Future Classic Women Awards LIVE SHOW – Hannah Pedley

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. Today on Future Classic Women Awards, we will be talking to Anna Padley, an amazing mezzo-soprano. Um, and Anna had an international career spanning to the most amazing operas you can think of. And she's also an amazing artist who likes to perform contemporary music. And recent highlights include the blossom cover of Anna Nicole for the Royal Opera House. That's a special opera. I'm really curious to talk about this. And the Bridget Moon on Stick and many more roles with Royal Opera House. So welcome, Hannah. Hello, nice to be here. Hannah, I mean, you have a super career. Can you tell us what does it mean to be an opera singer that performs at the Royal Opera House? Well, the Opera House has been amazing. I have covered there, I have sung in the Limbury on several occasions, a lot of time with new work. I think for a younger singer, I still think of myself as a young singer, but it's It's very difficult to jettison yourself straight into leading roles with the big companies singing the stuff that you listen to when you're aspiring to be a singer. Mm-hmm. For me, I've had a lot of work with contemporary pieces, stuff that's never been sung before, or is workshopping a lot of things. Earlier this year, I was workshopping a new piece called Monstrous Child, again at the Opera House. They're doing a new production of that next year, I think in the '18/'19 season. It was written by Gavin Higgins with the libretto by Francesca Simon, who wrote the Horrid Henry books. So it was a very new endeavor for her. And we had them both in the room while we were working, telling us exactly how they envisaged the scene to be going, telling us if they couldn't understand our words. And us telling them if we couldn't make them any clearer because of the way they were written, if it's too high, too low, too fast. "Actually, I've been singing for 29 pages. I just need a few bars rest." It's a really nice collaboration. And a lot of the work I've done at the Opera House has been that way. So working with composers, and you were saying about Anna Nicole, I was also involved in a lot of the workshops for that. So we had Mark Anthony Turnidge with us for weeks, just fine-tuning things. And you'd get a scene up and running and it would be working. And all of a sudden, he'd come in the next day and have rewritten half of it because for him it wasn't working. So you're stood around the piano. Back on, mamma mia. Learning it again. But then it results in work that the composers are hopefully really happy with because they've had time to workshop it. And especially a lot of the work I do at the Opera House facilitates that. It's a super privilege, I think, to be able to work in a direct connection with the composer, you know, and making up something that will maybe last as long as Traviata or, you know, Tosca. Dream. Yeah, unbelievable. And you may say that the role was written, you know, with you. I mean, That's something that happened a lot with Mozart, for example, like the Queen of the Night. You have these impossible notes that they reach all the way high, and they were specific for a singer that was able to reach those notes. Yes. I mean, a lot of us that workshop pieces don't end up performing the final pieces or the roles we workshop, or we cover them. I think because it's quite a specific job to be able to learn something quickly and perform it. To a decent level, whereas normally when you're learning a new role, you'd prepare it for months, even a year in advance to get it really in your voice and perform it just how you want it. So to be able to grasp something within a week or two is actually quite a specialised job. Yes. That, yeah, not a lot of singers will be scared of trying to do that, and it is scary. It is scary. I trained to my piano overnight to turn up the next day ready to sing the new bits. So, um, I mean, you're a mezzo-soprano, and that's quite rare to find, isn't it? Yes, there's definitely less of us than there are sopranos. Um, can you tell the audience— because our audience is made not only from classical specialists, but, you know, any person that wants to— is curious about our world in a way— can you tell the difference and why you— there is not as many metasoprano, and what's the difference between a normal soprano that just goes and plays the opera? Were you born with this idea? Did you think you would be doing this job with the composers in such a direct connection, or—? I fell into it. So the difference between a mezzo and a soprano, a soprano generally in the crudest form sings higher than a mezzo. So she would have the really top notes. Within the sopranos, there are different ones. A mezzo has a slightly lower voice. You still have the top notes, not the Queen of the Night notes, but you kind of need to be able to hit a top C, but you don't get it out very often. And it's tiring. So I really have to, I don't think I'd like to sing a top C in public. A B would be about my happy place. Generally, I would sit, I guess, a third lower than a soprano. And it's a slightly warmer sound, and it's all to do with your vocal cords. So my cords are a bit shorter and thicker, like a cello compared to a violin, I guess. Absolutely. So no matter how much I practiced, I would not become a soprano because I don't have that instrument. But when you started singing, like when you decided to become an opera singer, did you know you would become a mezzo, or you were dreaming, for example, of being I don't know, the role of a soprano? I totally wanted to be a soprano. I fell into opera kind of by accident. I'd always loved singing. I did a lot of musical theatre and jazz, and— Oh, wow. I was singing in a hotel in Bournemouth, and somebody heard me and asked if I'd studied. And I was like, no, I'm completely self-taught. I'm 18 and singing in a hotel. And she said, yes, I thought so. However, if you did study, I think you could be a classical singer. And she did a few exercises with me and— She was an opera singer? She had taught and she had been a singer and she worked with young singers. I feel terrible because I never really got to know her. She literally gave me one lesson there and then in this room in the head, like a dressing room, and just allowed me to suddenly make a big sound without microphone because I'd always sung with a microphone. Yeah. Enormous sound came out and it felt exciting. And she arranged for me to have 2 auditions at music college and I got in. That's so funny. Wow. As a black sheep though. I mean, I really, I went to see my first opera the week before I started at the Royal Northern and it was La Bohème, which has 2 leading sopranos. So that was my radar. So I turned up and met my new teacher and was like, right, I think I would be more of a Musetta than a Mimi, but maybe I'd like to do Mimi as well because that's exciting. And he just said, Right. First things first, you're a mezzo, you will never be in La Bohème. Oh no. Although secretly, I do think I could do mezzetto one day, maybe. But so then that was kind of looking at the repertoire for mezzos. Mm-hmm. Fantastic. So what would you like to listen then? Well, this one's La Flûte de Pain by Debussy. It's from his Trois Chansons de Bilitis. And I've sung these songs in quite a few recitals. They are just so beautiful and really evocative of young love and its journey. And this is the first, most innocent song. Wonderful. Let's listen to it. Pour le jour désiré à sentir, il m'a donné une assurance faite de roseaux bien taillés. Il m'essaie avec la blanche cire qui est douce à mes lèvres, propre comme à la miel. Il m'a prompte à jouer, assise sur ses genoux, mais je suis un peu tremblante. Il en joue après moi, c'est doucement que j'allante en appel. Et dur à dur nos bouches assinissent à sirlafriter. Il est tard. Voici le chant des grenouilles vertes qui commence. Avec la nuit. Ma mère ne croirait jamais que je suis restée si longtemps à chercher ma sainte And this was La Flûte des Pins by Debussy, sung by Anna Padley. We will be back after a short break. Welcome to Women's Radio Station, the voice of women worldwide. This is Women's Radio Station. You're listening to Avril Price with Kitchen Sink Spirituality. It's Anna Kennedy talking all things autism, and my guest today is Karen. Welcome to Future Classical Woman Awards with me, Stefania Passamonte, on Women's Radio Station. I listen to Women's Radio Station. Women's Radio Station, we want to hear from you. Women, the possibilities are endless. That's what makes us different. Hi, I'm Sue Openshaw, owner of Ferme de Ciel, the luxury ski chalet in Samoëns in the Grand Massif, France. We are open for skiing from mid-December to end of April, and we're only 1 hour from Geneva, So perfect for short breaks or longer holidays. Single or multiple bookings. Contact us on femme-de-ciel.com or 07733 100020. Hi, I'm Farah Brown, founder of Femnesty. Femnesty is a platform dedicated to women all around the world. Through Femnesty, you can connect with like-minded women, share any positive or challenging issues you may be facing, either work-related or personal. Together we can all learn from each other and be stronger. So sign up today at feminesty.com or download our app Feminesty. 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 by 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 at mediamattersforwomen.org. Women's Radio Station will give a voice to your brand. Advertise your product, services or goods on air with a package tailored to suit you. For more information, visit womensradiostation.com. Hi, I'm Zena Mosconi, Head of Business Development at Women's Radio Station. Radio advertising is the most cost-effective way of reaching a huge audience globally. Moreover, our sponsorship and advertising packages can be tailored to your needs, whether it be a product or brand service you are looking to promote. If you are interested in sponsoring or advertising, please contact me on 07956 371483, or alternatively zm@womensradiostation.com. Welcome back to Future Classic Women Awards on Women's Radio Station, the program where we search for the most amazing new female artists on the classical panorama. Today our guest is Anna Petley, one of the most amazing mezzo-soprano of the British generation. So Anna, you were telling me, where are you from? I was born in Leeds, but I grew up in Bournemouth. So the accent is not really, you know, a Leeds accent. So no, I did have quite broad Yorkshire accent. But when we moved to Bournemouth when I was 5, my mum says I lost it within a week because I was keen to fit in, which I find quite interesting. That's fantastic. I mean, are you a person that likes to fit in? No. Exactly. Maybe when I was 5, but definitely not. So I love the fact that you come from actually playing a jazz song. It's amazing. Do you still listen to jazz? I listen to anything and everything. But yes, I listen to jazz. I still have a real soft spot for musical theatre because that's— my teenage years were ruled by Saigon, Les Misérables. Yes. And I also see that you have been singing the Missa Solemnis by Beethoven and the Ninth Symphony with the Warsaw Philharmonic Orchestra, Handel. So you got together with the opera and your background, your love for musical theatre, you also do— you are a, let's say, a concert singer. I love singing concerts. Can you tell the audience what's the difference? So when you do an opera, you generally get your score a year, 6 months in advance and learn it. When you turn up to rehearsals on day 1, you know your music inside out, you meet the rest of the cast, you get told the concept for your production, and then you spend a month or longer or shorter if it's a budget production, creating the piece with the director and the conductor and really fine-tuning it. No one's using their music, and then you would do anything from 5 to 25 performances. With a concert, you prepare your music yourself. Generally, you're allowed to use your score for reference. You still want to give a performance where you're making contact with your audience, but you don't have to learn your music off by heart. You're generally on stage with the orchestra behind you and then a choir behind you as well if it's a choral piece. And it depends. When you go abroad, you tend to go for a few days and rehearse with the orchestra and choir in situ. That seems to be much more common on the continent and in the States. Over here, generally you turn up on the day and rehearse in the afternoon and perform in the evening. That's crazy. It's quite full-on. I did a Verdi Requiem a few weeks ago and It's a big job. You've really got to watch yourself in the afternoon that you don't give too much. Absolutely. So that come the evening, you've still got your best sparkly bits left for the performance. Wow. So if you have to choose, what would you choose? I mean, I think nowadays you have to diversify. You can't just be an opera singer or a concert singer. Absolutely. Between the two, what do you like the most? Oh, I— they are both so different. My lifestyle as it is at the moment, I have a 3-and-a-half-year-old son. In fact, no, nearly 4. He'll be 4 at the end of the month. Ah. So since he was born, I've done less operatic productions because unless you're very lucky to be rehearsing and performing in London, you're away from home for a month longer. And I don't really want— I want to be a mum and I want to be at home. I do want to go away and perform. And actually, now he's getting a bit older, it's easier. And I have been lucky to do a few productions where we've done the majority of the rehearsals in London and then moved away. So that's been fortuitous. So from a logistical point of view, concert work is easier. It also tends to pay a bit better. So you're away for at the most a few days, and you do a lot of your preparation work yourself. I'll go and see a coach just before I go meet the orchestra and the conductor, but generally it's more lucrative to do concert work. But I would not want to do concert work just for that reason, because being in rehearsals and doing a production just feeds your soul. It's amazing. And you're creating something over a long period and it's— you really build something and give of it. And I miss it when I don't do it. Absolutely. I understand. I'm a mother myself and my daughter is 4, so— Exactly. I know where you're coming from. So if you have to choose, what's your role, a favorite role that you've been singing? My favorite role is Carmen. I've been lucky enough to do 4 or 5 productions and I'm doing it again next year. Oh, it fits like a glove vocally. It's not stressful, which as a singer is really nice. I don't have to think about my technique or the worry bits that you normally like have lots of pencil markings on in your score. It's just, it works. Yeah. And she's a fab character. Do you have any other favorite character? I really, of the ones I've done, I loved singing Lucretia. So, so dramatic and traumatic. I did it when I was very young, actually, just out of college. And I would, it's something I'd love to do again now with a bit of life experience and also musical and theatrical experience. I think I'd only done 1 or 2 full-length operas before I did it. And now having had much more experience, I think I could bring a whole other level to it. Yeah, Lucrezia was an amazing lady in history and everything. I think it's quite special when you're singing or acting a real character, not just someone, although it's romanticized in the opera. But yes, beautiful Lucrezia. And any funny role that you like to perform? I really enjoy playing Carabino, actually, in The Marriage of Figaro. It was a job. I did it at Holland Park, and actually the year before I'd sung Carmen there. So it was quite a job to get them to see me playing a trouser role. Carabino is a teenage boy. Yes. And Carmen obviously is a femme fatale who's extremely sexy and feisty. And I remember talking to the producer and saying, I know you're doing Marriage of Figaro next year. Will you consider me for Carabino? And he just said, I can't. Look at what you've just done. I can't now put you on stage as a teenage boy. But I worked on him and— Also because you don't look like a teenage boy, that's the problem. But that's the beauty of— I mean, we had, I'm not sure what I should call it on the radio, a breast squasher maybe, that completely flattened me down, which was brilliant. And that helped me as well because I felt much more physically male. I had a brilliant wig. And the costumes were fab, and it was great to play the comedy and to play a teenage boy. Yeah. And, oh yeah, I really enjoyed it. Then sometimes, do you have any problems sometimes with the costume and the singing? For example, having your chest squashed and you produce your sound and you can't be too squashed, am I right? Yes and no. I mean, Some singers really don't like singing in a corset or, you know, in tight costumes. I don't mind because it gives me something to push against. So if I am being squashed in, you can really push against it. Okay. Oh, why not? You know, people don't see the fact that actually our body, even for a pianist, you have problem with the dress. You know, it's important what you're wearing so that you're comfortable. It's very physical. And instrumental dresses and headdresses can be a nightmare, but they look fab, so you just have to work with them. Absolutely. So What would you like to listen to now? So next, it's the seguidilla from Carmen. She has been arrested, is tied up, and uses her charms and wiles to get Don José to untie her. Ooh, let's listen to it. And this was "Sigue de ella" from Carmen by Bizet, sung by Anna Padley. We will be back after a short break. Women's Radio Station is a fresh new broadcasting platform driven by love and passion. Connecting women around the world in a global network is all about diversity. 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Radio advertising is the most cost-effective way of reaching a huge audience globally. Moreover, our sponsorship and advertising packages can be tailored to your needs, whether it be a product or brand service you're looking to promote. If you are interested in sponsoring or advertising, please contact me on 07956 371483, or alternatively zm@womensradiostation.com. And welcome back to Future Classic Women Awards on Women's Radio Station, the program where we search for the most amazing new female artists on the classical panorama. Today our guest is Anna Petley, an amazing mezzo-soprano, um, that has been telling us so many funny stories about beautiful roles and song and operas. And so, Anna, now it's time to ask you, what was the most exciting moment in your career so far? I think there might be two. The first one was the first time I worked at the Opera House. I'd been out of college a few years, and it was in a piece called Wind in the Willows. Which was primarily a dance piece. And Will Tuckett was directing it, who I had watched. I'm a big ballet fan. And it was funny because on the first day of rehearsals, we'd finished and it'd all gone really well. And I just said to him, "Will, I have to tell you, I had a picture of you on my bedroom wall when I was a teenager because I had all the Royal Ballet calendars," which he found quite disturbing. But that working with someone that I'd idolised in a different art form and then coming as a singer with that and working in a company of dancers was just incredible. I love dancers too. I mean, I think the way they use their body, that's their instrument. That is something so special. I think it's absolutely— I've just done a week's ballet retreat in Morocco. Oh, um, you do ballet? Yes, it's kind of— it's— I hadn't done it for ages, and I went and did this retreat with Francesca Filippi, who's an is principal at the Royal Ballet. No way. And she's got this outdoor studio and you have class twice a day. And in the middle of that, you go to the beach or the pool. It's just wonderful. So you should meet with Cecilia. Cecilia Radic is another guest and another nominee of the Future Classy Women Awards. She's a cellist and she just two years ago decided to go into ballet. She's always been loving ballet, but she couldn't do it. You know, me as well. I wanted to be a ballet dancer. Who doesn't? We all do. But I couldn't because I was already performing and I started very young with piano. And my parents were saying, you can't do everything, you know, you just concentrate on music. So, but it's amazing, at an adult life, you are still, you know, you can do it. It's like doing yoga or going to the gym, isn't it? Absolutely. And I made a promise to myself. I got back 2 weeks ago and I start class next week regularly. And I loved it so much, just being back in tune with your body. And so that's Gosh, I'm going to start that as well then. Do it, do it. I guess maybe we can all go together. Adult ballet classes. All right then. What was the most challenging moment in your career? I think I found it quite challenging as a young singer. I was asked to be a body double for one of the big principals. I had a small role in opera. And there was a scene where the principal soprano was supposed to rise up naked from a tree. Oh. And she didn't want to do it. And I was asked to be the body double. And I was only a few jobs out of college. And I really thought about it. The fee was something like €50 a show. So it wasn't massive. No way. But helpful to a young singer. And I wrestled with it for about 48 hours, and I decided not to. And it was just my personal choice. And I knew there was another girl in the company that would be happy to do it. And so when I went to the office and said, do you know what, it's just, it's not me actually, I'm just not comfortable. I said, however, you might want to ask so-and-so. And do you know what, she was more than happy to do it. And I was like, that's absolutely the thing. But for me, I just didn't want to say no at an early, Yeah, I understand. At an early stage, just in case they thought I was being difficult or I didn't want to do it. But yeah, pretty proud of myself. You know, it's not a big deal. There are times when I would contemplate being naked on stage or having my top off if it was integral to the role that I was playing. Yes. But not as a body double. Not as a prano. No. Well, the main thing is, I don't think it's that necessary to be naked on stage, personally speaking. Do you? You can do all sorts. It depends. We'll talk about Lucretia. They have this naked body suit as well, if you want, if you have to. They do. But I think as a performer, thinking about when I did Lucretia, there was a discussion about if I was happy for one of my breasts to be exposed during the end of the rape scene. And I thought about that. And I said, I don't want it to be explicit. If it happens and the blanket slightly moves, then it happens. And it, as a performer, that makes you feel even more vulnerable and horrific, especially in a rape scene in that moment. That's terrifying. And I said, I don't want it to be planned. I don't want it to be, that's the boob moment. But if it happens, then okay. And that will totally inform my performance as well. And it would inform the moment in that scene. So for that, yeah. The lower half, no, I don't really think it's necessary. You know, even a body stocking with tubes painted on or something, you know, would be— Yeah, absolutely. Would be okay. Yeah, some things remain private. But in general, I mean, what's the necessity of a naked body? What was the necessity in that opera, for example? Do you remember? Why did she have to raise naked from a tree? Was she like Venus from the water or what? Do you know? I can't— I can't even remember why she— I think it was an artistic decision rather than something written in the score. Yes. Okay. And on that note, I would say, what would you say to an aspiring young student or a younger Sophie if you could go back in time? What would I say? I would say, don't worry about the path that you take. Took a really interesting sidewaysy route into a full-time performing career. But I ended up before my son with a full-time performing career. And just because you don't go straight into the chorus at Glyndebourne or as a young artist to ENO or wherever doesn't mean that you can't forge a valid, exciting, diverse career. You know, I've had some really amazing opportunities doing new works, doing your You know, I've sung the Coronation of Papaya, I've sung Cavalli, I've done the Carmen, the Tchaikovsky. It's all been varied and exciting. And it's just because you have a lot of contemporary music or you're not singing at Covent Garden on the main stage every night doesn't mean you can't make a really interesting, valid career. Proper career. Absolutely. Okay. Note, would you like to listen to the Night Song by Alina Ferezova? Yes, I would. This was recorded with the Marzius Trio a few years ago, and this is another example of something new and different. Alina Ferezova wrote these songs to poems by Osip Mandelstam, and as far as I know, this is the only recording of these pieces. So this is the definitive recording. And this was Night Songs, Op. 121 by Alina Ferezova. Sung by Anna Pedley. We will be back after a short break. Welcome to Women's Radio Station, the voice of women worldwide. This is Women's Radio Station. You're listening to Avril Price with Kitchen Sink Spirituality. It's Anna Kennedy talking all things autism, and my guest today is Karen. Welcome to Future Classical Woman Awards with me, Stefania Passamonte, on Women's Radio Station. I listen to Women's Radio Station. Women's Radio Station. We want to hear from you. Women, the possibilities are endless. That's what makes us different. Hi, I'm Sue Openshaw, owner of Ferme du Ciel, the luxury ski chalet in Samoëns in the Grand Massif, France. We are open for skiing from mid-December to end of April, and we're only 1 hour from Geneva, so perfect for short breaks or longer holidays, single or multiple bookings, contact us on femdesiel.com or 07733 100020. Hi, I'm Farah Brown, founder of Femnesty. Femnesty is a platform dedicated to women all around the world. Through Femnesty, you can connect with like-minded women, share any positive or challenging issues you may be facing, either work-related or personal. Together we can all learn from each other and be stronger. So sign up today at feminesty.com or download our app, Feminesty. 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 at mediamattersforwomen.org. Women's radio station will give a voice to your brand. Advertise your product, services, or goods on air with a package tailored to suit you. For more information, visit womensradiostation.com. Women's Radio Station. Hi, I'm Zena Mosconi, Head of Business Development at Women's Radio Station. Radio advertising is the most cost-effective way of reaching a huge audience globally. Moreover, our sponsorship and advertising packages can be tailored to your needs, whether it be a product or brand service you are looking to promote. If you are interested in sponsoring or advertising, please contact me on 07956 371483, or alternatively zm@womensradiostation.com. Welcome back to Future Classic Women Awards on Women's Radio Station. Our guest today is Anna Padley, one of the most amazing mezzo-soprano of, uh, the British generation. Um, Anna, now it's time of the odd question, so I'm going to ask you straight away, do you have any strange hobby to free your mind or relax? Oh, strange ones. Well, ballet. Yeah. That's not too strange. I love cooking. Oh, me too. I think it's the best way to— when I follow a recipe, I completely have to think about that. So I can completely free my mind from anything else. I love it. When I was at music college, for me, cooking and taking like an hour to make a meal was my break between the end of the college day, an hour to cook a meal, probably with my flatmate or whatever, and then the evening would be spent learning languages or looking at some music. So it was a real nice kind of break time, and I've just carried that with me. I love that contemplative time in the kitchen. Absolutely. And do you have any superstition or ritual before going on stage? Do you know, I don't. I used to have all sorts of routines and I think once you become a mum, you don't have time for that kind of stuff. And it's just a luxury being there in a quiet room for half an hour before you go on stage. So no, that kind of stuff went out the window and my performances didn't suffer. Ah, fantastic. Absolutely. I know that. And any funny moment or embarrassing moment that you can recall from your career? The first audition I ever did is one of the funniest moments, and I look back now and can just laugh at my younger self. When I was in the second year at the Royal Northern, Buxton Festival used to come to the college every year and audition some postgrad singers for places in the chorus. Oh, wonderful. And it would be predominantly professional chorus with one or two students, and it was a paid job, and it was fab. And the day they were coming to do the auditions, there was a flu epidemic. And nearly every single singer pulled out. So they went down and down the years until they got to the second year undergrads who we'd— we didn't have any experience or anything. And they'd asked for 3 contrasting arias and a Schubert lead. Oh, because they were doing a Schubert opera and then some recitals. Well, my teacher had very much kept my singing under wraps. So we'd been doing lots of English song, French song. I did have a Schubert lead. And I had one Handel aria that I knew, and that was it. And my CV was, I have been in the chorus of Janufa, and I did the Elsie Thurstwood Singing Competition, and that was it, in pencil, written on the top of a sheet of A4, and kind of handed it to the panel who looked at me and smiled. Um, and so I sang my lead as my first piece, and then I sang, um, uh, this aria. It was a Handel aria, and it had quite a decent-sized introduction. And then you did your A section, the B section, the A section again, and the play-out was 30 bars long. And any experienced singer would just say to the pianist, "Okay, just play those 2 bars and give me a finishing chord," or something, you know. Yes. But I didn't. So I was supposed to be a hunter standing in the forest. And I'd finished singing and I kind of took my position of, "I am staring into the forest." And then I realized the music was going on and on and on. So I broke character and kind of looked at the panel and smiled and kind of went, "Huh huh huh." And then I was like, "Oh no, you're supposed to hold it." So I went back into the position of staring into the forest doing it. And then it just was still going on. So I turned around and looked at the pianist in a kind of stop playing way, but he didn't. And so I was just flitting between laughing with the panel, but then going back into my position of being a hunter in the forest looking at it. And when it finished, I burst into laughter, the panel did, but I got the job. Amazing, amazing. But yes, I felt terrible. What a story, I really like it. So what's your next project or collaboration? I've got a few things coming up. Yeah, nice Christmas concerts of Messiah and Samson. Next year I'm doing another Carmen with Oxford City Opera, which is a relatively new company set up by Stuart Pendred. Last year they launched with the concert performance of Tosca, but this year they're doing a fully staged Carmen at the Oxford Playhouse. So I returned to my favourite role. I'm very excited about that. I've also been in the recording studio doing a bit of a collaboration with a music producer who wanted to do— I don't wanna give too much away at the moment 'cause it's very early, but it's songs that have been sung by men who are not classical, them being sung by a female classical voice with a bit of a twist. Watch this space. Oh, absolutely, very good. Now, what would you like to listen now? So my final piece is— this is again something different. It's Love My Heaven by Tim Arnold, which was written for the play Augustine's Oak that was commissioned by The Globe. And at the time, the music wasn't recorded. But about 10 years later, I just worked with Tim on his amazing Sonnet 155. And he got all the original musicians together and then asked me to sing the songs. And this, "Love My Heaven," was one of them. Really beautiful song. I am— okay, let's listen to it then. Love my head. Climbing in a cloud, stepping heavy on the ground. Tell me, will you come to me when the night is old and angry? Love, my heaven in the sun, sleeping bloodless underground, tell me, will you come to me when the day is young? Young and sorry. Ooh, love my heaven in the rain. Groping, touching, making well. Tell me, will you come to me when the morning steps up sharply? Love, my heavenly In the end, when the sun is up completely, tell me you will come to me. Tell me how I will be happy. Ooh! Ooh! Ohh! And this was Love My Heaven by Tim Arnold, sung by Hannah Padley. If you have any question that you would like to ask to our guest or nomination for our Future Classic Women Awards, please email presenters@womensradiostations.com or tweet us @WomensRadioSTN for a chance to win 2 tickets at our concert of the finalist of the Future Classic Women Awards. In the meantime, please come and join us to the nominees' concert on 23rd November, St. James's Church in Marylebone. More details on the Women's Radio Station website and Eventbrite. A big thanks to our guest Anna Padley for the beautiful chat today. Thank you very much. It was a pleasure. You've been listening to Future Classic Women Awards on Women's Radio Station, live every day at 10 AM and 10 PM London time. If you would like to listen to it again or catch up on our previous programmes, please head to my presenter page, Stefania Passamonte, Future Classic Women Awards, on womensradiostation.com. Thank you for listening. Women's Radio Station is a fresh new broadcasting platform driven by love and passion, connecting women around the world in a global network. Is all about diversity. From opinions, career, ethnicity, education, we aim to show the individuality of every woman everywhere, providing opportunities and a platform for your voice. Women, the possibilities are endless. 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