Future Classic Women Awards – Marsyas Trio

Hello and welcome to future Classic Women Awards with me, Stefania Passamonte, 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 Valerie Wildbanks, cellist, and Ellen Vidovich, flute from the Martian Trio. Hello. Marsyas. Oh, Marsyas. Okay. Where does the name come from? So the name's from Greek mythology. And so Marsyas was a flute, a pipe, playing satyr, and he dared to challenge Apollo, who was, you know, a very sort of one of the very high gods, one of the very powerful gods. He challenged him in a musical contest and won. And so. But he. Because Apollo was so envious and so enraged, he then, you know, killed Marsyas. And so there's the symbolism of, you know, musicians. We sacrifice a lot to become musicians. And also there's the symbolism of challenging, you know, the higher God. That our combination, when we first started, it's not as recognized as perhaps things like the piano trio with violin or string quartet. And so we've been trying to kind of, you know, change that and break new ground because, you know, our combination dates back to Haydn and Clementi, you know, back to the classical composers. Yeah, so there's that symbolism of just we're aspiring to kind of challenge ourselves, you know, challenged the industry. Why do you think this formation is not as common as used to be? In a way, I think it mostly had to do with over the 19th century, the flute underwent a lot of changes with the mechanism, so it kind of fell out of favor. And I think the piano trio with the violin then took over at that point. But we've been compiling a catalogue over the last few years, and there's hundreds of fantastic works written for a combination. I think also in the chamber music scene, I think people have become used to hearing certain formats, so certain things that they're familiar with. And I think because of. Just as Val was saying, because the flute was undergoing a lot of changes in its construction, I think it was less popular with composers because it was quite problematic. So when you had big concert halls, it couldn't project. And so I guess the violin became a very big solo instrument, very popular. Whereas the flute, it took longer for it to kind of, you know, get its kind of silver, you know, silver construction with the new key works to allow it to kind of have that same power in a big space. I think just at that time during the Romantic era, when, you know, as Val said, the piano trio with violin became really popular. I think Composers weren't writing so much for the flute because it was just, you know, being changed all the time. Yes, I understand. So a question. When you were. So you met at Royal Academy of Music, right? Yes. So that's where you were a student. And how did you decide then to get together and make a trio, such an unusual trio? Well, it was Helen's idea. She approached me and she approached our founding pianist, Fayren, who was also at the Royal Academy of Music. And Helen had heard George Crumbs Vox Bellone, Voice of the Wales. And I remember her coming up to me with this CD saying, we have got to play this piece. And actually that piece has been pivotal to our activities with contemporary music because it's actually guided us in, in one of our most important commissions, which is on the disc, actually, which I think we'll hear a little bit later. On your latest album, you mean? Right. Because you had a debut album, I was very curious about this one in 2015 with a tribute to the Russian composer Elena Firtrova. So since the very beginning you were very much about female composers. That's right, yes. Yes. So in fact, just by chance, the first, first commissioning grant we ever applied for and were successful with was from the PRS Foundation. It was a Women Make Music Award. And yeah, we had been introduced to Elena Firsifer from one of our tutors at the Academy, actually, and he introduced us. Her. To us. To her. And yeah, and we discovered this really amazing, quite profound music that she writes and we felt that it was really important to make this disc because there wasn't really a CD devoted entirely to her chamber music. She's been commissioned by really big international orchestras and there are sort of other CDs out there, but not of the pieces that we had recorded on that. So who would you like to listen and to start with for this? Well, it would be great to go to one of our most recent commissions, which is actually the title track of the CD in the Theatre of Air. And this is by Hilary Tan, who's a Welsh born composer who's made her career in upstate New York. And she's written another piece for flute, cello and piano that we discovered through the Meiniger Trio, a German trio. And we just fell in love with it. It's called in the Gardens of Anna Maria Luisa de Medici. So her voice already reflects these very strong female character in history. So we approached her and have developed a relationship with her over the past few years, which has been incredibly gratifying. So I think maybe if we could listen to the final movement from the work that we commissioned, which is entitled Starlings. And this is actually quite. It was the seed that sort of started off the CD project that we met with Hilary because we were interested in commissioning her. And, you know, we were kind of discussing ideas and Val and I had both just seen the murmuration of Starlings. And I don't know if you've ever seen that. It's a really visually spectacular kind of thing. And so Hilary, her music, it's. For me, it has sort of this French aesthetic mixed with sort of. She has this passion for the shakuhachi flute, which is the traditional Japanese flute. And you can really hear that in the way that she writes. And then she's very interested in sort of visualizations with. With the music. Yeah, wonderful. Let's listen to it then. Sa. And this was Sterling's from In the Theatre of Air by Hilary Tan, played by the Marcian Trio. We will be back after a short break. WRS women's radio station. Voice of Women Worldwide. Sarah's Universal Soul Show. What does your soul or spirituality mean to you? Welcome to future Classical Woman Awards with me, Stefania Passamonte on Women's Radio Station. Welcome back. I'm Ross Cain. You're listening to In Conversation with On Women's Radio Station. I'm Angie. And I'm Patsy. And we're open. To see what other programs we have on Women's Radio Station, head to our website. Womensradiostation.com Mirae B Ltd. We are a virtual PA consultancy. We provide remote administrative services. Our offering is diverse. We manage your calendar, we update your client database, we take care of your property in France and in London. We also offer bookkeeping and translation services. Would you like to know more? Please call 077-868-48998 for further information. Mirayb Ltd. Making the life of the business owner successful. Struggling to get by Financially, I was the same. I wasn't sure what we would do in an emergency. And then it happened. Bills were piling up and the kids needed activities to do over the holidays. Then I found Turn to us, Turn to us. Give practical help to get people back on track. Whether you've experienced job loss, struggling to find work because of a disability or thinking of having a baby, they can help. Visit turntous.org.uk 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. That's what makes us different. Do you dream of a wedding on the beach? Or maybe in the middle of a vineyard? Imagine your wedding in Italy, the land of Leonardo da Vinci and Michelangelo. Getting married in Italy in a venue that is magical and has natural beauty. Amoretti weddings create unforgettable moments. What you had to do is just relax and watch us make your wedding a real fairy tale. Contact us now for a free consultation. Www.amoretti.co.uk with over 35 presenters, we have something for everyone on Women's radio station. Women's Radio Station is a not for profit, community interest company. Supporting women is our passion. We're currently welcoming donations to help towards our running costs to keep this important initiative alive. To donate, simply head to our website. Every little will help. 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 guests today are Valerie Welbanks, cellist, and Ellen Vidovich, flute, a representative of the Marcias trio. Ellen, we were talking about how you chose this name because you were challenging the stereotypes of the trio. For example, having a flute instead of the violin. What other things are you trying to challenge with your trio, with your choice of programs? There is one thing that is the feature of the trio of the latest album is mainly female composers, for example. Yeah. So interestingly, our repertoire features a lot of female composers that people haven't heard of. For example, the French composer Louise Farenk, who we performed recently for a Spitalfields music concert. And the audience were just, you know, wow, who's this composer? Why do we not know this composer? You know, Wonderful. And she was actually the most successful French woman, you know, composer of the entire sort of 19th century. She was the only woman who was given a job at the Paris Conservatoire teaching the piano throughout the 19th century. And yeah, interestingly, our repertoire, we have, you know, lots of female composers that people perhaps haven't heard of. Another one is Manziali, another French composer, Marcel de Marziali. Yeah. And I think we wanted to seize the opportunity this year, 2018, being the centenary of women's suffrage in the UK, so 100 years ago, some women got the vote. But it was a very pivotal moment in women's history for what followed. And we wanted to celebrate that fact by presenting a range of female composers. So Valerie then you can see on the radio, but Valerie is quite very pregnant, so seven months Right, Yeah, that's right. So being next year will be a very important year for you as well. It will be, you know, will you be performing? I will, yeah. I'm my schedule currently I'm performing until three weeks before the due date. Wow. So every day I tell her, don't come before, don't come before the 24th of November, give me some time. And then starting up again two months afterwards. It's very important to me that performing and having a family are part of the same life. Absolutely, yeah. So I was just asked the other day by a young girl, a student, she's secondary school. So she was here in the program and she says, you know, why, why don't I hear that many female composer, why there is not that many female composers out there and why are you doing this program? You know, trying to bring up, you know, female musicians. What's, why is so important, why it's so different, why there is so many more, you know, Beethoven, Mozart, they're all men. Yeah. I think for me it's the same question of why it's important for me that my daughter sees me performing and working and embracing my passion as a musician. It's a question of role models. You know, if you ask school age children or any concert regular concert goer, what does a composer look like, they'll describe, you know, probably something like Beethoven, you know, crazy hair and a little bit crazy face. You know, I mean they're basically the image of a composer is the romantic white European. Well, I mean, I think this goes back to, you know, historical things as you know that people like, you know, Fanny Mendelsohn, you know, Fanny Hensel, but she was a sister of Felix Mendelssohn and you know, the wives and sisters of people like Mozart and Schumann and you know, all of these female figures, they actually weren't allowed to have careers because it wasn't, it wasn't the social norm. You know, for example, Fanny Mendelssohn, she was of a very upper class Jewish family and therefore for her to be seen to be working was, you know, very much anti the social norm and it was seen to be disgraceful. So I think that, you know, coming back to these social changes, I think people like Amy beach, who also appears on the, on the CD as bonus track, I think she was one of the first gen of that generation that were able to start changing those social norms. So even though she wasn't allowed the same education as her male, you know, her sort of male contemporaries, she sort of really had to battle against all these ingrained social and cultural expectations. And so I think it's actually, you know, 100 years actually isn't a very long time to change societal norms. And I think there's a really interesting shift now in this sudden interest in women composers. You know, for example, at the proms and, you know, a lot of organizations are trying to have a 5050 approach. We've recently met up with Judith Weir to film an interview that will be airing at our CD launch on the 17th of October. And Judith was saying an interesting anecdote about several decades ago when she was working on a radio show with somebody and they suggested doing a full episode of women composers. And the producer in question said, oh, but there can't be nearly enough repertoire for an entire show. So it was interesting talking with Judith about how things have changed in her, in her career since her days as a. As a composition student. So we've really enjoyed working with her and recording her several concertos, which she wrote in 1980. Yes, it's a fascinating piece where each of the movement focuses on one of the instruments and almost satirizes the. The pomp of the concert hall of the concerto. So even though it's just the three of us, we kind of poke fun at what it is to be a soloist with an orchestra. And it's actually really interesting writing that she writes. For example, the first movement, which is the Concerto for Cello, the flute and piano, actually are written in such a way that it sort of emulates the orchestra accompanying that and all the other movements, you know, the second movement, which is the Pianos Concerto, again, flute and cello, they're written in such a way that you can sort of imagine that it's a sort of reduced orchestra, you know, accompanying that. So it's a really interesting piece of music. There's a really fascinating passage in the second movement, the Concerto for Piano, which our pianists are. Zubin Kanga plays with great verve. If anybody listening to this can come to our CD launch, then we'll be presenting the second movement of Several Concertos, which is the one for piano. And our pianist, Zubin Kanga does these great big karate chop type movements on the keyboard and there's a great kind of visual spectacle to it. Wonderful. Shall we listen to the first one? Then the Violoncello instead of cello. So of Several Concertos by Judith Weird. Ram. And this was Concerto for Violoncello from Several Concertos by Judy Square with the Maurizian Trio. We will be back after a short break. Welcome to Women's Radio station, the voice of women worldwide. Hungry. An average woman eats about 2 to 3 kilos of lipstick in her lifetime. Women's Radio Station, we want to hear from you. 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 Nunn. I listen to Women's Radio Station Women. The possibilities are endless. That's what makes us different. I'm Isabelle Manavy, an executive coach. Do you want to change a negative into a positive? We can do this by coaching you to rewire your brain using simple visualization techniques. In 20 years of practice, I seen this transformation lives. For more information, look on Women's Radio website. Call me on 07984-422171. I'm listening. Let me tell you about Jermyn Street Theatre. This is a secret theatre in the heart of the West End. Once found, never forgotten. This is where careers ignite, where playwrights take risks, where great actors perform just feet away from the audience. This is where magic happens. We would love you to join our mailing list or become a sponsor or just buy a ticket to one of our shows. The website is www.germanstreettheatre.co.uk. i'm Angie. And I'm Patsy and we're open to share our own personal stories dealing with life events, staying positive through the tough times. Share your stories too. What worked, what didn't. Join us each week for open. We know you're gonna love it. 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@media mattersforwomen.org with over 35 presenters, we have something for everyone on women's radio station. Women's radio Station is a not for profit, community interest company. Supporting women is our passion. We're currently welcoming donations to help towards our running costs to keep this important initiative alive. To donate, simply head to our website. Every little will help. Welcome back to future Classic Women Awards on Women's Radio Station. Today we're talking to Valerie Wallbanks cellist and by Helen Vidovic flute of their Non Marcian Trio. So girls, ladies, really, because, you know, one is. But, you know, I don't get this thing of saying ladies or girls. I. I think we're all still young, isn't it? Yes. Or the Canadian. So guys. So guys, you know, we were talking about next year being the 100 year of the suffragette and the movement and everything. So it's actually this year, 2018. Yes, yes, of course. Yeah. Not next year is the 200 years from the birth of Clara Schumann. So there was another big female champion of musician. So, you know, what would you say? You know, I'm a mother myself as well. You would be a mother soon, Valerie. Clara Schumann had eight. Eight or nine children. Exactly. And I can tell you, you know, touring while you're pregnant or as soon as the baby's born. But even after, really, you know, sometimes my daughter doesn't want me to leave, so I have to pretend I'm just going to. I don't know, to work and then actually she doesn't see me for a couple of days. Yes. The time of a concert, so you say, is the most challenging moment in your career as a woman. Well, I think it's balancing everything. It's what we call portfolio career, and I think most of us do that. It's where we're having to juggle a range of activities, and it goes all the way down to promotion, website design, negotiating contracts, and then having a kind of range of activities. Playing with orchestras, doing chamber music, teaching. I'd say that's probably the biggest challenge, I think, for myself personally, from the perspective of your question about the challenge in particular from being a woman, I think for me, I had to. I didn't have to, but I made the decision not to have children because of my career, because I just couldn't. I couldn't see how personally I would be able to balance those two things, because as Val says, it's a challenge already. You know, when you do orchestral playing and you play in a chamber group and, you know, perhaps you do. You do some teaching and, you know, we sort of. We manage the Marcias trio mostly ourselves as well. And I think for me, I made the decision to not have a family in order to not have a gap in my career, because I started a bit later and I didn't sort of follow the normal channels. And I felt that for me it was really either one or the other, that I wouldn't perhaps be able to cope with having a family and also be really 100% building my career and not having to make that compromise. And I think, you know, Val has made a decision in a different way that she wants to balance the two things. But I think it is a challenge because I think even though we say the world is our oyster as a woman and we can do anything and anything is possible, but I think it's much more difficult when you do have a family, particularly if you have more than one child. The level of expectation placed on us as women is still the same. For example, you have to make dinner or you need to tidy up the house, these type of things, isn't it? Although they don't say that out loud. Still it's something that does happen, isn't it? Well, I mean, I think it depends on who your partner is and, and, you know, how busy they are and how, what level of career they're having. But I think, I think it's a real challenge and I see that with, you know, a lot of families that I know where, you know, the woman perhaps has a very high powered career and as does her husband, and the only way they can cope is perhaps to have a nanny for the children. And yeah, I think, I think in, in this modern age, I think for two, two partners to have a very, you know, a very high up successful career, I think it's difficult to do that without help. Absolutely. You know, to have a family and, and, you know, do everything because we're not superhuman, you know, but I think for you, you've got family support and, and that's totally what will make it possible, I think as well to go back to your question of challenges as a woman. I think there's also still very much, I'm not sure how to phrase this ageism and an expectation that I suppose I'm imagining a middle aged, balding male cellist with a paunch will have the gravitas of being an established artist. Whereas as a woman there's always this expectation of being impeccably presented on stage. I'm not sure that a woman would get away with that same way of looking on stage that, you know, I think there is still a difference in how women and men are perceived on stage. You know, that as Val was saying, you know, sort of someone who's a male and older and perhaps, you know, less visually appealing. I think I know what you mean. Will be taken more seriously than perhaps a woman who, who goes on stage and, you know, is visually less appealing and older. I think there is still that demand on us to keep ourselves looking fantastic and looking young and looking young on Stage? Well, it depends. I think, for example, at least looking glamorous. For example, if you look at Marta Argeric or, you know, there are some. Yeah, if you think about, for example, Sophie and Sophie Mutter, she's super gorgeous. Although she's, you know, already more experienced, let's say that. But yeah, for us it is still, I mean, she still keeps herself looking very, very glamorous and very presentable. So, you know, talking about role models, what would you like to choose from the pieces of your latest album to hear now? I think it would be lovely if we could hear Thea Musgrave's Canta Canta. We love the link between Thea and Judith Weir. When we met up with Judith Weir a few weeks ago, we asked her if she had any role models when she was a composition student. And she did mention. Thea was the first person she mentioned, actually. Okay, let's listen to it then. WRS Women's radio station. Voice of Women Worldwide. Sarah's Universal Soul Show. What is your soul or spirituality mean to you? Welcome to future Classical Woman Awards with me, Stefania Passamonte on Women's Radio Station. Welcome back. I'm Russ Cain. You're listening to in conversation with on Women's Radio Station. I'm Angie. And I'm Patsy. And we're open. To see what other programs we have on Women's radio station, head to our website, womensradiostation.com Mirae B Ltd. We are a virtual PA consultancy. We provide remote administration, administrative services. Our offering is diverse. We manage your calendar, we update your client database, we take care of your property in France and in London. We also offer bookkeeping and translation services. Would you like to know more? Please call 077-868-48998 for further information. Mirae B Ltd. Making the life of the business owner successful. Struggling to get by. Financially, I was the same. I wasn't sure what we would do in an emergency. And then it happened. Bills were piling up and the kids needed activities to do over the holidays. Then I found turn to us. Turn to us if practical help to get people back on track. Whether you've experienced job loss, struggling to find work because of a disability or thinking of having a baby, they can help. Visit turntous.org.uk 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. That's what makes us different. Do you dream of a wedding on the beach? Or maybe in the middle of a vineyard? Imagine your wedding in Italy, the land of Leonardo da Vinci and Michelangelo. Getting married in Italy in a venue that is magical and has natural beauty. Amoretti weddings create unforgettable moments. What you had to do is just relax and watch us make your wedding a real fairy tale. Contact us now for a free consultation. Www.amoretti.co.uk with over 35 presenters, we have something for everyone on women's radio station. Women's radio station is a not for profit, community interest company. Supporting women is our passion. We're currently welcoming donations to help towards our running costs to keep this important initiative alive. To donate, simply head to our website. Every little will help. Welcome back to feature classic web women awards on Women's radio station. Our guests today are Valerie Welbanks, cellist and Helen Vitovic flute of the wonderful Massian Trio. So now it's time for the odd questions. So what would you say was the funnest or most embarrassing moment in your career? Well, there was the time I ironed a hole in my concert dress. Just two minutes. Two minutes before we walked on stage. Yes, but stage. I hope it wasn't in the front. No, it was in the back, but still you have to go back, you know, look. And then the next day, we were driving past Oxfam, a charity shop, and I spotted a dress in the window for £10. I said, right, we're going in there, we're getting you a new concert dress. Well, you know, I got my very first Valentino dress in Oxfam. Did you? It was amazing. It was £100, but, you know, Valentino. And it was exactly my size and it was perfectly, you know, like. And that was my very first designer dress. Yeah. So, and this, I guess there's another moment that, that comes to mind is our first concert abroad was in Bulgaria, in Sofia. And we, we had an early morning TV interview. Actually, I think it was something else. Yes, it was live. It was a live morning program, you know, where you go and sit on the sofa and you get interviews and there, and there was an interpreter. And we were standing outside the studio ready to go in and no one had told us what, what we were meant to be doing. And so of course we were sort of pushed in the door and, you know, we were supposed to play something. There was no chair for our children. This was live. Live tv. Yeah, live tv. So there Was no. No chair for the cellist. No music stands. So, you know, Val had to. And. And we couldn't communicate because, you know, we were trying to sort of point and say, well, the cellist needs a chair. She can't play standing up. And, you know, I had to rest my music on top of the piano, and then halfway through the piece, it fell on the floor. Oh, no. Yeah. So that was crazy. Yeah, absolutely. All right, so do you have any strange hobby or to free or relax your mind? My husband and I Lindy hop a lot. I have many strange hobbies, but none that I would like to publicize on end. Yes, I'm into jigsaw puzzles. Okay. Yes. I've actually been banned from puzzles at the moment because when I'm very busy, they're very distracting. So I'll be practicing, and then I can see the puzzle, and then I'm hovering over the puzzle. So, yeah, I'm quite obsessive. Okay, that's funny. That's funny. And do you have any superstition or ritual before going on stage or when you're on stage, like not wearing a certain color or. I don't know. There's nothing like that. I'm sure there's little things that have crept into our subconscious that we don't realize. We've got our routines. I used to. When I went to do auditions, orchestral auditions, I used to always wear a particular shirt, and then I had a very bad experience, and then that was it. That shirt went in the bin. So, no, I try not to now, because then if you don't have that thing, then you feel like you can't play unless you have that thing. So I think, personally, I've tried to try to get rid of those things. Any advice that you would give to a younger musician, a young student or a young self, you know, I would say just get out there and play with as many people as you can. Experience the music. You know, it's really amazing that we. That we actually can do what we're doing. You know, I come from a family of quite. You know, a poor family where, you know, this was playing classical music. It was just something very alien and very strange. And I think it's real privilege that. That we can play and perform. And. Yeah, I think for young players, it's really important to just get as many experiences playing with other people, because you can practice by yourself in a room, you know, hours and hours a day. But it's. But I think the joy really comes from playing in a chamber group, playing in an orchestra, performing on stage, you know, really sharing music with others. Okay, so what is going to be your next concert or. Well, we've got our CD launch which is taking a lot of our time right now. It's a lot of organization, but we're very excited. It's on the 17th of October, that's a Wednesday. It starts at 7:30pm and it's the opening night of the Bloomsbury Festival at Conway hall in London. So we're playing an hour and some of music, different excerpts from the cd. And we're very pleased to announce that the PRS for Music foundation has funded the CD launch which is allowing us to include the shadow puppeteers from the Smoking Apples Company. So it'll be an evening of music video speaking and of course we'll finish it off with a drinks reception and then we actually have another concert at St. John Smith Square on the 4th of November, which is a Sunday afternoon, that's 3, 3pm and that's actually we're going to be performing the London premiere of Hilary Tann's in the Theatre of Air. And that's actually a program of Welsh in a Welsh inspired program that includes Haydn and Beethoven, Welsh songs by Haydn and Beethoven alongside Hilary Tann's piece and Ravel's Chanson Madikas, which will be with the soprano Jessica Summers. Wonderful. What would you like to listen then? To conclude our. I think if we could, I mentioned the shadow puppets. So we got involved with Smoking Apples. So we a few years ago we performed at the Arcola Theatre. So we commissioned Laura Bowler's piece, which is Salutimens. And it's basically a nod to George Crumb's Vaux Ballinet. And so George Crumb's piece explores the sort of geological eras, the sort of development of the earth. And so Laura's piece actually continues the time into the modern age, into the ages of man. And so her piece is, I mean, it's just amazing. She's a really fearless composer that is really groundbreaking. And so we listen to the Industrial Revolution, Industrial Revolution from Saluten by Lara Poehler. And this was Industrial Revolution from Saluten by Laura Bowler with the Marcian Trio. If you have any questions that you would like to ask to our guest or nomination for our Future Classic Women awards, please email presentersomensradiostations.com or tweet us @womensradiostn for a chance to win two tickets at our concert of the finalist of Future Classic Women Awards. A big thanks to our guests Valerie and Ellen it was a pleasure to chat with you Today. You've been listening to Future Classic Women Awards on Women's Radio Station live every day at 10am and 10pm London time. If you want to listen to it again or catch up on our previous programs, you can head to the presenter page. Stefania Passamonte, Future Classic Women Awards on womensradiostations.com thank you for listening. Welcome to Women's Radio Station, the voice of women worldwide. Hungry? An average woman eats about 2 to 3 kilos of lipstick in her lifetime. Women's Radio Station, we want to hear from you. 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 Nunn. I listen to Women's Radio station Women. The possibilities are endless. That's what makes us different. I'm Isabelle Manavy, an executive coach. Do you want to change a negative into a positive? We can do this by coaching you to rewire your brain using simple visualization techniques. In 20 years of practice, I seen the transform lives. For more information, look on Women's Radio website. Call me on 079-8442, 2171. I'm listening. Let me tell you about Jermyn Street Theatre. This is a secret theatre in the heart of the West End. Once found, never forgotten, this is where careers in ignite, where playwrights take risks, where great actors perform just feet away from the audience. This is where magic happens. We would love you to join our mailing list or become a sponsor or just buy a ticket to one of our shows. The website is www.jermynstreettheatre.co.uk. i'm Angie. And I'm Patsy and we're open to share our own personal stories dealing with life events, staying positive through the tough times. Share your stories too. What worked, what didn't? Join us each week for Open. We know you're gonna love it. Hi, I'm Valentina Barbacci and I'm the Executive Director of Media Matters for Women. We're a registered chair operating in Sierra Leone and the Democratic Republic of Congo, and we produce and share podcasts via Bluetooth on mobile phones, focusing specifically on women and girls excluded from information due to extreme poverty. We empower those living in rural areas with media that transforms how they access, own and share information. To find out more and be part of this movement, come check out our website@mediamattersforwomen.org with over 35 presenters, we have something for everyone on Women's Radio Station. Women's Radio Station is a not for profit, community interest company. 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