Future Classic Women Awards – Lola G & Dimitri Scarlato

Hello and welcome to Future Classic Women Awards with Lisa Crozamonte on women's radio station, the program where we search for the most amazing new female artist on the classical panorama. Today on Future Classic Women Awards, we will be talking to a guest that has been with us before, and that's the wonderful soprano Lola G with composer Dimitri Scarlatto. Good morning. Good morning. Good morning, Stefania. Welcome back, Dimitri. Welcome back. We had Dimitri, I think, in our second series of Future Classic Women Awards, and Lola was a nominee of the first serial of feature Classic Women Awards. So a lot had happened in the meantime. Lola, would you like to tell us? Well, no kidding. Yes. The most unexpected things happen and we are all in the situation. I think that we realize how important it is to, you know, stay close despite the physical distance. And, of course, the collaborations with people you respect and love are very important now, and there are lots of ways to do it. So I must say, it has been tough. I mean, for me personally also, because having to navigate two little children who are in the school in the middle of everything with schools closed, it's been really tough and demanding. However, it's been a number of projects that have been happening that gave me a lot of, you know, a lot of, you know, like, a good feedback and, you know, it was very reassuring to see that there's so many, you know, artists there with whom it's possible to just create positive, Positive energy, which we need so much right now. Absolutely. Well, you know, so we are at the end of our. What is this, the third lockdown here in the uk? I'm. I'm losing count, really. Yeah. And we had a wonderful Easter and the weather has been kind, actually allowing us to go out to the park. That's been just beautiful. But, yes, the lockdown at home with children is really, really difficult. I. We have both of us, two daughters that are around the same age. And you have been super good, actually been better than me with the homeschooling. I just gave up completely. Do you think so? No, no, no, to be honest, it's really, you know, it's really like a test to someone's mental health. You know, I think we all need a lot of, you know, like, psychological support after all this. And I think really the heroes are parents, you know, of this whole situation, because, you know, I personally think it's been really criminal to close schools because people, you know, it's impossible to work, it's impossible to do anything. And this in this age group, you know, I mean, I think the secondary Kids, you know, despite the, you know, psychological obviously impact, but they at least they can sit and do things independently, you know, and complete the tasks, you know. But it's been really crazy because really we had to be the teachers, you know, and to dissect the material that was presented by the teachers who were trying, you know, working so hard, you know, also to keep everything, you know, going. So. Yeah, well, let's just hope that this is the last of this, you know, crazy lockdowns and that we can all regroup and find ways to now rebuild, recreate, you know, and support each other in years to come. Absolutely. Dimitri, you don't have children. How was the lockdown for you? Well, surely it was easier probably for me than it was for you. I have two nieces, so they're quite young. So my brother tells me how challenging can be doing lockdown with kids, you know, on top of your job. You got another full time job in the rest. Yeah, for you mothers and professionals. I managed to navigate quite well, I have to say. But just the last lockdown that it was very long, the one that from the end of November that we had a small break, but then it carried on up until now. That was long. That was long. It was winter after nearly one year. So it challenged even me that I managed to navigate fairly well. I mean, thankfully I was busy with my work and this really helped. But I'm looking forward to, you know, to the first light out of this pandemic. Well, what is incredible is that you actually not just a phenomenal composer, you had wonderful things happening during the lockdown, despite the lockdown, but you're also also a professor at the Royal College of Music and you've been going to do master classes and teaching, I mean, in person. How risky was that? Well, the college has been a very strict policy to safeguard, you know, the health of staff, teachers, the students. So personally, I'm the aerial leader of the Masters in Composition, so I had to deal with, you know, moving everything online. So all the lectures and seminars, you know, group teaching activities were done online. But during the first term we managed to go to do just the one to one lessons in safety, obviously with masks. And this was the only thing that was allowed to do. It was an issue for the course because we had to postpone lots of things to next term. Lots of activities deal with musicians. So next time it's going to be very busy. But we are all looking forward to it because finally we can be back on site. Because although this pandemic proved that you can do lots of things online. I think there's always an element, especially for a professional for musician, that the live teaching can give and that online teaching cannot really give. Absolutely, yeah. Well, talking of which, actually both Lala and Dimitri are going to be professor of this new concept we founded together and we launched during the lockdown, that is the London Performing Academy of Music. So the London Performing Academy of Music, or lpmom, launched the online courses because with the lockdown we couldn't do otherwise. And it's true, I mean, for classical music, it's very difficult to teach through a monitor. But we've been very lucky to develop these incredible new technology that allow us to perform at the same time, to play together. With near zero delay. We tried Lola just last week, the function of the master class. So actually the lockdown gave us a push to classical music, towards technology. What do you think about technology in classical music? Who wants to answer first? Well, I can say a few words. I'm really not a technical person at all. So of course the fact that the, you know, the live performances were postponed, you know, it's really a little bit heartbreaking. But at the same time, you know, I've taken part in a number of classical crossover concerts, both organized by a lady called Jenny Rawlinson here, who has a lovely show featuring classical crossover artists and as well as for classical crossover magazine, Natasha Barbieri in New York. And it was really great to have that, you know, so that I could work and record some songs or arias or my own song towards. So to have things to work towards, you know, of course, you know, it's. It's not like live, but it's really good to be able to share and to find new people through Twitter, Instagram, you know, and through this online courses that, that discover your, you know, your art and your music. So it's really nice to have more visibility, of course, through technology and I'm delighted to be a part of your amazing project also because I really adore, you know, Russian repertoire. So for me to be able to share it with your, you know, your musicians and singers who will come to our academy, it's just, you know, it's a real privilege. Lola is going to be the coach of the Russian for the Opera department of the London Performing Academy for singer. So it is something I'm passionate about and you know, to share that passion with others. And also, obviously I'm doing my own songs and, you know, I'm doing other classical things, but to keep also alive this or to, you know, to share this great love I have for. For Russian repertoire and it's, you know, really my mother tongue, you know, that, you know, I always obviously feel that even after many, many years, I hear the Russian language is, you know, something that is so. So, you know, inherited. So, you know, close to me and the culture and of course the literature and everything. So. Yeah, so. And of course the technology is a great tool for creating projects like what. What we have done, you know, with Dimitri, because we haven't met yet live, you know, but thanks. Thanks to, you know, to you and our dear friend Riccardo Bonci, who is now the organist in Orvieto. I'm so. You know, the most amazing majestic cathedral in Italy who brought us together. And so through technology we were able to do something special and to. Yeah, so we haven't met yet and I'm looking forward over a few, you know, live meetings. But it's been really awesome to be able to do that long distance, you know, talking of which, so. Yeah, yes, exactly. So we collaborated with Lala. Lala. This is your song dedicated to your daughter Angelica. And we hear it now with the arrangement made by Dimitri Scarlatto. And then we will talk with Dimitri afterwards. Let's listen to Angelica. Far away on it. Beautiful to me beautiful you my darling. Let the follow your heart, Follow your dream and I always be. Close to you my. Close your eyes and hear me beside you, Darling. You. Well now go, you will fill my love. Remember, always feel your song. Let the fall of your heart, Follow your dream and I'll always be. Single. Close your eyes and hear me beside you. So deep inside my soul. Follow your dreams, you calling, All will be well for you my. Know. Follow your dreams, your calling. Far away on you. For me we. Beautiful. How beautiful. And this was Angelica, composed and sang by Lola G and arranged by Dimitri. Lola, tell us a little bit about this song. So this is. This song is dedicated to your daughter. And when my daughter heard the song, she had to. She was compelled to send you a big heart. She loved it. Well, thank you so much, Stefania. I dedicate. I wrote it for Angelica and you know, I really dedicated to all daughters because we are all daughters in this world, you know. And so actually I felt it was really good time to arrange the song with Dimitri, because it was also, you know, close to Angelica's birthday. It was close to the women's day and the mothering day and the springtime, because we all so much look forward in reawakening and sort of new life starting. And it's a song, obviously that is personal message. And I'm very touched with the arrangement. Dimitri has done a beautiful job because I think he really kept to the essence of it and just brought it, made it even more, you know, more. Let's say, more colorful and more, you know, more. More beautiful. So, yeah, so it's. And it's a song that, you know, piano and I wrote originally the voice and piano, as you know, I always write my songs at the piano and I. I felt exactly this kind of arrangement in my mind. You know, something that is also cinematographic, expansive and at the same time can keep the essence, you know, of the. The message that is inherited. Stefania. Oh, Can I. Can you hear me? Yes. Sorry, sorry, I had a problem. Dimitri, what would you like. What would you like to tell us about this song that Dimitri. I mean, as Lola said, I. I try to understand the. The essence of the song. And so when I. When I arranged, I didn't think for, you know, full on orchestra blasting, you know, but I just thought of something more delicate and immersive. We attach with some solo instruments. They can do nice counter melodies to the main tune of Angelica. And I also try to leave some space with arrangement so that the voice could still be the center of the stage. And it's been an interesting process because every time you work on something, you're always learning and especially in collaboration. So Lola was very insightful. She had also. She had a clear idea what she wanted. At the same time she was open and receptive to, you know, to see new avenues and nothing. So as she was saying, we managed to do this quite all close to all these happenings. Women's Day, I believe it was also Lola's birthday during this day. So not only in Jericho's. Oh wow. You know what's happening this very moment? It's knowing. Oh dear. Oh wow. We are in North London. You're joking me. We're recording because the radio, they're doing it in remote. So welcome Springtime. This is the Easter Monday and I love it that we start right now. But we were talking about. Beautiful. Angelica. Tell us about your relationship with technology. Definitely. As a composer, you're used to it, isn't it? It's a big part of your life. Well, technology first of all, allowed to carry on with lots of universities. And also, if I have to speak about composition, I think that we have been the one composition for screen, the ones that probably made most of it. Also during the pandemic, because. Because the students and the professors, they really used to work with technology. It's a tool that today you can't avoid using it because it opened up to so many opportunities and possibilities. And also, as Lala said, it allowed us to just work without never meet and to still produce a high quality product. And then when you were speaking about universities, you know that you're doing the lectures, there's no delay. So the pandemic surprisingly pushed even more technology. So even in music now, there have been few new platforms that work on how to do a live stream without any delay to allow people in every place in the world to work at the same time. And so I mean it offers you a lot, but at the same time you really need to navigate how to use it and it requires lots of time because you got so many opportunities by the technology music that it's really job to get to know how to work with it and to be up to date with what's happening. Because it keeps developing, isn't it? Keeps evolving. And so I think as a composer, more than a normal classical musician, you really have to to continue study more and more and more every single day, isn't it? Or almost as a musician you study all your life. Well, it's a life that we love, isn't it? Now, because we're talking about technology and the lockdown, something wonderful happened as well. I mean, you are an incredible classical composer, you composed operas, you conductor, we performed together Rachmaninoff second Piano Concerto, which you conduct in the orchestra and a movie. And in particular you're an incredible composer of movie soundtracks as well. And a live reset. It's from the latest movie released during the lockdown, am I right, Dmitry? No, alive reset. It's the trouble from the opera competition during the lockdown opera competition that was done last summer and I won it. So sorry. So would you like to tell us about this opera then? So this is a proper classic. Basically there was this director that assembled, I think 20 or 30 minute team made out of, you know, composers, libretti, performers and singers. And the purpose, it was called the opera Harmony, was to write mini operas, maximum 10 minutes remotely. And the film must have been, you know, Covid and without meeting because I think during the summer we're still in the final peak of the lockdown in June and July when this was launched. And it was challenging because also had singers pulling at the very last minute. So then thanks to another of our friends, Ambra, we managed to find the singers and it was a very interesting process because he had the main singer that she was in Germany, in Berlin. Then I had one singer in Carlisle, one in Wales and one in London. So I was sending to them the backing truck because I decided to do everything by myself with computer. And then they were sending me the recordings and then I was asking people to kind of was themselves director that was giving her instruction. And then we assembled all together and we created this mini video and I think we won the second prize and it was a very lovely experience for all of us. Incredible. So what's the story? The story? I mean, the librettist and did you make it up or you like, did you. The plot or. It was already made? No, it was the librettist that decided the story. And then I just made some tricks to, you know, in support of the music. But actually it was quite challenging because it was about disability, but it was about probably the kind of mental disability, the ones that you don't see it caused by the lockdown, hidden disabilities. And so this main character discovers, funnily enough, thanks to the pandemic, that she can still reach out to people because, you know, at the beginning of. Of May and June and June, everyone was, you know. No, no. Knew how to use WhatsApp for calls, for phrase calls, you know, Facebook, Twitter. Yeah. Even people that never used it, that they found themselves in this position. So. And so it would describe how she struggling, but also how she can see a glimmer of hope towards the end that things may change. And the chorus, these are. The three ladies are like these women that are somehow more nasty. They're always commenting and being sarcastic towards this main character. But eventually them too have been affected by the lockdown, even though they think they're strong. So the message is that, you know, you need to be resilient and always try to find an alternative solution or avenue within any context. Let's listen then. Dimitri Scarlatto. A live reset. It's just an extract of the ending section. Yes, wonderful, thanks. There's a rainbow in her window and in the local Facebook group she posted. Radio. Very beautiful. Dimitri, this was from your latest, very short opera, a live reset. Now, what would you say? What would you think? It's opera today. Does it have the same meaning as it might have had in the past? Like the great opera is by Mozart. What do you think about opera in the 21st century? Well, it's. It's different. The reception of the opera right before it was like the theater, it was the cinema that people didn't have. Nowadays, opera has become more of a niche event, which is not great from A personal point of view, because I think the opera, it's a massive piece of theater, whether it's drama, there is music, there is acting, there is costumes, stage direction. So it's still, I think, a great art form. The problem that contemporary opera, for example, in the uk, yes, lots of things are happening in any kind of style. So it's still the usual dilemma what kind of music should write. If you write a contemporary opera, should it be, you know, like contemporary classic music, when you're doing lots of research, or should the music serve the drama and tell contemporary stories? So, from a personal point of view, I think the opera is still very much alive and you can tell lots of stories with opera, contemporary stories. And this is something I've always been interested in. Fact, all my operas have been on contemporary topics. And this is why also, I loved that I was involved in this project during the lockdown because it was really writing something about the current pandemic was at the time, a novelty and a shock for everyone. Now there is, I think, it's very important to think about the past as well. I mean, you had great opera composers, then you had great symphonic composer, then you had great piano composer, like Chopin, for example. Verdi is remembered for his operas. Mozart is one of the rare cases where you had an incredible composer that was fantastic, both for opera and symphonic and for chamber music and solo piano, for example. What do you tell students that wants to start, you know, an undergraduate course in composition, in classical composition? What's the approach today? Is it any different from when you were a student, for example, studying composition? I think that today there's much more openness and because when I was a student, we're still, you know, at the end of the day, the avant garde, especially in continental Europe and probably in the uk, the avant garde hasn't been as strong as it was in continental Europe. So I think that today lots of barriers have been brought down. And so the issue is probably that is too much available, so the students need to focus. When I taught my lessons in contemporary music to all the students, all the undergraduates, and I had to do a lesson about contemporary opera, can I show different examples from George Benjamin or from, you know, Haas? And there are three different approaches to, well, novel. So one can be. One can be based on, you know, on the power of the drama and focusing the drama. The idea instead can be, you know, mixing electronics with live instruments. Another idea can be, you know, the texture of the orchestra. Another idea is that, like George Benjamin can be, you know, a story connects tale of the 13th century with the contemporary story of the century. And it's all done by. By the stage direction, but also the music. So I think it's. Nowadays, what is important is to personally to find something that has a hook with the present, with the contemporary days at them. Find a unique, interesting way to do it, like, for example, George Bent in Under the Skin, in Original Skin, use instruments such as bella da gamba or the class harmonica. They are kind of unusual. So try to. Today, the importance has to be on originality, on sound, on texture. So try to find something that has that uniqueness that can define your composition. Lala, as a singer then, you had a degree in opera singing, classical opera singing, and you're now composing wonderful songs. And we could say you're in the crossover, but at the same time you came being in the opera as well. So what do you think about opera and the difference with crossover and contemporary opera, for example? Well, I feel opera is a perfect art form, you know, because it brings together all the different elements and it brings so many people together who are performing and different, you know, functions. I think that, of course, classical opera is a scene as something of an elite, you know, elite thing. And it's very important to find ways so that younger people can appreciate and, you know, appreciate this amazing art form. I mean, musicals. Essentially what I'm doing is, you know, is, you know, writing each song, you know, and, you know, and I'm not really, you know, a composer in the sense that I, you know, I have. I mean, I write my own songs, but it's, you know, for me, it's like, you know, such a, you know, you've got to be doing so much more to call yourself composer. And so I am, I feel really like, you know, humbled, but in my small way, you know, every song is a story, so, you know, storytelling and the opera is storytelling on a bigger scale. And I think that, you know, for new generations, of course, you can do like rock operas or the musicals. But I think that it's just so important that already from young age, you know, that the children can be exposed, like, they can hear. And it's part of the education, you know, which unfortunately, like, you don't see, like, so many children, for example, in the opera. While, remember when I was little, even like six years old, you know, you know, I remember going to, you know, to hear opera, ballet, and it really impact you because as a child you remember things, you know, so vividly. So I think that's something that needs to be done from early age. And then the children can, you know, start to like, also understand what is Mozart or, you know, Puccini, who was, you know, for me, the first film composer and I adore Puccini. Or what is the more modern, you know, more than like Oprah, which. So that if we can have that as part of also, like education from early years, I think that would be great. But of course, you know, there are like, financial implications. And I think, you know, culture is sometimes undervalued and it's heartbreaking, you know, because we are the like, you know, people like Dimitri and you, you know, at the core, like. Like the foundation of the society, you know, and it's so important to value artists and to, you know, value each other because, you know, in a way, you know, this is something that brings people together irregardless of race and color and status and people to enjoy, you know, beautiful art forms together. And opera does it, you know, in a great way because it brings people who are in technical, you know, lighting department, who are obviously the actors, you know, you've got to, you know, dancers, you know, dancers, people who are creative with, like, you say, with the creation of beautiful costumes and the singers. Because no technology can recreate a human voice, you know, and that's beauty of it. And I totally, you know, agree with you guys. You know, it's a great tool, but it needs to be, you know, one needs to be selective and it needs to be used wisely. So I think that's now our job as well, is to keep the human contact as much because we don't want to be consumed to buy technology. And I think that's why, you know, music and live music and singing and voice is so important, because no computer can recreate an individual timbre, you know, of a beautiful. Also violin or a beautiful lie. Stein way. You know, I can hear because, you know, I studied piano as well. So, you know, one can hear when the instrument is really alive and live. And you know, of course, maybe like some cannot hear, but you can really hear it with a voice, you know, that. That is because it's such. It's a soul behind. You know, it's, you know, it's somebody's soul. So that's something that technology cannot recreate. But I don't know how we got from talking about opera. I'm talking about that, but I. I hope that makes sense. Yeah. Well, talking about. Actually the next song we're gonna listen is your song Lola Called Prayer. With, like to tell us about this song. Yes, it's from an album that I had privileged to record with amazing Italian musicians in Fano on Adriatic coast, with the support of a friend who offered a very. So super generous in his studio. And it's a selection of 11 tracks, which are all my songs and lyrics. And it was a master that Abed wrote. Studios IN London and I'm very grateful because it's been such an amazing experience. I call it my baby number three, because, in fact, I recorded when I was expecting Angelica, I was like seven months pregnant. And then, you know, when I did the mastering and everything, I was like, you know, expecting another baby. So it was a really creative and special time in my life. And now this track Prayer is like the last track in the album because I think it's. It's stands out in a sense, it's a little more towards crossover. Maybe the other tracks, I would say they're more like between Pope and. You know, you can hear the classical elements, but the Prayer is really, you know, I didn't make anything like I know what. What it is for me, what it was for me, but I just. I kept it like, you know, I didn't put it specifically in the lyrics. So it's really about, you know, asking for peace and asking for support from above. And I think it's a song that also makes me always think about the fact that no matter what we do, we need a touch of grace in our life because we call it presence of God or luck. And I think that, you know, I certainly feel that in myself, you know, so we've got to be grateful and whatever it is that you believe or not, but there is that element of grace and prayer is. That's why also, like I put it as a last, like a final track in my album Undreamt Dreams, which can be downloaded and. Or also physical copy can be ordered through my website. Let's listen then to Lola's G Prayer. Night is near the moonlight's on the rise. All the world is standing still tonight Looking for a way to free the mind Going on, holding on, longing to breath, longing to hold. Is there a lot of hope here in the dark? Close my eyes I let the night step in all around me the silence in the wind. Many moons have shone down from the sky. Here, here my go, here my cry. Nowhere to hide, nowhere around you are the light of. Pray. Weeks and days the time just flying by. But my wish is always deep inside me. You alone can see inside my heart. Are you alone? All alone? I want the courage to understand all that Is meant through me. Jesus ra. Sam sa. Wow. And this was the beautiful song Prayer by Lala G. How beautiful. Now, Dimitri, the last song that we're gonna play today is going so fast, honestly, very little time left. It's called La Luce del Estele. Would you like to tell us about this song? Well, this is the final track of the film you were mentioning before. So this was a film that was released on Amazon Prime. Oh, I was right then. I just got it mixed up. Yeah. It means the light of the Stars. Tell us about it. Well, it's. I mean, the film is psychological thriller with lots of music in it because it. It's the story of this father that his son was bullied. And he plays all these tracks through registration. There were classical tracks that his son used to play on the cello. So we guided via the music to understand the story. We discovered what already happened just at the very end. And at the very end, the policemen, they were in charge or trying to find this person that kidnapped, let's say the radio hijacked the radio and he forced the DJ to play these classical tracks. At the end they discovered that he was just staying above the radio station, hidden. Thanks to technology, he was managing to divert always their intentions in trying to find him. And then they see that the dream of this. Of the son of the son of this MacArthur was to switch off all the lights in the world so they can see the lights of the stars. But the very end, when they discover base of this professor, at some point we can see that all the electricity goes off and we finally see the light of the stars. And this is the. The track that starts at the very ending of the theme and then carries on over the credits. Wonderful. One question. You compose often for cello. I know you compose for all the instruments, but I think you have a soft spot for the cello. Do you play the cello? I actually don't. But, yes, I have a soft spot for the cello, for the accordion, for the trumpet. The cello is the cello. And you had this wonderful album called Colors. That is for cello and piano and accordion. Yes. And again, the cello has a wonderful part in it. Let's say your main instrument would be piano, though. Yeah, my main instrument is the piano. But as a composer, when you compose for other instruments, do you have to have a basic knowledge of playing those instruments? Now I'm asking questions, you know, like from the audience. No, no, no. You have to. You need to know how an instrument works. You don't necessarily have to play, but I think you need to know the mechanics and all the opportunities that can offer that instrument. Wonderful. Well, let's listen to Dimitri. La Luce del Estel Dimitri Scarlato La luche del Estel Sa. Sa. Sam. And this was La Luce del Estelle from the latest movie released with the soundtrack by Dimitri Scarlatto. We are on the last leg of our interview. Very few minutes are left. So would you like to tell us what's your next project starting with you, Lola? Well, I am very much looking forward to working towards creating an album with Dimitri. So we're going to be looking at creating something together and I'm very, very excited about it. Also the Prayer, the song that you shared with everyone. One planning to do a video of it with the very talented and amazing Russian British videographer and photographer Igor Fein. And there's some interesting, unusual actually like project because someone who recommended my music to her son in Manchester, who is a DJ producer, very young guy, he took Devil May Care song, which is also from Andream Dreams and he did like a. Like a dance tech version of it and it's really fascinating. I mean it's. So he's just played with it, you know, but it's quite interesting if to hear the. My album sort of arranged or like transformed in. In that way. So I might be. Be sharing this. I'm looking forward actually also to share it and hopefully it will be really appealing to younger listeners like, you know. Yeah, and you, Dimitri. And I'm in the process still of finishing. I just worked for a university in Carlisle and I did too many musicals and mostly, you know, digitally, meaning that I just met the students three days to do record voices. So now I'm completing and then I. And the final touches of a commissioner from the Hungarian National Choir to write a piece about Dante. Because the Italian point today is the anniversary and this year is 700 years from birth, if I remember correctly. So the great writer who wrote the Divine Comedy, the. I was very impressed when I came to the UK to meet a dear friend of mine, James Cross, who was studying Italian literature and he would recite by memory in the middle of our life, I found myself in a dark wood. Do you start with that? No, I didn't. I was inspired by another chant from the Purgatory. And Yeah, and so this is my current at the moment, other than obviously developing the album with Lola. And of course both of you are starting teaching for the London Performing Academy of Music. Probably, probably. Hopefully, you know, we will be able to be in person by September, but otherwise online. Well, thank you so much for today interview. Lala and Dimitri has been wonderful listening to your music. Thank you, thank you Stefania, always a delight and you are a ray of sunshine. Oh, thank you my dear Lala, you too. Italian sunshine, you know, that's like a special, special gentle warmth and love to it. So thank you Lala. Well, if you have any questions that you would like to ask to our guest or nomination for future Classic Men Awards, please email presenters@womensradiostation.com or tweet us @womensradiostn. You've been listening to future Classic Women Awards on the women's radio station live every day at 10am and 10pm London time. And this is my time, London time. And if you want to like to listen to it again or catch up on our previous programs, you can head to the presenter page Stefania Pasamonte futureclassicwomanawards on women'sradiostation Com. Thank you for listening.