Ali c i a Bli c kfeldt By Chantelle Constable Alicia Blickfeldt is a rebel. “In a good way!” Following a cancer diagnosis in 2013 she chose to pursue a holistic path of healing and was declared cancer-free in February of 2014. Then, a few months later, she was run over by a truck.
“It began as a diary of sorts; writing down facts, dates, time and events. Then I went back and really wrote… the emotion, how I felt, what people said to me, how that made me feel, the whole spectrum of moods. That made it real.
Alicia: “There were 6 or 7 breaks or cracks in the bones of my foot and pelvis. I refused surgery, opting to heal naturally … again. The doctor was in shock, shaking his head at my decision.
Then I began looking for editors. I knew the book was too long, and after multiple readers, I cut over half of it, removing redundancies and things that would not be of interest to the average reader. It was arduous and took about a year and a half.”
While lying in the hospital bed, I received an email from the Utah Music Awards, stating that I had been chosen as a nominee! I was elated! My goal from that moment on was to be at the awards ceremony. The night, I rolled into the ceremony in my wheelchair, wearing a black sequin gown! It took me a few more months to regain my ability to walk, but by Christmas, I was back in heels and singing on stage for numerous shows. I wrote a book about everything entitled, ‘They Said I Would Die’.”
Alicia began singing at age 12 through her church and then sang all the way through school, taking the lead in several stage productions. She took voice lessons from a local university student at age 16. However, she did not begin her career in earnest until 2013, “when life obviously tried to stop me.” Still, she firmly believes it’s never too late to follow your dreams. “I don’t care if you’re 20, 40, 60 or 100 … just do it! You have purpose
and meaning, and it’s up to you to fulfill that purpose. There is not a soul on earth that could not make a difference for good in the lives of others if they chose to.” After studying many other artists and playing with her own voice she found that she naturally fell into the classical crossover genre, “ but that still wasn’t fulfilling for me and statistically did not garner the attention I hope for on a large scale. I began looking for something else. One day as I was deep in thought. A mental download of sorts streamed into my mind of what I am currently working on, and still rooting out - this Epic Classical Fantasy, ‘Otherworldly’
space I am creating. In my case, Classical was too confining to what I feel inside, so I meditated, prayed and listened for the whispers in my mind to inspire me to do something new and meaningful to me.” “Listening for the whispers,” is an important part of Alicia’s life. “[My day] usually begins with a lot of meditation and prayer, getting my mind in the right place, so that the music reflects how I feel. I avoid distractions like social media, TV, radio or other things that might shift my focus. I prefer silence unless I’m actually singing. I spend time FEELING music (mine as well as
others) if I am trying to write stories or lyrics, and let it move me to creation. It always amazes me, as I spend time in preparation, how much quicker the lyrics come to my mind.” She also says, “If spirituality were non-existent in my life, I am positive that I would have quit. It has an enormous influence on what I bring.” This deep feeling and focus come through in her songwriting methods: “I listen to many YouTube videos that fall within the space that interests me. Then I look at images that describe what I feel in the music. For me, that’s medieval places, people, etc. Then I write an actual narrative of what I see in my head as an actual storyline. A misty dark forest, a girl in a cloak, a white wolf, a red fox, blackbird, storm-tossed seas, a dungeon, the sun streaking through the clouds, etc. “And finally, I write the lyrics as I listen to whatever chosen song, and use the cadence to help me feel and see the lyrics, creating a rhythmic story. When that’s completed, I send each of those elements to the composer so he/she has the complete vision also.” “Sometimes [inspiration] comes from listening to the music of others, sometimes from how I feel when I’m on a hike in the mountains near my home, or when I sit to just write a poem. It can be from a feeling, something I heard someone say, a visual – like the
mountains or a snowstorm. A movie or something that moves me personally, like a child or death, or love. It comes in many ways.” Alicia recently suffered the loss of both her parents. In September, “My parents died five and a half days apart, with Dad passing five hours before Mom’s funeral. We ended up doing a double funeral. It was strangely beautiful. Their love couldn’t be contained in this life alone, so they left together.” Still, she is determined to forge ahead with work on her album, “Of Light ~ Escape to Another World,” expecting a release towards the beginning of 2019 or shortly thereafter. Her favorite part of the album creation process has been being in the studio, recording. “There is something about hearing your own voice blending with the music and realizing a culmination of everything you’ve put your heart, might, mind and soul into. It’s that magical place where it all comes to life.” Alicia hopes that her listeners will find joy, resolution, hope, peace, or happiness in the album. “I feel like this is a way I can pay-it-forward. So many people have blessed my life with love and kindness, this is the way I can do the same on a much larger scale.” For other artists self-producing an album, Alicia has this advice to offer: “The one biggest factor is NEVER give up on yourself. If you don’t follow your dreams, who will? You have to be brave
and just go for it by networking through people, interviewing people, meeting them for lunch to ask how you can help them, by asking questions and, of course, failing. You will fail. You just keep failing until you find a way through and success comes. Your success and your failure that leads to your success is simply the mechanism you have to pass through. It’s refining and will strengthen your resolve to accomplish. If you quit, you’ll never know - so just keep going!” Citing the work of Masaru Emoto, Alicia speaks to the power of music to heal a hurting world. “[Emoto] discovered that if you speak to water vapor, tape a word to the bottle it is in, or play music, as you freeze the water, it reacts. Words and music that are harsh or angry created deformed and distorted crystals, which twist into unrecognizable shapes. Conversely, kind words, spoken or written, music that is beautiful or uplifting, created perfectly formed symmetrical crystals that looked like gorgeous snowflakes. So, my reasoning is that as you offer sounds that lift someone, you are literally creating a thing of beauty within them. Music is power.” Alicia knows a thing or two about healing. “After conquering cancer holistically, I learned that the body is pretty amazing and has the ability to heal from what we all deem as shattering.
That taught me something very, very valuable. If I treat my body with respect by eating as organic as I can, it will respond positively. When I do feel like I’m getting sick, I hit my body with any and all remedies that have crossed my path with any previous success. Garlic, raw organic honey, “silver” liquid with folic acid, aloe vera juice, to name a few. My favorite hoarseness remedy [which she also drinks before and during a recording session] is a mixture of 1T raw organic “local” honey, 1T raw apple cider vinegar and 1 “Traditional Medicinals” brand Throat Coat herbal tea. I just sip that over a few hours and I feel much better.” For self-care in her leisure time, Alicia says, “I love to hike, bike, go for walks, photography, making new friends, going on weekend trips and spend time just talking with people, and just sitting quietly with a book in front of a fireplace.” In her online presence, Alicia names some of her creative influences as Lord of the Rings and Skyrim. Mormonmusic.org says the target audience for her music will be “anyone who is involved in cosplay, comic con, gaming, all things fantasy, and the crossover space.” Collaborating on the album is composer Christopher Escalante, who has written music for games such as ‘Maid with Perfection’ and ‘ACE Academy.’
Finally, Alicia sums up her musical mission like this: “To bring light into the dark spaces of the world. To offer hope in a stricken world through thoughtprovoking messages of hope, redemption, and love through compelling lyrics and storylines. To fill personal lives with self-
power to overcome obstacles, things that hold us back, anything that stops us from accomplishing our greatest potential. We can all achieve and become more than we currently are. I hope to make a difference in such a positive and influential level that transforms lives.�
facebook.com/AliciaBlickfeldt
Athena By Chantelle Constable
For the ladies of Athena, music is in their blood and destiny. Gwawr, whose father was a successful soloist; Ellen, whose mother was a renowned concert harpist; and Sioned, whose grandfather used to lead the singing and worship in the chapel on a Sunday. All three began performing at a young age, and for each, a career in music was an inevitable course to follow. Together they produce unique arrangements of classical crossover standards, such as crowd-favorite ‘Nella Fantasia’ and a new ‘[Shirley] Bassey Medley’ created especially for the trio. All three have released solo work, but as of October 2018 they are celebrating the release of the group’s debut album, ‘Encore.’ Both the names ‘Athena’ and ‘Encore’ were chosen for their familiarity with people of all languages. Ellen says, “We chose the name Athena: the Greek Goddess was known for her many admirable qualities that we as a group of women hope to represent: she was known for her intelligence and bravery, was well respected by all, and was all in all a strong independent woman!” Wales and Welsh music play a leading role in each of the women’s lives and careers. All three grew up performing in the national singing competition known as the Eisteddfod, and have had stage roles featuring music by or telling the life story of Welsh composers.
Ellen, The Minstrel in the Welsh premiere of Karl Jenkins’ ‘The Bards of Wales’; Sioned, the part of Welsh composer Morfydd Owen, in a touring theatre production (shortly after Ellen played the role, prior to their meeting and collaboration); Gwawr, the lead female role in a new opera written in Welsh based on a historical novel called ‘Wythnos yng Nghymru fydd’ written by Gareth Glyn and Mererid Hopwood. Gwawr comments, “It’s practically unavoidable not to be influenced by Welsh music and culture as you grow up in Wales. It’s such a small country but SO incredibly rich in its musical and cultural traditions. We really are a very wealthy nation and we are so proud of our heritage. The desire to create, to compete and to learn was often done on a public stage in Wales and that is a very strong influence in the life of a performer, for sure.” In addition to Shirley Bassey, whom the trio admires greatly, Sioned cites Dame Jessye Norman and Ella Fitzgerald as influences. “I love the way in which [Ella] could effectively mimic an instrument and incorporate it into a song.” Dream collaborations include Andrea Bocelli and Michael Bublé. On Encore, Athena represents their individual passions well, with a broad variety of Welsh folk, operatic arias, and Great American Songbook standards. Athena creates their own arrangements, and while valuable time together is spent rehearsing rather than writing, they are
open to the possibility of writing their own music someday. Gwawr, Ellen, and Sioned rehearse individually as some are separated by distance and some are leading busy personal lives as mothers, not to mention active solo performers. Skype and Whatsapp help them coordinate online rehearsals, and they meet in advance before a concert to run through the set list. I asked the women what they believe sets music apart from the other arts and holds value for the 21st century? Ellen quoted Victor Hugo: “Music expresses that which cannot be put into words and that which cannot remain silent” and Sioned added, “It brings people together, it is emotive and holds a lot of power. It provides escapism, comfort, it can soothe and it can even reason with us at times I think, but it can also empower – all good tools for dealing with 21st-century life!” Speaking of the hassle of modern life, all three admit to struggling with finding an
appropriate work-life-family balance. Ellen enjoys Pilates, cooking, and scuba when she has the opportunity; Gwawr makes time for yoga, and Sioned says, “a lovely massage, some scented candles, a manicure – that’s my ideal day off!” As a child, Ellen was fascinated with travel and different cultures and says, “I’m still hugely intrigued by culture and tradition and we’re lucky that what we do takes us all over the world to meet new people and explore new places.” Gwawr also says, “It’s always a privilege to take your own music somewhere new and it’s particularly special for me to be able to present Welsh music, on which I was raised, to new audiences worldwide.” In conclusion, Sioned has this to say, “I think our aim, and I’m sure I speak for all three of us… is to bring our own particular sound to as many different audiences as possible and to leave them feeling that they’ve been on a journey, that they’ve escaped the daily grind, have been entertained, inspired and thrilled by our music.”
athenatrio.com Check out John Harvey’s concert review on our website! *Photos thanks to Sheri Bankes Photography
Aled Jones & Russell Watson
IAnConversati Harmony on with Natalie Rushdie
Listening to Aled Jones and Russell Watson converse you can immediately sense a connection and friendship between the two. They have both been instrumental artists in the development of the classical crossover genre and have had careers most singers only dream about. In Natalie’s words to Aled, “I think every single person in the UK has grown up with your voice,” and it’s true, what’s a Christmas without ‘Walking in the Air’ anyways? Likewise, since Russell Watson exploded onto the scene with his album ‘The Voice’ he has continued to dominate; Classic FM named him the best-selling classical male singer of the last 25 years. The conversation today is conducted by Natalie Rushdie a lovely soprano who is currently exploring the wonderful world of jazz. Natalie has met Aled before and has performed at some of the same venues as Russell. “I was reading about you on Wikipedia today and I noticed that you did the Rugby league challenge cup as well and that was your big breakthrough,” she begins to Russell. “If it’s on Wikipedia, it’s probably not true,” he interjects.
I’ve sold, the year I released my first record…” “He’s actually a baritone as well,” Aled chimes in. “Yeah I am,” Russell agrees and immediately launches into “I was born on a wandering star…” Natalie: Oh no! Cause I was thinking well, I’ve holidayed with Aled so I’ve got something in common with him and I was like what do I have in common with Russell? And now you’re telling me it’s not true. Russell: No, I did sing at the Rugby Cup Final but it was two years after the release of the first record. Which Wikipedia says was 2001 but it’s actually the year before. Someone needs to put that right, I’ve just not got around to it.” Natalie suggests changing his birthdate as well and they joke about Russell looking eighteen. “Well, he definitely acts like an eighteen-year-old,” Aled says and without missing a beat Russel counter’s, “Well you’d know all about that because you act like one as well.” “Was it like this the whole time you were recording?” Natalie wonders.
“Oh really? No!” Natalie exclaims. “Uh.. no,” Russell says as they all laugh. “They’ve got nothing right, my place of birth, my date of birth, how many records
Aled assures, “As you know it’s always a bit more serious when you are recording.
We’ve only been on stage once together when we launched the new album and that was a hell of a lot of fun. It was just brilliant to be able to connect with someone else on stage as well. There were a lot of looks and a lot of laughter and also, I can see how excited Russ gets with the music and that, of course, rubs off on you as well. We’re both professionals, we both care about what we do. We both want to move people when we sing, so to be able to do it with someone else is great.” “It’s good as well because you know, Aled’s a really funny guy and I’m even funnier so,” Russell says and Aled quickly dissolves into laughter. Aled: “This is what I have to put up with now you know?” It’s hard to pinpoint when and where they first met when Natalie questions them. “Was it the Albert Hall?” Aled ponders. After some consideration, Russell agrees. “I think it was in the Albert Hall, wasn’t it? Was it like the ‘Big Sing’ or ‘Remembrance’?” “Yeah it was either the ‘Big Sing’ or ‘Remembrance’ or it was one of those Brits or something like that. I can’t remember. We spent quite a lot of time backstage in the ballroom in the Royal Albert Hall.”
After the initial meeting, they bumped into each other quite often. “It’s a relatively small group of us who do all of this sort of music,” Natalie remarks but it’s still a big change from when they started. Aled: There’s more people doing it now than when we started 20 years ago. What do you think Rus? Russell: Well, 18-20 years when we first started out there was probably a queue of maybe 2-3 and now there’s probably 2 or 3 different new ones appearing every week. Some of them work and some of them don’t. So, the original records that we made were kind of like the opening of the floodgates for a new kind of era of classical crossover artists but the great thing is that after all these years, me and him are still here. That’s a testament first of all to our fan base but also secondly, on both our parts, to business acumen. A lot of people coming into the music industry don’t realize that it’s not just about singing. As an audience, we’ve watched Aled and Russell together many times on Songs of Praise and other events but when did the idea of ‘In Harmony’ come about? Natalie: Did you know that you were going to bring out an album or were you literally like let’s just see if it goes anywhere? Aled: If we were ever going to do it, we were always going to bring out an album. We’re both very similar in the fact that it’s all or nothing.
Russell: It was really quite an organic way I think that whole process came about. It wasn’t something that was preconceived and thought about for a great period of time by a record company.
‘Yes.’ I think we had one meeting as far as music and stuff and the album was more or less set up wasn’t it Rus?
Russell: Next thing we’ve got a deal with a major label and are planning a massive tour It was really quite an Still the full story in the United Kingdom beings with a little bit and the records are organic way I think that of wine and, in keeping flying off the Amazon whole process came about. with our social era, a charts. So, it’s all kind of text. happened quickly from a It wasn’t something that really quick conversation was preconceived and Aled: Basically, at the first quarter of the thought about for a great Russell was year. Within a few celebrating Classic period of time by a record months, we’ve got a th FM’s 25 birthday and record made and a tour company. Rus was like the planned for next year. It biggest classical really has been possibly – Russell Watson selling male artist… one of the quickest which of course upset me a lot. whirlwind projects I’ve ever been involved with. Russell: I was at home and I got a text from Al, saying ‘Congratulations’ on the Natalie: How did you choose the songs. Classic FM thing and I said ‘Cheers pal Did you have a sort of pick out of a hat? thanks very much, what are you up to?’ Or was it one song for you, one song for ‘Just having a glass of wine’ and I said, you… ‘We should do something together at some point’ and he said, ‘That’s weird Aled: No, there were songs that we knew because your ears must have been we’d have to do together because we’d burning because I was talking about that sung them so often on our own. Songs to somebody the other night. I think it like ‘How Great Thou Art’ and ‘You would be great if we did something Raise Me Up’ are both really important together’ and I said, ‘Actually, I think it songs for both of us in our own way. would be great if we did something together. So, it was really an organic There were also new songs they’d never way. done before such as ‘Cinema Paradiso’.
“
Aled: We got to talking about how we’d always wanted to do this album but either his diary hadn’t allowed it or mine and should we go for it? And we said,
Aled: I couldn’t’ believe that Russell hadn’t recorded that or ‘Here’s to the Heroes’ and equally I knew that he had
sung ‘Volare’ millions of times and you know, I never thought in a million years that I’d record ‘Volare’ on an album’ and now I have and I love it. Some of the songs were suggested to them by their teams. Aled: There’s an absolutely gorgeous song called ‘May the Good Lord Bless and Keep you’ and I don’t know about Rus but I love it because when you hear it once it feels like a song that’s lived with you all your life… It’s a real mixed bag. Russell: The hymn medley, in particular, is stunning. From the arrangement all the way through to the vocal harmonies that were written for the both of us. That to me comes out as one of the standout tracks. It’s really, really special. I’m very proud of this record. The good-natured exchange of wits throughout the interview leads Natalie to joke, “How long did it take you to record the album? I can imagine like a year?” “No, it was really fast,” Aled says. “Ridiculously fast,” Russell confirms. Aled: Probably the shortest time I’ve ever done for vocals, to be honest with you. Three days each wasn’t it Russ or something like that? “That’s insane,” Natalie marvels.
Russell: I think I did half of the record in one night, and the other half took me about three nights. So, it was pretty quick. I mean thankfully, we’d both done our homework and we were prepped and ready to go. It also helped that the producer Ian Tilley (who actually Aled introduced to me for the first time on this record) is just an absolute professional and a real perfectionist and a great vocal producer as well. So that just meant that the whole process ended up being so much quicker than I’m used to because, I mean being honest, you know you mentioned a year, and I’ve had records in the past that, that have taken not far off that… I would generally normally say ‘Six weeks. What you want me to make a record in six weeks? Are you serious?’ But this one was like six days and it sounds as good if not better than most of the vocal productions I’ve put out. So, [I’m] very pleased. Aled: It’s all down to having to do the work beforehand because what’s lovely about this record is that we don’t’ just sing a verse each and then join in unison at the end. There are loads and loads of intricate harmonies. There’s a song written especially for us by Sir Karl Jenkins and that took me about 2 days to learn it. Russell: Two days is that all? That took me two years to learn! Aled: When you actually hear the harmonies working together it was such
a pleasant surprise - it was more than I expected it ever to be. Russell admits to having doubts initially about the track. “When I first heard the track it obviously wasn’t complete and I thought, ‘I wonder if this is going to work’ and then when it was all done with music and everything put together… it’s like ‘yeah this is genius’.” “The way Natalie: Were you in the studio together at this point? Russell: We were together on one or two occasions but predominately - it’s just not plausible for us to both be singing in the studio at exactly the same time.”
Aled: Although I pride myself on being quick now, I’m not as quick as when I was a kid. When I was a kid we’d go into a church and 4 hours later I’d have thirteen songs done. I’m not that quick anymore!
Natalie: It’s always interesting to listen and learn from your colleagues. I find that the music has as a classical been composed it has an performer you’re always by yourself and impact on you and your then you have an soul and that’s what you orchestra behind. Do you find having two of then give to the audience. you onstage that you’ve learned anything? Those are the reasons
that I sing, that’s what makes it special”
– Aled
Aled: There was no time to be doing that on all the tracks. It was nice to do it on a couple but if we had had the luxury of more time then we might have hung out a lot longer… I’ve always been pretty quick in the studio. I don’t really like using the big flashy studios to record, I just find it puts loads of pressure on me. We both work in really small studios and that’s how we like it. It’s all about getting it done. Still, even Aled can’t quite beat his younger self.
Aled: Russell’s a good mover. He moves a load more than I do on stage. And also, we’ve Jones both realized we’ve been doing all the work all these years when it’s much easier when you just do 50 percent. Russell: I tell you in all seriousness one of the things I noted from Aled, and I think it’s probably down to his training as a choirboy. His diction is so precise and so clear. I’ve picked up on quite a bit of that and thought I might just throw a little bit of this [in] myself rather than just keeping it so blended and smooth. I’ve started to emphasize a few words so that was one of the things I picked up from him straight away. As Aled will tell you I’m a natural mimic, so it won’t take long before I’ll be able to do his voice
and my voice and I won’t need Aled for the next record. Natalie: There are a lot of faith-based songs on this album. How important is that to you and do you feel that you gravitate towards a message that you’d want to leave with your audience? Aled: Well for me, the moments always happen in the music as far as the spirituality or a connection. I always feel at home singing the music that I do - but that doesn’t just happen with hymns. I still feel that there’s something in pieces like ‘You Raise Me Up’ or so-called secular songs as well, even ‘Cinema Paradiso’ which is a love song. The way the music has been composed it has an impact on you and your soul so that’s what you then give to the audience. Those are the reasons that I sing, that’s what makes it special. Russell: From my perspective, the value of faith to me was a key element of helping me get through certainly my second illness. I think there’s a point in your life where you can look at faith and particularly when I’ve had two seriousness illness of the type I’ve had, and think ‘Why me?’ you can move away from faith or you can be in a position when you say, ‘You know what, I really need my faith right now. I really need help now to get through this specific difficult time.’ That was heightened during that period of time. But also, further from that, I think something that Aled just touched on as well, it’s something that’s built in you. It’s something that you can’t teach at a music
school. You’ve either got it or you haven’t - and that is, I think the connection from your soul to the music. It’s all well and good being able to read a piece of music note for note, and sing it on stage technically brilliantly and correct but if you can’t infuse that soul and that passion into the music that it sometimes requires, I don’t know what it is, but the audience somehow knows. Aled: This sort of music, everything thinks it’s easy to sing but I think you have to be 100 committed to it. Russell: In some respects, it is easy to sing, but it is very, very difficult to deliver. Natalie: In addition to the album you are doing quite an extensive tour, how are you guys preparing for that? Are there any sort of secrets you can share with your fans - anything different that there’s are two of you on stage? Aled: Well it’s going to be a lot of fun. The key for me is that when we are on stage together, for us anyways, it feels like there is a real electricity and energy. As far as I’m concerned, I just want people to come and laugh a lot but also cry good tears as well and go away feeling moved. As far as preparing for the tour it’s so far away that no preparation [is] needed yet. We’ve put a little down payment on a little caravan that we’re going to be driving around. Russell: You’re driving during the night aren’t you and I’m driving during the day?
Aled: Yeah, that’s right. This tour kicks off September 17th of next year. Until then, Aled will continue his work as a radio and television presenter for Classic FM, BBC Radio Wales, and Songs of Praise. While Russell is finishing up his ‘Canzoni D’Amore tour.’ “We’ve got another 20 odd concerts left this year,” Russell says and then it’s time for a well-deserved rest. “I’m going to be focusing on seeing this year out and then having a really long, and long-awaited rest through the end of December, through January and February where I’m going to do absolutely nothing.” He’s ready to spend some time at home saying, “I don’t want to go anywhere.” Aled: The show that we’re going to put on is going to be all singing and all dancing. It’s going to be a big show so we are going to invest a hell of a lot of time. Natalie: Are you going to be dancing Aled? Aled: Of course, we’re going to be dancing! Yeah.
Russell: I have a vocal coach and I see her when I can basically. She was around several weeks ago helping me get prepared for all the intricate harmonies that we had for the record. So, I used her for that making sure it was all right, and that I was figuring out all the right blends of voice and all the rest of it. The coach is especially valuable after night after night on tour when bad habits can easily take root and notes that were easy suddenly take a bit more effort. Russell: I just go on quickly visit my coach and she says “Oh you’re not doing this” or “You’re not doing that” and just clear something up more quickly. Vocal hygiene is a key element for me. Especially with the kind of material I’m singing which is kind of that high wire tenor stuff, that is really bloody taxing, especially when you are doing a 2-hour show of that type of repertoire and you’re doing 3-4 concerts a week. So vocal hygiene and looking after is really crucial. One of the biggest pieces of advice I give to any singer is, make sure the vocal folds are correctly hydrated. So, loads and loads of water during the day.
Russell: Yes, we’ve got a strictly routine planned out and everything. Although Aled’s agreed that he’s doing the lifts.
Natalie: You both have accomplished so much throughout your career, and I’m sure you’ve been asked this many times before, is there anything else you would like to do and you haven’t done?
Aled: I better get in the gym! Natalie: How do you continue to develop your talents, do you both still have vocal coaches and how do you maintain good vocal health on the road?
Russell: I’ve had such a blessed music career for such a long time [that] there’s nothing really that I’m aspiring to. I think more than anything I just want to
sustain and maintain my voice; keep the voice nice and strong and keep on doing what I’m doing. I’ll be happy with that. Aled: For me, that’s a tricky one, I don’t really like planning ahead in that way because it sometimes leads to disappointment. I will say, I would like the album to do well here and then see
where else we can take it. There’s already talk of us going out to Australia to tour. I’d love to have a crack at the US - I think we’d have a lot of fun there. But you know let’s just take one day at a time really. I’m so proud of the album and I’m just really looking forward to spending time with Rus on stage or television.
russellwatson.com : officialaledjones.com Interview with many thanks to Natalie Rushdie, Corinna Ingram, and Kathryn nash
Natalie Rushdie Known for her stunning classically-trained voice, last Summer Natalie debuted a new musical direction when she performed a series of soldout concerts at Live at Zédel with a set that paid tribute to the great divas of Broadway and the West-End from Doris Day to Ella Fitzgerald and Judy Garland. This success was swiftly followed by an astonishing performance of The Long & Winding Road accompanied by a 76-piece orchestra at the world-famous London Coliseum which the 2300 strong audience rewarded with a standing ovation. Natalie counts members of the Royal Family among her many fans and she works closely with the Duke of Edinburgh’s Award Scheme - regularly appearing at Buckingham Palace, St James Palace and Holyrood Palace with HRH Prince Phillip to make speeches and present the Gold awards.
Learn more at natalierushdie.com
Q&A with
Wi l li a ms & Clarke By Chantelle Constable CC: How did you begin singing together? Williams & Clarke: We were two of the founding members of the Classical Crossover group Vox Fortis later to be known as Vox Fortura. CC: What advantages and struggles have you found in being part of a duo?
arranger and choreographer and Rodney takes care of the administrative tasks and the day to day running’s. We definitely know our strengths and stay in our lanes to ensure a smooth operation. CC: What sort of material can we expect on your EP? Describe your "brand" within the classical crossover genre.
Williams & Clarke: Being part of any collaboration or group requires great people skills. We worked out very quickly from being in the group what was the best way of operating with many different personalities and strengths. It is safe to say that the two of us recognized very early on the distinct skill sets we possessed and have to date made them work to our advantage, avoiding any personality struggles and rather listening to each other’s needs and how best to execute the tasks in hand. We get along very well. The advantages from being in a duo to that end are multiple. You can delegate more easily and share the burden and share the joy.
Williams & Clarke: The Classical Crossover market is packed full of amazing performers each wanting to bring this genre to life. We feel very lucky and honored to be in the position to offer up a Classical Rat Pack as it were. The EP will showcase our versatility in various genres from Swing, Musical Standards, Classical Music and even Chanson while staying true to the vocal blend our individual voices create. We feel it is a great chance for us to add to the repertoire currently being enjoyed by artists in the genre.
CC: What is your partnership like?
Williams & Clarke: A concert with all the music we want to sing in it, a venue big enough to hold those interested in hearing us and an audience willing to listen. We’d love to perform with the major orchestras in the world like the London Symphony Orchestra, New York Philharmonic
Williams & Clarke: As we mentioned earlier, we have very clearly defined roles beyond the performing aspect of our tenor and baritone collaboration. Julius is a fantastic musical
CC: Describe your ideal concert: venue and audience.
or Boston Symphony Orchestra maybe under the direction of Julius’ father. It would be cool to perform together either during one of the summer outdoor pops concerts or even feature in the BBC Proms in the holiday season. A concert where you can work with other talented musicians, with great musical arrangements, a focus on making music and artistry the best it can be is always the ‘ideal’. CC: What one thing would you like your fans to know or remember about you? Williams & Clarke: We stood together in our efforts to bring wonderful music to you. We are really passionate about music. Julius really get into it when he’s rehearsing music or choreographing, even worse when he’s had coffee. He also describes himself as a nerd and loves Star Wars and Harry Potter. Rodney is a stickler for detail and finer points, a perfectionist but has a huge fun-loving heart and wants to share his voice with the world. CC: What are your individual musical backgrounds? When did you each start singing? Do you play any instruments? Julius: My Father is a Conductor composer, and my mom is a Dr. but is also a consummate vocalist. I grew up in music. I got a violin for Christmas at age 3. I remember taking Suzuki Violin, and having my mother with me while playing and we had to stand on these funny floor pads with the footsteps. We went every Saturday to lessons. I also played the piano and was always with my father as well in rehearsals at Wesleyan University when he conducted the Ebony Singers. I couldn't even reach the piano without standing under it and putting my fingers over my head to push the keys and play what I called monster music. But I remember learning all the Negro Spirituals in the rehearsals, and of course learning the wrong words as well. I also sang in Church in NYC at Abyssinian Baptist church with my family, and also in church in Hartford, Connecticut. So, it just went on from there. as my uncle said I had no choice to be what I am. I sang in school and had GREAT
mentors in HS in Theater, Music, and Dance. Mr. Prenetta and Mr. Cicciarella specifically. There is a great system in The USA that has regional and state choirs where we compete and really get a chance to Learn and perform music at a very high level. From HS I was dancing as well. I studied Musical Theater at NYU, and Contemporary Writing and Production at Berklee College of Music, I also received my Masters in Classical Vocal Performance from The Boston Conservatory. Rodney: My parents are huge fans of music. They enjoy Classical music especially. In my early years at home, I recall hearing a whole range of music from Stevie Wonder and Aretha to Bach, Beethoven and even Queen courtesy of my older sister. I joined a cathedral choir at the age of 7 and sang lots of Church Music before joining singing my first solo concert at the age of 17, the bass solos in Handel’s Messiah. I enjoyed many concerts singing part of the BBC Symphony Chorus touring and singing in the BBC Proms. My great teachers at school put me in contact with the then Head of Vocal Studies at the Royal Academy of Music, Prof Mark Wildman. He encouraged me to study and so I did. My parents remained supporters of what I did and to date, I’ve enjoyed many opportunities performing around the world. I play the piano to some degree and also enjoy conducting. CC: Who are some of your influences? Julius: I would say my first influences would be my parents and my family. After that, as I was young it would probably be Michael Jackson and anything that came from THE WIZ. I love Gene Kelly and Fred Astaire Movies, and of course, my FAVORITES are the NICHOLAS BROTHERS and Sammy Davis Jr. When I was 14, I started to succumb to my father's influence and fell in love with Classical music through learning Verdi's requiem, and the pure emotion of that piece. I also really enjoy the Tenor Lawrence Brownlee and theater Performer Ben Vereen.
Rodney: Singing in a Cathedral Choir had a massive influence on me. I learned how to be part of a team and more importantly how to develop my ear for music. At home, I loved listening and watching great performers on TV like MJ, Nat King Cole and Marvin Gaye. Later I was lucky enough to be able to listen to Classical performers like Bryn Terfel, Willard White, Jesse Norman (loved her Spirituals Album lots) and Pavarotti. CC: What is your favorite part of this line of work? Your least favorite? Williams & Clarke: Our favorite part is the creative process, and rehearsing actually. Some of the most magical moments happen while rehearsing, and getting the plan right, and sometimes also seeing what surprisingly comes from collaborating with other people and deviating from the plan. Of course, the adrenaline rush of great performances is also awesome.
The worst part is the uncertainty and having to deal with the unpredictable business side. Getting this right though is very important. CC: If you could change anything about the music industry, what would it be? Williams & Clarke: That artists don’t always have to fit inside a preordained box. Also, that longevity is key - not one hits or flashes in the pan just for quick cash. It is always so satisfying and rewarding to listen to an artist grow over the years and chart their journey with developing musical choices.
CC: What exciting plans are in the pipeline for you? Williams & Clarke: We are looking forward to planning a UK tour in the Fall. We are also thrilled to be introducing ourselves once again (post BGT) to the UK public.
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Photos thanks to Lily Barnes Facebook.com/lilybarnesphotography
X-Over By Natasha Barbieri X-Over is a talented husband-wife duo who share a passion for classical crossover music. Nadia Eide’s soprano voice soars to the heights while Michael Storrs’ baritone powerfully anchors them. NB: Tell us a little bit about how you both became involved in music? Nadia: Well I grew up playing the classical guitar from the age of 9. My parents met in a rock band in the 70s so Music was always prevalent in our house. Though I could always sing in tune I didn’t start taking lessons until I was 12. And even then, I was too shy to sing fully on my own in my lessons. But obviously found my passion and before too long they had to drag me off the stage. A music degree later and I’m doing it full time! Michael: I was always surrounded by music at home. Mum is a violin teacher and my dad was a harpsichord maker back then. I played a number of instruments growing up including trumpet and viola. When I was about 16
my school needed boys whose voices had broken to take part in the school musical. And that was my first taste of singing! NB: When were you first exposed to classical crossover? Nadia: I was a gymnast and dancer from a young age and had three Sarah Brightman albums I used to choreograph dramatic, contemporary dances my poor parents and brothers and sisters had to sit through every Friday. Think I was about 9 at the time. And Sarah Brightman’s first few albums were great! Michael: My uncle, who shares the same name as me, worked extensively in the classical crossover recording world. He used to give us the latest Bryn Terfel or
Kiri te Kanawa albums fresh off the press for Christmas and birthdays. NB: Share a little bit about your first meeting together. What came first the friendship or the musical collaboration? X-Over: We met because we were both recommended by a mutual friend to join a classical crossover quartet. We worked together for a whole summer and eventually got together as a couple. Ironically after that, we spent a couple of years working apart doing various tours individually. We then thought it was crazy we met working together and now we hardly saw each other. And as our voices and looks work well together we thought this could really be an interesting collaboration. NB: Given the large range of your voice types, is it difficult to find a key that works for both of you? X-Over: Well just like the old Rodgers and Hammerstein musicals a baritone and soprano combination works incredibly well. Nadia’s voice sits very high and Michael has a gorgeous, rich tone which balances out the mix. We alternate who sings the melody line too as we are both dynamic singers. And we never feel as if we are competing with each other. Think it’s better for the audience’s ears as well and keeps the arrangements interesting. NB: What are some of the ways musically/and on stage that you both feel you complement each other?
X-Over: Our vocal styles are very similar which helps when picking repertoire. And obviously being a married couple there is a natural chemistry onstage which the audiences always seem to really enjoy. We put a lot of our story of how we met and got married in our show. So, it’s a very personal experience. NB: For you both individually: do you have a favorite role you have performed and one you haven’t yet but would like to? Are there any musicals/operas you would like to star in together? Michael: My favorite role I’ve played so far has to be Richard Hannay in the 39 Steps. It was totally different to what I normally do and playing a lead in a fastpaced play like that was a great challenge. Roles I would love to play in the future would be Javert (which I have covered in the West End) and Emile du Becque in South Pacific. Nadia: I’ve been so lucky to have played so many of my dream roles including Johanna in Sweeney Todd and Mabel in Pirates of Penzance. My dream has always been to play Christine in The Phantom of the Opera and Cunegonde in Candide. I think both of us are secretly hoping for a Rogers and Hammerstein revival like South Pacific or Carousel which we could play opposite each other. NB: Have either of you written any music and if not, is this an area you would like to explore in the future?
X-Over: We did have a little go at writing but quickly decided it’s more fun reinventing the classics people know and love. NB: You have been involved in various ‘big productions’ has it changed the way you aesthetically present a show of your own? X-Over: It certainly has given us stage experience, resilience and an eye for detail. But standing on stage performing your own ideas is a very different entity. It takes a lot of courage and determination to make it work.
album for the duo. But we still put a huge emphasis on still being working individuals with our own solo careers. It’s not easy and we don’t get a lot of downtime. But as we are so lucky to travel all over the world and we are both big foodies, we love trying local cuisines and going on adventures. When we are lucky enough to be at home our favorite thing to do is walking our two poodles. It’s a great balance and a great way to feel grounded and relaxed at home. NB: What is the best piece of inspirational or vocal technical advice you have received?
NB: How do you manage your solo schedules as well as your time together as a duo? When you do have downtime, what types of things do you enjoy?
Nadia: My mum told me ‘No matter what never stop singing’ and my father saying ‘Nadia, first you make the audience love you then you touch their hearts with your voice’
X-Over: We thank our google calendars which sync automatically to our individual iPhones. Like anything, it’s about balance. At the start, we put a lot of time into touring and recording our
Michael: My singing teacher recently gave me some solid advice and told me to simply ‘Think more Tom Jones’.
xovermusic.com
Charlotte and Olivia Marckx
Sempre Sisters By Natasha Barbieri
Classically trained instrumentalists Charlotte and Oliva Marckx have just released their debut album “Sempre Sisters.� We learn a little bit about the talented sisters whose beautiful playing and arrangements are sure to be a bit with crossover fans.
NB: At what age did you both begin to take music lessons? Did you start on the same instruments you play now or another instrument? Sempre Sisters: We both began music lessons before we were 6. Our mom is a cello teacher, so Olivia started on cello and took to it right away. Charlotte started on cello, but was terrible at it! A few months later, she switched to the violin. Neither of us plays any other instruments. NB: When did you start playing duets together? What are some of the special things about performing with a sibling?
Sempre Sisters: We have always played together in some capacity, starting with easy duets. Our duo didn't really form until we attended a workshop run by the amazing violin-cello duo of Alasdair Fraser and Natalie Haas approximately 5-6 years ago. They were incredibly inspiring, and we were especially struck by how full the ensemble sounded with just two people. After the workshop, we began writing our own tunes, and Olivia became more and more interested in arranging for our duo. As siblings, we benefit from having a similar mindset about how to work, and also, there is the obvious convenience of living in the same house!
NB: What has been the response from your peers to your unique interpretations that include music of various genres?
NB: How did you both decide on the song selection? Do you each have a favorite from the album?
Sempre Sisters: The reaction has been mixed! One of our teachers is one of our biggest fans, and another likes to pretend that we don't play this type of music! A lot of classical musicians are intrigued by some of the techniques we use, especially on the cello, such as chopping and different styles of pizzicato. We performed live on NPR a few years ago, first playing a classical piece and then a fiddle tune, and the audience clearly loved the fiddle tune the best. I think that our peers can see that it is a way of connecting with audiences who would not necessarily go to a classical concert, even if they might not enjoy the alternative styles themselves.
Sempre Sisters: It was actually difficult to decide on which tunes to record, but we wanted to have an even mix of original tunes and pop tunes, along with some classical pieces. We were also limited somewhat due to the royalty costs for cover tunes, so we limited those to our very favorites. Charlotte's favorite piece on the CD is the Bach Goldberg Variations. Olivia's is Beat it/Tonight.
NB: Tell us a little bit about the recording experience for your debut album. Is this the first time you have been in a recording studio?
NB: What are some of your musical dreams and plans to continue to develop your talent?
Sempre Sisters: Recording for our album was really fun! We recorded all of the tracks in only 2 days, plus a day for mixing, etc. Both of us had professionally recorded before, but only solo for competition and festival auditions--never as a duo or in a studio like Paradise Sound that primarily recorded bands rather than classical musicians. We were each in our own room, listening to each other through headphones, which took a bit of getting used to. Hearing the audio played back was thrilling!
NB: Do your teachers assist with any of the arrangements or is it just you ladies? Sempre Sisters: Olivia does all of our arrangements. She is a sophomore at the Colburn Conservatory of Music in LA.
Sempre Sisters: We both love classical music and alternate genres equally. In an ideal world, we would be able to continue to pursue both. A dream concert for us would be to perform Brahms Double with a great orchestra and then follow up with a fiddle tune encore! We devote most of our practice time to developing our classical skills but attend festivals and workshops of different genres to keep growing in those styles as well. NB: Who are some of the musicians who inspire you?
Sempre Sisters: The list of musicians that inspire us is never ending! A few that come to mind immediately are: Alasdair Fraser and Natalie Haas, Time for Three, Kristian Bugge, Mark O'Connor, Steven Isserlis, Agustin Hadelich, James Ehnes, Hilary Hahn, David Oistrakh, Jasha Heifetz, and Yo-Yo Ma. NB: Besides playing what are some activities that you enjoy?
Sempre Sisters: Now that Olivia is in LA, our favorite non-musical hobby involves watching favorite TV shows together over FaceTime. We try to save 30 minutes at the end of each day to watch different shows (Parks and Rec, West Wing, etc.). We have figured out a way to use our phones and our computers to make it feel like we are watching together. It is a really fun way to stay connected!
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Sempresisters.com
Natasha Hardy
Lost in love By Chantelle Constable
A warm, candlelit studio. The majestic peak of Mount Kilimanjaro. The artwork of Degas and Edmund Dulac. It’s safe to say that Natasha Hardy is a Romantic. “My album ‘Lost in Love’ organically came together when I wrote the songs, as all of the songs are inspired by my life experiences; from the people I have loved or wanted to love through to learning to love myself. When you fall in love it can be like a fantastic fairy-tale and I wanted to capture this. Life isn’t always a ‘happy ever after’ though so capturing this aspect was equally as important.” The ultimate message she hopes fans take away from her music is that “love is always the answer.” She describes her audience as “anyone who appreciates a good story,” but also says, “I really write for myself first and foremost, I need to fall in love with my own music before I could ever dream that anyone else will.” With an original goal of becoming an actress, Natasha began studying classical
singing to add to her skill set, however, a passion for music soon overtook her and she switched to pursue her true calling. She studied piano as a child, and now uses the piano as a tool in her songwriting. Natasha’s songs can be born from either a lyric or melodic moment of inspiration, and she cozies up in her studio with low lights to further develop the idea. She arms herself with pencil and paper, along with piano, microphone, and Logic to record her work. “Sometimes writing can come out as a whole poem, or flow of text that I will edit and rearrange or sometimes, the one lyric is used to sing different melodies that I record. The main thing for me is to just keep working and refining both the melody and the lyrics and go with the ‘flow’. Eventually, I just seem to ‘know’ when it is finished. The interesting thing for me about the whole song-writing process is that usually, the first idea that I had is the best one, so I can go through all of
these hoops in my mind of how and what it should be like and then I come back to my original idea. It can be a very strange and wonderful time because as a performer it is the one time you really get to be alone with your song. Eventually, it is a gift for the listener, I believe I just happened to be the channel it came through.” As a singer, Natasha is very conscientious about her health. Plenty of rest, a healthy diet, plenty of water, and long walks in nature with her dogs. She cares for herself with yoga, Thai massage, meditation, and, perhaps most importantly, “making time to have fun.” Her hobbies include painting (oil and watercolor), writing (she has written and illustrated a children’s book), ice-skating, horse-riding, and “watching anything nature related, especially all of the David Attenborough series.” She fell in love with hiking after scaling Mount Kilimanjaro and dreams of visiting the base camp Everest or the sacred valley trek in the Peruvian mountains. Her influences are vast and apt for a classical crossover singer. “Musically my inspirations are from the ethereal voices of Enya and Sarah McLachlan, the operatic voices of Renee Fleming and Angela Georgiou; film composers Hans Zimmer, Gabriel Yared and artists Enigma and Faithless. Visually I am also inspired by artists and illustrators such as Vermeer, Degas; Cézanne, Klimt; illustrators Edmund Dulac, Susan Seddon Boulet, and Arthur
Rackham to name a few.” In addition to her idols Enigma and Faithless, Natasha muses that it would be a delight to collaborate with Il Divo, particularly Sebastien Izambard, whose original work she admires, or Andrea Bocelli. Comfort was key for Natasha when recording her album, ‘Lost in Love.’ The studio was warm and inviting with candles and lowered lights, and she made sure to warm up her voice and body before singing. “Just like any performance the days leading up to a recording session I would try to get to bed early, eat really healthily and drink lots of honey and lemon as everything shows up in a recording!” She gratefully acknowledges producer Tom E Morrison for his work on the arrangements of her songs and for encouraging all of the artists involved to give their best performance during the recording sessions. A recent performance highlight for Natasha was her debut ‘Lost in Love.’ concert in London with musicians Stefano Marzanni, pianist and Alice Sophie, cellist -- based on the success of the concert, she is excited to proceed with the album tour. Natasha has spent years studying both classical and contemporary vocal techniques, and believes this lends to her signature sound of “classical crossover with a twist.” She feels honored to be a part of the genre during this era; “It is a very exciting time for artists like me that
are pushing the boundaries of what traditional classical music is.” Asked about the best advice she has received, Natasha responds: “To not give your angels away too quickly. Don’t take criticism personally, listen to your heart and believe in yourself.”
And the advice she would pass on? “Savor life, every moment, every single breath, every smile, every tear. Tell people you love them, love freely and relax, everything will be okay.”
Classical Crossover magazine was thrilled to feature Natasha Hardy in our winter issue. We wish her the best of luck and look forward to following her surely-brilliant career. Her debut album, ‘Lost in Love.’ can be found at:
Photo credit: Maria Mirage Photography
Natashahardy.com
Celtic Woman
Ancient Land By Natasha Barbieri
Celtic Woman may have begun as a onenight-only concert in 2005 but it has grown into a phenomenon and one of the most successful touring groups with multiple chart records for World Music. The show has continued to evolve saying goodbye to many beloved members and introducing new fan favorites. Likewise, their sound has changed with their different releases. ‘Destiny’ took it back to the traditional with founding member Méav Ní Mhaolchatha taking over as the group’s vocal director. The album was the group’s first to be nominated for a Grammy Award. ‘Voices of Angels’ which followed took a more crossover approach with its lush orchestrations and covering of songs such as ‘Time to Say Goodbye.’ ‘Ancient Land’ is their first album of completely new music since “Destiny.” Máiréad Carlin who has been involved in the group since 2013 tells us, “We really wanted to delve even deeper into the World Music genre for this album. I
guess you could say we went a little more tribal. All across the world and in so many historic traditions there have been tribes- and these tribes all have their own musical sounds. Merging traditional sounds from across the world was very much a part of this album- for example fusing African drums with trad Irish pipes.” This time around they wanted to showcase a more raw, earthy sound. “Gavin our musical director has composed a lot of the new music you hear on this album,” she continues. “He has taken all these worldly sounds and created an entirely new sound world that transports you to another place. For us, that is what music is about - taking you somewhere else. Ireland has a rich tapestry of unheard songs and we really dug deep to uncover and dust off some of them. It’s our mission that these songs and airs are not forgotten.”
The album has been an immediate hit with fans shooting to No.1 in the World Charts. Ancient Land is also the introduction to twenty-one-year-old Megan Walsh who has replaced Susan McFadden (who left the group to have her first baby). “I definitely was completely overwhelmed at how welcome everyone made me feel. The girls are so incredibly supportive and encouraging and I felt that from the very beginning,” Megan gushed. “I met the girls for the first time at the recording studio in Dublin. I was standing outside when Éabha ran up to me and gave me the biggest hug, I immediately just felt so welcome. The girls and I chatted for a while and after I felt like I had known them forever.” The veteran performers offered her some simple advice: “They told me to believe in myself and to be confident in who I am.”
Woman is very much a team effort. Máiréad describes the process for us: “We gather around the piano in the studio one on one with Gavin and he has a chunk of music on the piano. We start singing through the music for a few hours and it becomes clear which songs you are immediately drawn to - County Down was an instant connection for me.” The simplicity of this piece and Máiréad ’s heartfelt vocals are indeed a perfect fit.
Megan’s background is in classical voice; she has studied at both the Irish and London Academies of Music and has also studied acting. Some of her solo career highlights so far including performing at Carnegie Hall and also in several musicals; her voice is one that is capable of spanning many genres.
Another big part of the team, of course, is their vocal director Méav Ní Mhaolchatha. “Growing up I remember watching YouTube and watching Meav singing Dúlaman in Slane Castle, so having her guidance as our vocal director feels very full circle. Whenever we’re setting up a new show, she is always on hand to help us and create the best sound possible, it’s a real honor to be able to work with her,” Éabha Mcmahon shares.
Máiréad also has a background in classical music and studied at the Trinity College of Music in London. She has toured with Don McLean – including a concert at the Royal Albert Hall and released a solo effort “Songbook.” However, creating an album with Celtic
“Sometimes you just know in your heart. We also can ask to sing songs - and are encouraged to send in music that inspires us, but most of the time our Producer Shane and MD Gavin know us better. You can love a song but it might not suit your voice even though you think it does. They hear you differently. I won’t say this too loudly, but they are ALWAYS right.”
Éabha joined the group in 2015 but began her musical career quite early. At nine, she was featured on the ‘Beo go
Deo’ album. She grew up speaking the Irish language and began to study the traditional sean nós style early. Her cousin is Michael McGlynn who founded the highly successful group Anúna and composes and arranges the majority of their material. At age 15, Éabha joined the group and recorded and toured with them. Her voice has a haunting quality that suits the mythical-sounding ‘Moorlough Shore’. She also wrote the track ‘Garden of Eden.’ “I’ve been songwriting for as long as I can remember. I love telling stories and especially through song. It’s really a dream come true to have one of my songs on a Celtic Woman album. I wrote this song at a time when I had three part-time jobs in order to pay the rent. But in the background, I was writing all the time and gigging at night time. I just wanted to sing and share my music. Before joining Celtic Woman, I had written an album of original songs and ‘Garden of Eden’ was one of them! My grandparents would tell me that when they were children, they remember the people in their community meeting in the town halls or local pubs and singing songs, as a way of expressing what was going on in their lives.” While the song is quite upbeat the meaning is deeper than it may appear on first listen. “Very often in traditional music, the melody may be joyous but the story talks about real human experiences. The ups, the downs and the in between. I love that about Irish music and I was definitely
inspired by that tradition in ‘Garden of Eden’. I know this is hard to believe, but I remember having a dream that I was singing ‘Garden of Eden’ in Celtic Woman. I told my Mum at the time. And three years later I was asked to come in for an audition. It all feels like it was meant to be. I am very grateful for everything that has happened.” ‘Ancient Land’ was recorded in Ireland and at the Real-World Studios in the UK. “Collectively we were working on the album for quite a few months… It was such an awe-inspiring experience recording at Real World Studios, knowing how many incredible artists had walked through those doors. The grounds on which the studios are situated are breath-taking and completely inspire creativity and originality,” Megan tells us. ‘Be Still’ is the shortest song on the album but the harmonies of the soaring sopranos and anchoring alto, along with the choir is absolutely gorgeous and Megan says it was also the quickest song to record. “We actually all recorded this song around one mic at the same time. It was a very emotional experience as I think we all felt very connected not only to each other but to the beautiful lyrics and harmonies. I think the song that took the longest to record, for me, was 'Homeland'. This was the first song I recorded with Celtic Woman so I was definitely very nervous. This song is full
of beautiful harmonies that I wanted to get perfect.” ‘Homeland’ is one of the catchiest songs from the new record. Another highlight is ‘The Long Journey Home’ with its poignant lyrics and beautiful harmonies, as is the closing track, ‘Going Home.’ The new Celtic anthem was originally sung and composed by Mary Fahl. I heard this song performed live by the group at the New Jersey Performing Arts Center earlier this year and it is sure to be a highlight on their upcoming PBS special filmed at Johnstown Castle. “Recording in this outdoor venue was something else!” Tara McNeil tells us. She is only the second fiddle player to be featured with Celtic Woman joining in 2016. “Performing with a castle behind us was like being in a dream. The lighting was just incredible as it made the castle come alive in the night sky. Of course, we did have to deal with a few elements as well. There was a mist that came over the stage making the temperature plummet and the stage very slippy. But it made the lighting even more magical so it was worth it!” Her playing always comes across very sincerely and she is a real pleasure to watch both on their recordings and live in concert. Tara studied violin at the Royal Irish Academy of Music and has performed with the RTE Concert Orchestra and at the National Concert Hall. She also has been previously
featured with Anúna and has toured Europe, China, Japan, and Korea. The girls have already seen the new special. Tara says, “The four of us and some of the incredible team that made the special happen watched it in a little private cinema in Dublin. It was so nice to make an occasion of it and be there supporting each other as we watched it. It can be daunting watching yourself on a big screen but we were blown away by how epic it all looked! It was definitely emotional watching it as it captured one of the most momentous experiences of our lives and it was a tribute to the inspirational man who started it all, Dave Kavanagh.” The group is now touring their Best of Christmas show in the United States. “My favorite song in the Christmas repertoire is definitely ‘Let it Snow’ - it’s a Big band theme and we really get to let our hair down and have some fun with it!” Éabha reveals. “The orchestras are always really incredible and the energy in this number blows us away every year!” ‘Ancient Land’ will tour next year. Is there anywhere new they’d like to go? “I’d love to go to Hawaii! It’s the only state in the US that Celtic Woman has never performed in since its inception. If we had an island tour and stopped off at French Polynesia too, I wouldn’t complain!” Tara says. Celtic Woman has had a special relationship with the United States since their initial PBS special and one that has been cemented through many successful
years of touring. Audiences of all backgrounds are very receptive to the show. The extensive touring, however, means the ladies are often away from their families and must be careful with their health on the road. Máiréad says that in her 6 years with Celtic Woman she has never been sick – a truly incredible feat which she says is thanks to her background in classical singing. “One of the best things I’ve ever been taught to warm up my voice is to hum very, very gently. Go through your whole range up and down and softly iron out any little crooks you come across. That is enough - a dear friend and previous singing teacher Stuart Barr who was head of the British Voice Association taught me so much about the anatomy of the voice and vocal health. He warned me very early on about tiring my voice out warming up TOO much… The great Joan Sutherland never warmed up her top range because she insisted that if you had a strong middle then you have set yourself up properly. Trust your top and bottom will be there.” As far rituals go Éabha shares, “Before going on stage the 4 of us always gather
together and stand in a circle doing a pinky promise, just as a way of showing our support to each other no matter what and to give us confidence for the show ahead. We’re like sisters so this ritual is really important to us as a team.” ‘Ancient Land’ is now available to purchase. Check with your local PBS station for listing times. On a recent Facebook live chat, the girls teased that they are in talks to also have the special aired in the UK. So what else can we expect from Celtic Woman in the future? Any new musical areas they might explore? Tara would certainly be a fan of the group covering some Disney. “I definitely am a Disney fan! If I had to pick just three of my favorite Disney songs they’d be ‘When she loved me’ Toy story, ‘Go the distance’ Hercules and ‘I see the light’ Tangled. But that’s a very difficult choice because I love so many and it could be a different answer tomorrow!” As to whether or not we might hear her sing in the future she says, “I’d love to sing on a Celtic Woman album someday but for now I’m very happy playing the violin and harp. But we never know what the future will hold so we’ll just have to wait and see!”
“Ancient Land” is out now
celticwoman.com