Join host Stefania Passamonte as she sits down with Luciana Di Bella, a captivating Italian opera singer from Sicily who defies convention by embracing multiple musical identities. Luciana opens up about her journey from a shy 13-year-old pushed by her mother to sing, through explorations of pop, rock, and jazz, to eventually studying opera formally at an Italian conservatory. What makes Luciana truly special is her refusal to be confined to a single genre—she’s a self-described ‘bad opera singer’ because she loves jazz, world music, and Brazilian classical music, finding the connections between all these styles deeply enriching.
Throughout the episode, Luciana shares her passionate perspective on opera’s timeless power, particularly its portrayal of complex female characters like Mozart’s heroines and Violetta from La Traviata. She discusses how these characters reflect eternal struggles women face, especially the tendency to internalize society’s judgments rather than trust our own desires. Beyond music, Luciana reveals her diverse career, including hosting a variety show about classical cars and presenting a Sicilian radio program called Crabapple. She passionately argues that modern classical musicians must diversify and that all art forms share a common creative core, drawing surprising connections between Bach and jazz, and between heavy metal and Monteverdi.
The episode features a beautiful performance of Melodia Sentimental by Villa-Lobos, which Luciana chose because it perfectly blends her multiple musical identities—combining European classical influences, Afro-Caribbean rhythms, and Amerindian melodies. This is an inspiring conversation about artistic curiosity, female empowerment, and the limitless possibilities when you refuse to be boxed in.
Main Topics
Luciana Di Bella's musical journey spans multiple genres: from pop and rock as a teenager, to jazz at 18, and eventually formal opera training at an Italian conservatory
She advocates for a 'bad' approach to opera by refusing to limit herself to classical music alone, finding meaningful connections between opera, jazz, Brazilian music, and even heavy metal
Opera's power lies in its portrayal of complex female characters like Violetta and Mozart's heroines, who represent eternal struggles and modern perspectives on women's autonomy
Women often internalize society's judgments and expectations rather than trusting their own desires—a theme Luciana explores through her interpretation of operatic characters
Classical musicians must diversify their careers and artistic expressions to reach wider audiences and fulfill their creative potential
Brazilian classical music represents a perfect fusion of European academic influences, African rhythms, and indigenous melodies—embodying the power of cultural blending
Children respond intensely to opera's emotional depth and power, as demonstrated by the child who jumped on a chair during a Carmen performance
Full TranscriptHello and welcome to Future Classic Women Awards with me, Stefania Passamonte, on Women's Radio Station, the program whe...▼
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 our guest is Luciana Di Bella, an amazing Italian opera singer from Sicily. Yes. With a bad secret, that is. Yeah. Good morning, everyone. Good morning, Stefania. I'm a bad girl. I'm a bad opera singer in the sense that I like jazz. I like world music. So I like to explore the different styles and in my way, but I love it. I think it depends also on my experience, the way I began to sing when I was very young, I was 13, and my mom was pushing me to overcome my shyness, and I started to sing and I never stopped. I started with pop music, I started with rock, everything, because it was something I was exploring, so I didn't know what my which my identity was. But contemporarily, I was— my teacher was a classical singer. So in me, these realities were living together and growing together. I discovered jazz when I was around 18 because some friend of mine told me, oh, 'You have just an approach to music. Why don't you try? Why don't you study it?' And I started, and it was amazing. And there I discovered, of course, jazz and Brazilian music, and it was enriching my experience. But at the end, because of my teacher, I think, and because I felt I wanted to close this experience, I decided to study seriously classical music. Opera. Opera, yes. And I decided to study in the conservatory in Italy, where I graduated in lyrical singing. So officially, I'm an opera singer. All right. So what do you think about opera then today? I think opera is still an amazing expression because it's very deep, it's very complete. And what I love to see is that children, for example, are very— for children, it's very intense. Sometimes when I have been working for companies in choir, as soloist, in different dimensions, and And when we made the shows for schools, for children, the children were enthusiastic and they participate very intensely. One day a child jumped up on the chair to tell to Carmen to go away. No way. That's so cute. Go away. He wants to kill you. Just amazing. Yes, super sweet. I think he was kind of 8, 8 years old child. Yes. So opera is amazing and, um, very powerful. Yeah, it's powerful, it's deep because of the emotions, the music, these characters that are, I think, eternal characters like Violetta or like the Mozart's women, no? I'm— Very modern women. Exactly. I also, I'm also working on an idea around the Mozart's women, because you can find yourself in all of them. So they decline all the sides of a woman. So I think Mozart had been very, and of course, is a libretto writer. Yeah, yeah. They have been very clever, futurist. Yes. Well, in my opinion, talking about women in general, the role of women, I think history is trying to push the women down with the big literature. For example, Violetta, that has been— yes, you know, all these unfortunate heroines, right? Yeah. But women, they're always been strong women that— Of course, of course. But in this case, I think Violetta has been the, the worst judge of herself. Oh yeah. So she decided how to go to the end of her love history, but because of the, the society judge became her judge of herself. And this is what many times we do because we don't have a real idea about ourselves, but we absorb what society wants from us. Well, we want to start our listening today with something that is of your other side, right? Yeah, exactly. It's in the between. In between. Yeah. It's Melodia Sentimentale by Pilar Lobos. Why would— why did you choose this song? Because It's a perfect mix of my identities because in Brazilian music, in Brazilian music I found how these dimensions live together, can live together. And I discovered classical Brazilian music not so many years ago, thanks to a friend of mine. All right. Yeah, that is in the project with me now. He specialized in Brazilian music and he told me about this classical Brazilian music. And I didn't know anything about it because it's not very well known because Brazil is a very huge country. And they explain it saying that they didn't need to go out. I see. Yeah, because it was sufficient. It was sufficient to stay in their country. But in this music, you can find all the influences, the European influences, academic European influences. You can find the Afro rhythm. You can find the Amerindian melodies. So it's a perfect mix of everything the music in that moment would create. Yes, it's very— and you can feel it because you can— you find this music— I find this music deeply elegant. But in the same time very exotic. Yeah, yeah. This is what I— and very deep because Brazilian music has in her deep colors, deep emotions. So this is what I found, and this is why I decided to work on it. Wonderful. Then let's listen to Melodia Sentimental by Villa-Lobos. Keep breathing, all the noise goes low. Querido, it ain't that big a— senti' that my love would be a sognon. Welcome to Women's Radio Station, the voice of women worldwide. 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 Judy May Is Listening. Hello, this This is Anna Kennedy at Women's Radio Station Live, voice of women worldwide, talking about all things autism. Women, the possibilities are endless. That's what makes us different. 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Our services include community mediation for neighbour disputes, family mediation for separating couples, special education needs for parents, carers, and their children and young adults, as well as workplace mediation and restorative services. To find out more, head to womensradiostation.com or thea-project.co.uk. Women's Radio Station can give a voice to your brand with a wide range of sponsorship opportunities, including individual programs, we can tailor your experience to you. For more information on how you can sponsor a show, go to womensradiostation.com. Women, the possibilities are endless. That's what makes us different. 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. Our nominee today is Luciana Di Bella, an amazing Italian opera singer and jazz singer. Can I say that? Actually, Luciana, you have other secrets. Yeah, a lot of series. You have such a crazy career. You've been in radio. I'm a curious person. This is why I explore everything. Yeah, we were talking about my TV experience. I've been conducting a show. How do you say in English? Rubrica? A variety show. A variety show on ancient cars, okay, on classical cars. Yeah. And, uh, and I went around. Yeah, exactly. And I went around to interview, uh, this, this people that had this beautiful car in their houses. Sometimes they were a noble, uh, family. Yeah, aristocrats. And it was very interesting to to find their stories and their life. And yeah, it has been incredible and very funny because for me it was the first time I approached with a camera. So it has been interesting to learn the text and to interview these people about something that I totally didn't understand because I didn't know about motors. Yeah, of course. So, so how did you end up? Yeah, I was studying, I was learning. I, I study everything I, I don't know. That's so funny. And did the radio— what were you doing at the radio? Was it a Sicilian radio? Yeah, it was a Sicilian radio. I was around 20 years old, 2 months ago. No, yes, like me. Exactly, we have the same age. Yeah, the program was— I called the program Crabapple, like the buck flowers. Okay. And I put it there, everything I liked. So music, news, and books and everything. It was very various. And yeah, one year, one year of experience. And yeah. It's in my curriculum. Why not? Absolutely. Well, I think nowadays classical musicians have to diversify. They have to be able to put their artistry and their passion. I think art in general, it could be classical music, it could be jazz music, even pop rock music, it's art. And but even, you know, dance and visual arts, anything to do with arts makes the artists quite special people, I think. Of course, it's— I think— and their gift, I think, can be directed to so many. Yeah, if you're creative, if you're curious, you can't be just for one thing, just for music or just for classical music and I can't stop it because talking about music, I always tried to find, and it was not really hard, the connections between different styles. For example, I found the connection between the serious Mozart operas like Idomeneo or very, very heavy metal. So, right, or Monteverdi. Yeah, an incredible energy. The difference was that the, the period was different, so the technology was different, but they're very heavy metal, they're very strong. Yeah, they're very intense. Even the subject that they were— of course, it was quite shocking at the time. And yes, the, the dark subjects. Yeah. For example, or Bach, it's jazz. It's pure jazz for me. Yeah. So I think it's impossible to not see these connections. So I know Jacques Lussier is a French pianist who did some variations. I don't know if you heard them. Yes. On Bach, and they're very beautiful. Yeah. There's so much on that. Yeah. So I think art is the expression, is the most instinctive human expression And of course, change through the, through the years. Yeah. Because of the environment that is different. But you can find this core, this common core in every expression. Now, talking about opera, I wanted to ask you, which one is your favorite role? If you have one in particular? Yes. My favorite role has been, and I debuted it, Violetta. Yeah, a very strong— also, if I, I don't agree with the way she treated herself because I think she has been the first bad judge of herself, as, as we were saying just some minutes before. Sometimes we're talking during the adverts. Oh yeah. Okay. Okay. We have secrets. But yeah, of course, women are many times, many times we absorb the what society wants from us or what society think about us. What expect, but we don't really find our real desire. So we have to meditate a lot to discover it. And we can be really bad with ourself. We're really rigid with our life, with our decisions. Very critical. Yeah, critic. Worse than other people can do. So I think Violetta could be much more soft with herself, but she has been— she condemned herself. When I debuted it, I was blown away. I was quite crying because, because I feel so much the female characters. That in opera that express themselves. Because I think through the music you can express the deepest part of you. So do you have any character that you have to play and you don't really like? Yeah, yeah. Does that happen? Yes. My approach to Mimì has been terrible because— Mimì from Bohème? From Bohème, of course, of Puccini. "Eccelido, eccelido." Because I don't like her. It's easy. The role is perfect for my voice. So with my teacher, when I was studying it, we discussed a lot because I didn't accept her and the way to manage her relation with Rodolfo. And because she was like stupid. She was not really stupid, but the approach was like— Too naive. Yeah, too naive. And I didn't really like it. I preferred, for example, I preferred Musetta, of course, because she's smart, because she's— because she knows what she wants, what she wants, and she knows life and she knows men. So she tried to take advantage from her life. Also if it's not the best. But I think it's what we all try to do. So the last song that you want to play for this section is A Felicidade by Jobim. By Jobim. And do you want to tell us anything about the song? A Felicidade is a beautiful bossa nova song and talks about the fragility of happiness. A fragility of happiness. And Jobim expressed it very well. The words have been written by Vinícius de Moraes, de Moraes. The pronunciation is not really easy. And a felicidade. Yeah. All right. Let's listen to it. Tristezza não tem fim, felicidade sim. A felicidade Como a pluma que o vento vai levando pelo ar. Voa tão leve, mas de uma vida breve, precisa cair a vento se parar. A felicidade estou por preparar. À grandiosité du carnaval. Aujourd'hui, on s'y travaille à l'horizon entier, oh! Pour un moment de rêve, pour faire des fantaisies. J'irai aux îles pirates, aux îles jardinières, pour tout donner à bord d'un porte-avions. Tristezza não tem fim, felicidade sim. Tristezza não tem fim, felicidade sim. Welcome to Women's Radio Station, the voice of women worldwide. 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 Judy May Is Listening. Hello, this is Anna Kennedy at Women's Radio Station Live, voice of women worldwide, talking about all things autism. Women, the possibilities are endless. That's what makes us different. I'm Saskia at Sable Forex, and we specialize in saving individuals and companies' money on their international money transfers or foreign exchange. So when money's crossing currencies, whether it's euros to yen or rands to pounds, that's where we can add value. So for all your foreign exchange needs, I'm Saskia at Sable. You can contact me on saskia.johnston@sableinternational.com, or my number is 0207 759 7541. Hi, I'm Sue Openshaw, owner of Ferme du Ciel, the luxury ski chalet in Samoies 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 fermeduciel.com or 077 33 1 80 80. Call the 00020. Do you need mediation? We are the A-Project Charity. We provide conflict resolution and community engagement services. Our services include community mediation for neighbour disputes, family mediation for separating couples, special education needs for parents, carers, and their children and young adults, as well as workplace mediation and restorative services. To find out more, head to womensradiostation.com or thea project.co.uk. Women's Radio Station can give a voice to your brand with a wide range of sponsorship opportunities, including individual programs. We can tailor your experience to you. For more information on how you can sponsor a show Go to womensradiostation.com. Women, the possibilities are endless. That's what makes us different. Hi, I'm Zina 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're looking to promote. If you are interested in sponsoring or advertising, please contact me on 07956 371483, or alternately zm@womensradiostation.com. Welcome back to Future Classy Women Awards. On Women's Radio Station, our guest today is Luciana Di Bella, a Sicilian opera singer that likes jazz, has been a TV presenter and radio presenter as well. Yes, but not dancer. Not dancer. All right, not a dancer. All right, um, Luciana, what would you say was the most exciting moment in your career? Then any moment, I mean, could be being in television or being Any moment you go on a stage is exciting. It's challenging. Yeah, because it's the moment when I think, why I don't do another job like post office, something. Yeah, it's something where I don't have to push myself with all these emotions. But then, of course, it's just a moment. Because when, when we decide to become performers, we know it and I think we need it. This is what we love most. It's sort of an addiction. Would you say that? Yeah, yeah, yeah, yeah, it is. It is. And the moment when you feel you're really, truly yourself is the moment when you're on stage. So the most exciting moment, of course, as I told before, has been when I performed for the first time Violetta, and my heart didn't stop to beat. It was like a crazy horse and I couldn't control it. It was incredible. And all the thoughts were going through my head before to start because I was the The scene opened with me in the middle of the stage alone. Yeah. Giving the shoulders to my audience. So I felt the eyes of the audience there looking at me, waiting to start. And it has been incredible. But I think I would never change it for anything in the world. And, and yes. I think when you perform the role you have dreamed for the whole life, it's, I think, one of the top moments because, because there you can have back all the sacrifices you have made for music and the hours spent. Exactly. Because sometimes people think that singing is just open the mouth and sing. Oh, beautiful. Sometimes I think the next person that says that being a singer is amazing, I, I could kill him. But why? Because of course I love it and I like to do it, but when, for example, we have auditions, our life, it's absolutely not like other people's life because we stay all day practicing. Yeah, you can't catch a cold, so you can't be at risk. You have— our life is totally different. Our approach to, to, to— when people have fun, we are at home studying or practicing something or thinking about something about our job. You never stop. You are seeing— you are always a singer in the night, in the day. It's not a 9-to-5 job. Exactly. Yeah, exactly. This is what sometimes people say, oh, you still, you still study? Do you still study? Ah, yes. You can't stop. You can't. You are an athlete. Yeah, yeah, absolutely. You are like an athlete. You can't— like a musician. A musician have to study, have to study continuously. No. And for us, it's the same. We have to— we discover every day something new about our voice, about our, our, our self. So what would you say is the most challenging moment? What was the most challenging moment in the career of— in your career or in general? In general, as an opera singer, maybe it's the audition time. Yeah, the audition time is terrifying. I fall asleep every time I do it. What? What do you mean? Minutes, some 10 minutes before to jump on the stage. I need to sleep. I need to have a nap. I think it's a way for my body to defend itself and to relax. All right, so to isolate a bit. Yeah, it's interesting because I have fun in general. I don't like to, to be too much in tension, so I, I, I, I keep the beat. I— but the moments before, I need to take a small nap, just few seconds, but my body need it. All right, it's strange, but It works. So what would you say to an aspiring young student or a younger self if you could go back in time? Uh, to be, to be, uh, humble, uh, because sometimes humble, yeah, yes, and, uh, and ambitious in the same time. Because sometimes— tricky to combine. Yeah, exactly. It's tricky. You have to be very mature. Yeah. But it's the way to find your way to be an artist, to be a singer. And you have to be able to isolate yourself by what the world asks to you. Because sometimes it's really hard to manage it. And to decide who to be, what to be. And of course, for young students, it's when they have— when they are talented, sometimes they become arrogant. Oh yeah, maybe. Yeah. And it's the moment when they stop. I always say, in the same moment you think you are too much, you are amazing, in that moment you stop your growing in music. You stop growing your talent. I see. In that moment, because of course you have to be happy about the goals you reach, but you have to know that there is a lot more to discover after it, and you have to enjoy The journey. Wonderful. So the next song that you want to play is Rosa by Pixinguinha. Pixinguinha. I can't say that. Yeah, absolutely. So you want to tell us about the project of, you know, all these Brazilian songs you're presenting for us today? Yes. The project, because I define myself a crossover singer, I think the project is the most crossover project I ever done in my life because I like to put just style, just like arrangements under this ancient song, for example, or also under classical songs because we have Claudio Santoro, we have Heitor Villa-Lobos, and what I like is to put some osmotic arrangement under this, uh, this vocals. And, uh, and yes, Rosa is a very old choro style song, um, of Pixinguinha. And, um, who are your partners in crime with this project? Who are my partners in crime is the right— term. Silvio Zalambani, the saxophone, soprano saxophone player, an amazing soprano saxophone player. He's Italian and he specialized in Latino, in Latin music. And he's the one that made me discover the classical Brazilian music. Music, um, and is also the arranger of these songs. Then we have the amazing guitarist Chris Rogers. He's French. All right. Um, he's married to a beautiful Brazilian woman, so there is a kind of connection. You have the proper insight. Okay, exactly. And, um, the The cellist is a Polish amazing woman. She is Eva Mizerska. She's classically trained, but she is an incredible source of music because she can play anything she wants, and she has an incredible energy and talent. Fantastic. Then let's listen to Rosa by Piszczynkiny. Mais linda flor de mais satisfação que a vida é preferida pelo beija-flor. Se Deus me for a tocar mente aqui nesse ambiente de luz formada numa telha de eslumbrante pelo teu coração junto ao meu lanceado pregado e crucificado sobre a luz e a custódia o peito teu. Tu és a forma ideal, és a tua majestade, a alma plena do meu primeiro amor, sublime amor. Tu és de Deus a soberana flor, tu és de Deus a criança Perdão, se hoje eu confessar. 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. Womyn— The possibilities are endless! That's what makes us different. Hi, I'm Liz Van Linden, UK travel consultant for Hazelmere Travel. People come to me as they want unique experiences and personalized service. 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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 turn2us.org.uk. 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 @WomensRadioStn or Facebook Women's Radio Station to keep up to date with all our exciting news. 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 Luciana Di Bella, an Italian opera singer from Sicily who is also jazz singer. We heard your amazing arrangement of Brazilian songs. Now, Luciana, what's your next project? I mean, you've been talking about sacred music as well. Yes. So how is that connection? Yeah, I love sacred music. My next works will be Stabat Mater, Pergolesi's Stabat Mater, in Sicily. In April and here in London in May. And another project of mine is Venice Alphorn Trio. It's a very original project because it's for organ and alphorn and soprano. And we perform music from Mozart back to contemporary music that have been written especially for the Alphorn. Oh, wow. There is a very strange instrument. It's very light, but huge. But huge. And the sound is amazing. It's very evocative and deep. It's very emotional. And it's 6 years that we have this project on with these two colleagues from Venice, Silvio Cereggin and Alessio Benedettelli. Our next concert will be in Switzerland in May and then in France. So, yes, I have also this passion for sacred music. Fantastic. And you told me also about the project of Mozart, of the Mozart Women. Yes. In Italian, I would call it Le Donne di Mozart. So Mozart's Women, because the female characters in Mozart's operas, I think, eternal. We can find ourselves in each of his female characters. Anna, Elvira, Contessa, Susanna. We can find, I think, they have been very futurist in the way they described these women. So it's now time of the odd question. So do you have, well, you told us about the nap before going on stage. Stay. Any other hobby you used to free or relax your mind? Ah, I discovered, uh, the meditation, mindfulness meditation. Is amazing, is the best way to relax my body and my mind because as I told you before, uh, when you are an artist, you continuously think about your art, about your job. And in the moment it becomes your job, of course you are obsessed by, by it. So meditation is— of course I love to read, I love to listen to music, just listen to music as well. But I think meditation is the most powerful way to relax body and mind and to connect to yourself. And do you have any funny moment or embarrassing moment that you want to share with us? Funny moment? Oh, one embarrassing moment in my life has been one, because of course you know that now it's different because in the academies, uh, and in the conservatory in Italy, they study all the styles of music. But when I was studying there, um, I, I was already singing in my life. It was 10 years that I was singing, that I was performing. Okay. But I didn't say anything because it was the big secret there, because you know that my, my old teacher didn't accept that we could have a life, a musical life outside the conservatory. Okay, very conservative. Exactly, she was very conservative and If you think that I was also a jazz singer, it was crazy because— oh, I'm sorry, I touched the microphone. It was crazy to say that I was a jazz singer. Sometimes she asked me, Luciana, are you already singing? Because I think she saw that I was very, yeah, at ease on the stage, right? Exactly. 'And I always say, oh no, no, absolutely no. I never sang in my life.' Oh no way. 'Believe me, believe me, because I really, I truly wanted to stay there and to study there. So it was a kind of protection.' A day she arrived in the class with the newspaper with a huge picture of me and an article about a concert, a jazz concert of mine. She arrived there, and you are the one that doesn't sing on the piano. Oh my God, she was crazy. I can explain, it's not as As in Luke? As in Luke? As my twin sister? Did you say that? So it was really because she was really upset with me. After that, I tried to explain to her, and the first period she has been not very nice with me, but then she loved me. She started to love me, and she used my my bipolar identity. I see. Because the concerts were, of course, rich because I could sing the jazz Christmas song, for example, and at the end, the classical Christmas song. So she was— okay, that's very good. Yeah, good for her. Okay, absolutely. All right, now the last song we're going to listen to today is Pela Luz dos Olhos Teus, right? From Jobim. Yeah, it's a waltz. The waltz. All right. And, uh, why, why did you choose just this type of songs for today instead of an aria from Mimi or, you know, that's quite original. Yeah, because it's my, my main project in this moment. This is the project that I want to, that I want to, to promote and to, and to push. But do you think we will hear you as well on the radio with some classical opera? Of course, I hope soon. So if you had to choose, what would you choose at first? What would I choose? Um, of course Mimi, Mimi Aria, because, because it seems to be written for my voice, to be honest. Also, if I don't like her, but I have to be honest. What about Tosca? You don't like Tosca? Yes, I, I'm just approaching to Tosca. Okay, because I can see you playing Tosca. Yes, a very strong woman and powerful. But now I'm approaching now to Tosca. Yes, because I think before it was too early for me. Now I'm approaching to Tosca and I'm discovering her and I'm loving her. I think you will be brilliant, Tosca. All right, let's listen to "Pela Luz dos Rockasteus" by Jobim. Quero amor, quero por Deus, que a luz dos seus olhos me ache, não há por que esperar. Quero a luz dos seus olhos, Deus, na luz dos seus olhos meu ser mais light. Pela luz dos seus olhos, Deus, e achar mesmo amor, é isso você pode achar. Que a luz dos seus olhos meus precisa se encasar. Quando a luz dos seus olhos me acha, a luz dos seus olhos, Deus, já soubemos nos encontrar. Ai, que bom que Isso, meu Deus, que frio que me dá o encontro desse olhar. Mas a luz dos seus olhos, seus olhos meus, só pra me provocar. Meu amor, juro por Deus, me sinto incendiado. And this was "Pela Luz dos Olhos Teus" by Jobim, sung by Luciana Di Bella. If you have any questions you would like to ask to our guest or nomination for our future Classic Women Awards, please email presenters@womensradiostation.com or tweet us @WomensRadioStn for a chance to win 2 tickets at our concert of the finalists of Future Classic Women Awards. A big thanks to our guest Luciana Di Bella for the great chat and the beautiful music played today. Thanks to you. It was really fun. 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 to our previous programs, please head to my presenter's page, Stefania Passamonte, Future Classic Women Awards, on womensradiostation.com. Thank you for listening. Welcome to Women's Radio Station, the voice of women worldwide. I'm Sarah Louise Ryan, and welcome to Love Lessons Live on Women's Radio Station. 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