Future Classic Women Awards – Natasha Barbieri

Hello and welcome to Future Classic Women Awards with me, Stefania Passamonte on the women's radio station. The program where we search for the most amazing new female artist on the classical panorama. Today is our very first guest of the 2021 New Year of Future Castle winner Awards. That is mezzo soprano Natasha Barbieri. Hello, Natasha. Hello, Stefania. So nice to speak to you. Very excited to meet you. I mean, Natasha is an incredible mezzo soprano crossover. She has a unique approach to classical crossover, allowing different genres to collide into a personal and inspiring sound and vision. So where are you right now, actually, Natasha? I'm in New York a little bit out of the city, about an hour out. And, yeah, that's where I'm living right at the moment. And so, yeah, so we have. We're still in lockdown. I mean, we started our lockdown episodes last year in March when the lockdown started in the UK and it's continuing and it's actually a great opportunity to have guests from all around the world and to share their experiences. So how is it going there in New York? Yeah, I find it too. It's so incredible. I'm. Like I said, I'm about an hour out of the city, but I've gone in a couple times. It is a big difference, you know, from being the big constantly moving city to being a lot quieter, you know, so it's. It's definitely different than it's ever been. But I mean, I'm also enjoying the time to just connect with. I live with family, so, you know, we're able to just really spend time together. And I think that's the one good thing is, is that you're able to virtually connect with your colleagues and then also your family and get that time. Well. So as a performer, you performed in the United States throughout and you even sponsored. You were sponsored by Pepsi. You studied the Worcester Conservator. I mean, this is fantastic. And so how is it. I mean, have you been performing during the lockdown? Have you been going on, like, recording and planning the, you know, the concerts that were canceled for this lockdown to when this lockdown would be over? So, you know, it's actually funny. I was kind of in a period of transition. I had been thinking of going to grad school and it didn't work out. My husband couldn't find a job in that state, so we ended up staying. You know, I actually started working in the energy industry during the day. Yeah. So I wasn't doing as much performing. And I think in a weird Way the lockdown actually brought me back to be able to do more because suddenly you have, you know, you have no gigs, no real gigs, except, you know, we did virtual services with our church. But basically there's no gigs left. So then it, you know, it came a point where you're not waiting for other people to create these gigs and you're auditioning, you're asking, but you're creating your own opportunities. So suddenly it was like, wait, I can actually put a lot more stuff online. I can do this. So I think in a way, like I said, it just, it made me perform actually a lot more. I'm actually in my little studio here. I'm about to do a set for what's called the Songbird streaming group. So they're doing a Valentine's concert. So I'm ready to do that. And yeah, I think it's actually got me into the mood to do more performing once we're able to in a weird way. Absolutely. Well, this is pre recorded because you are in New York and normally we are live at 10am in London. But this interview will be actually aired live the day after Sun Valentine. So it couldn't be a more perfect combination. Exactly. Absolutely. I mean, Sun Valentine. Shall we talk about Sun Valentine? Some people, you know, they detract from it. Some others, they are a big fan. Where do you stand with St. Valentine? I mean, I think it's a great holiday. Personally, I've never seen it just as like a romantic. Obviously there's that aspect and I'm married and that's, you know, that's great. But I don't know, I've always given a valentine to my mom, to my sister, you know, to like friends. I think it's just a beautiful time to celebrate love even if you're not in a relationship. You know, there's many ways to celebrate different kinds of love. Absolutely. Well, I have a young daughter, she's six. And I remember last year for some valentine, she was making the card for her teacher. And that's such a sweet thing, isn't it? I love anything that has to do with Valentine, with love. I mean Christmas, Easter, anything. And then yes, it's related to religious, particularly Christian celebrations. But you know, in the end nowadays we're in such a globalization of culture where I think in any religion and non religion, love is celebrated because it's part of life, isn't it? Yeah, absolutely. And it's, I think it's what makes life worthwhile in whichever way that you find it. That's what Keeps you going. Absolutely. Now, I'd like to ask you how you said, you know, you wanted to go back to grad school. How did you start it? How did you decide to become a classical singer and then actually to transition to crossover. So in a weird way, I actually started with crossover. I didn't know that's what it was called. But I was, you know, just a young kid. My father had a church, so he'd make us sing. My sister and I were always volunteered. So, you know, we were getting used to it. And I just. I loved performing. For my 10th birthday, I actually. Instead of a party, I asked if I could do a concert. And, yeah, so my dad's church was. Was. It had a retirement home as part of it. And so I went and I just sang for them. And it was such an amazing experience. At 10, I said, I'm gonna be a singer, you know. And the next day we got a film we were renting, and it was Joan of Arc. And it just so happened that Charlotte Church was doing the soundtrack for that. All right. Yeah. And so hearing her, you know, being a young kid, I think it was actually a great thing because I think I have the personality where I really go for things. So if I had listened to an opera singer, I might have tried to, you know, manufacture my voice in a way that wasn't natural at that time. But because it was another kid, you know, you. You kind of have a more. I don't know, just a more attainable example. That's absolutely. Yes. Yeah. So that's what it just. It kept. My love kept growing from there. And we had some great teachers. Then we went to the Westchester Conservatory. And, you know, of course, they trained us classically. And I continued on into university. I did my bachelor's degree in music. And it just, you know, at that point, up until then, I'd been kind of, you know, again, I didn't know it was called crossover, but that's been pretty much what I was doing. But in university, you're getting to, you know, do these opera scenes, and you're getting, you know, you're experiencing all this beautiful music, and you're suddenly like, well, there's this whole other world that I could go to. Absolutely. Absolutely. What was your first love in opera when you went to the. If you. If you had one that striked you first. I think it's a kind of odd song for a young mezzo to be singing, but one of the first arias I did was Habanera from Card. All right. Oh, my gosh That's a very challenging one, isn't it? So, yeah, it was probably a bit early for me to start on that aria. But she's a great character. You know, a lot of the mezzo rolls. Yeah, she's very passionate and I guess, like the mezzos, a lot of time, they're the pants roles. They're kind of, you know, not necessarily the main character. So Carmen was a fun one. And then also, I love the music from Samson and Dalila. Just the Moncoe. Oh, I love it. Ah, mon coeur. Absolutely. Well, the French. You like the French repertoire? I do, and it's funny because it's actually my worst language. But I love, you know, when you're doing your diction classes, my mom is Spanish, so Italian came pretty easily. And I also took Italian, so that was, you know, that was not bad. But, yeah, the French is a good tool. It's a good tool for opera. Well, I had, you know, when I came to study at Royal Academy of Music here in London, I was living with French, French opera singers. And they were telling me, yes, that. So actually, the first year I was in this country, I improved my French as if I was living in France more than my English. But the French themselves, they were telling me how hard it is to sing in French. Even if they were French, they preferred to sing in Italian because the wires were direct. And also the way that the words were used with the music, they would make you to be on your strongest while to then produce. Project the sound fast. Farther than with the French. Yeah. So that. That was the. And that was also the reason why historically, opera was considered the. The preferable language for any opera. So you had composers of different nationalities that they would compose operas in Italian anyway. But it's. It's nice to be able to understand it. So, for example, I mean, I remember the fact that the French singer laughing at Lamur Lamour from the Banera sang in English, because there is the English version of it. Yes. Did you. Did you ever do the opera in English with the English translation? I don't think I ever did, but I love, like, old. Like kind of old Hollywood. They used to do a lot of the operetta and classical singers, like, you know, Katherine Grace and Deanna Durbin. So I got this old book of, you know, just like music from that time, and it's hysterical. You go through it and it's basically like. It's symphonies and it's classical pieces, and they put sometimes the most awkward lyrics to it, but they're like English lyrics. But it's so much fun to just sing through it because it's so odd. Oh, I'm a big fan of operetta, particularly so the operetta to the audience that might not is a bit like the opera, but is a bit lighter. So that why it's called operetta. So it's actually most of the time is also with funnier themes as well. So there is the moment where you can actually laugh out loud. And it's a sort of development of the Opera Comique. That is French too. The Operator. Love it. Which one is your favorite operetta, if you have one? Well, so the one I was actually in was. And that one is more serious compared to, you know, like to a lot of them. But I love that story, obviously. It's like a Christmas story. And I sang the role of the mother and it's just. It's so beautiful because, you know, in a way she's just like this woman who's frustrated trying to provide for her child. And it's, you know, the beautiful story of how he's healed and hopefully I'm not spoiling it for people, but it's just gorgeous. Absolutely. Actually, the operetta, I might say is a bit like the mums of the musical of the today musical. What do you think? Yeah, absolutely. And I mean, even like the older Roger and Hammerstone musical, they were a little bit more like legit. The way that the voice was used and everything. I love all that repertoire. Well, you know, here we have Les Miserables. That is one of the biggest example of a musical that is basically an opera dressed up as a musical, but it is an opera. The aria for the baritone or the Turner quite. Or the soprano himself. They're all quite operatic. Right. They are very difficult as well. Absolutely. And you know, it's funny too because I think people, a lot of times, they have notions of what they will and will not like. I know like my mother in law, we were talking, we were like, oh, we're gonna go see Phantom of the Opera. And she's like, oh, you know, that's opera. I don't want to. But if you're just excited, exposed to it, like my husband came away, he'd never heard it before and he was just, you know, like enthralled with that musical. If you just expose and the young children, if you expose them to classical music and all, you know, it really just opens like, wait. I actually really like this. Well, you know, I come from Italy and in Italy you don't have that many musical, particularly because it's hard to translate them in Italian. And in Italy we're too spoiled having all the operas in Italian. So why would I go and see see a musical in English? And so when I came to London, my classical friends, violinist, you know, horn player, pianist, they would all want me to bring them to see a musical in the West End. And so I watched many of this musical and I was always so impressed because on top of what you would do with opera, you actually have to dance as well and act. It's so. It's such a all around, you know, whole experience for the performer themselves, isn't it? Yeah. I mean, I have so much respect for both ends that the opera think they're like, you know, the gold medalists of vocalists and the Broadway singers. I mean, they work so hard. They're doing seven shows a week. That's more than you would do an opera. Right. You know, you'd have those couple days for rent. Oh, it's crazy. Yes. Yeah, they are just incredible. Well, the first piece we're gonna listen today is Beneath the Lights. Would you like to tell us something about this piece? Yes. So this is kind of reflects my love for the old films. This was sung in a film by Deanna Durbin. And it's an absolute beautiful just moment where someone is, you know, wishing they were back home, imagining their parent praying for them and just wanting to be back in that moment. I think we've all had that, you know, at some point where we, we go away and maybe if, you know, school, maybe it's something else. But then you just, you know, you had that longing to come back home. So it's just gorgeous song. Wonderful. Well, let's listen to Beneath the. Shadows. Everywhere Winter in the air yet somewhere the sun is shining Days are bright and fair I close my eyes and visualize one spot beyond compare. I can see the lights of foam Shining brightly o' er the foam Beckon to me wise while I roam away from lights of hope I can see somebody there Loving eyes and silver hair I can see him kneel in prayer beneath the light. In that little old sleepy town Nothing happens when the sun goes down Not a thing but moonbeams run around in a story Doom turn the hands of time for me Let me live my memory once again I long to be beneath the lights of home. In that little lord's sleepy Nothing happens when the sun goes down Not a thing but moonbeams Run around in a starry dome Turn the hands of time for me Let me live my memory once again I long to be beneath the lights of hope. Wonderful. And this was Beneath the Lights with Natasha Barbieri. Natasha, there is something, you know, that I didn't say yet, and I'm dying to. To tell to everyone that you are. You're actually the creator and editor of the classical crossover magazine. So, I mean, this is a superstar magazine for a classical crossover artist. How did you decide to have a brand new crossover magazine? You know, it just went back to me being a real fan of the music to start with. So when I was younger, I was so inspired by these performers. I remember had a fan site for Becky Taylor. I think I started one for Hailey Westenra, and I, you know, I wanted to have fan sites for all of them. And I was like, this is not sustainable. You know, I have homework to do. So I started back then. I started a group, and then, you know, with my very beginning Photoshop skills, I started to compile it into a magazine. And then, you know, it just kind of. It kind of grew from there. In college, I left it for a little bit because I, you know, I was so intense on my studies. But then as I came out of it, it started to develop again, and it's just been like, I love this genre and I love the performers, and a lot of times I'm just thinking, you know, like, when I started, there's no way people are gonna say yes, you know, But I say, you know, why not ask? And I think one of the first surprising yeses I got was from Laura Wright, who's a wonderful artist. She signed to Universal. And that just, I mean, it was such a big deal for me to be able to interview someone like that. And then it's just, you know, you get a little bit braver and you keep going. And it's just been the passion for the music that's just kept us going. I think this year has been so interesting too, because, you know, everyone is suddenly available on Zoom. So we started, you know, like, you know, as we're speaking here too, virtually. So we started an interview series online and we started doing these big virtual concerts. So this. It's just a dream for me. I'm just so pleased I get to do it. I mean, it's not for everyone to decide to set up their own magazine. It's. It's a very challenging thing. It's not. I mean, people normally just see, you know, the fact that you're very successful, that you have so many brilliant artists, that many of them, they've Actually been guest and nominees for my radio program and that's how I discovered your magazine. But there is a lot of work behind, isn't it? Oh, I mean, there's a lot of work. My. My family always like, teases me because they're always like, you know, what's Natasha doing? Of course she's working, you know, so at the moment I have my day job because, you know, there's not really way to make as much of an income. So I do have my day job. So I'm grateful that I can work during quarantine, but then, you know, I finish with that and I go straight to, you know, programming things in for the magazine. So it's definitely a lot of work, but I find it just so rewarding to be able to discover new artists. And I think one of the best perks is when people send me like an album that I've not heard and you just get excited about it. Absolutely. Well, this is actually something that inspired me to, with my new musical conservatoire, to have a proper crossover department and degree. Because the thing is, like you said you started and you didn't really know that you were a crossover. You just wanted to do music in a certain way, singing in a certain way. So crossover is not just for singing, it's also for instrumentalists that we had crossover instrumentalists being guest of future crossover awards. And there is a lot of experience, experimentation, but there's also a lot of desire, isn't it, to create something new, something that is appealing as well to the 21st century. So I believe it's very important what you're doing with your magazine because you're putting together these wonderful artists and these new way, because each of them have their own unique approach, unique talent to inspire others than to follow, if not just to listen to them. I love that you have that program for them. I think that's so great because a lot of places, I think, you know, not everyone loves the concept, but I think when we actually think of, you know, opera being one thing and then classical crossover being something else, which they really are, they have a lot of complementary things. Yes. But they are their own thing. And then I think they can coexist and, and do so well because, you know, going back, I'm always going back, but used to have Mario Alonso who would do these films and he would do these romantic pieces and he could do opera, you know, So I think they can definitely coexist so beautifully together. Totally. I mean, there's always been this problem with classical audience as well, a Classical artist and classical audience of this perception that the moment that you become popular and commercialized, you're not anymore just about the pureness of the art, for example. And I've always been watching the movies by Mario Lands exactly as you said. But even Pavarotti is another big example of crossover. And so all these wonderful artists that they had no. Problem in going on a Hollywood movie and singing what you would normally hear in a theater, because then they would come over and cross over. I mean, as it is, the word is to cross over, to cross the bridge and reach out to a wider audience. So you become, in a way, the lamp post for the classical music. So that's why in the London Performing Academy of Music, we are very passionate about crossover, where as passionate as you are, I'm just a classical pianist in that sense, so I never did crossover. The only thing I did crossing over was music theater. So I did this special play with Elena Mazzano and Clara Schumann, and that's what then brought me to have this program on the radio. So that's my crossing over. But any. Any crossing over that is going to speak to a wider audience to make them understand, you know, what's behind the concert. It's remarkable and it's very important. So my huge congratulations for you, and I will keep following your classical crossover magazine. And I. And I'm saying to everyone who's listening, go and check it out. Not just because Natasha is a wonderful singer as well, but she's also an incredible person, you know, making this thing for everyone. So thank you, Natasha. Thank you so much. So now I'm gonna ask you something a bit more specific, like what was the biggest challenge as a musician or as an entrepreneur with your magazine? What would you say was the biggest challenge? I think, you know, it's learning to speak up for yourself. When I was in university, I had some amazing teachers, you know, but I had one particular teacher, and we didn't really speak the same language. And I'm a strong believer that, you know, you can. The person may not be saying anything wrong, but if you're interpreting it the wrong way, you know, it's not a good fit. And I think that's a really hard thing as a young musician because, you know, you have so much respect for everyone and you're just trying to soak it all in. But I remember this particular teacher, the way I interpreted what she was saying at the end of the class, like, I couldn't sing for the rest of the day. And, you know something that I was Doing was not the correct. You know, and I just knew it wasn't the right fit. And I think I struggled with that for so long. I didn't want to switch teachers because I didn't want to be, you know, I didn't want to cause any problems or anything. And when I eventually did, the teacher I had, like. It was such a different experience. I understood what he was wanting from me, and it was just like. It changed so much, you know. And I'm so grateful for him and his passion for music. And I think sometimes it's just hard to have the courage to, you know, especially as a young performer, to kind of stand up for yourself and notice, because I think we know. We don't know necessarily how it should be, but, you know, by the feeling. I don't know how you feel as a pianist with that, but I think with the voice, since it's so close to your soul, you can really, you know, you can feel it and you know that something's not right. Well, with the piano, for pianists, the problem is that you get pain. You get tendonitis, so you get physical pain. So probably that's the same you get with your voice. But so if you're doing the wrong technique, if you're approaching the wrong repertoire, that is not really fitting with your body. It's very physical music. And so I know perfectly what you mean. So. Yeah, no, I think it's. You know, for me, it was just. It was a struggle to. And, you know, it's awkward once you change, of course. But I feel like I've heard, especially through the magazine, I've heard a lot of stories like that where people, you know, it's not the right fit for them. And I think it's so important, whatever you're doing, that it's not so much the name of someone you're studying with or anything like that. You need to make sure that it's the right fit for you and that you're growing and you're doing what you want to do. And for me, you know, I was thinking about opera for a while, and I still love it, and I have so much respect for them. But I think for me, as eventually as I came back to, you know, really my roots, you know, it was that love for classical crossover. And that's where I feel my most free. I still love singing Samarias, but that's where I feel my most free, is kind of mixing this all together. And so I think it's just about, you know, being strong enough to be True to who you really are. Absolutely. And also to recognize who you are. So definitely the teachers are so important to help you in your journey. And that's why I always did in my master classes before I set it up, the London Performing Academy of Music, I was doing international master classes. And our students would have every day a lesson with a different pianist or violinist so that they would get different opinion on the same pieces and they would understand, you know, they would have the opportunity to try different things and really see what's best for them instead. Nowadays, normally you just get assigned to a professor or you choose to study with a big name because you have something in mind, and then it doesn't work with you. So these stories that are shared as well on your program, on my radio program, here on the women's radio station, they're all very important, not just for the audience to understand how our world works, but also for prospective artists, students, young musicians, that they want to follow us in our career and to help them, you know, to understand as well that it's okay to be wrong, it's okay to fail sometime, and then it's okay to, you know, stand up and find the strength to find the right way. Absolutely. And, you know, I mean, I feel like you learn sometimes even more for doing things the wrong way. I have become so fascinated with pedagogy because of that. And I think I was teaching for about two years before I went back to an office. And I think it really, you know, the experiences I had really colored the way I taught my students, because for me, it was very important that they understand why they're doing things, not just do this, but they really understand why. You know, like, as a young singer, I mentioned I was singing maybe some repertoire I shouldn't have been, but I didn't really understand why. So, like, learning the pedagogy and learning that your, you know, your vocal cords really haven't grown yet and you're laughing, it hasn't calcified yet. You, you know, to have that, I think it's so much better than just being told, oh, you can't do this, you know? Absolutely. Absolutely. Just knowledge, I think. Totally. Well, let's listen to the next song that you brought us. And it's Precious Lord. Precious Lord, take my hand Bring me home through the night I'm tired I'm weak I am war through the storm through the night Lead me on to the light Take my hand Precious Lord Lead me home Precious Lord Lord, take my hand Bring thy child home at last where the Strife and pain all are past I'll dream the great dream that thy love shall rule our land Take my hand, Precious Lord Lead me home. Precious Lord Take my hand Take thy richel unto thee with the dream of a world that is free. For the day when our flesh joins the glory thou hast planned Take my hand, precious Lord Lead Nihon. And this was Precious Lord with Natasha Barbieri. Natasha, who is the pianist. The pianist is a good friend of mine. His name is Joshua Goins and he's a very good pianist, I can say that. Super talented. And I'm actually excited because he just joined the classical crossover magazine team also, so. Oh, fantastic. Oh, brilliant. Well, so what would you say was your most exciting collaboration in your career, both with the magazine and as a performer? So with the magazine, it's kind of a tie. We used to listen to Celtic women all the time as a family, every time they had a new dvd. So when we got to interview them, that was. That was amazing. And then the second one was Aled Jones and Russell Watson had done an album together and I've been a huge fan of Russell forever. And of course Aled watch him all the time on Songs of Praise. So that was a pinch me moment. I couldn't, you know, I couldn't believe that was happening. I was very excited. Well, I know what you're talking about. Sometimes, you know, I get to meet some people that we're gonna work together. I don't want to make all the names because otherwise we're gonna be here. You can see some of the names, for example, in the faculty of the LP mam. And I have to talk to them as the founder of the new conservatory. But actually I am like Star Trek, you know, Star Trek, I mean, and it's hard because you're there, you know, for example, you're there as the magazine editor and you're supposed. You've been watching them and listening to them. So it becomes a sort of a dream come true, isn't it? Yeah, absolutely. That's what I felt through. Also, as we've moved to the interviews online on YouTube and Facebook, some of the people, you know, I've just been following them like Lucy K and Farrell Smith. And it's very surreal to be able to chat with them and then and just learn, you know, like they have all these incredible stories and struggles just like everybody else and, you know, immediately you feel at ease. And that kind of feeling only lasts a little bit, but it definitely sticks out in my mind as far as singing, you know, I'VE sung with some wonderful people in university, but I would say my favorite partner is actually my sister. Wonderful. Yes. So you recorded an album with that or you just. Because I did read that you sing with your sister, that you're singing duo. So did you record an album together as well or you only sing live? Yeah, we did our first album together when we were 11 and 13. Oh, wow. Yeah, so we did. When we were younger, we spent so much time just going everywhere, traveling, singing at different churches. So we went to New Zealand and Australia and all these places just singing together. And then we kind of went our different ways. I wanted to continue with music and my sister went into teaching. She's a wonderful teacher. But then in 2019, we actually came together to do an album. That's where you're hearing Precious Lord and Beneath the Lights that comes from the Sound of Home. And that was something we recorded in memory of our father who passed away. So it's really like faith based songs. I wanted songs that were gonna be inspirational to other people that had lost somebody. And it's all songs. That's why you'll see a theme in a lot of my music. It's about home and it's this idea of, you know, being together with the people you love. And for me personally, I'm someone that has faith, so I believe in, you know, like a heavenly home. But I think even if you don't, I think you can still just appreciate the concept of the earthly home and the beauty of that. Absolutely. Well, there is the beautiful song that we're gonna listen next. It's called until then. Would you like to say something about this song? Yes. So this is one of the hymns we used to do in church all the time. And it talks a bit about our struggles, but you know, how we got to keep going until then. As you know, that's the phrase. Keep on singing, keep on going forward until the day when we go home. Wonderful. Let's listen to until then. My heart can sing. When I pause to remember a heartache here is but a stepping stone along a train that's winding always upward this troubled world is not my final home but until then my heart will go on singing until then with joy carry on until the day my eyes behold the city until the day go God calls me home the things of earth will dim and lose their value if we recall their borrowed for a while and things of earth that cause my heart to tremble Remembered then will only bring a smile until then my heart will go sing until then with joy I'll carry on until the day My eyes behold the city until the day that calls me home but until then my heart will go and singing until then with joy I'll carry on until the day my eyes behold the city until the day God calls me. Until the day and not pardon until then I was already lost in the song. Beautiful. Beautifully sung by Natasha Barberi. Natasha, I think until the day we will be over with this lockdown. What do you think? Yeah, that's what I was thinking while I was listening to this song. There is so many meaning to it, isn't it? But in particular, in this moment where we're all isolated and we're all dreaming about when this will be over. And I don't know you, but I kind of see it over pretty soon. And now that we started the vaccination and we're in the new year, so I believe the sun will come back and shine on our live concerts very soon. I can't wait. Yes, very helpful for that. And, you know, I think once we get back to live performing, everyone's just going to be so grateful to hear it and also just to be able to perform. Right. I mean, that would be such a. I don't know, such an adrenaline going into everyone, you know, the audience and the performer, everyone would be. It would be such a big party, I think, and I can't wait for that party to start. Yes, lots of series too, I'm sure. Absolutely. Well, now, the last part of the interview normally is dedicated to some funny things. So, for example, I'm going to ask you if you have any strange hobby to free your mind or relax. Strange hobby I like doing. That's strange enough. So there you go. With all the colors and all the printing is going crazy. It's becoming an artwork, I think, and that's something that's less weird. I'm starting to experiment with photography. So since I live with family, I'm able to pull my sister in and force her to model. That's very nice. Well, it's very difficult as well. All these things, they're so artistic and, you know, complicated in their own a little, although we have this wonderful new technology. But the technology that keep advancing is also making it even more difficult, or at least that's my experience with Photoshop and whatever else in design and all these things. What do you think about technology? I mean, and the singing with, you know, these new tools that we have for recording from home and, I mean, it's a learning process. Fortunately, I started in some ways when I was younger, so I have, like, a little bit of experience. But anytime you think, you know, there's so much more to learn and, you know, I'm sure you feel the same way as. As a musician these days. You've got to be a marketer, you know, you've got to create your content, you've got to do editor, all these different skills. So you're constantly learning. And it's. It's. The recording from home is interesting. I'm definitely trying to learn, and that's actually one of my goals for this year. I'm planning to do a single in May, so I bought this. This mic that was recommended to me by my engineer. So my plan is to try and do a lot more recordings from home and then kind of send them to get mixed. So, yeah, we'll see. I'm sure it's gonna have its challenges, but that's. That's my goal is because I think, you know, when you're in your home space, sometimes you're a little bit more comfortable just thinking, right. You can do as many takes as you need to, and you don't have that pressure of, you know, I have an hour to get this done, and then the next person's coming, you know, so I'm hoping to look at it as something good, that I can learn these skills and continue to do it. Yeah. Well, if I can give a tiny piece of advice, though, be careful. When you go recording, pretend that you are in the recording studio, not at home. Otherwise you will be repeating over and over, and you will be never happy, because no one is ever happy with their own performance. So you might end up to have the single coming out in December instead of. Maybe that's true. You know, I think that's my. When we were doing the album, that was me, you know, like, I'm overthinking it. And I actually learned from my sister, she would do, like, three takes and that was it, you know, and then you'd pick the best moment. So when we did, I did a single for Christmas, and that's actually what I did. I said, you know, I'm going in for this amount of time. I'm gonna sing it through only three or four times, and then that's it. It's just. It is. So I think that does help, giving yourself that discipline, because, yeah, you can really overthink continually, you know, work to make it better, but then it'll never get released. So you're right. I gotta watch myself at home for sure. It's never perfect. But it's also the beauty of being a live performance. So you can really take it with the spirit of being a live performance. And in that moment, then you can really give all your energy and all your soul, because that's what happened when you are on a stage in front of an audience. So absolutely stage to being there when you're being very analytical about, you know, the recording as opposed to that performance when you're just feeling the music, you know. So it's definitely my preference, but. Well, now I'm gonna ask you, do you have any funny moment or embarrassing moment that you can recall and you can tell us, you can share with us that happened going on stage or being on stage? A couple things. I mean, I've tripped going up the stage before, which is quite important. I think we all did. But then one time my sister and I were invited to do a concert. And, you know, we'd done the first part and we were doing the rest of the concert the afternoon, and I saw this little pepper. And I was too young to really understand it. I said, oh, this pepper is so cute. I must try this pepper. And I don't know if it was a, like jalapeno or something. It was crazy. Completely, like, burnt my voice. It was awful. I ended up singing, I think maybe making it through half the concert. My sister had to take over because it just completely burnt me. I was not prepared. I just popped that whole pepper in my mouth and I was, you know, I thought this was so cute. Oh, my gosh. Yes. So that was pretty humiliating, I have to say. And what would be the best. The most exciting place where you performed? Most exciting? I think when. I don't remember what age it was actually, but when we were at the conservatory, they celebrated their. Their birthday at Lincoln Center, Alice Tully Hall. Oh, wow. Yes. So I was. I mean, I think I was the only child in the choir who really appreciated because all these kids, they were like, you know, like, yeah, they're playing around. And I was just so aware. I was like, you know, we're in Lincoln center, guys, like. And it was just the feeling of being there was absolutely incredible, just amazing. Oh, fantastic. Yeah, I've been in New York and I've been there not yet performing on that stage, but that my next bucket is in the bucket list. But it's a beautiful place. And I know what you mean. I mean, it's quite exciting as well, being there in near New York and having all these wonderful, you know, the Metropolitan and the Carnegie hall to people to go and all the Broadway stages to go to see these incredible artists. Would you think about living anywhere else if it was in New York? Actually, yes. And, you know, it's. It's such a. Like you said, the Broadway. I love going with my friends and just watching it. But I would say, like, I'm also, like, a real country girl at heart. So my dream is kind of have a little farm with some goats. Oh, really? Okay. It's quite an odd thing, but I don't know, I just quite. I love the environment of nature. I think it's so cleansing to your spirit. And so, yeah, that's. That's my dream. I just want a little farm with goats and then you could go and perform and then come back to that nice, healing, cleansing space, particularly with the beautiful, clean air, isn't it? I think something that we all realized with this worldwide lockdown is the fact that suddenly nature took over and we were all being able to enjoy things that we would have never enjoyed before. So there is. Yeah, there is this good side and, like, in everything. But we can't wait for it to be over. Yes. And hopefully you can come and visit us in London. We can do something here. That's one of my dreams is, you know, I'd love to hear you perform. I'd love to hear so many of the wonderful artists. I know you featured. Joanna Forrest. Yes, yes. And Natasha Hardy. And they're both on my team now, and I've only met them virtually. So it's my dream to be able to go over and hear all of you wonderful performers live and then to hopefully meet some of you guys, too. Absolutely. Yes. Well, the next piece we're gonna listen to, and it's called A Place Called Home. Would you like to tell us something? Why are we ending up with A Place Called Home? Well, I mean, that's just my theme. Everywhere you can see. But this particular piece, it's from Christmas Carol by Alan Menken, and I just love it because it's, again, talking about different kinds of love. So it starts talking about home with your family, and then it talks about the romantic love that you feel also. This will be quite appropriate for Valentine's Day and how home can. To me, you know, it can be a person, it can be music. Home really is music to me also. So I hope you guys enjoy it and, you know, listen to it maybe with the one you love and feel that that's. Listen to A Place Called Home. There's a place called Home I can almost see with the red front door. And a roaring fire and a Christmas tree It's a place called home Full of love and fun. And I'm there at the door Watching you come home to me through the years I'll recall this day in your When I finally found my way To a place called home and life with you where the days are long and love is strong and the dreams are true Just a place called home you and I will always see through the dark of the night Let your heart come home to me. To the place in my heart where you're always home with me through the years I'll recall this day in your ar When I finally found my way to a place called home and alive with you where the days are long and the love is strong and the dreams are true Just a place called home that my heart will always see in the dark of the night Let your heart come home to me. To the place in my heart where you're always home with me. So beautiful. We couldn't end our interview in a better way with A Place Called Home by Natasha Barbieri. If you have any questions that you would like to ask to our guest or nomination for our future Classic Women awards, please email presenterswomensradiostation.com or tweet us. Womensradio. Again, a big thanks to our guest Natasha Barbieri for the great chat and musical, well done and beautiful music played today. You've been listening to future Classic Women Awards on women's radio station live every day at 10am and 10pm London time. And for Natasha and our friends in America is at 3:00pm or 3:00am Natasha, it was a pleasure meeting you today. I hope we can chat again soon because we have so much more that we can talk about. Absolutely. It was so lovely to speak to you. It was absolutely wonderful. So what are you gonna do now? Today I'll be recording the Valentine set and then like I said, I'm just planning to do singles going forward in this year. Oh, fantastic. We can't wait to listen to it. Well, to our audience, if you would like to listen to our program again or catch up on our previous recordings and interviews, you can head to the presenters page. Stefania Passamonte Future Classic Women Awards on womensradiostation.com and from us, I guess from you, Natasha as well. And everyone, have a lovely end of February. Thank you. Thank you for listening.