Classical Crossover Magazine Vol. 26

Spring 2021

Stream on YouTube

May 30

youtube.com/classicalcrossovermagazine

Movies & Musicals | July 25

Agne G | Angie Diggens | Bel Canto Sopranos Christina Johnston | Classical Reflection Ellen Williams | Grace Foley | John Riesen Joshua Goines | Natasha Barbieri Stefania Passamonte | Wendy Carr

Plus new episodes of Connections, New Releases and more!

Songs of inspiration | September 26

Roxanna Walitzki Mezzo-soprano Roxanna Walitzki combines the beauty of the human voice with evocative still and video images. Trained in opera, her interest in photography has turned her into a true performance artist.

Natasha Barbieri: Can you remember at what age you decided you wanted to be a singer?

Roxanna Walitzki: There was always music playing when I was growing up, and I was always singing along.

My love of singing grew, and when I was a teenager, I got the idea that I wanted to sing pop music. To facilitate this, my mother enrolled me in lessons with a voice teacher.

My first singing instructor introduced me to classical vocal music, and I was instantly enchanted with it - it was so much more emotional, poetic, complex, and expressive than the music I had been listening to. I see that moment as the point of no return for me: I knew I wanted to make music and singing my life, and pursued it with all of the training and dedication that it demands. For a long time, true classical music was the only type of music I wanted to make, but over the years, I’ve stopped seeing a great divide between genres. I hope that my contemporary interpretations of classical music help bring new ears and spark a

new interest in something I find so powerful.

Natasha Barbieri: It's difficult for anyone to hear themselves but what do you think (or have been told) are some of your vocal strengths?

Roxanna Walitzki: I have been told that my voice is very expressive. For me, expression is one of the most important parts of making music.

Without expression, sound is just sound, but with it, it becomes music. It has also been compared to caramel.

Natasha Barbieri: Have you always been interested in the visual aspect of art as well as the music itself?

Roxanna Walitzki: I am always searching for ways to express myself, and I feel lucky that I get to switch back and forth between doing so musically and visually.

Unlike in music, I’m self-taught when it comes to the visuals. I started playing with self-portraiture many years ago, and have always built outfits and accessories out of whatever I can get my hands on.

Both music and visuals have always had a very strong pull on me, and I

don’t think I could live without either. I especially enjoy finding ways the two worlds can work together, as when I create artistic music videos and create visuals for live performances.

Natasha Barbieri: Are you inspired by any painters or photographers?

Roxanna Walitzki: Most of my social community is made up of talented painters and photographers, and I am endlessly inspired both by their artistic output, and their creative energy. There is something really wonderful and infectious about how artists view the world with so much imagination, always trying to make it more beautiful and interesting. At the heart of that is my sibling, Redd Walitzki, who is a phenomenal painter. We share a lot of similar fascinations, but have different ways of expressing ourselves artistically. I think our differences are complimentary, and Redd and I have collaborated on countless projects together, ranging from music videos, to their paintings, to photoshoots, and everything in between.

Natasha Barbieri: When it comes to live performances how do you incorporate your love for visuals?

Roxanna Walitzki: For live performances, I create video backdrops from abstract footage I’ve shot, which adds a bit of textural interest to what I am doing on stage. I love avant-garde couture fashion, and so I often create theatrical garments out of unusual repurposed materials.

That’s also a way for me to speak about environmentalism, which is a topic I care enormously about.

Many of the things we think of as disposable could find a strange

new purpose, and for me, transforming them into garments.

Natasha Barbieri: Is there a specific mood or period in music that appeals to you more than others?

Roxanna Walitzki: I tend to be drawn to emotionally expressive music, particularly of the late Romantic era. Darker, more challenging moods often interest me more than lighter ones, and I enjoy finding ways to augment this with the soundscapes and instrumental production I create. I often find an intrinsic connection with German poetry because it can be so harshly beautiful and because it was my first language. I also love the subtlety of the French language when set to softer, impressionistic melodies. Lately, I’ve been very intrigued by baroque music. The song structures are a bit more accessible to our modern ears, and the rhythms are typically dance-like. I have been exploring how to tastefully update Handel and Bach with modern production techniques, which hopefully I will begin sharing soon!

Natasha Barbieri: What are some of your dream projects and locations to film music videos in?

Roxanna Walitzki: I’ve been lucky in that I’ve gotten to work and film in some incredible dream locations already. Redd and I spent the entirety of 2019 traveling and creating artwork together, and we filmed music videos in Croatia, the Canary Islands, and Portugal. I am endlessly inspired by nature especially landscapes that are a little harsh and uninviting. Sadly those travels had to end with the pandemic, but I hope that one day

they’ll begin again. My current dreams are of Patagonia and the Namibian desert.

Natasha Barbieri: In addition to music what other instruments do you play?

Roxanna Walitzki: While the voice is my main instrument, I create every sound that you hear in my recorded music. I play the piano, electric guitar with a violin bow, and create all of the soundscapes and programming. I really enjoy manipulating sounds, and being able to shape every part of the music I create.

Roxanna’s latest release Pyramid Song is available now.

Photos Credit: Redd Walitzki

roxannawalitzki.com

5 QuestionS wITH

Country and Classical music may not seem immediately synonymous to the average listener but JC Fisher, Marcus Collins, and John Hagan have successfully brought the two genres together. Known as the “The Texas Tenors” the trio successfully competed on America’s Got Talent and have received millions of views on social networks.

Natasha Barbieri: You are considered the most successful touring group from AGT. What do you think is the most important thing when trying to connect to an audience?

The Texas Tenors: We always think about the show from the audience perspective. The audience wants to feel moved, inspired and entertained. So, we consider all of this when selecting music, creating arrangements, lighting, sound, etc.

We also do our best to engage with the audience by telling stories and sharing our personalities on stage.

Before the pandemic, one of our favorite parts of the show was going into the audience and singing to them, bring up a volunteer on stage..someday we know we’ll get back to being able to do that.

Natasha Barbieri: I’ve actually always felt country/classical could be a perfect crossover because of the beautiful melodies and stories. How did you first start combining the styles, was it a suggestion from someone or just a happy accident?

The Texas Tenors: It’s music we truly love and it’s always been natural for us to sing these different styles. In the early 2000’s JC was performing his own solo show around the world and Marcus began performing his solo show, each incorporating everything from country to classical. With a wealth of band charts (mostly JC’s)

and banter from these shows we were able to create The Texas Tenors’ signature variety of music. John then created the stunning harmonies to most every arrangement and most you have heard throughout the past 11 years. We immediately noticed how fun it was to bring harmonies and lush orchestrations to all kinds of music. It’s so rewarding taking our audience on a true musical journey each and every night performing everything from tenor staples like “Nessun Dorma” ,a fully orchestrated reimagining of “Wild Horses” by The Rolling Stones to showstoppers from Les Miserables and Phantom of the Opera.

Natasha Barbieri: Did you three ever consider giving up or was it always just minor setbacks and eyes on your goal of a career in music?

The Texas Tenors: The entertainment business is not easy. Over the last 11 years, we have of course experienced some bumps in the road. We are self-managed, which has advantages and disadvantages.

Turning out new music can be a bigger challenge without the support of a music label, major sponsorships, or financial backing. We know that we are extremely fortunate to have had America’s Got Talent as a platform to get ourselves out there.

Some acts take that though and do nothing with it, but we’ve turned

those appearances to lasting career and real place in the music industry.

Natasha Barbieri: What accomplishment are you individually proudest of?

The Texas Tenors: Our proudest professional accomplishments have been reached together as The Texas Tenors! Appearing on AGT and allstars edition America’s Got Talent: The Champions, racking up over 1500 live concerts together, signing for our nation at the White House, performing with so many incredible orchestras around the country including The Boston Pops, being able to help so many charities and making a living for our families. Also, self-producing 2 successful PBS Specials with 5 Emmy nominations and 3 wins including Best Entertainment Special, 5 Top 10 albums, 2 of which debuted at #1 on the Billboard Classical Chart and reaching the top 10 on the Billboard Classical Year-End charts in 2017 & 2019. We were able to do all of this as independent artists with no label, no high profile management or sponsors.

Natasha Barbieri: As you look to the future, what are some of the professional and musical goals you hope to achieve?

The Texas Tenors: Considering the pandemic, we are very blessed that most of our concerts that postponed are back on the schedule for 20212022, but we would love to continue adding more and more live concerts back to our schedule.

Musically, we have a new album in post-production that will be released Spring 2021 and would like to continue releasing more albums with that signature variety.

The hashtag #TTTforever has been making its ways around social media, because we know that we will be around for many years to come.

Ultimately we want to leave our mark on the CLASSICAL CROSSOVER genre.

We are very proud of what we’ve accomplished and appreciate your magazine acknowledging and appreciating us this way. It means so much to us.

thetexastenors.com

Dreamer available now

annahawkinsmusic.com

She’s done it again.

The New Zealand singer-songwriter Anna Hawkins first came to our attention with the release of “Journey On.” The album was one of the most impressive debuts from a classical crossover performer in recent years – and an indie artist at that. Possessing a distinctive voice that, while classically trained, makes no attempt to sound operatic Anna could have easily released an album of covers but her songwriting, including the album’s title track, showed that this was an artist with a unique point of view.

“Divine” and “Bold, Brave and Beautiful,” followed and continued to delight listeners and push the boundaries of the genre. With “Dreamer” Anna goes back to her musical roots adding the compelling storytelling and earthy

textures of folk and country music into her repertoire. Whether this can still be considered crossover is up to the listener to decide, Anna herself shies away from labels, but whatever the definition one thing is certain – “Dreamer” is an album of the highest musical quality.

The title track grabs the attention and is followed by “Wide Open Spaces” another strong anthem and one of the catchiest tunes. Her first single, “I Am” is an expression of faith and the acapella beginning shows off the beauty of Anna’s voice. Another favorite is the romantic “I Knew.” Throughout the album, Anna shows full command of her instrument and the arrangements highlight her special speech-like quality and warm tone.

The album ends with the beloved “Wayfaring Stranger” hymn paired with one of her own compositions “Yeah Though I Walk” for a powerful finish.

“Dreamer is my small way of encouraging other dreamers on the journey. I want to uplift people through the power of music, story and connection. That has always been my driving force when it comes to creating and performing music.”

– Anna Hawkins

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Dreamer Review

www.amywallaceofficial.com

Red Rose by Amy Wallace Canadian soprano Amy Wallace has been seen onstage in Aida, Joseph and His Amazing Technicolour Dreamcoat, Peter and the Wolf, Jesus Christ Superstar, Godspell, and other shows as well as sharing her operatic talents.

She began 2021 by sharing a beautiful new single, Red Rose. The song is an original composition by Amy with orchestration and backing vocals from Christopher James Wallace.

The inspiration behind “Red Rose” I wrote the melody a long time ago and thought it would possibly turn into a love song. But when a dear friend passed away, the lyrics turned into a loving dedication. I then lost another friend and my mother-in-law passed away this year.

It has taken me many years to build up enough confidence to release this song. I think many artists can relate to how vulnerable it feels to share something you put your heart and soul into, especially when it is dedicated to loved ones lost. But I wanted this song to be a tribute from my heart to everyone who has also gone through loss. This year has taken much from us in different ways and I wanted my song of love and hope to be there for anyone.

Life over the last 11 months The past 11 months have been difficult. I do miss being able to collaborate more freely with other artists, singing on stage, or getting

to watch a show myself. We are fortunate to have streaming performances, but I feel that isn’t the same. I love sitting in the audience or performing on stage where you can feel the energy in the room and lose yourself in those moments.

Motivation during difficult times: I think what keeps Christopher and I motivated, is simply to release what we are feeling and wanting to share through the music. We find it a healthy way to express what we are going through ourselves and sharing that. Perhaps even connect with others who can relate to the lyrics or melody. I think in these new uncertain times, we are all finding ways to express ourselves and what we are going through. Whether we paint, draw, sing, and compose etc. just to feel a connection.

Music can be such a powerful language we all can understand.

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Daniel Emmet Daniel Emmet impressed audiences when he accepted Simon Cowell’s challenge to learn a new song (in Italian no less) in only an hour. The success led to Daniel being a finalist on America’s Got Talent and perform to new audiences as a headliner in Las Vegas.

Natasha Barbieri: How much training in music did you have prior to going on America’s Got Talent?

Daniel Emmet: I started taking voice lessons when I moved to Las Vegas when I was 15 years old, and I have a Bachelor of Music degree from Chapman University, where I studied under world-renowned soprano, Carol Neblett. I continued to study with Carol up until she passed, right before I auditioned for America’s Got Talent. I owe so much of my musical knowledge to her, she truly was an unbelievable teacher and mentor.

Natasha Barbieri: How did that experience shape you? Was there anything you wish you had known or been prepared for before?

Daniel Emmet: The experience of being a part of America’s Got Talent was without a doubt an emotional rollercoaster, but I wouldn’t trade it for the world. It taught me so much about being ready for anything, and how to think outside the box as a classical crossover singer.

Natasha Barbieri: If AGT hadn’t happened, how could you have envisioned your career?

Daniel Emmet: Without AGT, my career would have taken a different path, but the goals and the end result would be the same. Las Vegas calls me “the gateway drug to classical music” and that’s a badge I wear with honor. My number one goal with my music is to share the love that I have for classical music and opera through a pop-crossover lens, to give music lovers who may not be classical music lovers yet a taste of classical styles, and hopefully, after seeing one of my shows or concerts, they’ll be up for going to a symphony concert or an opera, and can continue to immerse themselves in more varieties of music.

Long story short, my experience with AGT definitely helped accelerate my goals, but my goal has always been to share my music live with as many people as I possibly can.

Natasha Barbieri: Do you speak most of the languages you sing in or are they learned more phonetically (IPA etc)?

Daniel Emmet: Through my studies at Chapman University, I had great professors both in language and diction (IPA). I can speak

conversational Italian and Spanish (although I am a little bit rusty, hopefully, once the world opens back up and we can travel internationally again I can dust off my language skills!), and I know a little bit of German, French, and Russian, but for those languages I do learn the music that I sing phonetically, working with a coach or through IPA depending on the material.

Natasha Barbieri: Who has been the biggest supporter in your career so far?

Daniel Emmet: That’s a great question.

I would say my family first and foremost because a career in the arts is not an easy undertaking, there is a lot of sacrifice that goes into it, because if your heart and soul have to be committed to your music 110%, or you’re better off doing something else. I feel very fortunate that my family has always understood that and been behind me in my dreams and goals 100%, because I know that is not always the case for every artist. I also have been very fortunate to have incredible support from dear, close friends, from fans, and from colleagues in the industry, this incredible network of support is what drives me to be better with every show, to continue to prove to all of them that I am worthy of the support and love that they have shown me.

Natasha Barbieri: When it comes to your career so far, have you mainly gone at it from a very logical perspective, or have the moments been more defined by following your heart?

Daniel Emmet: When it comes to a career in music, I would say that as such as I would like logic to play a role in it, it is much more of a go with your gut kind of path. The journey I have

been on has taken twists and turns that I never saw coming, but I truly believe that if you approach every opportunity that comes your way (or that you seek out), with hard work, drive, and never take them for granted, then everything that happens, happens for a reason.

Natasha Barbieri: Who are the artists you listen to for inspiration and enjoyment?

Daniel Emmet: For me, there is something to learn from every artist, regardless of genre or generation, great entertainers are great entertainers. Growing up listening to artists like Luciano Pavarotti, Celine Dion, Andrea Bocelli, and Josh Groban definitely inspired me to sing and helped me fall in love with that powerful, emotional sound that, to me, is synonymous with Classical music and Classical Crossover music. But in the same breath, I have learned so much about performance, stagecraft, and delivery from studying artists like Elvis, The Rolling Stones, Queen, Michael Jackson, Frank Sinatra, I could go on and on forever on this subject. And that goes hand in hand with artists I listen to for enjoyment. For example, the artists on my playlist I listen to right before I go onstage range from Lizzo, to Pavarotti, to Imagine Dragons, to Dua Lipa, to 2Cellos, to the Stones, to Adele. I want to learn from everyone because there is a reason that each one of those artists is a great artist.

Natasha Barbieri: Crossover has really grown by leaps and bounds and it sometimes can be hard to define the genre because its reach is so big. What inherently makes an artist classical crossover in your opinion?

Daniel Emmet: That is a very good question. To me, the hallmark of a classical crossover artist, is someone

who delivers the power, and emotion, and vocal or instrumental excellence of classical music with a commercial flair, and blurs the lines between true classical with another genre, be it pop, rock, you name it. And I don’t think there’s one specific way to achieve that. I think that’s the beauty of classical crossover, is that it is almost undefinable, but when you see or hear true crossover, you know it.

Natasha Barbieri: Tell us a little bit about sharing the stage with Marie Osmond.

Daniel Emmet: Sharing the stage with Marie is a life-changing experience.

She is such a powerful presence, and she is a true legend in the music industry, but what is the most amazing thing about her, is how genuine and kind she is. I learn so much every time I work with her, not only on stage, because it is a masterclass in performance, but how she treats everyone around her with respect and kindness. I am so thankful to her for everything she has taught me, and for allowing me to sing with her is an opportunity I will never take for granted. She is simply, the best.

Natasha Barbieri: Your own show “All that I am” premiered at Caesars Palace. What the process like crafting the arrangements and repertoire for it and how did you grow as a performer over the course of your tenure there?

Daniel Emmet: I am so lucky that I have a phenomenal music director, Jerry Williams, who I work with to build the music selections in my show. He is an unbelievable musician and arranger, and we always focus on trying to find the right balance of music in my shows to create a journey that we and the audience go on together, the creative process of show building is hard work, but it is so

rewarding to watch it come to life on stage. And on that note, as a performer, there is no substitute for performing live in front of an audience. Having my own show at Caesars allowed me to have that opportunity to further develop my skills as an entertainer because the magic of a show isn’t always in the singing, it’s in the relationship you develop with your audience over the course of the show. There is a magic to the energy that flies between the audience and the stage, and that energy will teach you just as music as any class or teacher can.

Natasha Barbieri: Away from singing, what are some of the areas that interest you. Do you collect anything?

Daniel Emmet: Honestly, for me, there’s not much time left in the day that doesn’t revolve around music, however, in the free time I have left, I love to read, and I’m old school, if I find a book I like, I want a hard copy. I also collect vinyl records, I love the history of them, and I love the sound.

Weather permitting, I love to hike, and I also love to cook (specifically Italian food, and I will challenge anyone out there to make a better meatball than the ones I make from my Grandma’s recipe).

Natasha Barbieri: Is there something your fans don’t know about you, but you think is important to share?

Daniel Emmet: I’m a pretty open book when it comes down to it, and I hope that they already know this but I’ll say it again now, I wish I could thank each and every one of them, in person, for allowing me to spend my life making music. I really do get to live my dream every day.

Natasha Barbieri: What are some of the things you’ve been proud to accomplish vocally and are you continuing to train to reach any other goals?

Daniel Emmet: I’m proud that I have worked on my craft and my sound to develop what I feel is a unique and authentic voice. But I train every single day to be better because you are only as good as your last concert. As a tenor (who until about 3 years ago was a baritone, or baritenor, if you will) I’m always working to keep increasing, strengthening, and freeing those money notes, and I can’t wait to see how my voice will continue to develop with age.

Natasha Barbieri: Are you currently working on any recording projects? If so, what would Daniel Emmet 2021 sound like?

Daniel Emmet: I am! I can’t say much just yet, but I can promise new music on all available streaming/digital download platforms this year! 2021 is off to a killer start, just this week I performed my first live, in-person concerts of the year, and I’m working on some interesting and challenging projects (d oing some things I’ve never done before!), and more details will be available soon! Not to jinx it, but I feel that this year has some great things in store.

Out Now!

danielemmet.com Photos Credit: Killer Imaging

Sons of serendip Classical Crossover musical group Sons of Serendip instrumentals and vocal talent meet each other in an inspiring and contemporary mix of sounds. The group features Micah Christian, Kendall Ramseur, Mason Morton, and Cordaro Rodriguez and as they share, the founding of their group was anything but accidental. We spoke to them about their musical adventures so far and their latest release Mosaic.

Natasha Barbieri: Your group has a very refreshing modern sound that is grounded by the classic instrumentals. Was there anyone who influenced you in creating the sound that is Sons of Serendip today?

Cordaro Rodriguez: It would be difficult for me to find someone that I can definitively say influenced our signature sound. I initially thought our sound was the natural byproduct of putting a harp, cello, piano, and a singer together. But I’ve since learned that isn’t necessarily the case. I once heard another quartet perform with the same instrumentation and it sounded nothing like what we do.

So, I’m now led to believe that our sound is born from something less articulable. There is an interaction of pain, yearning, and hope in what we create. It’s almost as if our music is saying to someone, “I know it hurts; I can feel it. Here, maybe this will help.” These sentiments are timeless, and so our music might always feel modern–speaking to what we all experience now–and yet classic–speaking to what

humanity has always experienced.

Who influenced our sound?

Everyone who said you’re good enough, and not good enough.

Everyone who cried over or laughed at our music. Everyone who said “never change” or “maybe try this.” Anyone who has meaningfully crossed each of our paths for better or worse probably has shaped the sound of the music we create.

Natasha Barbieri: What is the story behind your group name Sons of Serendip?

Micah Christian: We wanted a name that resonated with how the group came together. We researched a number of words, and serendipity was one that stood out. When we looked in the history of the word, we learned that it comes from a 12th century Persian tale, “The Three Princes of Serendip.” In this tale, three princes go on a journey and make discoveries by accident that benefit their lives. That’s kind of how we came together as a group. We weren’t looking to become a group; it fell into our laps while we

pursued other dreams, and it has definitely benefited our lives.

Natasha Barbieri: You each have very unique stories of how you ended up at Boston University (and therefore meeting each other). Tell us a little bit about your journeys.

Mason Morton: My journey to Boston came full circle. I began the harp in my hometown of Atlanta, Georgia from the recommendation of my chorus teacher, Roselyn Lewis at age twelve. I had the privilege of studying with principal harpist of the Atlanta Symphony Orchestra, Elisabeth Remy Johnson and principal harpist of the Atlanta Ballet Orchestra, Nella Rigell. I then went to Houston, Texas where I graduated from Rice University with a B.M. in harp performance from Paula Page. Upon graduation, it was suggested that I study with Ann Hobson Pilot in Boston for my MM in Harp. It is often thought best to earn undergraduate and graduate degrees from different places of higher learning.

Fortunately, I already knew Mrs. Pilot from her giving me my first master class at age twelve. We worked well together then, so I thought it would be wise to study with her ten years later in graduate school.

Being aware of her legacy, I also thought it would be an honor to study with the first African-American woman to play principal in any major US orchestra.

After being accepted into BU, I was ready for Boston! However, I did wait until one week before school started to find housing. Fortunately, I had a friend that knew of a place off- campus that had housing. Just one room left. When I arrived, the door opened and I met another future BU alum. But who did I see

down the hall? Who would become my first roommate and friend in Boston? Kendall Ramseur.

We quickly became friends from our both being students in the College of Fine Arts at BU and having similar backgrounds coming from the south. One year later, Cordaro moved in. Those were wonderful times. In one place was three- quarters of what would become Sons of Serendip! We were almost complete. I later met Micah in 2012 through Cordaro, and from seeing him at the library. He always had his head in a book.

Micah Christian: After graduating from undergrad, music was not the first path I wanted to follow. I knew that I wanted music to be a part of my life in some capacity, but I didn’t expect it to become my career. I spent a year as a volunteer in Honduras. Once I returned stateside, I spent my days working as a paraprofessional in a special need’s classroom and my afternoons and evenings working at a nearby Boys & Girls Club. About halfway through the school year, I decided to apply for Teach for America (TFA), and my plan B was to study at Boston University School of Theology. To my surprise, I was accepted to both TFA and BU, and I had a couple of weeks to make a decision. It eventually came down to the final day, when I received a call from a TFA representative, who shared that something within her made her feel that I belonged at Boston University.

Cordaro Rodriguez: At Princeton, my pre-law advisor recommended that I apply to Boston College Law School. I took her advice but made a serendipitous mistake. I applied to Boston University School of Law. I

didn’t even know there was a difference until after I enrolled and started attending classes. The realization occurred to me one day while riding the street train (the Green Line), on my way to class. I noticed that the final destination of the train was “Boston College,” yet my actual stop was nowhere near the end of the Green Line.

Confused, I went through some old emails and saw that my advisor had recommended Boston College, not Boston University. That small mistake set me on course to meet Micah, and reunite with my childhood friend, Kendall.

Kendall Ramseur: My journey to Boston went into motion after I auditioned for Boston University’s graduate program for Music Performance with a concentration in cello. I’d heard a lot about the university’s music program as well as one of the cello professors, Marc Johnson, former member of the Vermeer String Quartet. So I flew to Boston to have a lesson with Marc.

His approach to the cello was amazing, and I felt like I connected with his teaching style immediately.

So I auditioned for the master’s program and for his studio. Both were a success, and I headed to Boston from North Carolina that Fall.

When I arrived, one of my first roommates was Mason Morton. We connected instantly both having similar backgrounds in music and being from the south. Then to my surprise, I discovered my childhood friend Cordaro Rodriguez was living in Boston, and on top of that, he was also attending Boston University. One year later, he moved in with Mason and me in Cambridge, MA. Those were some of my fondest memories. I later met

Micah Christian through Cordaro and the rest is history.

Natasha Barbieri: Kendall, I love the story of how you came to choose the cello. Can you share it with us and how that freedom impacted your musical journey later in life?

Kendall Ramseur: When I was in elementary school, my music teacher placed all the stringed instruments on the floor and asked each student to pick which instrument they wanted to play. I remember going through each instrument and thinking okay, the violin is a little too screechy, the double bass was too large, and I would probably struggle to get it on the school bus, the cello is perfect!

Its tone and resemblance to the human voice drew me in. Soon after I chose the cello, my school took all of its music students on a field trip to hear cellist Yo-Yo Ma perform the Schumann Cello Concerto with the Charlotte Symphony Orchestra. I remember sitting there in awe, hearing how he used the cello to express himself was absolutely amazing, and that was the day that I decided to make the cello my instrument of choice for self-expression and storytelling.

Natasha Barbieri: Micah, as a freshman you became part of the acapella group Hyannis Sound.

How did that help you develop into the vocalist you are today?

Micah Christian: Those summers were some of the most important learning experiences for me as a vocalist. I was surrounded by nine incredibly talented vocalists from all over the country, and we performed 90-100 concerts per summer. It was like a vocal bootcamp, and it helped me

develop a solid foundation to build on.

Natasha Barbieri: Mason, your bio mentions the importance of mentor’s belief in you. Share some of the special moments that helped give you the confidence to pursue your dreams professionally.

Mason Morton: I believe mentors are very important. Nella Rigell is one of them. She always encouraged me to share my gift with the world. To take a chance. I will always remember when this served me well. It was an audition, which took place behind a screen, that I wanted to win to play the Ginastera Variations. While I did not get the part, the comments I received will last a lifetime. Ann Hobson Pilot really helped to give me confidence to pursue my dreams professionally through our weekly lessons where she would give musical and life wisdom. She also invited me to many of her concerts where we would chat even more and she would share some mantras such as: “There is no such thing as can’t, “This to Shall Pass”, and do your best. This truly benefited me over the years. Those words gave me the confidence to play live radio for WGBH in Boston.

Mrs. Pilot said, “Every note was right!” That gave me the confidence to aim for more professional opportunities. It served me well as I went to perform briefly for CBS Sunday Morning, and ultimately audition before our nation on America’s Got Talent with Sons of Serendip.

Natasha Barbieri: Cordaro, you began music so early and then went on to study Law. What inspired you to make that career change at that moment in time?

Cordaro Rodriguez: Law school was my initial goal as early as middle school. While I truly loved music, I didn’t really believe I could make a living as a musician. But I kept at it because I enjoyed it so much and people around me encouraged it.

After law school, I only practiced law for a year. The real career change occurred when I ended up on America’s Got Talent with Sons of Serendip. After that, things advanced so quickly with the Sons that the idea of returning to law did not seem to make sense. I was doing what I loved to do.

Natasha Barbieri: It seems like most of you have taught music (Cordaro at the age of 10!) so how does having that teacher’s background add to the dynamic of your group and how you work together?

Kendall Ramseur: To be honest, I have never thought about this, but I think our teaching backgrounds help us to be patient with each other when working out our musical parts. We all understand the creative process and the fragility of the creative process. Keeping this in mind, we all try to be supportive of each other and open to ideas.

Music is so subjective, and there is never one right way of doing things.

Natasha Barbieri: Micah and Cordaro you’ve both spent significant time sharing your gifts in other countries. How did that change your worldview when you came back and even your goals for Sons of Serendip?

Micah Christian: I spent two years volunteering in Central and South America and a month in Calcutta, India. These experiences stretched me and were crucial for my personal growth. I learned a lot about resilience, community, and

service. I also gained a deeper sense of calling and a better understanding of how to show love across cultural boundaries. These experiences have informed my approach to music, making it less about fame, and more about creating musical experiences that help make people’s lives a little better, even if just for a moment.

Cordaro Rodriguez: I spent a summer in El Salvador while in undergrad and taught English in Ecuador for a year right before law school. In both instances, the thing that helped me immediately integrate into each community was music. I played the piano or guitar for some of the churches and would jam with my host family and new friends. Even though I wasn’t completely fluent in Spanish, I was able to commune with everyone through music. For me, it was a case study in the uniting power of music; it transcends language and culture.

Natasha Barbieri: What have been some of your most memorable performances to date?

Mason Morton: We have done quite a number of performances.

This question is hard! So I will choose two. For me, our performance in Guelph, Canada is very memorable. I don’t recall the name of the venue, but the stage was magnificent! The lighting, the audience, and everything about this show was so well put together that it felt like being on NBC and America’s Got Talent again.

Additionally, I think all of us were grateful to be alive to play this one after not long surviving our encounter with a bull moose! My other memorable performance would be in Barbados. This was fun

because it was the first time we performed internationally. This performance took place downtown in a square for an event.

The beaches, the food, and the people were fantastic. Would love to go back there!

Cordaro Rodriguez: Honestly, I have a terrible memory. But the one performance I could never forget was our first one on the stage of America’s Got Talent. I was nervous and had no idea what to expect.

But as soon as we walked onto the stage where our instruments were placed, the crowd erupted in applause. They were so for us and we hadn’t even played a note.

Perhaps they were surprised when they saw us. But whatever the reason, it gave me enough confidence to perform and never forget the experience.

Kendall Ramseur: My most memorable performance would have to be performing at Radio City Music Hall for America’s Got Talent (NBC). The opportunity to be able to perform on a stage where so many icons have performed, was extremely humbling. It was beyond what I could ever have imagined to perform in front of thousands of people, and then millions of viewers through television. There was so much support while we were performing before and after the performance.

It was on that stage that we discovered that we were meant to be a group, and were meant to bring comfort, encouragement, and healing to our nation, and ultimately the world.

Micah Christian: During the summer of 2014, our first paid performance as Sons of Serendip was at a local nursing home. It was our most

difficult performance for a couple of reasons. First, I forgot all the cords for the equipment, so I had to sing on a karaoke machine, while Cordaro played on a child’s keyboard. Secondly, because we had been preparing for America’s Got Talent, all we knew were shortened versions of the songs, so we ran out of material. Trying to fill up the time that day became a complete circus act. It was a disaster. lol Nonetheless, after the performance, we went to celebrate at McDonald’s, and we began to dream about what we hoped to see in our future as a group. One of the dreams that came up that night was that, one day, we wanted the opportunity to perform with orchestras. Exactly one year later, we were invited to perform with Keith Lockhart and the Boston Pops for the 4th of July celebration in Boston, MA. It was unreal. That moment was special because it was a reminder that dreams really can come true.

Natasha Barbieri: Tell us about your latest album Mosaic and your

approach to crossing over through various genres.

Micah Christian: “Mosaic” is our most creative and personal album, yet, as eight out of the fifteen songs on the album are originals. Much of this album was recorded while we were in quarantine, so many of the covers were songs that capture the spirit of our time. And the originals shared more about our personal stories of love and hope.

When we approach an arrangement, Cordaro will usually lay down the structure, and from there, through improvisation, we build an arrangement that we’re excited about. Each of us has had a variety of musical influences, which make their way into our arrangements and compositions.

The name, “Mosaic,” we believe would capture the variety of influences and stories that you’ll hear throughout the album.

sonsofserendip.com

Cover Story

Nadia Eide

Soprano Nadia Eide starting singing at the age of 12. “I was kind of an all-around performer. I used to dance and sing and I was a gymnast – all sorts.” This rounded background made her an ideal fit for the stage. Equipped with classical training, Nadia found herself in demand in both musical theater and opera productions such as Grease, Phantom of the Opera, Don Giovanni, and The Magic Flute.

While building her resume and looking for acting work Nadia increasingly turned to concert gigs as a way to support herself. “The singing kind of took over more and more,” she admits which was surprising. “I never thought anyone would be interested in me singing my music, [or] me as an artist because being an actress it’s such a different thing.”

Moving away from playing a character that was largely determined by the director’s perspective was a new experience.

“It was really scary to kind of step out of that comfort zone and be myself, it sounds really odd, but finding your persona, like who you are on stage is a very different thing.”

The vulnerability paid off though and Nadia shares, “Now I couldn't wish for anything more. I really enjoy working for myself. I really enjoy creating music, I love creating new arrangements and pushing myself musically.”

Nadia’s first single Fall on Me went to No.1 in the Official iTunes Classical Charts - an incredible achievement from an independent artist. She has continued to build her resume as a soloist with

appearances and tours around the world. Nadia has been featured on television numerous times and even appeared on BBC One’s Pitch Battle in 2017. And then the covid19 pandemic hit.

Like artists around the world, Nadia found her carefully scheduled plans and performances completely canceled and began to settle into the “bizarre” new routine. “I do think as a performer and selfemployed people or artists in general, we're kind of used to the kind of the ebb and the flow of work. So, I would say [we’re] probably a little bit more prepared to deal with these kinds of scenarios, but it is very crazy to kind of suddenly be faced with so much uncertainty.”

Many performers initially found it difficult to stay motivated and everywhere the lack of support for the arts seemed to send the message to switch careers. “I remember at the start of the lockdown, I found it quite hard to practice. You know, mainly because of what's going on in the world, I just felt like I lost a little bit of the inspiration at the start but then slowly it started coming back.”

And boy did it ever! Nadia was featured in a variety of online shows (including our own Lockdown series) and then created her own carefully crafted performances. Her creativity was shown throughout by the varying repertoire and guests (including Jay Dref, The Dutch Tenors, Aliki, and more). To date, her concerts have over 62,000 views. It was clear that Nadia’s talent was long overdue for the world stage.

In February 2021 Nadia Eide was standing on the BBC One stage ready to perform at The Voice blind audition round. This was her moment but it had been months since she performed for a live audience, would she be able to handle the pressure? “I was unbelievably nervous! I had lost a whole year of concert bookings through 2020. I did my best to keep music alive during the lockdowns but nothing compares to singing live on stage.”

With her young son watching at home, and her husband (baritone Michael Storrs) backstage, Nadia seized the opportunity. Performing Now We Are Free she brought the power and high notes – and the judges were ecstatic. For Nadia though there really only was one choice as to her mentor. “Honestly, I auditioned for The Voice just to work with Will. I have been a huge fan of him for years. I believe his creativity, showmanship, and personality work so well with me. I just had a good feeling about him – and it turns out he really wanted to have me too!”

The crossover community immediately rallied around Nadia and she describes being “blown away by the support and reaction from my audition. It’s been a few years since a classical singer has broken through on The Voice, so I’m soaking up every second.” Still, a classical singer had never won The Voice. Did she face some misconceptions of what a ‘classical’ singer meant? “Oh always,” Nadia tells us but clarifies, “Never from the film crew or music team. But other singers I still feel just don’t know anything about the

genre as it’s not in mainstream music. Still, there is always respect for what I do. And people approach what I do with an open mind.”

She remains unwavering in her passion saying, “This genre is so exciting and can be so powerful given the right packaging. The classical repertoire truly is the best base technique for any vocalist. It’s such a diverse genre with so much scope for reinvention. I would love to convert those people who aren’t classic music fans yet.”

Nadia’s journey on The Voice was hardly easy though. It was revealed she was competing while pregnant with her second child – and, in the midst of a home renovation! “I just know what I want and work hard at getting it. I never thought I’d end up getting so far on the show whilst pregnant so I’m incredibly grateful to the show for the support they gave me. It was tough. Pregnancy drains your body and mind from all energy so I think that was the toughest thing to deal with. My toddler is a great boy so he just gives me energy and something worth fighting for. Also, I couldn’t have done all this without my husband Michael by my side. He supported me all the way.

Ultimately, it’s down to how much you really want to make a difference. And I was never going to let an opportunity like this pass me by, pregnant or not.”

Nadia calls her husband’s joyful reaction to her audition “priceless” and also shares that her little boy was just as excited. “He gave me a huge round of applause. He is just adorable and it makes me so teary

to know he loves seeing his mum on stage.”

Nadia made it to the semi-finals of The Voice. “I am so thrilled to have made it to Will.I.am’s final two singers. We were both winners and finalists in my eyes. My favorite memory was working with Will for the Semifinals. We had such a great time preparing the song. The rehearsals were such a fun time!”

Her final performance was The Show Must Go On. Being featured on a platform as big as The Voice has doubtlessly provided an incredible level of exposure and will open doors for Nadia in the future. “I’ve been so lucky but I want people to know it has also taken me many years to get to this point. Nothing in the music industry comes easy and there is an enormous amount of preparation that goes on behind the scenes. I hope to be able to finally be able to break through, make some waves with my style, and most importantly put the classical crossover genre back on the map!”

If anything, The Voice has given Nadia confidence to continue being uniquely herself. As when she first started to perform as Nadia the woman and not a character, the vulnerability will be part of her continued success. “It takes bravery to not be like or sound like everyone else.”

What lies ahead for Nadia? “I have achieved my first goal. Which is to tour the UK with my concert show.

It’s still a tough time with the backlog of artists wanting to book

venues etc. And many labels are still recovering from the pandemic.

But I like a challenge and I’m working continuously behind the scenes to create some more magic.” She hints at an “exciting collaboration” coming soon and states: “Musicals and operas are still very much a part of my life. Though music gets most of my time. If there is an opportunity I will be there!”

Whatever else the future holds a big part of Nadia’s journey will remain using her music for a purpose. “I love helping people with music.”

Nadia set up the Project Rainbow charity to help sufferers with Lupus and particularly her own twin brother who is struggling with the disease. “The cost of treatment and medication is immense and I just wanted to do my part to help.”

“For years I was thinking, God, should I do something more useful with my life? You know, I was thinking I should be a doctor or a vet or something that could help people. Sometimes I was thinking, you know, is singing really something that can help people?”

But through the lockdown, Nadia has seen true purpose.

“Entertainment is so important. I think it's escapism from what we're dealing with or it's, you know, evoking memories or anything.”

The reaction from her fans telling Nadia that her music has impacted them is in her words “my biggest reward.” The power of music to relive memories of loved ones, and take listeners on an emotional journey, “It’s what we need right now.”

Available Now!

nadiaeide.com

Sophie clarke Sophie Clarke is a classical crossover mezzo-soprano. She has already become a seasoned performer both on stage and on the street through busking. Sophie has recently been chosen to sing and represent the classical crossover genre at the Miss England 2021 final event. So we decided to get to know her a little better.

Natasha Barbieri: What was the moment when you thought ‘Right, I’m going to be a singer?’

Sophie Clarke: I’ve been singing and dancing for as long as I can remember. My love for performing arts began when I started baby ballet aged three at Procter Dance Academy in Liverpool being taught by the wonderful Miss Lorna but I began singing properly when I started primary school. My mum said she always thought I could sing, which was confirmed by my first school teacher Mrs Hubbard, and I sang my first solo of ‘Away in a Manger’ at the school carol concert aged four. I’ve been singing ever since under the guidance of my amazing singing teachers Ranee Seneviratne, Adrian Clarke, Bee Husband and Mary King.

Natasha Barbieri: You studied Musical Theatre for your BA Degree.

What were some of the highlights from this experience?

Sophie Clarke: The lovely cafe! I’m only joking. There are many highlights from my time at Trinity Laban Conservatoire of Music and Dance, but I’d have to say playing Bobbi in ‘City of Angels’ in my third year was one of the best experiences. I got to sing the most beautiful Jazz inspired songs and wear stunning 1940s style costumes.

Another highlight was dancing at London Fashion Week for the designer Edeline Lee which was very different to anything I have ever done before. The rehearsal schedule was very tight but it all came together and working with models from all over the world was fabulous.

Natasha Barbieri: For your Master’s, you were awarded a scholarship to study Classical Singing and Opera.

What has it been like for you so far?

Sophie Clarke: I haven’t started my Masters yet at the Royal Northern College of Music, but I’m so excited to start this September! This audition season was all online and I found

out about my scholarship and place in December 2020, which was the best Christmas present I could have asked for. I also have a very kind sponsor, Peter Snook, who is supporting my training and career. The conservatoire offers so many opportunities and I’m looking forward to being able to work on my classical singing after my musical theatre degree.

Natasha Barbieri: What has been one of your favorite roles to sing (either in a musical or with an orchestra)?

Sophie Clarke: I have to say I think my favourite role was when I was the Mezzo-Soprano Soloist in the latest production of Bernstein’s ‘Mass’ at The Royal Festival Hall, Southbank Centre.

Marin Alsop flew in from America to conduct and we had Mary King as Vocal Coach and Jude Kelly CBE as Director. I think it was a very special experience for me as it was my first professional theatrical role and I was still only a first-year student, the other soloists were industry professionals. Even though ‘Mass’ is a more unusual work by Bernstein, his music is so captivating and I’m very grateful I got to perform such an iconic work. More so Bernstein’s Son and Daughter were in the audience!

Natasha Barbieri: Tell us a little bit about being featured on the BBC program, All Together Now. Sophie Clarke: It was such a wonderful opportunity! I was the

youngest performer on the show and it was my first time on television, which was very eyeopening as it is rather different to theatre and concerts. The team and other performers were lovely and overall, it was a very positive experience. I’d love to do some more TV work again in the future.

Natasha Barbieri: You’ve done quite a bit of busking how has that helped to hone your skills for performing onstage?

Sophie Clarke: I started busking in Liverpool when I was fifteen years old to help fund my performing arts training and I’ve never looked back. When I moved to London to study for my degree aged eighteen, I started busking in Greenwich too, in addition to Liverpool. Not only are the people in both cities so kind and generous, busking has enabled me to grow in confidence, learn new repertoire in a short amount of time and receive so many more opportunities. For example, in October just gone, I was busking outside Greenwich Park and a gentleman took one of my business cards. This led to me performing at The Ned – a 5 Star Hotel and Private Members’ Club in Central London alongside my trio, pianist Nicole Johnson and Saxophonist Natacha Hansen; the gentleman turned out to be one of the members. I now busk regularly in London and Liverpool to help raise funds for my Masters. I think if you’re brave enough to stand there with nothing but a speaker, microphone and a bucket, you can do anything!

Natasha Barbieri: Although you are quite young your charity work is already extensive. When did you get started and what are some ways musicians can start using their talents to help others?

Sophie Clarke: When I was around eight years old the Lord Mayor of Liverpool at the time heard me singing in a school concert and invited me to perform in his yearly charity concert. Since then I have been a regular guest soloist for various different charity concerts and events every year and I’m very grateful to have been able to sing for over thirty-five different charitable organisations. Most prominently I sing for the ‘British Heart Foundation’ helping to raise funds for defibrillators to be installed into public spaces such as schools and leisure centres.

Singing in charity concerts has helped me as a singer in so many ways, it has given me stage presence, confidence and allowed me to perform with amazing singers, choirs and bands from all over the world. For example, I was asked to sing a duet of ‘Beauty and the Beast’ with the Voice of Disney Peabo Bryson in a charity event organised by the late David Gest in aid of Liverpool Cathedral.

I’d like to thank all of the charities who took a chance on me from age eight by inviting me to perform for them, I wouldn’t be where I am without them now age twenty-two.

In the current times I think the best way to start engaging with different charities is to do online live streams showcasing whatever your talent

may be and attach a Just Giving Link for a charity of your choice.

This is what I have been doing during Lockdown and with the help of Ian Pendleton, who shares my content to his page ‘In My Liverpool Home’, I have been able to reach a wide audience. When life starts to return to more normality contacting charities with ideas for concerts and events is a good step forward – they will always be keen to discuss your ideas and help make them a reality.

Natasha Barbieri: As a fellow vintage enthusiast I’m loving your style. When did you first begin experimenting with vintage styles?

Sophie Clarke: Aw thank you so much! I’ve always been a bit of an older soul in terms of fashion and music but I started to wear more vintage fashion when my voice matured around age sixteen as I started to become more interested in Jazz. I had my hair cut into a bob and it’s stayed that way ever since.

I’m often told my looks and voice are more from a different era and over the years this has developed into my artist image.

Natasha Barbieri: You recently released The Rose. What is it about this well-loved song that spoke to you?

Sophie Clarke: I think the words in this song are so touching and very relevant for the current times we are all experiencing. There is a sense of hope, that there is a light at the end of the tunnel and life will

return again. It also reminds us that living life to the fullest is so important – do not be afraid and take that leap into the unknown. I created a video to go with my recording of the song which included pictures of key workers who have risked their lives during the pandemic and also photos of performers who have worked so hard raising spirits via online content and outdoor performances.

organiser, the lovely Pat Hughes, I have been preparing for the event and selecting appropriate repertoire for the occasion. I have been asked to sing a selection of songs and will be discussing this with the Miss England Team nearer to the event which is scheduled to be in early summer.

Natasha Barbieri: What are some of the goals you are setting for yourself in 2021?

Natasha Barbieri: You were asked to represent Liverpool for Miss England 2021. Can you tell us a little bit more about how you are preparing for this event?

Sophie Clarke: I think my first goal is to release some more singles over the coming months in the lead-up to recording a full album in the near future which is something I have also wanted to.

Sophie Clarke: So I was recently asked to be the Guest Soloist at the Miss England 2021 Final and I’m very honoured to not only be representing my home city alongside Miss Liverpool Poppy Gerrard and Miss Liverpool Popularity Chelsea-Lea Stokes, but to also be representing the Classical Crossover community.

With the guidance of Miss Liverpool

I’m also hoping to perform at new venues in addition to the lovely places I have been very fortunate to sing at before. This is a great way to connect and work with different musicians, choirs, and fellow singers and perform for a wider audience.

Networking is so important for growth as an artist and this year I aim to continue this to take my career to the next level.

*Since this interview was first published online Sophie has released another two singles, “A Dream is a Wish Your Heart Makes” and “Born Free.”

Sophieclarkesinger.co.uk

Rebecca Winckworth Irish singer Rebecca Winckworth has graced stages around the world. She has performed with world-famous groups like Anuna, Celtic Woman, and Celtic Nights. During lockdown, Rebecca touched hearts by singing concerts from her balcony and then went on to organize a highly successful online concert series entitled, Citizens of Song.

Natasha Barbieri: Rebecca, you grew up with such a rich heritage of Irish music. What are some of the first songs you remember from when you were growing up?

Rebecca Winckworth: I grew up in a family [where] music was abundant! Everything from classical and opera, to jazz and musical theatre. We were also free to explore whatever music we liked and I remember taking eager trips to the CD stores to treat ourselves to the latest “Smash Hits” which we loved in particular!

I have to say that the first songs I remember learning were “There’s No Business Like Show Business” and “Castle on a Cloud”- both musical theatre classics, of course.

Natasha Barbieri: In addition to singing, you also play the piano and harp. What are your favorite parts of each of these instruments and do you often accompany yourself?

Rebecca Winckworth: I wouldn’t call myself a great pianist nor harpist at all, as I rarely practised enough to master them, sadly!

However, they are a wonderful foundation to music in general and teach us sightseeing much more indepth than vocal training alone would do. Nowadays, I accompany myself quietly at home when I am learning new music as I am a better reader on the piano than I would be purely singing. In particular, I adore the piano – it gives such a solid and yet versatile [accompaniment] to any genre of music!

Natasha Barbieri: Besides traditional Irish singing, you’ve also studied classical technique. What were some of the repertoire choices you enjoyed from your studies and did you participate in any memorable scenes/roles while studying classical?

Rebecca Winckworth: I had the pleasure of studying with some wonderful teachers over the years, including the renowned Mary

Brennan from the Royal Irish Academy of Music. Mary particularly focused our training on Italian arias, which I loved as Italian is simply the most romantic language in the world!

Natasha Barbieri: You became involved with Anuna while quite young. What was it like to grow up musically with such fantastic musicians?

immediately find their fanbase pretty welcoming?

Rebecca Winckworth: Yes, Celtic Woman fans are incredibly welcoming and encouraging. I had a lovely experience meeting them and seeing their support online.

Natasha Barbieri: Tell us a little bit about the other Celtic tours you have been involved with.

Rebecca Winckworth: Anúna was the beginning of everything in terms of my professional career. It was extremely formative but also extremely tough! We are expected to be at a certain level every second of every performance and in order to reach that we would practise one bar of music over and over for up to an hour sometimes.

Every breath, every word, every sound was analysed by Michael as he is a pure musical genius and perfectionist, and in retrospect, I learnt so much!

Rebecca Winckworth: I have been the lead singer in Ragús, Titanic Dance and also one of the leads in Celtic Nights. With these groups, I toured the length and breadth of USA, Holland, Belgium, Germany, China and Japan. All of these shows are a mixture of Irish dance, song and music and we had an absolutely brilliant time with a lot of overlap in the line-up between the productions. So we became more like a family than simply colleagues, and boy, did we raise the roof in those theatres!

Natasha Barbieri: Did you have a favorite song or solo during your Anuna years?

Natasha Barbieri: You’ve developed quite a following/repertoire in South America. What are some of your favorite things about the language and places you have visited?

Rebecca Winckworth: I love all Anúna music- there is something so special about it that I cannot put into words. Anúna is more than music, it is an entity too. If I had to choose my favourite pieces, they would be Pie Jesu, Danny Boy, and Midnight.

Natasha Barbieri: Celtic Woman is truly beloved especially by American audiences. Did you

Rebecca Winckworth: I began my South American adventures in Buenos Aires, Argentina, and from the moment I landed, I fell in love with the culture and the people. It is a city that feels alive! Alive with music, excitement, great food, kindness, and fun, and I cried like a baby when I had to leave for an onward journey to Chile. I hope to return one day as it is truly magical.

Aside from that, I have to recommend the food in Lima, Peruit is a food capital of the world and even the street food is mindblowingly delicious! Mexico too, is a must-visit for any food-lovers, and a hugely diverse country to travel around. Though in general, my heart is here in Colombia, Medellín, which is a city that will surprise you when you come to visit. It is peaceful, brimming with nature, and music is a part of their way of life here. Imagine everything from salsa, to Opera, to reggaeton, to tango, and more…. it’s really one of the most musically diverse places I have ever known.

In terms of the Spanish language, well…. I love it! I prefer it to English as there are verb tenses that don’t even in exist in English and allow us a lot more flexibility in terms of describing the probability and reality of something. I also love the rolling “r” sound which I learnt in my singing warm ups, and now get to use in everyday speaking- it’s a really fun and dramatic sound to make!

Natasha Barbieri: You were in Colombia during the lockdown and started sharing music from your balcony which went viral on social media. What made you start and what are some of your favorite memories?

Rebecca Winckworth: The first night I went out to sing is an experience that I still cannot explain. In my ordinary life, I would never dare sing in public like that, but a feeling inside of me, just told me to sing and of course, from there it

became a nightly song for 2 months with my neighbours contacting me on social media and even writing letters and sending them to me, since we were not allowed to leave our buildings to meet in person.

A lovely moment was when a little girl from across the road sent me a handwritten letter and a facemask as a gift saying that it was the favourite moment of her day and from there, she began to simply call out my name and wave from her balcony every now and then during the day – a sweet little one around 8 years old but of course, I would not recognise her as her building is far away!

Another wonderful moment was when someone reached out on Instagram to say that they lived in another city, however their parents were my neighbours, and they would have a nightly family Whatsapp call to share the performance together. He said it was so fun and they loved guessing what song I was going to sing. It became a “family thing”!

Natasha Barbieri: You’ve combined folk and jazz in your most recent EP Together at El Alto. Please share some about your team and the selections chosen.

Rebecca Winckworth: That was so much fun! A lot of that was improvised on the day and so you might see the body movements between us as we were quite literally reading cues from each other. The wonderful group who joined me “Familia Solé” are all from Medellín – mostly jazz performance

students and we came up with the song choices whilst trying to find repertoire we would have in common. The arrangement was created by literally jamming together!

Sam Farley on piano and David Cantoni on saxophone for Gracias a la Vida and Alfonsina y el Mar…. well, they are pure geniuses! Sam is from the US living and teaching Jazz at EAFIT University in Medellín and David is Argentinian living in Mexico.

David happened to fly into Medellín for vacation the night before and came along as a friend of Sam’s for fun so we just improvised with him over what Sam and I had roughly arranged. Gracias a la Vida is a song I heard in Chile written by Violeta Parra and in English it means “Thank you for life”. This was the last song she wrote before taking her own life by suicide. It is like an anthem for me now – an anthem to life. Alfonsina is a song that I learnt in Argentina and again, I find the words incredibly poignant and the melody so interesting. It’s sadly about a lady who takes her life by walking into the sea and not returning.

Natasha Barbieri: You’ve had a Christmas tour for some time back in Ireland but this year obviously everything changed. So instead, you provided a stage for performers from around the world with Citizens of Song. Walk us through the timeline of putting that together and some of the lessons (and challenges) that come with a virtual concert series like this.

Rebecca Winckworth: This was just a pure moment of naivety and the universe bringing me an idea without any kind of planning!

Looking back on it now, I cannot believe what we achieved without any experience whatsoever in online productions! I just felt sad seeing what was happening to the industry and thought that putting on an inspiring musical concert would bring some hope and joy. I really had NO idea how much work that was going to take to turn around in two weeks. I was honestly sick in bed for a week after the show as I didn’t sleep or eat from the moment I decided to pull it off!

Since then, I have learnt more about how to make the productions run more smoothly, but it still takes a gigantic amount of time and energy! On the tech side of things, I do have a great team here in Medellín for graphic design, animation, sound engineering and video editing, and so that really helps as those are things that I simply could not do alone.

The lessons I have learnt is that anything we put our minds to, we can achieve. There is no point in panicking, it’s simply a matter of putting one foot in front of the other and working, working, working. I have had streaming disasters, or the courier with the concert hard drive going missing during a thunderstorm, our animator nearly being killed by a landslide the night before the concert and so much more, but you just have to find a solution to the problems as they arise, and then plan for them the next time in advance. Well, I certainly will not let my animator nor streaming guy go driving their

motorbikes during extreme weather again, mind you!

I have also learnt that we are so much more alike than we would normally believe. This pandemic has broken down borders in terms of geography, religion, spoken language and allowed artists from all walks of life to “share the stage” as equals. From Argentina to Mexico, Colombia to Australia, Europe to the States, we are putting together line-ups that could never happen on a physical stage, as it would simply be far too expensive.

From the Colombian peace choir made up of ex-FARC members reintegrating into civilian life, to the stars of Broadway and everything in between, it’s truly inspiring to see us come together and share in our shared language of music.

Natasha Barbieri: 2020 has made it clearer than ever the power of music and as we hopefully look for

a brighter 2021 what are some of the projects you are looking to share with your audiences?

Rebecca Winckworth: I am in the middle of putting together another huge Citizens of Song production for St. Patrick’s Day which will be streamed online on March 20th at 8pm Irish time or 3pm NYC time featuring spectacular Irish dancers, musicians, singers, orchestras, choirs, dancers and more! After that, we will produce a full festival of music from Medellín in April! And then after that, you can be sure there will be many more concerts in new musical destinations. The trick is to simply not stop, because when I stop and take stock of what we are creating, I realise how exhausting it is! But if we just keep going, we keep creating, and that creating is inspiring and bringing people together from all around the world when we need it most…so we simply can’t stop!

rebeccawinckworth.com

Paul Ettore Tabone Paul Ettore Tabone is known as The Tenor From Oz. He has performed on stage in opera and musical theatre roles and recently released his debut crossover album, This is Me. Natasha Barbieri: Tell our readers a little bit about the special moments of your childhood?

Paul Ettore Tabone: I think the most special moment of my childhood was growing up on a sugar cane and pumpkin farm. Every time Luciano Pavarotti came on TV I was completely fixated. This man, his voice, and opera just inspired me.

You can imagine that my parents were shocked since we are from a very small town in the middle of Queensland (Australia), In what is essentially a very sport-dominated town. My family supported me my whole life in my love for music and that has to be the most special moment of my childhood.

Natasha Barbieri: Early on you became fascinated with the great Pavarotti. Obviously, his voice was one of a kind but what was it that drew you to him specifically ?

Paul Ettore Tabone: As a child, I think I was drawn to him through his passion and his beautiful smile. That gorgeous big beautiful smile radiated throughout the theatre in every area no matter if it was sad or happy. Later on in my life when I fully understood what he was doing through his Pavarotti and Friends

concerts, I realise this man was in fact trying to save Opera by making it popular again. When I moved to Italy in 2011 this became a full-circle moment for me because I was taken into the Luciano Pavarotti Foundation.

Natasha Barbieri: Your sincere respect for Pavarotti has seen you perform at the Luciano Pavarotti Heritage Concert and now work with his wife/manager. What are some of the things you'd like to leave as your own legacy?

Paul Ettore Tabone: While I was in Italy I audition for the Luciano Pavarotti Foundation in 2011 and from there I performed in a variety of theatres including the arena in Verona And at the New York city centre (Broadway). This was the beginning of a wonderful career for me in opera which led me to a variety of opera houses all around the world. During my time in the foundation, Nicoletta was very supportive and I owe her so much for the opportunity and support, that she gave me.

Natasha Barbieri: You were given the Most Promising Voice for Music Theatre award from the Central Queensland Conservatorium of

Music. What did this early validation mean for you as an artist?

Paul Ettore Tabone: I was extremely blessed to be given this award both in 2006 and 2008. It wasn’t a very common occurrence that a student receives this award two times out of their three years at the University. I owe my success to so many of my mentors at university including Judith Brown and Kim Kirkman who always pushed me to achieve greater things.

Natasha Barbieri: Quite soon after your graduation, you debuted in a new opera called The Dirty Apple.

How did you get that role and what were some key lessons you learned?

Paul Ettore Tabone: I was exceptionally lucky to have landed this role with Opera Queensland (Australia). In my first year out of university, I was able to demonstrate my skills as a performer in a great institution like this, in a world debut of an opera. I got that role through a general audition and was guided by Alison Rodgers who believed in me and my talent. This led me to move many other wonderful opportunities including my debut in Andrew Lloyd Webber’s sequel to The Phantom of the Opera called Love Never Dies.

Natasha Barbieri: What are some of the compositional characteristics that you enjoy from Andrew Llyod Webber as a composer?

Paul Ettore Tabone: I absolutely love Andrew Lloyd Webber music. I grew up infatuated with the Phantom of the Opera and thought it was absolutely genius. We can hear many pucciniano traits In this music and this is where my love for Opera stemmed. It is rare these

days to find musical theatre with such lush orchestration and I think this is the reason why I moved to Opera to begin with. Love Never Dies is equally as lush and I loved how much of the Phantom of the Opera music was used throughout the show. In my second year out of university, it was a dream come true to land a supporting principal role in this wonderful musical.

Natasha Barbieri: You also played Ubaldo Piango in the West End's production of The Phantom of the Opera for 4 years. That is a significant run for any performer, so tell us how you kept the role fresh and your vocal health intact?

Paul Ettore Tabone: I have now been studying Opera and classical singing for the last 12 years. It wasn’t until I met my teacher Fulvio Massa in Bologna in 2017, that I found the Melocchi technique which I believe has been my saving grace. During my time in The Phantom of the Opera, I sang over 6000 top c’s and d’s In over 1843 performances. I owe everything to him and this technique because without it I certainly wouldn’t have been as successful. Eight shows a week in musical theatre is not just a job but a lifestyle. But I have absolutely no regrets listening to that gorgeous music for the last four years of my life.

Natasha Barbieri: You've also performed in West Side Story, Rigoletto, Madama Butterfly, and Turandot. What were some of your favorite moments from those productions?

Paul Ettore Tabone: I have been so lucky to perform all over the world in opera from such a young age. At only 24-years-old I was first cast

Duca di Mantova In Stephen Barlow’s premier production of Verdi’s “Rigoletto” at the Opera Nazionala in Bucharest (Romania).

This has to be my most favourite moments in my career so far.

Stephen has been a huge supporter of my career and he was the one who gave me my chance.

The staging, orchestra, and experience just completely exhilarated and inspired me to keep going with my career. I absolutely adored how much Stephen loves musical theatre as well and it was completely refreshing seeing an opera director be so passionate about Musical Theatre. I am equally passionate about breaking the walls down between Opera and musical theatre in a hope of making both art forms equally as accessible to the public.

Natasha Barbieri: Are you drawn to certain character types or moods of music?

Paul Ettore Tabone: I am absolutely in love with Puccini. During my time in Italy and has performed regularly in Lucca, I fell in love with Puccini and the tradition of his music in this region. Verissimo Opera has a very special place in my heart. Yes, I am a tenor, but I am also an actor and I love to tell the story through my voice. This in combination with the exceptional music of Puccini, allows me to tell a story on an

emotional level far greater than most other art forms.

Natasha Barbieri: Given your resume, classical crossover seems a perfect fit, and This is Me combines the two worlds beautifully. Tell us a little bit about the behind-the-scenes of creating the album.

Paul Ettore Tabone: This album and all of its music have come directly from my heart. Every song means something to me. From my parent's wedding song to singers who have inspired me like Mario Lanza & Pavarotti. These two singers broke boundaries to try and make Opera popular. Mario Lanza was at times unsuccessful because the operatic public did not class him as an opera singer even though he was well qualified for that, because his music was too “popular”. I feel like that is what I am doing now. Every time I go back to my small hometown of Ingham in far north Queensland, and I sing opera, people are enthralled even though they don’t necessarily know what I am singing about. What I wanted to do with my album was to inspire a new generation to appreciate the operating voice and that will be my goal throughout my career.

Just like Pavarotti did in his Pavarotti and Friends concerts. I want to continue this work and share Opera with the world.

Paultabone.com

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