Q&A with Emily and Sophie
Belle Voci By Natasha Barbieri From the moment they stepped onto “The Voice” stage for the blind auditions, Belle Voci seemed fresh and approachable. Their beautifully matched voices impressed the judges but they were kept in suspense. Their bond was evident as they battled nerves and managed to keep their composure to perform a lovely rendition of “The Flower Duet.” Of course, a few seconds before the song’s end, Jennifer Hudson’s chair turned and from then on they were firmly on team JHud.
So, am I, what are the chances, let’s join forces and sing together at weddings etc.”?
Both ladies have been singing since before they were teens, Emily began as a Chester cathedral chorister and Sophie sang at her school. Emily studied at the Royal College of Music while Sophie attended the London School of Musical Theatre. They met while working at a country pub. “Emily was dicing an onion one day (she was a chef, Sophie a waitress) whilst singing and Sophie came in and said, “Are you a classical singer?
They deserve themselves as “very different people.” Sophie is described as the “cool” one and Emily “nerdy” but they agree that their differences “make the duo work.” Their individual strengths are needed in order to keep the partnership successful. They tell us, “Sophie comes from a Musical Theatre background and Emily comes from a Choral background growing up so we sort of meet in the middle to create a
The pair began singing together but didn’t realize how unique their blend was till later on. “We took this for granted before we started talking about it with people. It is really hard to find another voice you like singing with so much but as we have been doing it for 4 years we often listen back to recordings and can't remember who sang what!”
version of opera that is easy to listen to (we hope!). Sophie is brilliant at choreography due to her dance background and Emily is a dab hand at writing new arrangements for us to sing. Dream team!” Sophie handles most of the social media while Emily works out their harmonies. “We are always bouncing ideas off each other. There is always one dreamer and the other is realistic and the next day we will switch places. We think it’s a great combination.” Talent aside the ladies are clearly hard working and determined. Their first showcase pointed to the success ahead but wouldn’t have come about without their own grit. “We begged Piste Tarporley to let us put on an opera dinner there for free so we could film it and set up our website and it sold out within 24 hours!” Emily and Sophie began performing at parties, wedding, did some recording and then began to break into the corporate world. “We used to contact around 60 companies a week between us, emailing them about Belle Voci, looking for new bookings.” It’s eventually how they got their big break. Emily saw an e-mail with the subject “ITV Looking for singers” and naturally she went for it thinking
it was for a Christmas gig. “Next thing we know they called Sophie up saying they had received our application, and the rest is history.” The girls appeared down-to-earth on their pre-audition interview with Emily hyping that “I can’t wait to get out there!” and a questioning, “Really?” from Emily but on the day, the girls took turns feeling nervous. At first, it was Emily helping Sophie relax with assurances like, “It’ll be fine, we do this for a living, it’s The Flower duet, we know it inside out,” but the roles quickly reversed. “Then it came to standing on the steps to go on stage and we completely switched places!” There was also occasionally a moment when one of the girls got starstruck. “Emily went a tad weak at the knees whenever Olly Murs was around” while “Sophie actually forgot to sing in our rehearsal for the Final with Jennifer Hudson, she was so overwhelmed by JHud’s insane voice!” There was also that candid moment when they were chosen to continue to the next level and Sophie blurted, “Are you sure?” The show was an amazing confidence builder for them and the celebrity guests only helped them grow. “All the coaches and their guests were so amazingly normal. We were both so
worried about meeting Jen in case she turned out to be a diva, but by the end, we really did feel like we were friends; talking about what we were going to wear etc. having a good ol’ girlie catch up!” Making it to the final of The Voice also changed the trajectory of their career. No longer are the girls sending out 60 e-mails a week and searching for gigs. “Now we have an amazing agent Paul Fitzgerald and work with a few bookers which mean that the work comes to us instead of us going out to chase it. It is full-time too which is just the dream!” The music that they learned for the show also became part of who they are as a duo; now they really embrace those crossover moments. “We are always performing new music to keep things fresh but actually, we learned so much from the show about how to turn something like Skyfall into an opera song that we keep them in our sets quite a lot. It has sort of become who we are - another level of our mission to bring opera to people who wouldn’t necessarily hear it, now we can do it with songs that everyone knows. We like to sing songs like Skyfall and then either side put an opera song like Habanera or Flower Duet so people experience something new.” Belle Voci released their first Christmas album in 2018. “The
process was so much fun. We did the album ourselves without a label, however, we are working with Absolute Label Distributors who are selling it on online platforms etc. We first selected what songs we would like to sing (way back in March which was so weird!), then we booked Kensal Town Studios for our one day of recording, then we spent a few days arranging the wellknown Christmas songs so they had our unique Belle Voci Twist we try to bring to all our songs. Then we recorded it in September.” They credit their “genius” sound engineer George Murphy and the Christmas spirit (“Who doesn’t love Christmas?”) with helping to keep the sessions stress free and tell us, “It was one of the best days in our Belle Voci career. A real milestone for us.” Many artists get lost after their big moments on reality television but Emily and Sophie seem invigorated and determined enough to keep the momentum moving forward. What are their plans? “Where to start! We are always dreaming and talking with our agent about our next steps. We have just had the best December ever so the new year can be about planning a potential tour one day, maybe another album - one with our songs from the Voice on it, and we are going to Antarctica, Monte Carlo and Dubai for gigs in 2019! It’s all go! We are just having the best time.”
To keep up with Emily & Sophie visit:
belle-voci.com
The Meadows By John Harvey
The Meadows are a vibrant multiinstrumentalist Celtic-Crossover band, all drawn from one family. Bringing cutting-edge techniques and an exciting, contemporary vibe to every show, the band performs original works which weave between foot stomping reels to rich vocal harmonies, taking their audiences on a spellbinding journey.
hoping that the album will be quite a journey of stories and emotions.”
The Meadows have been preparing a new Album – Force of the Tide – which is due for release on 14th March
Meadows: We always had a love for seafaring stories so had arranged a number of sea songs for our live performances. The ideas for the album grew from there.
“Inspired by the songs, stories, and history of the British and Irish coastline, 'Force of the Tide' delves into our rich seafaring heritage. The maritime themes range from the beautiful Welsh language maritime lullaby Si Hei Lwli Mabi, to Maid in Bedlam - a sorrowful lament of a girl kept in chains in the infamous Bedlam after her true love was sent to sea. Alongside these more melancholy songs, the album also includes two up-tempo instrumental tracks, Dribbles of Brandy and a medley of Welsh dance tunes, Bedd y Morwr and Tros y Garreg, so we’re
John Harvey asked them some questions about the new album. JH: I believe your new album is on a seafaring theme. Did you choose the theme to match the songs you wanted to cover, or did the theme come first?
JH: What thoughts come to your mind when somebody mentions the sea? Meadows: From early on the memories we have of times spent by the sea have been profoundly influential on our music. We love exploring the coast of Wales which offers so much beauty and is incredibly powerful to see. It is impossible to not find the sea inspiring, wild and overwhelming with its ever-changing mood.
The stories that we’ve discovered in the songs capture the dangers and beauty that is there before us. There has been a fascination with the stories that has only grown over time. It took root early on, partly perhaps because our Grandparents would prepare the most elaborate treasure hunts for us to search for the “pirates and smugglers buried treasure”, stashed away in caves along the shore. JH: Who takes the lead in choosing new music to add to your repertoire, or is it a truly collaborative effort? Meadows: It is very much collaborative, although Fantasia and Melody are most into researching the old songs. JH: Some artists record songs which they never perform live. Is there a difference in your view between songs to record and songs to perform? Meadows: We always arrange music with it in mind to perform in our set, and although we might layer the songs with more instruments for the recording, generally it is hardly different from the live version. It is important to us when recording to maintain the feeling of a live performance.
JH: How long does it typically take to arrange a new song for the group to perform? Meadows: It can take anything from a few minutes to several months. Fantasia generally comes up with a piano part and everything grows around there, and even the piano part can then completely change during the creative process. It is very important to us that all band members have input into each song because that’s where our sound really comes from: the collaborative process. JH: What are your favorite songs on the new album? Melody: I find it hard to choose but I probably would say Henry Martin, I just love the way Titania tells the somewhat sad pirate tale. Also, Si Hei Lwli Mabi because it is such a calm, beautiful lullaby and we always enjoy singing in harmony. Fantasia: I have a soft spot for Lovely on the Water. Right from the beginning, its sadness was so haunting I couldn’t wait to hear it all arranged. I also really love Dribbles of Brandy because it’s so much fun to play! Harvey: Lovely on the Water because I particularly enjoy playing the violin part in this one. Titania: Lovely on the Water because it’s a very enjoyable one to sing.
Also, Lowlands Away because I like the atmosphere this one creates, and the story is so compelling. JH: What are two essential things you need to take with you when you are touring? Melody: My flute is definitely the main thing that I keep checking that I haven’t forgotten… I definitely don’t want to end up having to whistle my part down the mic! Also, if possible, I like to take my little Shih Tzu Merry along to everything he’s allowed to attend. Fantasia: My folder which contains messy scribblings and ideas for the piano accompaniment. I also take a spare pair of shoes as some mishap always seems to happen to one pair. Titania: My voice, although it sometimes hasn’t come along… on one tour I had really bad tonsillitis! I also like to take my lyrics, just in case I forget any. JH: Can you tell us about some interesting incidents which have happened on tour or in concerts? Fantasia: We were playing on a rather narrow stage and I was on the violin and Melody flute. She accidentally turned around and somehow managed to send my bow flying. It seemed to happen in
slow motion as we watched it fly like an arrow into the dancing audience. It didn’t hit anyone and was unharmed, fortunately. Titania: I remember the one time when we were performing in a very small space. It came to the part when Fantasia and I had to swap places. I could barely get on the piano in time and had to extend the piano part because Fantasia could not reach her violin! It was certainly interesting. JH: Music can evoke some powerful emotions. Do you find it difficult to perform some songs because of their effect on you? Meadows: Music is incredibly powerful, and it’s impossible not to be affected by certain songs. JH: Who would be your dream collaboration? Meadows: There are so many wonderful musicians who we would love to work with. JH: Finally, how can we get a copy of your new album, and where and when can we see you performing? Meadows: Our album is available from our website. We have lots of performances planned, and they will all be announced on our website and social media.
Pre-order “Force of the Tide”
TheMeadowsBand.co.uk
5 Questions with
Jonathan Stich violinist, pianist, composer
1
When did you start performing?
I started playing the violin as a child and learned the piano autodidactic. On a professional level, I'm performing since my studies at the conservatory. For a couple of years, I've started performing my original compositions.
2
How did you meet Iris?
Violinist Iris Ewald-Tillner and I met more than 10 years ago at the auditions for the conservatory. We felt an immediate connection and from that, a deep friendship developed. We studied together in Lucerne, Switzerland and shared a flat. Since then we are making music together.
3
Tell us a little bit about your recent release.
Inspired by the beautiful and rich nature of the north, I wrote "A Nordic Tale" for violin and piano during and after some travels through Finland and Sweden. The composition pictures the wild rivers, shimmering lakes and the wind blowing through the old trees of dark forests. With all my music I try to paint landscapes or tell a story. It's chamber music but also cinematic and combines classical and popular elements. I like the idea of creating epic moments with just two instruments.
4
What do you love most about the violin and piano?
I love the sound of the violin. It's very close to the human voice and there are no two violins or violinists sounding exactly the same. You form every note and can fill it with life and emotions. The piano is great because you can play a full orchestra all by yourself. I also like the part of an accompanist.
5
What's coming next for you?
I'm working on a piece inspired by Daphne du Maurier's classic novel "Rebecca". It will premiere it in Vienna and we hopefully have the chance to play it in Cornwall as well, du Maurier's place of residence. I also wrote some songs for soprano and chamber ensemble based on poems by Sara Teasdale, which I'm planning to premiere in the near future.
"A Nordic Tale" is available for streaming and on YouTube.
Ennio Morricone and classical music for the old West
By Joe Mogilevski
When one thinks of classical music, there are certain stereotypical images that come to the average mind: men in tuxedos with women in satin dresses, velvet-draped theaters filled with orchestral performers, etc. What doesn’t usually come to mind are desolate mesas and wind-swept cattle towns. Yet that exact dichotomy is what propelled Ennio Morricone’s career. Morricone, born in 1928 in Rome, wrote his earliest compositions in his childhood. Years later he began composing for radio and was not particularly well known. Morricone came into his own, however, when he began writing music for films. His earliest scores were for light comedies, including Le Cage aux Folles, the movie that would be remade as The Birdcage. However, he found his niche when he began his collaborations with Sergio Leone, starting with the movie A Fist Full of Dollars, in 1964. As the composer for A Fist Full of Dollars, Morricone found himself limited due to the budget. As necessity is the mother of invention, he found ways to improvise. Gunshots and whip cracks, among other devices, were interwoven into the music as both fill-ins for a limited orchestra and to punctuate the action the music was accompanying. This laid the groundwork for his work for the other two films in the ‘man with
no name’ trilogy. Of his compositions for the trilogy, one piece, in particular, became famous: ‘The Ecstasy of Gold.’ This song accompanies by wordless vocals from Edda Dell’Orso, has been used and sampled by numerous other artists, ostensibly as an homage, in a variety of genres. His collaboration with Leone a success, Morricone would work with the director on numerous films, until Sergio’s death in 1989. Leone was 60 when he passed. Leone was far from the only director Morricone would work with, let alone his only westerns. Between 1966 and 1973, he composed music for seven films for director Sergio Corbucci, and another five films for Sergio Sollima. With the exception of one movie, all of these films were westerns. In addition to these films, he composed music for numerous other ‘spaghetti Westerns’. His style, first developed in the ‘Dollars’ trilogy, merged the action on the screen with the music setting the mood. Despite Westerns falling out of favor in cinema, Morricone and his music persisted and found him composing for horror, political intrigue, comedy, gangster, and dramatic films. His filmography has more than 400 titles to his credit, each having used at least one of the 500 pieces he composed for
film. Several of the directors he has worked with include Brian de Palma, Barry Levinson, and Giuseppe Tornatore. Recently, Morricone has composed for Quintin Tarantino’s film ‘The Hateful Eight’, for which the composer won his first Oscar in 2015.
his many films. In more recent years, he released an album with Hayley Westenra, titled ‘Paradiso’ (released in 2011. on the Decca, Universal label), and was a mix of some of Morricone’s older pieces with several compositions specifically for the album. The album went gold in Westenra’s native New Zealand, after reaching #1 on NZ’s official charts.
Aside from his work in film composition, Morricone has also recorded a number of solo albums, in addition to movie soundtracks from
Morricone’s work has also inspired pieces, including his instrumentals inspiring lyrics. The song ‘Nella Fantasia’ was originally an
instrumental titled ‘Gabriel’s Oboe’, a piece he composed for the film ‘The Mission’. The lyrics Morricone’s work inspired were written by Chiara Ferrau, and sung by British soprano, Sarah Brightman. Now in his 90th year, Ennio Morricone is still an active composer, still living in his native Italy. In addition to his work on films composition, he is also performing live music, having performed more than 250 concerts by 2001. He is currently organizing his final live tour, which will be in Italy over the summer of 2019.
Morricone’s life has been one of music in its many forms. The notability of his composing for so many Western films, effectively creating the genre of music associated with Westerns to this day, is the seeming incongruity of a rough and gritty genre of film with a refined style of music. Yet melding of opposite worlds is precisely what Morricone achieved. Taking his skill in more refined forms of music, using a skeletal orchestra, and improvising with sound, he forged a new sound, at once rough and intense, yet still refined and artistic. His compositions truly prove that classical rely is for everyone. Even the lone cowboy on the range.
enniomorricone.org
A Salute to The Seekers
Mirusia By Natasha Barbieri Her story has been told many times. The talented ingenue plucked from relative obscurity to touring around the world with Andre Rieu and beloved by a nation as the ‘Angel of Australia’. It’s true that she’s had a blessed career but with over a decade as a recording artist, it’s clear there is more to the sunny soprano than pure luck. Mirusia grew up speaking both English and Dutch and growing up both languages has helped her communicate her music in various languages. “Being bilingual has definitely helped me with singing in other languages, and also when traveling. I do find it easy to pick up other languages and whilst living in The Netherlands I worked with a lot of people who spoke German and so I have a basic understanding of German and can even speak it a little bit now too! Language skills are very important as a singer and I always do
my best to know exactly what I am singing and seek out people who are native in the particular language to help me get it right.” Her training began at the age of eighteen when Mirusia studied at the Queensland Conservatorium in Brisbane. “I had just graduated from High School and it seemed (and felt) the most logical step for me. Before studying at the Conservatorium, I had only dabbled in classical music and I'm glad I turned a new leaf and started everything at once. My voice teacher, Gregory Massingham, was an incredible tutor and we are still friends today. He realized the natural sound of my voice and never wanted to change the sound or quality, only just help it along, and for that, I am very grateful.” That natural sound was soon to bring her success. “I entered the Dame Joan Sutherland Opera Award
basically to gain more experience in competitions and because at that time in Australia it was one of the most prestigious awards with a $10,000 prize. I honestly had no idea they would pick me as I was up against singers who were much older than me and who had more experience.” The veterans were not exactly welcoming, “The other singers there were telling me that I was so young and how “cute” that I was in the final.” Mirusia used this to her advantage, “I approached the whole thing with a smile on my face and just enjoyed it.” Her freedom and beauty of tone led to her winning the entire competition. “When they announced me as the winner, I was completely gobsmacked, I just could not believe my ears. They announced that they wanted the prize to go to someone who would use the money wisely and who really needed a kick start in their career.” Mirusia did exactly that. She used the prize money to record her EP organizing the whole thing herself “It was a huge learning experience for me, but it helped me in my career as a recording artist. I also set up a website, Facebook page, and back then we even had MySpace! I was so busy with getting my name out there and doing everything I could to become a professional singer, I truly
believe the Dame Joan Sutherland Opera Award gave me the opportunity to follow my dream.” Despite her success in the operatic competition, Mirusia was destined for a career in crossover music. Her soprano voice, though able to soar to the heights with great intensity, is sweet and unaffected and easily changes through Broadway, folk and popular tunes. “I have been singing songs from musicals since I was a young girl and always loved the music of Andrew Lloyd Webber. When I was in high school, the conductor of the school orchestra asked me if I wanted to sing ‘Time to Say Goodby’ at the graduation ceremony. I started learning it but ended up learning basically the whole Andrea Bocelli album it came from. From there I started listening to Sarah Brightman, Petra Berger, and Alessandro Safina. I was completely hooked.” At that time the developing new genre was known as ‘Popera’ and Mirusia was eager to become an ambassador for this new style, “I remember at the beginning of my career wanting to broaden the knowledge of classical music with Popera and telling everyone about it.” During her time at the Conservatorium, Mirusia shared her passion for the music at various gigs. “In 2006 my Mum brought home a DVD of André Rieu and I remember
thinking to myself that I would love to perform on his stage one day.” Mirusia’s aunt believed so deeply in her niece’s talent that she wrote André Rieu telling him all about her and providing a link to her website. “He listened to some clips and called me at home and asked if I would like to tour the world with him! It was totally crazy, like something out of a movie, and at the time I even thought someone was just playing a prank on me.” The offer was anything but a prank. Andre wanted Mirusia to come sing for him the very next day! “It was a surreal experience because when I met André and his wife Marjorie, it was almost as though I had known they already for a very long time there was an instant click. I sang ‘Wishing You Were Somehow Here Again’ from The Phantom of the Opera and ‘L’ameró’ from Il Re Pastore by Mozart. He then asked me to sing the ‘Concerto Pour Une Voix’ vocalize by Saint Preux and decided on the spot that I would go on tour with him singing Concertor Pour Une Voix and Wishing You Were Somehow Here Again. My first concert was in Boston, just a couple of weeks later.” During their collaboration, André would select repertoire for Mirusia although she often suggested music,
“Many of them ending up on the ‘Waltzing Matilda’ album.” The enormity of production for one of Andre’s shows is astounding. “I am very proud of my work with André and I still tour with him sometimes. The World Stadium Tour, which toured in 2007-2009 was the largest set, stage, cast, crew, and production ever in the world. It broke all the world records and looking back, it was so surreal that we all just did it and it was “normal”, but really it wasn’t very normal at all.” Andre continued to mentor Mirusia for many years but with time she began branching out more and more as a solo artist. Her latest release is entitled “A Salute to the Seekers” something that she tells us is “a bit different.” Mirusia explains further: “My whole life I have been exposed to the music of The Seekers and they inspired me as a young girl to sing and perform. In 2011 I was so lucky to be able to tour with them and André Rieu and it was such a thrill to stand on the stage with them and sing together. They are such a wonderful group of people, so wholesome too, and as an Australian, they are definitely an iconic music group to me.” Her manager Robert Rigby first suggested the concept album saluting
the group and it seemed like a perfect fit for Mirusia. “I enjoyed their music so much my whole life, why not salute the artists who so inspired me? I loved the idea and we started working on the idea and the songs to choose. I wanted to choose a mix of songs that were well known by their fans around the world, but also some tracks that weren’t as popular and really give them my own ‘Classical Crossover’ flavor. “Working with David Cameron and Pete Dacy on the music and arrangements was a lot of fun and we made sure that with every song we were being respectful whilst putting our own spin on them. I am so pleased with the result and I am so excited to release these songs out into the world. I recently met with Judith Durham and she gave me the most wonderful compliments about the album and my singing and called the album ‘evocative’ which means a lot to me. Most of the songs on the album are songs she would have performed thousands of times, so to have her compliment me on them is truly an honor.” Her vocal coaches have always worked to ensure the beauty of her natural voice which Mirusia credits with keeping her voice healthy. But even with seven albums under her belt, Mirusa is still not used to listening to herself. “Does anyone
really like the sound of their own voice? I am sure glad other people do! I have been able to learn over time to step outside of myself as “The Artist” and critically sit back in the studio and listen to the vocal and know if it was a good take or if I can do it better. I had the most incredible sound engineer on this album in Geoff McGahan, who I've known since 2007 and we actually recorded the vocals on the whole album in 2 days. It just flowed and worked so well and I was having such a great time in the studio, I didn't want it to end.” Her voice has also grown throughout the years. “During my pregnancy with my daughter Sascha, I noticed a change in my voice. It somehow became warmer and fuller and remained that way afterward. I've had many people who have known my voice a long time make comments on this and although it is only slightly different, you can definitely hear new depth and warmth.” Motherhood has also changed the way Mirusia approaches her career. “It is crazy but after I came back from my maternity leave when Sascha was 4 months old, I have never been busier. I have traveled and toured so much this past year and next up I'm really excited that I've been cast in a musical called ‘Mimma’, which will see me based for two months in Perth, Australia. I'm really looking forward
to that and of course the release of the new album and touring it later in 2019 is going to be a great thrill also. Lots to look forward to and I am so excited to be able to share it all with my daughter, who most of the time comes on the road with me.” Her career has been a dream so far and even though she had hard times like every artist Mirusia says, “I am not really one for regrets, as I believe in fate and that everything we do and will do is meant to be.” However, her experience through the years has led her to look at some things differently. When asked what she would tell her younger self Mirusia shares “I would go back to when I was a teenager and tell myself to look at the big picture and that those small little setbacks of not winning a local shopping center talent quest, or not becoming the ‘music captain’ at school, or not being cast in the local musical production really don’t mean anything in the real world and there are more important things out there. I definitely learned a lot from ‘rejection’ and I think that is why I approach everything now with a mindset of ‘if it’s meant to be, it’s meant to be.’.”
With so many career highlights it is hard to pinpoint a favorite but if she had a chance to relieve one of them, “I would probably go back to 2013, to the King’s Coronation Concert in Amsterdam. What an incredible experience that was for me with 60,000 people in the square and millions of people watching worldwide. I sang a song for the former queen and one for the new queen, it was truly amazing and went by so fast. I remember it was so cold and I had flown in from the Australian summer that day to sing in the 3degree evening temperature with André Rieu on the Museum Square. I will never forget it and I love that fact that it was filmed for DVD.” This April will see Mirsuia in the lead role of the new musical ‘Mimma’ which will open in April at the Regal Theatre in Perth. “I'm really excited about creating the role of Mimma and it has already been such a great experience working with the composer and librettist.” Her album ‘A Salute to the Seekers’ has gone to No.1 on the Aria charts in Australia and Mirusia will start to tour it in May. “I have a feeling it is going to be a great year and I'm really looking forward to it.”
“A Salute to the Seekers� is available now!
mirusia.net
A Conversation with
Joanna Forest Joanna is many things, an actress, a singer and one of the loveliest ladies you will find in crossover music. Her debut album went to No.1 in the charts making her the first independent artist to do so with her debut record. I caught up with Joanna to talk about her upcoming release, “The Rhythm of Life.”
NB: First of all, I need to say congratulations on the success of “Stars are Rising.” You are the first independent artist to go to No.1 with your debut album! What was it like getting the news? Joanna: Thank you! It really was like a dream come true. I knew at the time, that being new to the classical crossover scene and of course, being independent, that I would pretty much just have my release week to help me achieve the coveted number 1 spot, so my team and I worked really hard promoting the album and driving sales in that intense campaign period. I’ll be honest, it was very challenging especially when we’d looked at who we were competing with; being Mother’s Day week, some of the UK’s biggest supermarkets were running promotions on stands and I found myself up against the mighty Alfie Boe
who was being sold at a budget price to thousands of grocery shoppers looking for a gift. Throughout the week it was VERY close and there were times that I didn’t think I’d do it but I finally got the news on the Friday morning that yes, I had claimed the official number 1 spot. It was the most incredible feeling filled with tears, smiles and plenty of whoops and cheering! I couldn’t believe it, and until I saw it actually published by the Official Charts later that day, I still didn’t really relax especially as their system went down and the chart was delayed in being published until around 9 at night! However, the news finally sunk in and we celebrated in a swanky hotel in London with a rooftop hot-tub (on a blustery and rainy March night!) overlooking the incredible London skyline where
Stars are Rising was recorded. I couldn’t have been happier. NB: Tell us a little bit about your new album. “Stars are Rising” was cinematic and fabulous - what’s the concept this time? Joanna: That’s very kind of you to say about Stars are Rising, I am very proud of it. My new album is called “The Rhythm of Life” and I’m pleased you have mentioned “concept” as it is very much a “concept classical crossover album”. This time around I have created an album which I hope will not only be a hit with existing fans of the genre but also appeal to families, to parents, and to children. “The Rhythm of Life” consists of 12 tracks which, when played in one sitting, takes the listener on a journey that reflects a day in the life of a child, so that each track represents a different hour in the day from 8 in the morning until 7 at night. The album title, The Rhythm of Life (which is also the name of the 2nd track on the album), is deliberately named as I believe there is a rhythm and beat to life itself and when you look at the rhythm of a child’s day it can be relatively cyclical; in very general terms – Wake, Sleep, Eat, Repeat, but there is so much more to a day than this and when you look closer, each day is full of so much possibility and wonder which my album reflects.
For family listeners, I love the idea of children and parents enjoying it together, recognizing many elements of their own exciting days. It is of course also a brilliant way to get children excited and interested in music, in particular, orchestral music. Yet, regardless of whether listeners have children or not, we all have been children and reflecting on those times can be a highly powerful emotion and I hope my album can provide a suitable backdrop to it. NB: Let’s talk a little bit about the repertoire on the album. I was impressed that on your debut album you didn’t just put out an album of songs everyone covers. You and your team really put together an original effort and that was appreciated. So, what is your song selection process like? Joanna: I’m really pleased that people appreciated the effort we put into making Stars are Rising an original offering. Considering the concept of this album I feel that yet again we have tried to really push the boundaries of what is possible with a crossover record. As you might imagine, selecting these songs was so much fun but also a very logical process. We started by mapping out the different things that happen in a day from a young child’s perspective. Clearly, we couldn’t put everything in there as we only had a limited number of tracks we could do, but between
myself, my manager and my production team, we created a shared document where for the first week we brainstormed hundreds of different tracks between us which could work and which we wanted to record. To help us refine the selection we then took a closer look at not only the mapping of the day but also what would be interesting and fun to record and sing, what would be appropriate to record and essentially what would just make us a brilliant final album that succeeds in reaching our main objective. Funnily enough, the first song we all agreed on was the opening track, Greatest Day, originally by Take That who I love, as it perfectly set the scene. We honestly had so much to choose from but the flow, drumbeat, energy, and rhythm of the album is what helped us choose our final songs. Once I played the final selection to my husband and asked him to picture the day, he got very emotional as he started remembering not only the magical times he spent with his children when they were young but also his own childhood, especially on If I Ruled the world which reminded him of a conversation he had with his late grandmother about wanting to be an astronaut. It was also her favorite song, so that’s very special. Once we had our choices, my genius producer and orchestrator (who also produced Stars Are Rising), Robert Emery, then worked solidly on
arranging and orchestrating the full album before we recorded it with Arts Symphonic. In the age of Spotify and streaming, it was also really important that the tracks we created would work by themselves if individually played, and I think we have something for everyone in there. NB: I loved the use of special effects in “In my life.” Do you have any special surprises in terms or arrangements on this new album? Are you involved in arranging either directly or just offering ideas? Joanna: There are LOADS of surprises on the album and it will be a real eye (or should that be ear?!) opener for people when they hear it. I strongly believe that music should never sit still and that as artists we should not accept the status quo. You mention “In My Life” from Stars Are Rising, which of course was written by The Beatles. There is no greater example of musicians who constantly evolved and created new sounds in music which had never been heard before. If we take that as a guiding principle then I would say that we created an album that takes classical crossover music to a whole new level with production values that are fresh, modern and which deserves a seat at the top table by bringing the genre to the masses. Every time I listen to it I hear something new in the mix.
We even have a theremin on the title track, Rhythm of Life! I am so happy with all of the arrangements; I’d like to teach the world to sing blows my mind how Robert has arranged such a wellknown song into a brand-new identity and he has been so clever in creating a suite called “Jeux D’Enfants” based on a number of longer pieces by Bizet. On this track, we have also put in a nod to the “listen with mother”, “children’s hour” and the late DJ, Ed Stewart’s “Junior Choice” radio programs which was a lot of fun to do. I’m very much involved in every process of the album and even though I don’t arrange it myself, I love working with Robert, suggesting ideas and making it a team effort.
NB: Tell us about your special guests this time around. You obviously have 2 very successful singers but also an orchestra and choir. Must have been a fantastic experience! Joanna: I am a very lucky girl with my guests on this album! There are well over 100 musicians on it including the orchestra and the adult choir but I also wanted to collaborate with some very special people on it too. Firstly, I have Paul Potts on the album who duets with me on the
gorgeous track, Because we Believe, originally co-written by Andrea Bocelli. I have been friends with Paul for five years now after he sang with me at the CoppaFeel! Concert, Busting to Sing. At that show, we sang Point of No Return from Phantom and we stayed in touch. I love the richness and quality of Paul’s voice, it’s just jaw-droppingly beautiful and I was genuinely honored and delighted that he wanted to sing with me on my album. We had a fun day in the studio together and Paul is not only a real professional but also a very giving and encouraging duet partner. Secondly, on the track Let’s Go Fly a Kite, I asked my good friend, Children’s TV presenter, Andy Day, to sing with me. Andy and I go back years when we used to do panto together. He’s just become a dad himself and was so happy to be involved. Considering we actually used to sing this song in panto, it felt fitting that we did this one together. Andy is not only a very popular presenter with the kids but also a terrific singer and even has his own band which children love called Andy and the Odd Socks! Also, on this track, we have created a promo video where once again I have teamed up with the brilliant artist and animator, Gary Andrews, who has brought it to life. Finally, and I am so happy about this, my best friend Lucy runs a very successful theatre school, and I
invited a load of their younger performers to form a choir and sing with me on I’d like to teach the world to sing and Food, Glorious Food. I love the sound of a children’s choir and given the content on the album it seemed really appropriate. They are all so keen, so talented and I am really pleased that I could give them the opportunity of appearing on a big album; three of them even have solos!
pick up section by section, where we need to, to ensure we have enough material covered that can be used. Some songs don’t require that many extra takes but a song like Rhythm of Life is so, so fast that it was inevitable I would need to record more of that in sections. It’s great fun though and with a little bit of reverb in my ears, it at least gives me a little flavor of how it all sounds.
NB: Recording can be a very stressful process. Tell us a little bit about what the experience has been like for this album?
NB: Does your producer or vocal coach guide you while you are recording or is it just you deciding that it feels good and you’re ready to move on?
Joanna: On this album, we made a conscious decision to take a bit more time in the studio recording the vocals to help us create a relaxed atmosphere. Obviously, we do have time pressures to consider as studio time is expensive but we definitely blocked out enough days so that we could enjoy the overall experience more. I think for me, I really do feel the pressure as am determined to give as good a performance as I can, as a recording lasts forever, but with more time to play with and of course, the knowledge that if it doesn’t go right you can do another take, really helps. For me, a day’s recording consists of a good night sleep followed by a steam and warm up. We then normally do a rehearsal before attempting one or two takes all the way through. Following this, we will
My producer Robert definitely guides me and I am so grateful for this. He is an absolute perfectionist and has a superb ear for how everything sounds. What I like about recording with him is that it is like having a theatrical director but instead of directing your moves he is guiding your voice to ensure it fits with the song and the overall vision we have. For this album to work, it simply wasn’t enough just to sing in a “classical” or “operatic” way but instead, I had to bring my acting background into it, to find my own way to sing the song appropriately rather than just trying to sound like Montserrat Caballe all the way through which would just be weird!
NB: Since the last time we spoke you were also featured on original songs for Olga Thomas. It’s been so lovely to see you ladies supporting each other on social media. Tell us a little bit about the collaboration. Joanna: I love Olga. She is one of those people you meet who can instantly brighten your day, make you feel good about yourself and gives you lots of confidence in what you do. Olga was introduced to me through her manager, Louise Harris, who I am also grateful to have worked with and she expressed how much she liked my voice. Given how good and celebrated a composer she is, this made my day. Funnily enough, after I heard that Olga wanted to work with me, I was flying to Antigua and an album of hers was on the inflight entertainment playlist. We recorded two songs together, again with full orchestras and with the superb tenor, Daniel Koek. The first was Royal Platinum Love Song that was released to celebrate the 70th wedding anniversary of The Queen and Prince Philip. Recording a song for royalty was quite an honor and we were thrilled to see it enter the charts at Number 1 and gain BBC Radio 2 airplay. Mind you, I’m still awaiting an invite to a garden party though, given the fact that I go everywhere with my dog, they may not be so keen in case she leads the corgis astray!
The second song was recorded at the same time as Royal Platinum but released a whole year later and was a festive Christmas track called That is his Story. Again, we charted really high and we’ve had some amazing feedback from fans of both mine and Olga’s. Olga calls me “Joanna from Enchanted Forest” which is so sweet but really, she is the magical one and I am in awe of her talent.
NB: Another successful collaboration you’ve had is with Mary-Jess you had your Songs of Praise debut with her and also put together “Christmas at the Musicals.” When did you first meet and what’s the best part of working together? Joanna: Ah, lovely Mary-Jess. We met at a concert which we both performed at called ‘Songbirds” in London that featured four sopranos. I’d known of her success for a while so was delighted to finally meet her; we clicked straight away, shared the same sense of humor and desire to perform and so what followed was a really wonderful friendship. Being able to share stories and adventures with a fellow performer is a relief as this industry, once you are away from the stage, can, in fact, be quite a lonely experience as you try to navigate your way through it all. We did another concert at Christmas a couple of years ago and I guess this is
what evolved into “Christmas at the Musicals” which we toured it in 2018 and hope to do again in 2019. In between that was Songs of Praise which was a massively rewarding experience. The Songs of Praise team were really supportive during the recording yet, I have to admit, that I was a bundle of nerves on the broadcast day as we hadn’t seen anything since we shot it. I remember it was a baking hot July day anyway so we were already feeling the heat and soaking each other seconds before our song, Ave Maria, was shown. Thankfully, the response was so warm, so positive and yes, I’d love to do it all again!
NB: Obviously, the crossover world is still a pretty small niche but it’s growing bigger all the time. What would you say to people who’ve never given it a chance before? What makes this genre so special?
Well for starters, Classical Crossover Magazine is so important for the wonderful CC community and helping to grow it so thank YOU! It is niche BUT I would say that is so very accessible. Some niche markets are much more of an acquired taste but I’ve received some fantastic emails and letters of support from so many people all of varying musical tastes who say they are delighted to have
found what we do. I think the biggest convert I’ve personally had is someone who told me they were massively into grime music and artists like Tinchy Strider, Dizzee Rascal, and Stormzy but had switched them off in favor of me singing Pure Imagination backed by a 72-piece orchestra. For the record, I also love loads of different genres of music and think it’s really important to keep an open mind as there is so much choice (and influence for our own recordings) out there, not just your usual “go to” type. Take the musical Hamilton, for example; branded the “Hip Hop” or “Rap” musical, it is just soo cool and manages to combine traditional musical sounds with a modern and magnificently relevant style to appeal to fans of all ages and social demographics. In classical crossover, we should therefore also trust how fantastic our own music is and keep in the knowledge that once heard, people will also fall in love with it.
NB: You are obviously a really hard worker. What are some of the things that keep you motivated on the hard days? Thank you. Being an independent musician, you pretty much have no other choice than to work your socks off as no one else is doing it for you. By default, though it is very, very hard work and compared to a “normal”
job, there are no rules, no magic guidebook, and no perfect answer so you have to make brave decisions which will impact everything about your career.
support of many wonderful causes, leading a 600 strong choir from the NHS AND shared the bill with Kylie Minogue, Paloma Faith, and Tony Hadley.
On the hard days, I rely on a good old cup of English Breakfast tea and a review of some of the lovely comments I get from fans to keep me going!
When you look at that it seems like a million miles away from a “normal” non-entertainment job (of which I’ve had some in PR and teaching randomly) BUT when you release an album independently you soon realize that you are in fact having to put on the biggest corporate hat; almost overnight you’re suddenly not only a musician but also a social media guru, a marketer, a project manager, a data analyst and even a video editor amongst loads of other things!
NB: You’ve had so much success so far but I’m curious. Have you ever worked a non-entertainment job and if so what was it? Thanks, I am very proud of what I have achieved but there is so much more I’d like to do. The last 12 months though have been great and in addition to what we’ve already talked about, I have also been lucky enough to help others through appearing on the Choirs with Purpose album in
Saying that I LOVE my job. I love being creative, making music and my new album, The Rhythm of Life, has been a sheer joy to make and I can’t wait for people to enjoy it.
“The Rhythm of Life” is now available to pre-order
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