually the concerto itself is concerto for harpsichord for keyboard, but also for flute obbligato, because her brother might be playing there. Right. So it's an amazing concerto. It's like a bad concerto. It's really incredible work, but no one knows about it. We'll be also performing Mariana Martinez, a contemporary of Mozart, Haydn. She was a Spanish descent, but she was in Vienna. And extraordinary composer. Actually the first symphony written by a woman composer supposedly is her work. And the Amy Beach Concerto, which is probably the largest and really, really extraordinary piece. And it's really, really intricate, dense work. So really these variables. This has been a project ongoing in this past year and as of right now, as of this year, there are two main projects that are happening. One of them is a CD with fantastic cellist Antonio Martin. I've known him since my Madrid years. And this CD goes a bit into what you were talking before about musical therapy. So it's about how to heal through music, especially in these times. I'm also very involved in music therapy here in Spain. I'm part of the honorary board member of Fundacion de Musicambena, which especially deals with that, how to use music in a therapeutical way. And so this would be one of the projects, this cd, it's all classical music works. So by Piazzolla, we have Brahms, we have Schumann, but they're works that are meant to, you know, emotion and just heal through their hearing. They're mostly adagios. And then the other one, my biggest project this year, is about a fantastic woman called Pauline Viardo. Now, she was an extraordinary composer, extraordinary pianist, extraordinary singer, extraordinary everything, actually, because, well, she is the 200th anniversary of her birth right now, this year. And so I've developed four programs. One of solo music of her and contemporaries, the other one of songs with unpolished songs of her in Spanish, in Italian and French. The other one is going to be her complete violin and piano works that I'm playing with the concertino of the Spanish Radio and Television Orchestra, Miguel Borrego. And the other one is Quartet, in which I'm playing not her quartets, but her daughter's quartets, Luis Rit Giardo. So basically, these four programs, I'm going to perform it at the French Institute in Madrid. I'm going to do a lecture at Harvard with Patricia Kleiman and Donna at New York University. We have a recording project going on. So it's going to be the big, big events, let's say this year. Hopefully with the pandemic, everything goes well. This would be the main goal. Wonderful. Well, let's listen then. Piazza Olave Maria with cellist Antonio Martin from your next album, Sa. Satan. How I Love Piazza La Mamma Mia. Beautiful interpretation from you. Performance from you, Isabel, with the cellist Antonio Martin. Well, we're on the last leg of our interview. Unfortunately, an hour is not enough. It goes too fast. So we really have few minutes left. But I'm gonna ask you what is if you have any funny moment that you can remember in your career going on stage or being on stage? Well, I have several of them, but the one that just came out, just came up. I had this, my own Maria Joao Pirez moment. I don't know if you've seen this video that Maria Joao Pires is asked to perform a concerto that she didn't thought that she had to perform. No way. So the orchestra starts with a D minor mozzarella, and she just keeps going perfectly and wonderfully. But that was not the concerto that she expected. Well, I had something similar, but this was a solo concert. So I had like a series of concerts. It was like five in a row, and I was just rushing from one place to the other. And I just started with the program that I did the day before without noticing that this was a different program. So I was meant to start with Bach and I started with Chopin. And people were looking a little confused because in the program, you know, they had Bach and they were like, wow, that's a weird Bach in there. That's like, what's happening here? And then, you know, I started seeing, like, when I bowed, I started seeing weird faces. I went backstage and, you know, I said, let me see the program. I was like, oh, gosh, I just did the one yesterday. So I just changed that and I continued with the regular program. But the first piece, it was a very special Bach. It was really Bach shopping and very, very interesting. That's a bit the nightmare of everyone, isn't it, that you can't stay? Well, I don't know. It just. It was just a very crazy day and I was traveling and I don't know how could that happen? But it just. It just happened. And. But yeah, that was. It was only a piece, but it was just the look of the people, you know, just looking at the. At the program notes, just. That sounds. What's going on? So that was. That was embarrassing. That was a bit embarrassing. What was the best place where you performed so far? The place, the stage that you loved the most or the audience that you felt the most of? Well, it's. I mean, it's difficult to say because, you know, all of the concerts are special. It sounds very, like, typical, but it's true. Every concert is very special. But I had the chance to play in really fantastic places. I play in Carnegie hall, the big Hall, Stern Auditorium, the Teatro Cologne in Buenos Aires, the Palau de la Musica, the Tchaikovsky Conservatory, Moscow. So, you know, those, of course, are highlights. And there, the piano is perfect, the whole is perfect, the acoustic is perfect. So it's just a matter of not, you know, you have to do it well. No, it's just. Don't do it wrong, because everything is gonna be perfect, right? So you just have to try to play your best, and that's it. But there are other occasions in which the piano is not perfect, the acoustics is horrible, and you just have to overcome that. And there's beauty into that. You know, there's in the moment, there's no beauty at all. But once you've done it and once you overcome it, it has its beauty of saying, well, you know, it was an extra effort, but I tried to give the best musical outcome possible. So there's not a favorite, but of course they were very special holes, which I play. Yeah, wonderful. Well, I want to listen to the last piece that you brought to us today, and that's via Dot, the Spanish Quartet. It's the first movement by Luis Herit Virdot with Alibardo Martin violin, Victor Gilbiola and Irene Celestino, cello. And this was weird. The Spanish Quartet played by Isabel Dobarro with Bellardo Martin, Victoria Gill and Irene Celestino. If you have any questions that you would like to ask to our guest or nomination for our Future Classic Win awards, please email presentersomensradiostation.com or tweet us @womensradiostn. Again, a big thanks to our wonderful guest Isabel Do Barrow for the great chat and the beautiful music played today. Thank you for this opportunity, Isabella. It was my pleasure. And I hope we can invite you back when your new album will be out so we can listen to it. 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 programs, you can head to the presenters page. Stefania Passamonte, Future Classic men awards and womensregistration.com thank you for listening. Are you feeling anxious? Online therapy 24. 7 is here to help. We offer confidential support from the comfort of your own sofa. Our highly qualified therapists are experienced in a full range of daily challenges. You'll be in safe and trusted hands. Don't suffer alone. Change your life by calling us on 020-7553, 5080 and check out our website onlinetherapy24.7.com.