Join host Stefania Passamonte for a special in-person episode of Future Classic Women Awards featuring Yuliia Mats, a talented 19-year-old pianist from Kharkiv, Ukraine. In this moving conversation, Yuliia shares her harrowing journey fleeing her home at the start of the Russian invasion with nothing but her passport, phone, and dog. She recounts her brave decision to travel via Eurostar to London, where she’s continuing her studies at the London Performing Academy of Music as part of a partnership with Ukrainian institutions.
During the episode, Yuliia performs Liszt’s Études de Concert No. 3 ‘Un Sospiro,’ the audition piece she submitted when applying to study in London. The discussion explores the unique challenges female pianists face when performing physically demanding works composed for men with larger hands, drawing fascinating parallels to professional sports injuries. Stefania reflects on her own groundbreaking recording of Liszt’s Transcendental Studies as the first woman to do so, offering encouragement and perspective on what’s achievable through musicality and technique.
Beyond music, Yuliia opens up about her experiences adjusting to life in London, from the politeness of British culture to the abundance of green spaces and historic architecture. She shares her love for opera, having already attended performances at the Royal Opera House, and discusses her musical influences, including her deep admiration for pianists like Murray Perahia and contemporary performer Víkingur Ólafsson. This episode captures both the resilience of Ukrainian artists and the warmth of international support during times of crisis.
Main Topics
Yuliia Mats fled Kharkiv on the first day of the Russian invasion with only her passport, phone, and dog, eventually traveling to London via Eurostar in May 2022
She is part of a unique partnership between London Performing Academy of Music and Ukrainian institutions (Kharkiv University and Kiev Conservatories) that allowed refugee students to continue their studies without losing their academic year
The physical demands of virtuoso piano pieces like Liszt's Transcendental Studies present unique challenges for female pianists, as these works were originally composed for men with larger hands and greater physical strength
Yuliia performs Liszt's 'Un Sospiro' during the episode, recorded on a mobile phone at her university in Ukraine before fleeing—showcasing her talent despite the humble recording circumstances
She discusses her musical inspirations, including composers Chopin, Schumann, and Scriabin, and pianists Murray Perahia and Víkingur Ólafsson
Yuliia has already experienced London's cultural scene, attending performances of Othello and Così fan tutte at the Royal Opera House
Her brother, a saxophonist, recently arrived in London in August, providing family support as she navigates life as a young refugee musician in a new country
Full TranscriptHello and welcome to Future Classic Women Awards with me, Stefania Passamonte, on Women's Radio Station, the program whe...▼
Hello and welcome to Future Classic Women Awards with me, Stefania Passamonte, on Women's Radio Station, the program where we search for the most amazing new female artists on the classical panorama. Today we have another very special episode on Future Classic Women Awards with a young talent from Ukraine, pianist Yulia Mats. Good morning, Yulia. Good morning. Welcome to Future Classic Women Awards. I'm very excited because it's the first episode in a very long time that I'm doing it with my host next to me. So that's quite special because we don't have to, you know, be cut off by the fact that we can't look into each other and know when the music is coming in or not. So it's very special, you know, after almost 2 years of remote interview, we're finally back in person. Now, Yulia comes from Kharkiv, right? Kharkiv, yeah. Kharkiv. So she's one of the refugee students from the London Performing Academy of Music, and she arrived here, what, in May? When did you arrive here? Uh, yeah, uh, uh, 7th of May. 7th of May, yes. And then we were straight away into a big concert at Drapers Hall on Channel 5, interview and everything. So it's been quite a roller coaster. So tell me a little bit, first of all, how was it to come here? Did you fly to London? No, I didn't fly. I used Eurostar. Eurostar, yes. Yeah, it was quite quickly. Wow. And from Paris or from Amsterdam? From Paris. Yeah, I just delighted because London, it's is a city of— I think it's like a musical capital. Yes, it is. And there are a lot of really interesting events, concerts, so many, isn't it? Yeah, and a lot of opportunities to everyone of us to perform, to live like real concert pianist. Yes. So I'm really happy that I'm here. Yes, absolutely. Well, you come from Kharkiv. Were you there when the war started? Well, I was at home, to be honest. Well, I live in the outskirts of the city, so it was really not far from the border. Wow, so you saw them coming in? So I left my home in the first minutes. Oh wow, I just had my passport, my phone, and dog with me, that's all. Oh wow, well, I should do— I had to let my home, to leave your home. And were you leaving home with your parents or you were living alone? Uh, well, I left my city, uh, with my best family, but then they left in Ukraine and I went to Europe. To Europe. Well, you're very lucky you have your brother here, isn't it? Oh, that's true, yeah. He just arrived in London this August. Oh, really? Last August? Oh gosh. So yes, I'm really lucky. I'm happy that I have like a part of my family here. Yeah. And also, you know, having— is it big brother? Yeah, it's a big brother. Because you're super young, you're just 19, right? So yeah, it's nice to have your big brother here to take care of you and, you know, to show you London. And so, I mean, was it an idea of your brother to come here or you wanted to come to London? I think both. Mostly it was like my wish. Yeah, we— I had the opportunity to speak with other students who came, and many, they told me they grew up watching Harry Potter or Sherlock Holmes, and so they were big fan of the city of London in general. Were you a fan of Harry Potter, or were you more thinking about St. Martin in the Fields, the Royal Opera House? Well, I was really a fan, a big fan of Harry Potter. Harry Potter. But also I always watch a lot of performances, yeah, which was in London previous years. And I was really interested to come and see this in life. Was it a sort of a culture shock when you arrived? Do you feel like people are— Yes, they are different, quite different. Quite different, yes. I think British people are really polite. It was a strength, yeah. Super polite. Also, that's what I love the most. Yeah. I didn't expect that London is so green. Green, yeah. There are a lot of parks, and I really— it's amazing that how people can— what's this word? It's okay. It's really beautiful that there are a lot of old old-fashioned buildings and new buildings next to each other. They look so very, uh, organic. Yes, organic. That's a good idea. Yeah, yeah, yeah. They, they are good next to each other, old and new. Yes. And I think what is very special of this country in general, apart from London, is really the open-mindedness and the fact that they're very welcoming. And we've seen them stepping up with the Home for Ukraine scheme and so many you know, British people actively helping and trying to do things for the Ukrainian refugees, giving homes. Now, you've been very lucky, you came to stay with your brother, but have you been already to see some concerts? Well, I was in Opera House twice. Oh, really? What did you see? I saw Othello. Oh, my favourite opera ever! I missed it. Gosh, what was that? It's really good. You missed a lot. Oh yeah. And also Così fan tutte. Oh, Così fan tutte. Yes, beautiful, beautiful. All right, well, let's start with the first piece. This is your audition piece, actually, that you sent to LP Mamma when you wrote to us and say, I want to come to London and to the London Performing Academy of Music, we were very lucky. We were partner with the Kharkiv University from, and Kiev Conservatories and other Ukrainian institutions from before the war, from last year really. And we did the first masterclass with Kharkiv in January, and so we had the opportunity to transfer the students from Kharkiv University to us without losing the year. Which year were you in Kharkiv? I was in the second year student, second year undergraduate. So yeah, so many of them, they were, for example, at the last year, and so they had to graduate. So it was quite— well, it's a shock anyway, the war. But yeah, it was very, very, very lucky that we had this opportunity to help, not just by bringing you physically here, but also by bringing you the opportunity to continue with your studies. So the piece that you sent to us, it was— sent us a few pieces, we're gonna listen to two of them. The first one is my favorite, is the one I actually played at your age. When I was at the Conservatoire to graduate, and that is Liszt's Études de Concert No. 3, Un Suspiro, that means A Breath. And this was Franz Liszt, an étude, number 3, in— an étude de concert number 3, Un sospiro. 'A Breath of Air' performed by Yulia Mats. Yulia, so this video was made in a classroom with a mobile phone, so it was quite a rustic one that you just sent us over as it was. Tell us, did you record it specifically for your audition for Helpy Mum? No, that's just my old video. I made it Well, I just came to practice to my university and made this video. To be honest, when I left my home, I left all my video recordings also. And so I— you had nothing with you? I had nothing. Well, so I sent just what I had. Yes, well, first of all, it's beautiful, and secondly, it's such a complicated piece, isn't it? I remember when I I was studying it. I mean, it's called 'Un sospiro'— a breath of air— but it's not at all a breath of air. It's a very virtuoso piece. When you play it, yeah. Plus, you're supposed to be light, like a feather, basically, and moved by the wind. And that's just not possible with so many notes and so many octaves. So it's super virtuoso. It's a concert study that you can perform in concert. So, I mean, Is Liszt one of your favorite composers, or that was just something that you had to perform for an exam, for example? Well, I really enjoyed to play Liszt, but not all Liszt, because I think he has some pieces— They're very physical. Yeah, very physical, which I think I, like a female, can't play, like Mazepa or Heroica. I did. Wow. That's exactly what they were telling me. So Liszt was a big, tall, strong man with very big hands. It was a virtuoso, was the very first one with the 12 Trascendental Studies who managed to have a solo recital in Scala in Milan, who was the temple of opera at the time. And you can imagine it was very revolutionary to have just one man to replace what normally is the production of hundreds of people involved in Otello, for example, or Così fan tutte. So yes, so that means that the solo piano was really playing like a full orchestra, and it is very physical. And I remember, and I'm sure you know, because Julia, you cannot see her, probably you will see her from the poster of the women's radio station, but it's a beautiful young woman with long hands, and, you know, she looks like an angel. She definitely doesn't look like a big strong man who can play the instrumental studies. And that's what they would tell me all the time when I was little. So when I grew up and I finished studying and all the teachers were saying to me, well, you know, there's nothing left for me to teach you, you know everything, and I just decided to record it for Transcendental Studies by Liszt. I was the first woman in the world. Then after, we had other pianists who followed, but I was the very first one. And funny enough, that was the best-selling album because people loved a different take. Now, I think the main problem with piano is that it's such a huge instrument. We have 8 88 keys and they're all weighted. So the muscles that we need to build up, you know, to be able to do Rachmaninoff piano concertos, 12 transcendental studies, you know, anything huge you can think of, um, is really, um, very physical. But there is a way, you know, if you are bringing your musicality like you did right now in the E C d'un sospiro, um, you know, nothing is not achievable unless of course the distance are too large and then you risk to hurt yourself, like the tennis player. Did you watch Wimbledon? Uh, to be honest, no, not yet. You know about Wimbledon, right? It's the tennis tournament. Yep. So it's, uh, well, I'm a big fan of Wimbledon and I was watching yesterday the final between Kyrgios and Djokovic. And yes, so the men, I mean, they do this incredibly hard, um, spinning with the forehands, backhands, and serving and everything. And then they break themselves so much that Nadal couldn't— had to retire from the semi-final because he, he had a muscle tear. And so the same happened, exactly the same happened with music and pianists, violinists too, and oboists, any instrument really, because we play not just with the physical instrument as it is, but also with the body that is commanding it. So tell me a little bit, which one is your favorite composer? Well, to be honest, now I fall in love with Chopin. Chopin, yeah. Chopin, and also Schumann, I think, and Scriabin. Yes, lovely. That's all. That's all, that's enough. I think so. For now, yes, that's enough. Yeah, yeah, beautiful. When you were little, did you know you wanted to become a concert pianist? That's a good question. Well, to be honest, my parents, they have nothing to do with music. They're not musical? They're no musicians, yes. And when I was 6, I just asked them, "Mum, I want to go to the music school," just because I think my brother, he played saxophone. Saxophone, and I heard that, and I think, wow, I also want to do this. You want to learn the saxophone? Uh, well, not saxophone. I asked to, uh, uh, play, uh, uh, on the percussion. Yes. Yeah. Wow. But parents, uh, they weren't, uh, ready to do this. Okay, they just, um Well, piano is a percussive instrument. Yeah, to start with the piano, and then I tried vocal, guitar, and many other instruments. Piano was my main love, so I continue in this way. Fantastic. And is there any pianist that you're looking at that you want to— that is your inspiration Well, one of my favorite performing pianists is Murray Perahia. He's very deep, I think. He never take very quick tempos. So he also— he always first think and then play, and I really like this way. Also, I like how kissing plays. Oh, kissing, yeah. If you know. Ukrainian kissing, of course, yeah. And I think also maybe camp, in Willem Camp. William? The old one or the young one? You know, there is a young English pianist, Freddie Kemp, who is nephew, I think, of William Kemp. Oh, I think William, yeah. I like his way of playing Beethoven, Schubert, and so on. Okay, so you are that type of introspective pianist. But I'm not sure that it's— this way of performing is close to me. But I just like this— Listening to him. Yeah. This way. Very good, very good. Well, you know, this city, London, they have so many concert halls and so many opportunities to listen to the great pianists. I remember when I was a student, when I arrived, I was studying at Royal Academy of Music. I was invited to do a postgraduate, and I remember I went to listen to Pollini, and I thought, that's a bit silly that I'm Italian and I'm going to listen to an Italian pianist in London and not in Italy, for example, right? But I had some friends, they had extra tickets and I went to listen to him and it was during the Iraq War. I don't know if you remember, maybe you were too little. Yeah, maybe you were not even born. Oh my gosh. I'm thinking now, you know, I've been in this country for 20 years and you're just 19. Oh, yeah. Anyway, so that was the Iraq War. And we had terrorism in the city of London as well, so it was a bit— it was a dark moment in the world, a bit like now. But the Royal Festival Hall was absolutely packed, sold out, and Pollini, who's a virtuoso pianist, he was actually making a program all on Nocturne by Chopin. Nocturne, and I think he played Bach Carole, you know, very romantic pieces, although the nocturnes are super virtuoso too, you know, they sound like poetry, but there is so much technique behind, it's crazy. Anyway, so he came on stage and he looked like, you know, he was just so humble, no, you know, just walking cool on himself. He wasn't, you know, the proud showing-off pianist. That could have been Liszt at the time when he was going performing. And when he started playing, the whole Royal Festival Hall shut down. It was like people were just breathing the notes, note by note, and breathing with him. So every breath he was taking, a rest into the music, I could feel the people next to me, you know, doing this. And at the end, the theatre basically fall down, you know, with the applause, standing ovation. He made, I don't know how many, and of course he was very generous in that as well. But it was fantastic. It was such a weird atmosphere because you knew what was happening outside, the chaos, the rush as well in the street, and of course the war and all these terrible news. But in that moment, for that hour and a half of a concert, the world was stopping. And I think the power of music is just phenomenal, isn't it? And I think it's the most beautiful job we can ever do. So the next piece we're going to play then is the piece that you performed when you came for the launching. In my first days, yeah. Yeah, very first days. Have you been practicing before, or you just arrived? Well, I have one evening. Really? So when, when they— since the war started, did you have a piano where you could practice? No, I hadn't. I just, well, I play on the table sometimes, but that's all I could. That's amazing. Unbelievable. I mean, we had some other students that they were lucky, if you want to use this word, and they were hosted by an abandoned school, music school in Lviv. So they had pianos to practice there. So you didn't have that. But I think the main work that pianists do is not in fingers, but in our minds. So we can practice in our head. We can listen music. We can see the scores. Yeah. And play what we want in our hearts. Wow, well, this is phenomenal. Then let's listen to Skoryk. Skoryk is a Ukrainian composer, and I'll tell you something after, actually. Let's listen first to Skoryk aria performed by Julia Mats. Beautiful. And this was Skoryk aria performed at the piano by Julia Matz. Julia, so Skoryk is like, is a Ukrainian composer of the 20th century. Yeah. And he's very famous. They were playing the It was the Kyiv Orchestra who performed in the main square at the beginning of the war to defy, you know, the bombing and everything. They were playing a melody, I think, by Skoryk. Yeah, a melody of Skoryk. I think it's the most popular Ukrainian song after Shedryk, if you know this song. Yeah, yeah, yeah. And Shedryk is the Carol of the Bells. Yeah, yeah. And I remember I heard that song the first time when I came in October last year. I was at the Tchaikovsky Conservatoire when we signed the partnership with the London Performing Academy of Music, and they performed that at the Lysenko Column Theatre, and I was so impressed. I was like, which piece is this? I mean, what is this? So beautiful! And the orchestra was playing it so passionately, and And yeah, there was a comment by a politician recently that I think— I don't remember which side, but he said something very true, and that the fact is the music is the most powerful tool to keep the identity of a country alive. So it was very special that you chose to play this piece by Skorik. Have you played Skorik before? Well, yes, I played a lot of his pieces when I was young, when I was in music school. It's really a common practice to give children to play Ukrainian music there. I remember I came for the Horowitz Piano Competition a long time ago, and I did perform some Skoryk as well. I don't remember which piece anymore. But I remember I was impressed because I didn't know this composer, and I thought it was really beautiful. Neither I knew that Horowitz, who was my favorite pianist ever, was from Kyiv, and he studied at the Kyiv Conservatory. So it's incredible because, well, you know, let's talk about something nice, something fun. What would you say was the most beautiful place where you performed? Well, to be honest, Draper Hall. Draper's Hall here in London. It was one of the most beautiful places, I think. Well, and also I performed the Hackney Philharmonic. I played with the orchestra. Lovely. And I missed this day. I remember it almost every time. Yeah. And well, I played this day the second Beethoven's concerto. Ah, beautiful! I like it. So much fun, so difficult as well. Gosh, the more fun they sound, the more difficult they are. It's for the audience that is listening to us. So yes, but Drapers Hall is also a really beautiful place. I enjoyed to play, and the piano was amazing. Brand new Steinway Model D, yeah. You're going to perform again here at the National Musician Church, it's the Holy Sepulchre down in Farringdon. It's the biggest church in the City of London, and we've been very fortunate to launch the partnership with the Nice Concerts 2 weeks ago, the 30th of June exactly, between the Holy Sepulchre National Musician Church and the London Philharmonic Academy of Music to make it the new home of our Ukrainian refugee students. So we invite all the audience to come and listen to them live. We're gonna have evening concert every Thursday from now on, and from September probably also. Of course, to some lunchtime, but there would be opportunities to see them performing live. So you actually had another incredible performance that you did for the Jubilee of the Queen. I mean, it was quite a special moment to arrive in London, is the Diamond Jubilee. I mean, the oldest monarch in the world. And have you seen, have you followed, did you have the opportunity to go and see anything live, apart that you performed in front of 2,000 people at the Berk Festival in Berkhamsted with another student of LPMAM, Nikita Vikorev. So what did you take out of these crazy Jubilee celebrations? Well, when I came to London, I didn't expect that event like that will be But it was like a little present. Yeah, it was a little bit crazy. Many people, everyone is really happy. A lot of concerts, a lot of performance, a lot of weekends. I think it's not usual for British people to have for 4 days, holiday. Yeah, so I really enjoyed this time, and I was really pleased to perform this festival. I met a lot of really, really good musicians. We discussed some topics. So yeah, I enjoyed this time. Well, I really want to listen to the piece that you performed at the event, because you performed— the recording that we have today is the one that you performed at Draper's Hall with Nikita Vikhorev. Again, you had like a day to put it together. So that means Yulia is 19, and she's second year undergraduate, but she's an incredible talent. And well, actually, we have to thank as well, Patrick Allen, that allowed you to practice in his office where he has this amazing— Ogden Johnson Allen is a super firm of lawyers for social justice, and they were so kind to allow you to practice there every day in the piano that they have. I'm really grateful to him. Yeah, thank you. So let's listen to So it's another Ukrainian piece. Do you know, can you tell me the title? This piece called Zelena Dubrova, and this piece was also written by Skoryk. Zelena Dubrova, and do you know why it's called Zelena Dubrova? Is it dedicated to someone? It's like a song, and this is like a transcription of this song, Ukrainian folk song. Ah, it's a folk song. All right, let's listen then to, uh, Scotty Zelena Dubrova, um, transcription of this Ukrainian folk song for violin and piano. Ah, and this was Skorik, the Ukrainian folk song, Selena Dybrowa. Transcribed for violin and piano and performed by Ukrainian students Yulia Matz and Nikita Vikorev. Yulia, very difficult piece though, as usual. You got the violin with a beautiful melody and the piano doing a million notes. That's a bit unfair. What do you think? Well, I think when you like what you play, it's not a problem. Doesn't matter. So I wanted to ask you, Do you prefer to play solo or chamber music or everything? Well, it's a good question, but I think that in our time we can't say that this pianist is a concert pianist, this pianist is a teacher, this pianist is only an accompanist. So I think we need to to do all this. Everything. Yeah, yeah. Well, truth is though, I've been asked sometimes by friends to play with them, and the repertoire for piano and violin, for example, is very demanding, as much as the solo piano, for example. The same with chamber music in general. And let alone, you know, when you're accompanying singer, there is— it's a completely different world, you know. The piano accompanist and repetitor they are able to read a full score and concentrate it in just two hands, and at the same time sing if one of the singers is not there and there is a duet and you need someone to come in and give the— so actually the job of the pianist, it's very different depending on what you're doing. And also not necessarily because you're a great concert pianist you can be good at teaching. And vice versa, you might be an amazing teacher but not be very good when you actually perform. So it is true, I mean, ideally we should be able to do everything through these. That doesn't really always happen. But so I want to ask you then, um, I asked you— I can't remember anymore. Yes, if you have any, any other hobby apart from piano. Well, I think that it's really important to have any other things that you would like to do, because if you want to, like, to bring your emotions into music, you need to feel yourself. Yeah. So yes, I have I have some hobbies, for example, I really like reading. I think it's the best things in the world after music because when you just take a book and feel in this another world, you can relax, you can calm It's amazing. I also really like to go outside the big city and spend time in the forest, for example. So, well, I really like— I really love nature. Beautiful. Well, here, that's why the parks, isn't it? These are the best in the world, I think, the parks in London. And do you have any funny episode that you can tell us? That you recall that happened while performing? Well, when I was— when I played in a percussion orchestra ensemble, well, we always need to bring our instruments with us. And when we go to the stage, well, I just fall under the stage. Under the stage. Yeah. Everyone. Oh gosh, did you hurt yourself? A little bit, but it was more funny than painful. And shameful, is it? Were you shamed? Were you embarrassed? Yes, probably. It was really, really difficult to forget what happens and start to play a really serious piece Oh, right. Oh, God. But I think everyone in the hall woke up, so it was easier to involve. Yeah, to overcome the embarrassment and be back into the— concentrate again in the concert. Okay. All right. Well, I think we're going to finish our interview with another beautiful recording of you playing Mozart, the Sonata K.311. That is very, very fun. And then we're going to say goodbye. Thank you so much, Julia, for playing so well and for being with us right now. Let's listen to Mozart Sonata K.311. And this was Mozart, the Sonata K. 311, the first movement performed by Julia Mads. Julia, if you had to choose a Mozart sonata, Apart from this one that you just played, is there any other one that you wish you want to learn, you know, that is your favorite? Well, to be honest, I really like to play Mozart music. I played several sonatas before this. I played A minor sonata. A minor, yeah, the Toccata. Yeah. Also a major sonata which has only two parts. It's one of the— First one? I think, no. Old one? The latest one? Which one is it? The 545? Well, I'm not sure it has a number. I just know that it has two parts and No one is sure about the— if it's by Mozart. Ah, that's why. About the last part. Ah, right. But in my plans, I really want to try Mozart piano concerto, maybe 23rd one. Oh, it's really amazing. Absolutely. Well, And if you had to choose between Mozart and Beethoven? Oh, it's the most difficult question. Yeah. I think both. Both? I can't choose. I think they are all amazing. I mean, they all had incredible lives, and they put so much into the music, and they give you so much space to take out, you know, whatever you can bring out of it. It's what I think what's very important when you listen to classical music, it is the testament, the test of time, you know, the fact that they endured from centuries, over centuries of fashion, over anything else, but there is still something special when you listen to it. So I don't know, do you listen to any other type of music? Well, to be honest, maybe when I was I was a teen, I listened— You're still a teen, you know, 18, 19 is still a teen. A younger teen, yes. I listened maybe a little bit of folk rock. Oh, right, okay. But now I listen only classical music because I think it's the most beautiful thing in the world. Well, never say never, you know. I married an American guy who used to DJ. And so our daughter, she grew up— when she was just a baby, I was touring with Rachmaninoff Second Piano Concerto. She was listening to Rachmaninoff while sleeping in her cot. And my husband was putting on the Red Hot Chili Peppers and Jamiroquai with Virtual Insanity. So— and I really like it too. So it might change, but particularly being this country, you will see a lot of beautiful British music. So, all right, well, I think we're up with our time. It was lovely to have you on Future Classic Women Awards today. There is no more appropriate title today as you are the woman of the future, and the future is in your hand, really. So thank you so much for being with us today. You've been listening to Future Classic Women Awards on Women's Radio Station, live every day at 10 AM and 10 PM London time. And if you would like to ask any questions to our guests or nomination on Future Classic Women Awards, please email presenters@womensradiostation.com or tweet us @WomensRadioStn. And if you would like to catch it again or catch up on our previous programs, you can head to my presenter's page, Stefania Passamonte, Future Classic Women Awards on womensradiostation.com. Thank you, Julia, and thank you all for listening.
