let’s Get to Know
Arina Domski By Natasha Barbieri song contests.” She performed different Arina Domski is a pioneer of classical kinds of music and searched to find the crossover music in her native country of genre that felt like home. To earn an Ukraine. “I started to practice music income she worked as a backup vocalist when I was 8. It was a children's choir at recording studios and also performed and I was the soloist in it. Later there pop music in nightclubs. was even a short period when I was a teacher in it,” “I always dreamt A defining moment in her Arina tells us of how she career came when Arina of creating began her career. “Being a received a CD of Sarah member of the children's something my Brightman. “It was then that choir I was traveling all realized that this genre is own… I wanted to Ivery over the world and close and interesting to participating in different break stereotypes, me. It perfectly combines contests and festivals. I was classical and pop music.” singing varied music, go beyond the Unlike her colleagues, Arina starting with the church had no desire to pursue the borders of the liturgy and ending with the operatic stage. “I always folk and modern music.” dreamt of creating genre.” Arina’s education continued something of my own but at at Gliere where she the same time, I wanted it to graduated with a degree in be connected with classical voice. “At that time I started to take part music. I wanted to break stereotypes, in different
to go beyond the borders of the genre.” Once Arina discovered her passion for classical crossover it took time to build a team that understood her vision and could help take her to the next level. “Analyzing this genre, I have understood that there are not much singers in the world who make their music like Brightman. Most of them simply copy what their colleagues did and they actually become copies of them.” Being a mere copy never appealed Arina. “My aim is to become a true performer of this genre.” One of the ways Arina seeks to make her own product is by creating a unique image. “The more me in the musical product… the better I feel it and share it with the audience. I design all my costumes by myself. Of course, I get help from designers who help me to bring my ideas to life. But I come to them with my own ideas, that's why I am so harmonious with my looks. The same happens with musical material, photo sessions, and videos.” She shares some of the behind-the-scenes secrets from her “Ti Amero” video. “We shot this video in winter 2012 in Crimea (Ukraine) at - 15 C… It was very cold which made the shooting process more difficult. The whole shooting took 3 days. The first day our cameraman fell with the camera into the water, he was totally soaked but he didn't let the camera out of his hands. Because of severe cold, we also had
also had problems with the technical problems with the technical equipment.” Unbelievably no one got sick from the experience. “All the team was so taken with the process that we all were working like one.” Arina has reworked songs like “Un Bel Di” from Puccini’s Madama Butterfly. She describes her process: “Ideas come to my head, my inner state guides me to the right musical state. I am in a constant search for something new.” Arina does not believe in separating her artistic self from her regular persona. “If I do not perform, I still do my job. My ordinary day starts with sports as physical training is very important for good mood and feeling. I believe that an artist must always be in good shape. Apart from the body, an artist also needs to train the vocal cords.” She loves to read and has a collection of books about art. Arina also enjoys going to the theater and movies. Charity is another important aspect of her career. “Every year on the 14th of June, at the World's Donor Day, I conduct my social campaign "Give blood to the country". I am proud to be a blood donor, there is a huge lack of blood donors in Ukraine, especially today, when thousands of people get injured because of the war in Ukraine, and I
believe that every healthy person can help others by becoming a donor.” Arina has recorded an album but rather than release it all at once we can expect to see a series of singles. “The album is
ready. However, it's more interesting for me to release singles with the video instead. This spring I will present my fans with a new single and a new video.”
Want to learn more about Arina? Visit
arinadomski.com
Catching up with
Margaret Keys Margaret Keys is an Irish classical crossover soprano. With a clear, warm voice and charming persona, it is easy to understand the success she has achieved. Margaret grew up in the city of Derry in the north of Ireland. “I come from a family of 4 children, one of which is my twin sister,” she writes. Her childhood was filled with music. “I studied piano, singing, and cello whilst at school and took part in many festivals and productions throughout my school years.” Originally Margaret trained to become a teacher but after receiving a scholarship to study at the Royal Scottish Academy of Music her plans evolved. After graduation, she perused a career as a primary teacher but was sure to make time for musical ambitions. She was soon seen on stage in My Fair Lady and a Miracle in Ballymore. “As soon as I graduated from music college I
auditioned for both of these roles. Within a few weeks, I was offered both parts as well as being offered a job as a music specialist teacher in Ireland. I wanted to accept both of the roles but knew that with the daytime job I would need to be exceptionally well organized.” Juggling both wasn’t an easy task but it was effort well worth it for Margaret. “Eliza in My Fair Lady was a dream musical theatre part and my role as a young Irish girl in A Miracle in Ballymore enabled me to call upon my acting skills, as it was primarily a play, although I also had to sing in it. I suppose looking back these roles were the catalyst to me launching into a full-time professional performing career.” Eventually, Margaret had to make the decision to choose music or teaching. “As that side of my career became busier
I decided to leave the classroom teaching and concentrate on singing and performing.”
are asked to sing one song for a TV Broadcast so the song needs to have the ability to connect with a wider range of audience. Therefore, I generally choose something that is well known.” She Margaret was invited to perform at big offers a bit of insight for other singers. events in New Zealand, Australia, and “A good TV performer sings to the even the United States. One of the events audience but also needs to be aware of called the Lakeside Proms saw her where the cameras are. With this in perform to an audience of 35,000. The mind, I always make sure to have a good performances did not go unnoticed. She technical rehearsal taking note of the was advised to record a camera angles and working out when and where to move demo and send it to in relation to the Universal records. “I was story of the song invited to a few meetings “For a recording artist I’m singing.” and was then offered a Another highlight of people will listen for the deal with Universal.” preparation is voice first and probably choosing a She released a full-length wardrobe. “That’s look at your appearance album entitled, “Legato” part of my and image secondly. Image ajobnice that reached No. 14 in the as I’m very charts. “It was an honor to is a very personal thing…. much a girly girl!” be sitting in the charts as for me, the voice is always For Margaret, there is something an individual artist the deciding factor not how particularly special alongside some you look!” about performing heavyweight music artists. for a live audience. My album was sandwiched “I love to get to know the audiences, both between Michael Jackson and Black during and after concerts. Being an Irish Sabbath and that felt pretty surreal.” girl I do like to talk and have a little bit The album led to high-profile television of banter now and then. Whilst they are performances. Though exciting Margaret ultimately there to hear you sing, I think calmly prepared for them the same way it’s important for them to get to know you she always does. “The first thing I as a person too.” always consider is the song choice. What works in a live concert setting doesn’t So whom has she been most excited to always transfer in the same way for a TV meet and work with? “That’s a really broadcast,” she shares. “Usually you
tough question as I have had quite a few moments when I have felt a little star struck. I have had the opportunity to perform with Alfie Boe, Russell Watson and Paul Potts and have performed in some fantastic concert halls with great orchestras. Recently I have been involved in concerts which involved celebrity guests and stars from the stage and screen which have been great moments and have given me memories that I hope to share with my own children one day.” One of her personal highlights was a recent Christmas concert with Julian Fellowes, writer of Downton Abbey. ”He is the ultimate gentleman and so very down to earth, which is something I really admired about him. He is very intelligent and shared with me a lot of knowledge about the industry. I was also delighted and very humbled when he openly stated, “The night belonged to Margaret. What a talented young lady”. That will stay with me forever. It’s such a tough industry but when someone of that caliber takes the time to mention you in that way it makes it all worthwhile.” Although most widely recognized for her classical crossover efforts, Margaret has a special place in her heart for musical theater. “I grew up watching all the musicals with my grandfather and I suppose I began to look up to the original musical stars like Julie Andrews
and Kathryn Grayson. My style icon was always Audrey Hepburn and I particularly loved the film version of ‘My Fair Lady’. Although Audrey Hepburn’s singing voice was dubbed by Marni Nixon I loved to watch her for the sheer grace and elegance that she brought to the role.” Dream roles include Christine in “Phantom of the Opera” and the title role of the magical nanny in “Mary Poppins.” In addition to her musical activities, Margaret has been invited to model. “I am first and foremost a singer and performer but sometimes I am asked to model or wear a brand for a particular event or magazine publication.” Margaret enjoys the fashion side but admits, “It can take a little getting used to.” Her focus is clear. “For me, as a singer, it is always firstly about the voice. For a recording artist, people will listen for the voice first and probably look at your appearance and image secondly. Image is a very personal thing. The style of singing that I perform probably suits a more classic look. When people hear a classical voice they more than likely relate it to long, flowing dresses. It really depends on the individual but in this industry, we are constantly reminded of the term “the full package” so I suppose, particularly in concert settings, it can be
an added bonus if you make an instant impression when you walk on the stage. However, for me, the voice is always the deciding factor not how you look!” Margaret’s determination is seen in the development of her own production company. “I created my own production company MKeys productions a few years ago. I staged several productions and worked with children aged between 6-18. I am a huge supporter of the arts for children and have since become an ambassador for HRH Prince’s Foundation for Children and Arts. This allows me to work and encourage the arts for children, in particular, those who are disadvantaged.” She also has resumed work as a vocal coach. “Teaching and performing are my greatest passions and so the fact that I can combine the two by bringing my own knowledge and experiences of the arts to children and young adults is an added bonus!” When asked about the future Margaret tells us, “I have always tried to set myself
goals and work towards dreams and ambitions. I think it’s important to do this as it gives you the drive to keep going in an industry that can be quite tough. However, that said, I have learned to realize that it’s important to enjoy everything that I am presently doing. I lost my father very suddenly last year and that has put a lot of things into perspective. I have been so fortunate to date with my career and have had great opportunities to use my singing and turn it into a profession. Everything else from now on will be a bonus!” This year will be a busy one for Margaret. “I have quite a lot of events, TV appearances and concerts coming up this year, which I am very excited about. The next will be a Gala Concert in London, where I will be performing alongside Classical Brit nominee and West End leading man Robert Meadmore.” Margaret also promises that she is working on releasing new material within the UK Market.
keep up to date with her career, visit
margaretkeys.co.uk
Album Review
The Ivory Lady “The Ivory Lady” from Dr. Fionnuala Moynihan is a family affair, with her siblings featuring on several tracks. The genuine love for the project is evident in the music. Although Fionnuala has established herself as a force to be reckoned with regularly performing works by the classical masters, this album is more of a celebration of her roots. The title track was penned by her brother Diarmaid Moynihan and is a lovely lyrical piece. Fionnuala has a gentle touch that is soothing to the ear. “Lokrum Prince” is a romantic composition by
Fionnuala herself. Although most of the album features traditional Irish instruments, this piece is all about the piano. Lush strings add to its beauty in certain passages but are not used overindulgently. This sounds like it belongs on the soundtrack of an Anne of Green Gables type film. Beautiful. The poignant “No Frontiers” is next and the inclusion of guitar makes it especially enjoyable. “Anach Cuan/Rosc Catha na Mumhan” begins quite solemnly but takes on a lighter tone towards the middle. The rolling piano brings to mind scenes of the sea. This is followed up with a real favorite, “The Parting
Glass.” Her brother Donncha is once again on guitar and his playing truly is lovely. They blend wonderfully together. “I mo Chroí go Deo” is another original from Fionnuala this time a sentimental piece written for her parents. “Inisheer” features Fionnuala’s father on the accordion and is a nice relaxing piece you can imagine yourself listening to while seated around the family hearth. “Cath Chéim an Fhia / The Butterfly” is next and it builds beautifully from the simple strains of the flute to pipes and of course piano! “Mo Ghile Mear” is gorgeous and features piano only. Fionnuala’s playing is delicate and filled with meaning. Fans of Celtic Woman would doubtless enjoy this heartfelt rendition. It is followed by “Ar Eirinn Ní Neosfainn Cé hÍ / Kings of Laois.”
The final piece on the album is “Red is the Rose/Will You Go Lassie Go” with strains of ‘Loch Lomond’ in variation. The beloved Scottish melody is a good way to end the album. In general “The Ivory Lady” is a very pleasant album. Fionnuala is an accomplished pianist (it is well worth visiting her website to listen to her classical recordings) and this album gives her an opportunity to show off another facet of her talent. Her characterization is perfect for the Irish melodies and her strength as an arranger is also evident. The beauty of the album lies in its simplicity; it never overwhelms the listener and keeps the spirit of the pieces alive.
Order your Copy Today:
fionnualamoynihan.com
Barbara Padilla
A voice with a purpose There are moments when as a musician you become discouraged. When you ask yourself the question ‘Why do I keep doing this when nothing seems to be happening?’ I’ve had my share of those moments and was feeling discouraged as I prepared for the interview with Barbara. Listening to tracks from the beautiful self-titled album helped put me in the mood but I still felt quite nervous. I was kindly patched through by Barbara’s manager Cristina and was immediately put at ease by the friendly voice on the other line. Despite her success, Barbara spoke without any airs or graces as we exchanged pleasantries about the weather.
her mother took her to painting and dancing lessons along with music classes. Barbara started playing the piano at age six. In addition to this Barbara grew up hearing classical and opera music from her mother’s collection. “When I was growing up I thought that the music that everybody listened to was operatic and classical,” she says and I can’t help but chuckle. She was later introduced to other music by her friends and peers but wasn’t moved from her first love. “For myself, it was a lot of fun being a fan of Placido Domingo and Maria Callas instead of other kinds of music… I fell in love with that music since I was a little girl.”
For those unfamiliar with the beautiful Latina soprano, we start at the beginning. Barbara is very much the product of her upbringing in Guadalajara, Mexico. “I belong to a traditional Catholic family,” she says sharing how Guadalajara is a “very cultural” city. As a young child,
Can she pinpoint a favorite opera at that early age? “Oh my gosh, I don’t know if I had a favorite opera,” she exclaims sounding like a child asked to choose a favorite toy. “I had many operas that I love. I really like La Boheme and La Traviata.” The operas continue to be
favorite roles to perform to this very day. think of dedicating your whole life to She did have a favorite work, however, music, you can’t think about it.” Barbara Beethoven’s 9th Symphony. “That’s what credits her mother for helping her make it I used to sing when I was little in the car. where she is today. “I had the great If my mom played that one I would sing blessing of having a mother that with the soprano all the time – even observed and made some very important though I didn’t know what I was saying decisions and supports me.” Barbara’s or anything.” Quite unusual for a young mother knew she was an artist. “Thank child - a fact that did not go unnoticed by God everything was there for me to make her mom. Barbara describes her mom as the right decision.” “tickled that I was singing in that Barbara pursued her fashion” at a undergraduate degree in “You should not be precocious age of Guadalajara and then moved to five or six. I’m going about life Houston to study voice at the impressed. The expecting to be found or graduate level. After soprano part is discovered you have to auditioning she was granted a noted for its high full scholarship from the tessitura. From the make your own path.” University of Houston. The age of six experience was a transforming onwards, it has one for Barbara. “A formal education is remained a favorite of Barbara’s. something I would recommend to “That’s my favorite work ever,” she says anybody,” she encourages without definitively. hesitation. “It’s absolutely necessary. The journey from being a little girl The academic preparation makes you a singing along to classical music on car complete musician. No matter what rides to an opera singer commanding the genre you are going to do.” Barbara stage was not one that came easily. “In offers some seasoned advice for those Guadalajara it’s difficult when they ask singers questioning whether to pursue you ‘what are you going to do.’ You opera or classical crossover. “I think that can’t just answer ‘I want to be an opera decision of what kind of singer you are singer’. You have to say I’m going to be going to become comes after your a doctor or lawyer.” She admits the preparation. You can’t make an educated clique nature of the claim but for her, it decision if you don’t have a proper was a very real experience, “You don’t academic background.” Wise words
especially considering some of the largest divisions between classical and crossover enthusiasts stem from lack of knowledge about each other. For Barbara making educated decisions is a way of life. “With everything in life you have to have good preparation.” As a woman clearly in charge of her own career, Barbara rejects the notion that many have of waiting to ‘be discovered.’ “You should not be going about life expecting to be found or discovered,” she says. “You have to make your own path.” She recommends that not only musicians but also everyone should have a proper education. After graduating wither her Master’s degree, Barbara has continued to peruse opera. Her favorite role is now Mimi. “I don’t know whether it’s the way it moves or the character,” she says. “It’s a very comfortable role and it’s very sweet. I think it’s the role that I first fell in love with.” Her other favorite is Violetta from La Traviata. “It’s more about the whole work and the playwright and everything. I love the psychology of that character. When you read the book by Alexander Dumas, (author of Camille) you discover a whole new world... and the approach when you’re singing – you know that there is so much more than the surface of this character.”
Her research into the story that inspired La Traviata is very much characteristic of Barbara’s musical learning process. “It’s not an easy process – of course, you wish you could just get the same results just by listening to the piece but I get very passionate about knowing what the composer might have been thinking, feeling or going through the moment he was writing this. I love to know about the life of the composer and if I can know about what the poem or book was about that’s even better. You go farther from the surface when you know this.” Barbara has been praised for her passionate renditions and given the amount of time she puts into each song it’s easy to see why. Once she has researched a piece she then attempts to relate it to her own life. “That makes a difference,” she says, “I think the audience can see that. I feel that I have something extra to give.” Barbara’s career took a temporary hold when she adopted her daughter. “This career is difficult because life happens and then you have to make decisions on do I want to be a mother, do I want to be a wife, do I want to do all these things? Sometimes you don’t have the opportunity to be all of them.” It is a struggle often felt by those in artistic careers. “I had to make a very hard decision to leave the stage for a while to
be a mother,” Barbara says honestly. “I think taking time to stay with my daughter when she was little and to be a wife has made us a better family. It has created a trust that we have for each other now that they have to be without me for long periods.” Reestablishing her career was not an easy thing to do but Barbara is happy that she did it. “Very often the right decision is not the easy decision.” At the moment she feels she has the “best of both worlds.” When I bring up America’s Got Talent and how she decided to peruse that she laughs. “You know it’s not really a decision that you make to go ‘Oh now I’m going to become this singer’. It’s when you give life the opportunity to decide for you and it’s the greatest thing you can do.” The little girl who grew up singing Beethoven’s 9th Symphony would “never in a million years” have imagined this is the path life would take her on. She was looking for auditions for opera companies when she found out about America’s Got Talent auditions in Houston. “You have to send the check, you have to look for the auditions, pay for the trip, do all that stuff to get one audition if you are very lucky, and you just have to keep going like that.” It is a process that is daunting for anyone. When it came to America’s Got Talent Barbara says, “The great thing about this
was it wasn’t going to cost me money. I thought ‘Might as well!’” She never knew it would change her life. “You are one in one million people and then they say yes and people start voting for you… It’s a turn I didn’t plan but it is one of the greatest blessings ever.” Barbara came in second on America’s Got Talent and so was not immediately signed. She says it was a blessing because she had the freedom to do whatever she wanted, “To go the direction I wanted to go.” In true Barbara style, the album that followed was a labor of love and much diligence. She herself went about contacting the producers and setting things in motion. The self-titled album was a completely independent project that was recorded at Abbey Roads with the London Symphony Orchestra. “It took a long time,” she admits. “It takes hard work to find the right path.” After the recording was completed Barbara met Cristina Abaroa who owns the indie label Moon Moosic. The relationship has turned into an important one for Barbara providing support while allowing her to be true to who she is. “I’m extremely happy because it gives me the kind of freedom to be the artist I want.” As for the future Barbara says, “I try to stay very faithful to what I am, to my operatic training.” She continues to
include opera numbers in her concert For Barbara, it’s not about choosing one repertoire. “Music areas are usually very over the other. “Both worlds have jealous and you have to dedicate to them wonderful things... the great thing is I full time. Right now classical crossover don’t have to choose one over the other.” has big things that are happening and At the moment Barbara’s focus is on are absorbing my full time and I have to career developments in classical dedicate myself to this classical crossover but she says whenever operatic crossover music that I am singing with opportunities arise she will be sure to my operatic technique.” However, she take them, as it is her “first love.” remains very grounded in who she is as a As a Christian performer faith is a big performer, “I am an opera singer.” part of Barbara’s life. “I try my best to Classical crossover music, however, has make everything I do revolve around also made an impression. “I’ve also God,” she says discovered something “I cannot take credit for the sincerely. “I think in the classical that our main goal blessings I have – I have to give crossover world,” she as human beings is the credit back. And of course, if shares. “It’s amazing to give glory to God along the way the applause and very empowering and I try with my happens, well it is welcome and it and it is the singing to give glory relationship – the makes me very happy but it’s only to God.” She intimacy with the a loan while I’m here and while I believes her voice is audience. Opera have it. And while I have it I want a gift and that “it doesn’t give you that has a purpose.” She to make sure I keep it well and I intimacy because you also believes in give credit to the one that are usually a giving credit where deserves it.” character,” she it is due. “I cannot explains. “When you take credit for the are singing classical blessings I have – I have to give the crossover you are singing a piece that is credit back. And of course if along the 4 minutes and you are not a character, way the applause happens, well it is you are yourself. You have an amazing welcome and it makes me very happy but opportunity to explore the microphone it’s only a loan while I’m here and while that allows you to do things you wouldn’t I have it. And while I have it I want to normally do when you are singing an opera. And I fell in love with the genre.”
make sure I keep it well and I give credit to the one that deserves it.” As to what is happening in the future Barbara laughs with excitement. “Many things. Beautiful things are happening. Huge surprises especially in the Hispanic world.” She promises that we will soon learn what they have been planning. The announcement will come via social media and of course her official website. She hints that “I am going to be exploring a world that I would have never thought about and I am very excited about.” She says the wonderful surprise is “just around the corner.”
Whatever it is it could not come to a more deserving recipient. Barbara is one of those inspiring, beautiful people who make me excited to be involved in music. This afternoon her special brand of magic was just what I needed to inspire me on my own journey and I trust that you the reader will be likewise motivated. Barbara’s kindness and passion, as well as her scholarly approach combined with a God-given beautiful voice, are trademarks that will never go out of style.
Learn more about Barbara at her official website
barbarapadilla.com
A Conversation with
Lisa Kelly My family and friends are well familiar with my particular love for Celtic Woman. My father dutifully would join me for a viewing of each new release. Although all the women in the group help create a unique sound and exciting show, Lisa Kelly was always my favorite. She lit up the screen with a big genuine smile and a warm voice and an obvious passion for music that always inspired me. I continued to follow her career after she left Celtic Woman, and had hoped to meet and study with her when she set up the Lisa Kelly Voice Academy. Although circumstances did not permit me the opportunity I am thrilled to be able to share this interview with you. “I grew up in a really musical household,” Lisa begins. “Both my parents sang and were in community theatre together and my granddad was an actor so I was always around theatres and stage and everyone sang in our house.” At the ripe old age of twentytwo, Lisa made the decision to leave her job in computers to become a professional singer. “It was no surprise
to my parents and they fully supported my decision. In some way I was probably living out their own dreams,” she admits. The road to becoming a singer is never an easy one and Lisa dealt with her share of rejection. “It’s never easy and you never get used to it but I don't remember ever feeling bitterly disappointed that I didn't get a particular role. I firmly believe that things happen for a reason and what's meant for you won't pass you by. I always tell students that not getting a particular audition doesn't always reflect on your ability. You are just not what they wanted on that day.” Lisa found success in musical theatre and performed in shows such as Jack and the Beanstalk, Chicago, Chess, Oklahoma, West Side Story & Grease. Lisa also became part of the musical sensation “Riverdance” and served as their lead vocalist for five years. During her years with Riverdance Lisa met David Downs who was working as one of the shows, musical directors. David worked with Lisa on her debut solo album “Lisa” that was released on the Celtic Collections label in 2003.
Lisa is best known for her involvement in your body and voice have their own little the group Celtic Woman that began as a plan when you are on tour. I can count one-night-only television special and on one hand the number of times I was turned into a sensation that sick on the road. And “I try to show all my has spanned multiple I toured for 11 albums and tours and even students that and also try years. However, once more television specials. the tour was over, I to instill a belief in The group has since sold would end up being millions of records and has themselves. Confidence is sick for a while.” performed at prestigious key. Truly believing in venues such as Carnegie Lisa is the proud Hall (which eventually yourself and knowing that mother of four was deemed too small for children, three boys, YOU are what sets you their crowds) and Radio and one girl. Her City Music Hall among apart from everyone else” husband Scott Porter others. was also a dancer in Riverdance and the Throughout the years CEO of Celtic touring with Celtic Woman. Together Woman, Lisa was one of the few they took their family on the road. “My principles that remained in a cast that children loved being on the road but in continues to change to accommodate fairness, they knew nothing else. They all personal lives and careers. “I think the toured from the time they were born. So rotation of people brings a freshness they knew the routine and were so both on and off stage. I understand that amazing out there. It's not easy on moms it's hard for fans though if their favorite though. I found it hard. But then all no longer tours.” This is true, while I moms find it hard. In some ways, the definitely enjoyed seeing the group routine and discipline of touring certainly perform at Radio City Music Hall it helped. I see the difference in my remains a disappointment that I was children who toured and my one little never able to watch Lisa perform with one who didn't!” them live. “I enjoyed the mix up of the cast. And genuinely every girl brought After a decade of performing with Celtic something new and different to the table. Woman, Lisa decided to leave the group The last group I toured with obviously permanently. “I was tired,” she explains. holds a special place in my heart.” “I had been on the road for 11 years and felt that I had done all I could do with The long tours were no doubt difficult Celtic Woman. I really wanted to be at but Lisa took it in her stride. “I think home with my children and let them
enjoy their childhood in a more stable family unit with me and their dad.”
Her program is slightly different from the traditional conservatory. The official website states “The Academy is founded The announcement was a bitter on a non-competitive environment, one disappointment to fans but it opened the where there is a unique place for all its door for many other young students to students to grow and evolve under the experience her special brand of magic. professional guidance of its outstanding Lisa and her husband soon announced teachers.” Each program consists of a the founding of her mix of vocal training own school, The Lisa “Having a good work ethic and coaching. “We Kelly Voice Academy. strongly believe there is super important to me. “I've always wanted to is no point in having a teach. And I have beautiful voice if you I've worked really, really always wanted to share can't sell the song. hard to get the things I the things I had learned Our passion is from performing. But wanted in life. Nothing came performance.” the idea for the school easily. I think that leads to a The program is also was really a spur of the moment decision. Both geared toward helping great sense of Scott (my husband) and students with less accomplishment. I have no I are extremely hard confidence. “We workers and if we say teach in small groups. regrets.” we're going to do This has been the something, we do it and most helpful thing for we give it 100%.” shy students. They start off terrified but within a few weeks, The school is a labor of love for both and they are full of confidence. Once you is located in Peachtree, Georgia. Lisa overcome the fear of singing in front of a hopes to instill in her students the few people, you can pretty much sing in importance of hard work. “I think some front of anyone.” people assume you just stand up there and it all comes out naturally. They don't Lisa’s passion for music education is understand the physical work your body evident. “I love teaching the little ones has to do to get those sounds out. I try to because if you get them early enough, show all my students that and also try to they have no inhibitions. And if you can instill a belief in themselves. Confidence nurture their enthusiasm, you can build is key. Truly believing in yourself and their self-esteem so that they believe they knowing that YOU are what sets you can do anything. And that's what you apart from everyone else.” want them to think. Have them strong
enough that nothing can tear them down.” Of course, not every child is destined for musical stardom and by Lisa’s standards that’s just fine. "I know that some of our students will never sing and perform outside the four walls of the Academy. That's ok. Singing gives people emotional freedom. It challenges people and everyone has a different reason for coming to the Academy. We can all still learn something from the person standing next to us and to be honest that has been the success of the Academy so far.” Lisa shares some words of advice for new teachers. “Stop looking for perfection. Instead, find the heart and soul in their singing. That's what forms a connection with any type of audience.” And that is exactly how she has built her own career and retains a loyal following. She says, “I love to sing and there are very few songs that I don't like. I'll always find a story in a song, even if I have to make it up!” Although known as the “Broadway girl” of the Celtic Woman group much of Lisa’s training has been in classical music. “I trained classically all my life so I am very comfortable singing classical songs but I performed an operatic song in a concert before I left
for Riverdance and it was the most daunting thing I have ever done. My heart just doesn't lie in opera. I love listening to it though.” As for future performance opportunities in musicals Lisa jokes, “Aw I'm so afraid that I'd be cast as the mother or grandmother at this stage!!! But I love musicals so never say never.” Known for being a strong woman Lisa encourages others to go after their dreams. “I think it's important that you work hard and you go after what you want. Male or Female. Anything worth having is worth fighting for. Having a good work ethic is super important to me. I've worked really really hard to get the things I wanted in life. Nothing came easily. I think that leads to a great sense of accomplishment. I have no regrets. I've learned from every disappointment.” In addition to her work at the Lisa Kelly Voice Academy, Lisa has continued to be involved in performing events including her concert “The Voice of Ireland” with fellow Celtic Woman alum Chloe Agnew and Paul Byrom of Celtic Thunder. In 2014 she released a Christmas single entitled, “Christmas Everywhere.” Lisa hopes to share more new music with us all in the future. “I would love to do an album. It's definitely in the cards. At this point, it's just finding the time.”
thelisakellyvoiceacademy.com
thelisakellyvoiceacademy.com
Lucy Kay Before Lucy Kay stunned judges with her rendition of “Vissi D’Arte” my friend Chantelle Constable recommended her for this magazine. I remember being impressed by the voice and the beautiful woman I saw. It is wonderful to see how her career has progressed in the short time since then and I am happy that Lucy was willing to speak with us.
Callas, Amy Nuttall, the Opera Babes, Katherine Jenkins, and the band G4.
Although many children are discouraged from singing classical music at a young age for fear of damaging their voices, Lucy believes they should be encouraged instead. “Their minds are like sponges, they can take information and instructions in better than Hailing from Nottingham, “I don’t believe the we can at our age. Why England Lucy Kay was listener should need to deter them from pursuing inspired to sing by a route that can be Charlotte Church. It was a know everything about potentially life-changing discovery that for them. My life would a song or aria before dramatically impacted have been completely they enjoy the music, her. “I was really lucky different had I not been and it was my saving some people just want encouraged to pursue grace and a life classical training.” to feel something” changer,” Lucy says. She When it came to choosing joined the Cantamus Girls a university, Lucy spent Choir which helped give months preparing audition her confidence and a supportive material with her singing teachers environment for her passion. Lucy also Pamela Cook and Elaine Guy. “I chose began to study voice privately. She grew Tornami a vagheggiar from Handel’s to love a variety of classical and Alcina, In the Seraglio Gardens by crossover performers including Maria Delius and a fun piece Chacun le sait
from Donizetti's Fille Du Regiment. We felt all of these pieces showed off most of the vocal techniques I had already learned as well as different styles I could adapt to and characterization.” Her first audition was for the Royal Conservatory of Scotland. “By the time it came round to my audition I had my negative head on as per usual.” Whatever nerves she felt the faculty heard a young woman who they thought would be an excellent addition to their program. “To my surprise, I was offered a place right there on the spot and was told not to bother with any other college auditions as this place was for me. I felt so overwhelmed that someone would ever say that to me and so cried... (no surprise there!) and accepted.” The result was well worth the difficult audition process. “I’m so glad I did and overcame my demons to be able to audition for a place at such an establishment.” Lucy thoroughly enjoyed her experience at the Conservatory and blossomed under their expertise. However, at heart, she always knew the operatic stage wasn’t her calling. Lucy felt a desire to pursue the commercial side of classical music like Charlotte Church and other performers she admired. Her decision was met with some resistance. “Unfortunately, there were a lot of people who told me what a big mistake I was making. I’ve found a lot of Opera students/singers really dislike the commercial route and think it’s a way of cheating yourself into the industry. My
opinion on this is that Opera and Classical Crossover both have their own categories; they are two completely different genres of music,” Lucy states adamantly. “Opera is sadly viewed elitist even today, of course, that’s not true because anyone can go and see an opera! But it’s the way Opera stars like Kiri te Kanawa slate classical crossover artists for ruining traditional opera. We've just made our own genre and not tried to create a bad name for Opera at all, classical crossover artists are simply bringing the most favorite Opera Arias/Popular songs to an audience that would rather see a concert and be entertained rather than sit through an entire Opera trying to work out what is exactly going on or what they're singing about.” Lucy believes the music should be accessible to the public regardless of their knowledge about opera. “I don’t believe the listener should need to know everything about a song or aria before they enjoy the music, some people just want to feel something, an emotion or to remember a distant memory just by hearing a piece of music.” It is her goal to make her audience feel something. However, Lucy wants to be clear that she has nothing but respect for those pursuing an operatic career. “It’s incredibly difficult and you have to be technically on the ball and be very tough for that type of industry, I’m not sure I would last one day of it to be truthful but that’s why I chose the route I did.” For Lucy, it’s all about understanding one's
limits and choosing a genre that you love. “There’s no point pursuing a career in something if you're not passionate about it. I believe Opera and Crossover artists need to have a lot more respect for each other and their genre. We are all helping to make Classical music more accessible to the public.”
the chance to pursue the type of career she had always dreamed of. She is her own worst critic claiming, “I’m very hard on myself and still won’t ever let myself forget how rubbish I sang in my first audition. I use that as a reminder to never let my fears get to that point again where it is trying to take over my whole body and voice.”
Lucy was given quite the platform to introduce many people to classical The audition was certainly a learning selections when she auditioned for experience but Lucy admits, “Nothing Britain’s Got Talent. “My BGT audition could have prepared me for that day.” was probably one of the She decided to change her most terrifying auditions “We all hate parts of mind about her original I have/will have ever audition song and it ended our body or feel selfdone. To know that you up being a blessing. “I have 4 celebrities who think it actually set me conscious at times but could press their red apart from other classical believe me there isn’t buzzer at any time singers who had been on during my performance one person in this world before. I took a piece of was daunting enough opera probably 80% of the that doesn’t think like but then add in the 2,000 audience wouldn’t have members of the audience that, it’s natural. known and gave them an and cameras recording emotional connection... or Everyone is beautiful in your every move/sound. so I’ve been told.” I did stand there and their own way no matter think ‘Oh my gosh, what Lucy placed second on the shape or size; we need am I doing? I could finale and her life became a really mess everything to embrace who we are whirlwind. “It’s a bit I’ve worked so very hard surreal actually because I for what we are. for.’” Nerves plagued feel like I have the best of her during the audition, both worlds because I’m as did self-doubt. “ I able to live a double life as wasn’t happy with my it were. I still live in performance and was completely Scotland and every day at home it’s just convinced I would be buzzed out or given like it used to be before I entered BGT no's but the audience and judges and then when I go to work I’m singing reactions proved me wrong.” Indeed, the to hundreds/ thousands of people or on gamble certainly paid off and gave Lucy the radio/ TV and at events. So I’m kind
of balancing them both pretty well... so far!” Lucy is now management by Jonathan Shailt and is signed to Sony Classical. The pressure was on to release her debut album but it wasn’t her first time in the studio. “This is actually my second time recording an album as I used to be a part of The Cantamus Girls Choir for 13 years and the choir was signed by EMI.” But this time the success of the record was completely on her shoulders. The public was firmly on her side and the album “Fantasia” went to No.1 in the classical charts immediately upon its release. Lucy’s personal favorite from the album is Song to the Moon. “I just felt at peace and it was quite atmospheric to record. I kind of lost myself in the music. The most memorable has to be 'Softly awakes my heart' right at the very end where I sing 'Samson, I love thee.’ I remember really struggling to get the right sort of emotion into the sound and so I had done about 10 retakes. Suddenly I wrote down my partners name 'David' over the top of the name Samson and then closed my eyes and imagined this was the very last time I’d ever get to say I loved him to his face and I managed to get an outpour of emotion during that very line.” Mission accomplished. “Emotional stuff singing!” Lucy says with good humor. Since her success on television and in the charts, Lucy has been establishing herself in live performances. She recently
completed a tour with Andrea Bocelli, which was quickly followed by another with Collabro. “I have absolutely loved both tours. Meeting one of the most iconic classical crossover artists in the world and even better getting to sing with him was a complete honor and one I’ll never ever forget.” The tour was not without its difficulties, every night it takes a special strength and confidence for the performer to get in front of a live audience. “Knowing I was about to sing in front of about 20,000 people at the O2 arena was, well, terrifying! It got better as each night went on and when you meet the whole crew and start to get to know them you really then feel more comfortable and part of the team.” One of the most memorable moments for Lucy was a rehearsal with Andre Bocelli in his shower! “At one point his wife walked in and my I was so worried about what she would be thinking as I raised my hand to wave and say ‘HI’ but she had obviously seen it all before and smiled, greeted me and sat down. I believe it was the acoustics in the shower were just right for what we needed during our rehearsal!” she laughs. Lucy found her groove and was ready to enjoy the tour with her fellow Britain’s Got Talent alumni. “Half the time the boys would be messing about so I decided to get them a few times with my pranks. It’s safe to say we had convinced Matt that the Usher Hall in Edinburgh was Haunted and tied string to his bottle of water backstage and just as he was
about to pick it up for a drink we'd pull the string and it would fly across the floor... he was petrified and ran halfway up the steps leading onto the onstage stairs.” Lucy acknowledges the importance of letting go. “I think without all the fun it would have been very tiring and difficult to get through. Vocally it's extremely tiring and really you get into the touring bubble mind frame so you need a lot of things to keep you stimulated so you don’t lose the plot! I had a fantastic time and I’m so sad it’s over.” She is looking forward to more touring opportunities in the future. Although our main mission is music, Classical Crossover Magazine is also keen to promote a healthy body image whenever possible. We asked Lucy for her thoughts on this very important topic. “Everyone in this world is different, we are all unique. So why do we have to conform to other people’s ideas of beauty standards? Most women are meant to be curvy, we have hips to bear children, we have breasts to feed them and we have everything else that they need to be created and grow inside of us. We are made this way, we are women.” Lucy goes on to remind us of the importance of balance. “I make sure I exercise so then I can pretty much eat what I want. I’m curvy but I’m healthy. From a very young age, children and teenagers are subject to the content published in magazines. A lot of articles slamming the famous for putting on or losing weight, they even write about the latest trending diet to get you to look like those size 0
models. Our children learn from our actions, what they see and what they hear. It’s no wonder there are a lot of young girls suffering from Bulimia or Anorexia. We all hate parts of our body or feel self-conscious at times but believe me there isn’t one person in this world that doesn’t think like that, it’s natural. Everyone is beautiful in their own way no matter shape or size, we need to embrace who we are for what we are.” During her time on Britain’s Got Talent Lucy shared about her experience being bullied. If she could go back and give herself some advice at that time it would be “to have more faith in yourself.” She explains, “I used to be such a negative person, even though I never gave up I would always go through my life in anything I did with a big cloud of doubt and negativity. I’ve now turned into such a positive person after BGT and now believe that anything is possible you just have to give it a go and believe. IF things do not work out for any reason, then it was never meant to happen. An old Scottish saying 'What’s for you won’t go by you' and it’s so true.” She believes that everything happens for a reason. “I was meant to have gone through the dark times to come out on the other side. It defines you as a person, I’m much stronger, independent and determined. I also feel like my bad experiences can help others, to know that they aren't alone in this and that you can get through it. So many people are testament to that.”
Good things are indeed on the horizon for Lucy. “I’m excited about 2015 because there’s talk of making another album which is to be more Crossover type music rather than just Opera which my first album mainly was. I've also made a pretty daring image change as I now feel I’m able to show the public just who I really am and get away from the stereotypical image classical singers are given. 2015 is the year to show the general public a new breed of classical! I always like to push the boundaries so I hope people like what I do once it’s released! Fingers crossed!” Lucy gives us a peek at some of her ambitions for the future. “My plan, aim and dream is to become an icon for a
new breed of classical, not following trends or stereotypes.” She hopes to take her music to an international stage and perform in as many countries as possible. “I want to share my music with everyone who will listen. I want to make people happy, I love meeting people after concerts and hearing their feedback and to what they'd like to see me do/sing. It’s for the people so I love listening to their ideas and involving them as much as I can. Let them be a part of my dream and music... as they are the only reason I am where I am today,” she says gratefully. “They help me live my dream and enable me to have a job! I quite like just having a general natter with them too!”
“Fantasia” is out now from Sony Classical.
lucykaysoprano.com