Let’s Get to Know

Natalie Rushdie By Natasha Barbieri There will always be a market for beautiful music, sung well and this is one of the

greatest appeals of the crossover genre. Natalie Rushdie (formerly known under her

maiden name Coyle) was born in Falkirk, Scotland. Her pure voice, polished (but very

personable) stage and social media presence is warmly received by fans around the

world. A diligent student, Natalie graduated with a degree from Sheffield University

and continued to study voice. She won a place with the Royal Choral Society and

pursued a performance course from Associate Studios.

“I have had many different teachers

over the years due to moving schools

and going to university,” Natalie tells

us. “I started having lessons when I was

9 and I still have regular lessons now. It

is so important for a singer to have

lessons as we don’t actually hear our

voices directly. Sound comes out of our

mouth then goes into our ear (as

opposed to an audience member who

just hears the sound directly). These

days I have two teachers who work

together and who are both wonderful.

“As with many things in life, it is

important that your teacher suits you

personally and professionally, all of my

teachers have become my friends.”

Natalie has performed in Don Giovanni

and Carmina Burana at the Royal Albert

Hall and she has also performed in

concerts alongside crossover favorites

like Susan Boyle, Il Divo, Andrea

Bocelli, and Katherine Jenkins. One of

her first touring experiences was with

the band Blake.

“I absolutely loved touring with Blake,

the boys were wonderful and such

gentlemen! I learned so much from each

of them as they are such seasoned

performers; they helped me find my own

style and presence on stage.” Natalie

also experienced the group’s super fans

up-close. “One of the funniest concerts

was in Blythe where the audience went

crazy for Blake! At one point I thought

they were going to jump on stage and rip

the boys’ clothes off! We also did

Wembley Stadium together where my

shoes split open as it was raining, so I

walked on the pitch with my toes

popping out!”

The experiences did not deter her in the

least, in fact, Natalie dreams to someday

perform with Il Divo, Celine Dion, Idina

Menzel “and if Julie Andrews toured

again that would be the dream!”

Speaking of super fans, Natalie is in her

own words “obsessed” with Julie

Andrews. “I love her voice, the clarity

with which she sings is truly beautiful. I

would love to play all her roles to be

honest but my favorite was in The Sound

of Music, that was the first musical I

ever watched and it got me into singing.

I even went to Salzburg & stayed in the

hotel where The Sound of Music was

filmed - I would love to be Maria!”

Natalie has been nicknamed ‘The Voice

of Wembley’ after being the first singer

to sing there 5 times and she says

candidly that “I do still get nervous.”

With an estimated audience of 80,000

people though who could blame her?

“This time it was probably more nervous

excitement than fear but either way I

don’t think having nerves is a bad thing

as it shows you still care. I don’t think I

could ever not get excited about singing

at Wembley Stadium!”

The whole experience is “always an

honor” but this last time Natalie’s

favorite moment came “on the last note

of ‘God Save the Queen’ as the crowds

started cheering so loudly and I could

hear my voice echoing around the

stadium… it was just the most incredible

& exhilarating experience.”

Natalie has also made an impact by

giving back to various charities. “I think

it’s important to be involved with

charities that you have a personal

connection to. Through the Order of

Malta Volunteers, I took disabled people

to the South of France for my Duke of

Edinburgh Award Scheme residential

week. I enjoyed it so much that I went a

further 3 times, it was also the first time

I saw the effect music can have when

people had life-changing illnesses.”

These days Natalie is most involved

with Breath AHR a charity who “use

music in hospitals to help people

recover, relieve stress, Dementia

alymexia etc. I am the Patron of the

charity and regularly perform for them.”

In 2016, Natalie married Zafar Rushdie

in an elegant wedding weekend in New

York. She would “definitely”

recommend destination weddings to

other brides. “We spread the wedding

festivities over 3 days, which made it feel

like a big happy holiday surrounded by

people we love and care about. I am

very lucky that I married someone who

is super organized, unlike me (I would

forget my head if it wasn’t attached) so

that helped a lot.” In a recent interview

with Hello! Magazine Natalie shared

how her father-in-law (novelist Salaman

Rushdie) was also a big help with her

preparations.

After her marriage, Natalie changed her

stage name which she describes as

“exciting and daunting at the same

time.”

When she isn’t singing Natalie loves to

travel. She recently shared photos from a

trip to Russia. “I love traveling and

Russia was incredible! It was a life-long

dream to go there and I certainly wasn’t

disappointed - the buildings and culture

blew me away. I would love to go back;

they have such fantastic venues and by

coincidence, while there, I got to see my

wonderful tenor friend Jesus Leon who

was performing at the Philharmonia.” If

she had to pick a favorite place though it

would be New York. “I’m very fortunate

that I get to go fairly often and it always

makes me super excited and happy. I just

can’t get enough of the fast pace and

vibe of New Yorkers. An ultimate dream

would be to perform in New York…

maybe at Radio City Music Hall or

Madison Square Garden one day.”

Her mother recently booked Natalie a 6-

week cookery course at Leith’s School

of Cooking as a birthday gift. So is

cooking among Natalie’s favorite

things? “I was actually terrible at

cooking but I do enjoy it and I’d like to

think I am slowly improving.”

She describes herself as a “simple girl”

who enjoys spending time with family

and her dog ‘Pickle’.

At the end of the day, Natalie remains

humble saying, “I feel like I am still

discovering my voice! In July I am

making my debut at Live at Zedel and

will be singing some of the great Diva

songs… not necessarily my more typical

classical sound but I can’t wait. For me,

as a musician, the key is remaining true

to myself, sing songs I love and it’s as

simple as that.”

Fans will be delighted to hear that the

future will bring “more performances,

more exciting music and yes, of course,

an album is in the future.”

To follow Natalie’s adventures, visit her website on:

natalierushdie.com

Everything old is new again By Chantelle Constable

Ashley Marie Slater and Luperci de

Souza, founding members of classical

crossover duo "Classique," may be

shiny, chic, and modern, but their

passion for the scintillating music of

Hollywood from the 1920s to the 1950s

proves that "everything old is new

again."

Their first single, "Be My Love," was a

breakout crossover hit for the great tenor

Mario Lanza, while their second single,

"Amado Mio," first enchanted audiences

as it was lip-synced by Rita Hayworth in

"Gilda."

In this interview, Classique takes us

through some of their early influences,

and the reasons they are drawn to movie

music of the past: the source of classical

crossover as we know it today.

In the vast genre amalgam that is

classical crossover, what drew you to

the songs of early "movie musical"

and operetta?

We wanted to remain true to our

classical training and the songs we’ve

chosen really allow us to do so. We

really love the beautiful classical voices

of the movie musical era, in particular,

Mario Lanza, and we’ve received a great

audience response from songs of this

period. This era represents an incredible

period of music making in American

history as well and contains so much

fantastic music.

I see in a recent Spotify playlist you

shared that there is a distinct

Hollywood influence -- is this a clue to

what songs we can expect in your

upcoming album?

Yes! Both of our singles, “By My

Love,” and “Amado Mio” are from

Hollywood films of the 1940s and

1950s. Just as they do today, the studios

had wonderful composers writing music

for the silver screen, and since singing

actors were quite popular, there was

more of an emphasis on songwriting.

We’ve given many of these songs our

own spin, as they may or may not have

been written for a classical voice. For

example, one of Ashley’s favorite films

is the 1946 film noir “Gilda” starring

Rita Hayworth. In one of Gilda’s most

famous scenes, she sings “Amado Mio”

in a sultry nightclub. Inspired by Buenos

Aires where the film takes place, our

duet version is a fiery tango with piano,

solo cello and string quartet. All of the

songs on our album were written for or

featured in Hollywood films from this

era.

Who are some of your favorite

classical and crossover voices in the

industry, past or present?

Ashley: One of the first female voices

that I fell in love with and was greatly

influenced by was that of Kathryn

Grayson. I was amazed at her versatility,

easily going from songs to musical

theatre to opera, and how clearly she

articulated while still maintaining a

beautiful high soprano voice in a

classical style. As for contemporary

artists, I think Il Divo’s arrangements are

amazing and they choose great songs.

Luperci: Luciano Pavarotti is one of my

greatest inspirations, and the concerts he

did with the Three Tenors are favorites

of mine. Also, Andrea Bocelli, Josh

Groban, and more recently Il Volo do

some great work.

Are you partial to any composers?

Anyone whose songs you love singing

in particular? For example, your style

seems suited to Rogers &

Hammerstein.

We certainly love Rogers &

Hammerstein and have sung many duets

and songs from their repertoire in our

shows. We really enjoy doing songs

from the classic American musicals, but

absolutely love songs by Nicholas

Brodzsky, Jerome Kern, Sammy Cahn,

and Jule Styne, many of which were

included in Hollywood films! We also

have a soft spot for Andrew Lloyd

Webber and do his music whenever we

can.

What are your thoughts on retro

classical crossover: Deanna Durbin,

Mario Lanza, Kathryn Grayson, etc,

etc, vs modern crossover artists?

What lessons could each learn from

the other? How has the genre

progressed, and what elements of the

past should be (in your opinion)

maintained?

We are quite partial to these retro artists

as they were some of the first singers to

“crossover” into popular songs with their

classically trained voices. Mario Lanza

is one of our favorite singers and one of

our biggest inspirations as well for our

debut CD. He had a #1 hit on the pop

Billboard charts in 1950 with “Be My

Love,” which is an unbelievable

achievement for a classical singer! His

films certainly helped him get the kind

of exposure that led to his popularity in

the United States and abroad for the next

decade and still today. We think

contemporary artists could learn and be

inspired by his high standard of vocal

excellence and versatility. His voice was

rich, dark and full, and yet at the same

time, light and full of youth. He was

praised by fellow opera singers for his

phenomenal technique and received

“carte blanche” from some of the

world’s most prestigious opera

companies who would spare no expense

to have him sing in a production of his

choosing at their theaters while at the

same time appealed to a much broader

audience by singing popular songs and

film music. There are very few artists in

history who have been able to replicate

his success.

One really exciting aspect about

classical crossover is that it has certainly

progressed to include more genres. You

can hear artists, not just singers but

classically trained musicians as well,

crossing over not only just into pop, but

into rock, electronic, folk, symphonic

metal, etc. As a result, the classical

crossover genre has become more

widespread and includes a lot more

styles of music and when it is done well,

it really works. This is a very exciting

development and you can be sure that

there is something for everyone. For

example, besides our love for the retro

artists, we are big fans of 2Cellos and

their arrangements of Michael Jackson,

Sting and Led Zeppelin!

How do you think the vintage classical

crossover artists would have fared in

the "internet age”?

We think quality music and voices can

cross the boundaries of time. After

Mario Lanza came many successful

tenors including ones we’ve mentioned

before such as Pavarotti and Bocelli.

People love this music! And they love

the excitement that a classical voice can

bring, therefore we think Mario Lanza

would have been a big hit today as well.

Of course, his career would be taken a

different shape. The vintage classical

crossover artists were limited to films,

radio and tv shows for exposure,

whereas nowadays, thanks to the internet

you can choose the audience for your

music with the click of a button. Perhaps

he would have been able to sell even

more records had he lived in our time.

It seems that you both have a passion

for travel? How has that directed and

influenced your career?

Travel has certainly been a big influence

on our lives and careers. Between the

two of us we’ve lived in seven different

countries and speak six different

languages, and so much of who we are

as individuals and artists comes from our

lives and studies abroad. For example,

Luperci studied and launched his career

as a tenor in Scotland, but traveled the

world extensively as a child in a

renowned Brazilian boys’ choir. Ashley

spent years in Italy, performing and

studying the Italian bel canto singing

technique after completing a Bachelor’s

degree in New York. As performers,

we’ve been lucky to travel the world

singing for hundreds of people each

week on cruise ships, and we bring all of

these experiences to our concerts. Our

knowledge of the world and languages

helps us relate to various audiences and

it certainly affects the music we choose.

This next step in our career as a duo is

only possible thanks to our mutual love

of travel, living abroad and the musical

culture we have obtained in doing so.

What is each of yours' history in

performance? Classical training?

Theatre? Opera?

Ashley: I’m trained in opera and

classical voice, but have had the chance

to perform a lot of classical musical

theater as well. Another genre which I

particularly love is classical Art Song

(compositions written for voice and

piano, for example Schubert, Schumann,

Debussy, Fauré etc). After finishing my

bachelor’s degree in the States, I

followed an urge I’d had for some time

and moved to Italy: the country of my

ancestors. Over the years I spent there, I

debuted in operas and was invited to do

many Art Song concerts and even a

commercial recording of the complete

vocal chamber music of 19th-century

Italian composer Gaspare Spontini. In

Italy, I also had the pleasure to sing a

concert with a wonderful classical

crossover artist that you may be familiar

with - Frà Alessandro. Some of my

opera credits include roles such as Rita

(Rita), Adina (L’elisir d’amore) and

Susanna (Le nozze di Figaro).

Luperci: As a child, I’ve had ten years of

training in the oldest boys’ choir in

Brazil which was an amazing

experience; we even sang for Pope John

Paul II in Rome. As a member of this

choir, I had a very rigorous but effective

musical education which has served me

well throughout the rest of my musical

career. After finishing the choir and

attending a university in Brazil and

Argentina, I sang at the opera house in

Rio de Janeiro, as well as on Brazil’s

main TV channel Globo. I sang many

gala concerts for prestigious political

events and corporations in Brazil until I

was offered the chance to study in

Europe. After finishing my master’s

degree at the Royal Conservatoire of

Scotland supported by an ABRSM

international scholarship, I sang at

several concert halls and theaters in

Europe in roles such as Nemorino

(L’elisir d’amore), Tito (La clemenza di

Tito), and Tamino (Die Zauberflöte).

Who were your musical influences as

children; who first drew you into

singing?

Ashley: My dad had a Minnie Riperton

vinyl. I just couldn’t get enough of her

voice and her whistle register in the song

“Loving You.” Her voice was a great

discovery to me as it helped me realize

the potential of the human voice (and

she was an R&B singer, not classical!).

Then, as a child, I came across a CD of

Mozart arias, and I was hooked. That

was a deciding moment for me and his

music has always been #1 for me. So,

thank you, Herr Mozart!

Luperci: Well, I had a great introduction

to classical music singing in the boys’

choir. We regularly sang Bach,

Palestrina, masses and other choral

works and this experience instilled a

great love of music in me. But in terms

of opera, when I was about 15 I saw

“The Great Caruso” starring Mario

Lanza and I was so moved by his

performance that I started thinking about

my own voice “operatically,” and the

rest is history.

How do you define success? What was

a defining moment in your career

when you thought "I've made it";

what characteristics do you think an

artist needs to develop to succeed?

Having opportunities to do the music

you love and choosing or creating your

own music is a great milestone for any

artist. Some important characteristics are

perseverance, humility, attention to

detail, being a good colleague, staying

true to yourself while at the same time

being open to change and a bit of luck!

What are your priorities in choosing a

song for your repertoire?

It has to draw us in and say something

special to us. It has to move us,

otherwise, it’s probably not the best

choice. We also look for songs that

allow us to remain true to our classical

roots. And we love to discover musical

gems that are off the beaten path. Our

CD contains one or two of those that we

hope you’ll enjoy!

Please give us a few hints about your

upcoming album! Are you working

with any particular arranger(s) or

producer(s)?

Our debut album will be released later

this year and will feature new

arrangements of songs and duets from

the great Hollywood films and the

musical era of Mario Lanza. As we

mentioned, our first single “Be My

Love” was one of Lanza’s greatest hits

and inspired us to breathe new life into

some of the outstanding music of this

time period. The songs themselves come

from a period ranging from the 1920s to

the 1950s. We’re so excited for this

project as we feel that the music from

this era deserves to be heard and loved

once more by today’s listeners; the

music that we’ve chosen for our debut

album contains some beloved classics as

well as a few surprises that we hope

you’ll be excited to get reacquainted

with, or will be hearing for the first time

with our new interpretation.

We are working with an incredibly

talented arranger from Edmonton

Canada, Ben Christenson. We met him

through a mutual friend in the music

industry, and we knew he was a great fit

for this project. He really understood

from the beginning what we were

hoping to achieve and we look forward

to more collaborations in the future.

Tell us the story of how you met and

formed a duo.

Well, with Luperci being from Brazil

and Ashley from the US, it’s kind of

funny that we met nowhere near our

home countries, but in London during

rehearsals for a contract on a cruise ship.

Each ship had a classical tenor and

soprano and we were paired up on the

same ship. It was the first time either of

us had ever worked in the cruise industry

so we experienced it together and started

right away developing and doing our

own show as a duo. Our repertoire

consisted mainly of opera, operetta,

musical theater, and some popular

classical crossover hits. We immediately

recognized a synergy onstage and felt

that the blend of our voices and the

interaction of our personalities combined

with the positive response from

audiences, made officially forming a duo

a natural progression. From there, we

really wanted to create something of our

own and started thinking about

producing our first album. Thanks to the

help of many generous friends, we’re

about to realize that dream.

You mention the name Mario Lanza

frequently; what drew you to him

specifically?

Definitely the film “The Great Caruso”

was a deciding influence for us and we

recommend it to anyone who hasn’t seen

it yet. Mario Lanza’s interpretation of

the great Italian tenor Enrico Caruso is

very moving and his glorious voice can

be heard singing both opera arias and

popular songs. Besides his incredible

voice, his charisma onscreen is

infectious and you just can’t help loving

him.

How do you bring something new to a

genre whose primary focus is to

regenerate the familiar?

That is a great question and one that all

artists have to ask themselves. As opera

singers, we are used to performing music

that is centuries old and has been done

over and over, but we are taught from

the beginning to do “our” version and to

be ourselves. With years of this kind of

preparation, we always approach songs

searching for our own musical truth and

experimenting with the possibilities.

These aspects, infused with our personal

aesthetics and life experiences, are what

guide us.

In the case of our upcoming CD, we felt

that this music hasn’t been done enough

recently and that it deserves to be heard

even more. In the right hands, cover

versions of well-known songs can be

just as exciting as new compositions, so

we hope to make our mark by helping

some of these songs become more

mainstream again.

Favorite songs? Dream opera/operetta

roles?

Luperci: “Cinema Paradiso,” by Ennio

Morricone, Prince Franz from

Romberg’s The Student Prince,

Nemorino from L’elisir d’amore.

Ashley: “Tracks of My Tears” (Linda

Ronstadt version), “As If We Never Said

Goodbye” from Sunset Boulevard,

“Eternally” by Charlie Chaplin, Queen

of the Night from The Magic Flute

Why choose duo over solo?

There was no doubt in our minds that

Classique had to be a duo. With each

song, we try to highlight both of our

voices working together, often in

harmony or playing off each other in a

way which will excite the listener and

allow them to have a powerful and

moving experience. We realized the

potential that we could have together

when we started performing as a duo on

cruise ships. There was a great audience

reaction when we sang certain songs and

interacted together on stage, and that

inspired us to form Classique. It also

helps that we have a similar vision and

coinciding musical tastes.

Just for fun, do you have a favorite

classic Hollywood musical film? One

that you like to watch, aside from

performing?

West Side Story immediately comes to

mind as a personal favorite, to watch and

to perform. It has had a huge impact on

pop culture as well. How many parodies

of the Jets and Sharks snapping their

fingers as they move down the street

have we seen in commercials,

advertisements, and videos? Too many

to count! It was a powerful film and its

message is still important for our society

today.

Who is your ideal audience? The older

generation that is already familiar

with these retro songs, or the younger

generation, to introduce them to

classical crossover and classical music

in general?

Ideally, we’d like to reach a widely

varied audience. Of course, we hope the

older generation who might be more

familiar with these songs will hear our

versions and reminisce about the first

time they heard them. Perhaps their

families used to listen to Mario Lanza

records and our music will transport

them back and connect them to those

moments. Likewise, we would like to

introduce this music to a younger

generation who might not be so familiar

with it. Just with our first single “Be My

Love,” we’ve had a great response from

social media from followers of other

classical crossover artists such as Andrea

Bocelli or Katherine Jenkins, so we

know that people, especially young

people, are open to and looking for new

music.

Any other info you would like to

share?

We’d like to thank Classical Crossover

Magazine for featuring us and we invite

everyone to connect with us through our

social channels, we’d love to hear from

you! We are currently living in Germany

and recording our CD here which will be

coming out in late summer 2017. Music

is a force which unites people and can

bring light into our lives. We are so

lucky and proud to dedicate our lives to

it!

Don’t miss a note! Follow Classique at

classique.biz

Hollywood Soprano BY Jennie Watters

The teenager sailed over the hard-packed

snowy hillside without a care in the

world. She squinted her clear blue eyes

while her dark hair whipped behind her

in the wind. Suddenly, an icy mound

jutted out in front of the toboggan.

Before she realized what was happening,

she was hurtling through the air, landing

with a sickening thud on her back.

Stunned and unable to move, Ann did

not scream from the pain. Instead, she

whispered a prayer as the tears sprang to

her eyes.

Once she was transported from the San

Bernardino Mountains to the hospital,

she noticed how concerned the doctors

looked as they ran their tests. Her injury

was a serious one. Her mother held her

hand as they told Ann that her back was

broken. She might never be able to walk

again. “At first, I couldn’t look at my

mother. When at last I raised my head, I

was startled. Those warm, hazel eyes

under her crown of auburn hair were

actually smiling. ‘Have faith, my

darling,’ she said. ‘You’ll walk.’”

At sixteen, Ann Blyth was not only her

mother’s beloved youngest daughter, but

she was also the primary breadwinner of

the family and already an Oscar-

nominated actress. When Ann was

small, Mrs. Blyth made a living as a

washerwoman. Her husband had

abandoned his family, so it was up to

Nan Lynch Blyth to provide for Ann and

her sister. They did not have much, but

the girls always had enough to eat and

clothes to wear. Ann admired her Irish

immigrant mother, fondly remembering:

“Mother worked very hard and her tiny

body wasn’t nearly as big as her heart.”

Education was a priority for Mrs. Blyth,

she made sure her daughters attended

good schools and even signed them up

for voice lessons and drama.

From an early age, Ann was part of the

children’s chorus, singing with the New

YorkSan Carlo Opera Company. Being

surrounded by the glorious music of

Puccini and Bizet led to a lifelong love

of opera. She also got minor roles in

plays and had her first radio appearance

when she was only six years old. Despite

these positive experiences, Ann

occasionally felt the sting of rejection

when she wasn't chosen for a part after

an audition. Her mother never seemed

disappointed. “Just have faith, my

darling,” she would say as they walked

home in the fading light. “Something

better will come.” Her mother’s attitude

gave her confidence, and she continued

to do the things she loved free of the

pressure to win every time.

Even though she knew her mother was

always proud of her whether she got the

part or not, Ann was beyond thrilled

when she was cast in the Broadway play,

“Watch on the Rhine” in 1941, when she

was 12. During the play’s successful

nine-month run, Ann turned thirteen,

toured across the country, performed for

the president and had dinner at the White

House. Henry Koster, a director for

Universal Studios, attended the play one

night. He was impressed by her

performance and after a successful

screen test, Ann was signed for a seven-

year contract. She was going to be in the

movies!

At first, the studio cast her in lightweight

musicals, usually with comedian and

dancer Donald O’Connor as her High

School sweetheart. But in 1945, she

landed a big, dramatic role, in a movie

co-starring Hollywood legend, Joan

Crawford. Ann blew everyone away in

“Mildred Pierce” as Veda, Crawford’s

ungrateful, cold-hearted, scheming

daughter who takes advantage of her

mother’s kindness. The fact that sweet

Ann Blyth was able to pull off this cruel

character so convincingly is a testament

to her ability as an actress. When asked

about how she did it, Ann humbly

explained that her Oscar-nominated

performance was due to “a good

imagination.”

After her sledding accident, Ann’s

promising career had to be put on hold.

It was hard to spend seven months flat

on her back in a body cast when she had

been so used having a hectic filming

schedule. Now that she was helpless

physically, she learned to trust in God

more than ever. “I found myself blessed,

for a new sense of prayer began to

unfold to me...there were not the busy

times of telling Him what I needed, but

rather, times of listening communion, of

gathering strength, when my human

strength and courage seemed to ebb

away.” Even after she was freed from

the body cast, it took a lot of time to

recover. She was in a wheelchair, then

later graduated to a back-brace. Her

mother celebrated every step forward

with her as she slowly gained back what

she had lost. One month after Ann’s

back-brace permanently came off,

another tragedy struck. Mrs. Blyth died

of cancer. Ann was only seventeen years

old.

Ann’s mother had been her role-model,

her best friend, her mentor. Now she was

alone. In her grief, she realized that her

mother had prepared her for this loss,

just as she had prepared Ann for so

many other things she would have to

face in life. Mrs. Blyth had felt alone all

those years ago when her husband left

her and her two little girls, but she

worked hard and relied on Jesus for the

rest. Ann became assured that God

would be with her and that her mother

was in heaven watching over her every

step of the way. It comforted her to

remember that they would be truly

reunited one day.

Human comfort came in the form of

Ann’s aunt and uncle, who moved all the

way from Connecticut to California to

live with her so that their niece could

continue her career as a Hollywood

actress. Ann threw herself back into her

work, appearing in several more dramas,

and then finally a comedy. The 1948

movie featured William Powell, a

middle-aged man who falls in love with

a mermaid! Ann had a golden tail

custom made for her and weighted down

so that she wouldn’t float during her

scenes in the water. “Mr. Peabody and

the Mermaid” made good use of her

beauty and athleticism, but for some

reason, the beguiling mermaid is mute!

Of course for music lovers, any time

Ann Blyth sang onscreen was a real

treat. Her earlier films do little to

showcase her full, rich soprano voice. In

“Top o’ the Morning” her co-star Bing

Crosby got the lion’s share of the songs,

same for her first really big MGM

musical with Mario Lanza, “The Great

Caruso.” Of course, that movie IS about

the famous opera singer Enrico Caruso,

but Ann’s voice is so lovely, it seems a

shame that she only sings once. In 1954,

Ann FINALLY got the chance to exhibit

her skill as a vocalist in two big-budget

musicals, “Rose Marie,” and later “The

Student Prince,” both MGM adaptations

of operettas. A year later, she starred

with baritone Howard Keel in “Kismet”

which features some of my favorite

songs ever written: “And This is My

Beloved,” “Baubles, Bangles and

Beads” and “Stranger in Paradise.”

By that time, Ann’s film career was

coming to a close. Too many important

things were happening in her personal

life! She got married in 1953, had her

first child in ’54, and a second one in

’55. Between pregnancies, she was still

acting, but she knew she wanted to

devote more time to her growing family.

By 1957 she had already made thirty-

two pictures, in a variety of genres

which included costume dramas,

mysteries, musicals, time travel,

westerns, film noir, comedies, and war

movies. Ann decided to act in stage

plays again, with occasional forays into

television. In 1963 her fifth (and last)

child was born. During the 1970s, Ann

didn’t work much because home life

kept her busy, but she did do

commercials. She became known as the

“Hostess Mom” who advertised

Twinkies! Her children were often

featured in these ads with her.

In the 1980s, she made her last

television appearance, guest starring in

“Murder, She Wrote.” She was not done

with show business though! Her husband

encouraged her to continue doing what

she loved, so she started putting on

concerts, singing classics from her

theatre performances and movies. In Las

Vegas, she even reunited with her old

friend, Donald O’Connor. At a 1992

concert, columnist Liz Smith wrote:

“Ann Blyth, who was a movie star when

the words really meant something, looks

incredible. Time seems literally to have

stood still for her, and not only

physically. The star’s soprano is as

lilting and steady as when she was

knocking out those MGM musicals.”

She continued singing well into the

2000s, and still does interviews and

participates in Turner Classic Movies

festivals and cruises.

On my fridge, I have an autographed

photo of this beautiful lady, her name

signed undermine in perfect script. I

have always enjoyed her movies, but

until very recently I had no idea that her

career was as varied as it was, or that her

faith was such a vital part of who she is.

I had heard of the album, “Hail Mary

With Ann Blyth,” which has Ann singing

and reciting scriptures, but ignorantly

assumed it was just another project. Now

I realize what a genuine human being

she is, as beautiful inside as she is

outside. She survived tragedy bravely

and enjoyed good fortune without

becoming self-centered. When asked in

a recent interview how she would like

people to remember her in years to

come, she said: “That I made them

happy. That would make me very

happy.”

Carly Paoli Singing my Dreams By Natasha Barbieri

The name Carly Paoli may as yet be

unfamiliar to many fans of classical

crossover music but with several high

profile performances already under her

belt and the release of her debut album

eminent she is poised to become a force

to be reckoned with.

Her image on the cover of “Singing My

Dreams” evokes Old Hollywood

glamour and her story is full of

Cinderella undertones as articles laud

her as the ‘lorry driver’s daughter’

bound for stardom. The Evening

Standard even crowned her the ‘Queen’

of the crossover genre. Still, Carly’s own

website is modest in its approach and her

tagline is simply “an English rose with

Italian roots, singing her dreams.”

So how did it all begin for this

Nottinghamshire-born singer, is the gift

inherited from her parents? “Actually I

always laugh when people ask if my

parents can sing,” Carly tells us. “I

wouldn’t wish for anyone to hear my

mum in the shower but Dad isn’t too

bad.” She does, however, believe that

her passion and singing talent derives

from her Italian roots. “My Grandfather,

Nonno Apollonio, who died recently,

came from a family of 5 brothers. Nonno

had a beautiful voice and his younger

brother worked as a singer/songwriter

and he still plays the piano accordion.

They would sing together at all family

events with my grandfather always

singing the upper harmony.”

While Carly grew up in the UK she

spent her summers in Puglia. “I have

Italy to thank for my stage experience. In

those early years, Puglia welcomed me

with open arms to perform in piazzas

and sing for audiences throughout the

summer.” She describes it as an

“amazing experience for a young

singer.”

Although her mother may not be a singer

herself she did play a part in Carly’s

musical development. “My mother

nurtured my musical interest with MGM

musicals. I loved Gene Kelly and Judy

Garland.” At nine, Carly began taking

singing lessons with Liz Hetherington

and incredibly she continues to study

with Ms. Hetherington to this very day.

Her teacher even wrote lyrics for one of

Carly’s songs “One Bright Star.” Carly

continued to study and at 16 worked at

the musical theatre and drama course at

Tring Park, Hertfordshire. “I had always

imagined myself performing on a West

End stage as I love dancing and acting

so much. It was always obvious that

singing was my ‘special’ talent; we had

a visit from a member of staff at The

Royal Northern College of Music, who

advised me to audition for their Vocal

Course. So I auditioned and was offered

a place on the spot, but that completely

changed my thoughts and dreams away

from the West End.” Still, Carly looked

forward with enthusiasm. “It was a new

challenge.”

Carly spent four years at The Royal

Northern College and additionally

studied with Liz Hetherington on the

weekends as well as studying dance

“after college hours.” The more she

developed it became even more apparent

that hers was indeed a classical

instrument. Upon graduation, Carly

began teaching at Directions Theatre

Arts. “I taught there for 2 years and

loved every minute. It’s amazing how

much you learn yourself all day when

you’re sat demonstrating the correct

approach for others.” Along with

teaching Carly performed “wherever I

could and wherever I’d be seen.” Puglia

continued to provide a welcoming venue

and she also found opportunities to sing

at corporate events, weddings and

sometimes funerals. The corporate

events would eventually open the door

to the next important step in her career.

In the classical world discovery is a

gradual emergence from minor roles and

young artist programs but in a twist that

would have made the MGM PR

department happy Carly was noticed by

a representative of the luxury brand

Bedat & Co which fast-tracked her

success. “The lady who founded the

brand ‘Madame Simone Bédat’ is

celebrated for achieving her dream of

creating the first watch brand designed

purely for women. The brand seeks to

support and nurture young talented

women who are breaking the glass

ceiling in their own field, as ‘Madame

Bédat’ did. I thank God that they

considered me in that category because I

began performing in international events

like David Foster’s Miracle Gala which

also featured Jennifer Hudson and

Steven Tyler.” Carly also sang at the

‘The Women’s Media Foundation

Award’ in L.A. where Bedat & Co was

the official sponsor.

Carly continued to dream big and learn

from her colleagues. One year she

attended a concert of José Carreras as a

fan and the next she was sharing the

stage with him. “You should never stop

dreaming because you never know what

the future has in store,” she encourages.

“One year I’m watching one of my idols

deliver an incredible performance and

the following year I’m sharing that stage

with him and performing duets together.

I smile every time I think about this.”

While being a singer requires years of

dedicated work sometimes opportunities

arrive when least expected. “It’s a

nightmare to sing classical music at the

drop of a hat,” Carly admits. “In the

same way that an athlete will always

warm up before they compete, singers

usually have to go through the same

process. It’s not an instrument that you

can pick up and put back in its case, it is

part of your body, so any illness or just

the way you feel can affect the sound

produced.” Even so, Carly offers this

sage advice. “I think all singers should

have 1 or 2 songs that they can perform

in an instant and feel confident. Save the

backing music to your smartphone if you

can and always have it with you.

Sometimes opportunities arise and you’ll

kick yourself if you had to back out

because of not being prepared.”

As Carly’s career progressed she has

expanded into the world of crossover.

She has worked with two of the biggest

names in the genre, David Foster &

Andrea Bocelli. “I have performed on

numerous occasions with Andrea

Bocelli, which has always been a real

thrill, especially in front of an Italian

audience.” Their delightful

performances are available to view on

YouTube. “He’s such a pro I think no

stage could phase him and he’s usually

got a great sense of humor before the

song starts and finishes. On our first

meeting, he told me I looked beautiful in

red.” Carly’s admiration for David

Foster is likewise evident. “For any

singer, you know David Foster is the

man that makes the magic happen. He

has such an amazing awareness of what

the audience wants to hear from a

singer, and he has a way of encouraging

singers to go beyond their comfort zone

and deliver a performance that is truly

spectacular. It’s really exciting

performing with David. I don’t have

boundaries on the type of singer I would

like to collaborate with in the future. I

love to work on a project that could

bring two different musical worlds

together and still be inspiring and

engaging.”

Unsurprisingly prestigious events in

Italy have played a part in Carly’s

career. She performed an original setting

of Ave Maria at Terme Di Caracalla. At

the time she was unaware that a

representative of Pope Francis was in

attendance. “I was contacted some

months later with the request to make my

‘Ave Maria’ the official song for Pope

Francis’ Jubilee year, ‘The Year of

Mercy’. It was such a special time for

my family and me and so fulfilling.”

Carly also was invited to sing at The

Forum in Rome for the first concert ever

allowed there. “Incredible atmosphere.

What a venue. How could anyone not

feel inspired standing on a platform

surrounded by the most beautiful Roman

ruins? My dressing room was essentially

in Caesar’s Palace and just off to the

corner from there, they believe they have

discovered St Peter’s Cell.” Others

featured in the concert were The Tenors,

Andrea Bocelli, and Elaine Paige. “You

should have heard the sound of the

voices echoing in the marble dressing

rooms as we all started to warm up. The

whole process of rehearsing and

watching that concert come together is

something I’ll never forget. It was also

symbolic that all these iconic artists had

joined to perform together that night to

reinforce Pope Francis’s important

message of Mercy. I closed the concert

with my song ‘A Time For Mercy’,

which was extremely poignant.”

Carly’s repertoire is in fact often

inspirational in nature. “One thing that’s

instilled into students in performing arts

colleges is that there will be rejection. I

had my fair share when I left The Royal

Northern, or near misses, which can

often be even more disappointing. But I

always went home to an amazing family.

My mum’s faith is extremely strong and

she passed that onto me. You hear it so

many times, but it’s so true ‘Never give

up on your dreams because the dream

only dies when you stop believing and

trying.’” To this day Carly tells us she

still gets nervous but “I always say a

prayer before I walk out on stage. I

believe my faith is what has got me this

far.”

She calls music “the major influence in

my life.” At this point in her career

music has taken on a deeper meaning.

“My music has become more than just

entertainment, it can actually share an

important message. That’s something I

would aspire to do throughout my

career. I want my music to motivate

people and make them feel good. The

world cries out for messages of hope and

love right now. So, lyrics are

fundamental to me and I love a song

lyric that tells a story.”

Carly’s debut album “Singing My

Dreams” is filled with inspirational

music including “Music of Heaven” and

“The Mystery of your Gift.” It is

available both as a traditional CD and

vinyl. While the album is no doubt

targeted at a crossover audience Carly’s

soaring vocals and lush orchestral

accompaniments certainly lean towards

the classical. Many of the original songs

from the album were composed by

Romano Musumarra, particularly for

Carly. The album also features her now

beloved versions of “Ave Maria” and

“A Time for Mercy.”

Carly also had a chance to become

involved with the writing. “I have

written lyrics for 4 of the songs that

feature on my debut album.

One of the songs ‘Memory of You’ I am

particularly proud of. I wrote the lyrics

to this song soon after my Grandmother

died. She was a rock for the whole

family, so the lyrics are influenced by

the way I felt at that time. I’m not a

composer, so the first melody that came

into my head was James Horner’s

stunning theme from the movie ‘The

Legends of The Fall.’ It’s a piece I’d

always loved and associated with

nostalgia.” Producer Romano

Musumarra then arranged the piece to fit

Carly’s lyrics.

“A similar miracle happened for me

with ‘Se Tu Fossi (Cinema Paradiso)’.

This was an arrangement made a few

years ago and I performed it at the

Roman Forum. It’s this live recording

actually that features on my album. The

unique arrangement of Ennio and

Andrea Morricone’s iconic music

features another theme in the middle

section with English text added by

myself. It’s a huge privilege to have been

able to add my own personal touch to

‘Se Tu Fossi’ and to be able to share

that with the world.”

The album also features a special duet

with José Carreras of ‘En Aranjuez Con

Tu Amor’ a song that has been a staple

in many of his performances over the

years. “This is the first duet version of

the song and the first duet he’s recorded

in over 20 years. He’s a musical legend

through and through and when you get a

chance to work with him, you learn he’s

also a true gentleman. I had a wonderful

time recording this song in his

hometown, Barcelona.”

As in every stage of her career family

involvement has been important for this

project. “I’m blessed with amazing

support around me, my family, (Mum

and Dad always travel with me) my team

and musical producer. They have always

encouraged me to be creative and

included my own ideas in the music,

which is a privilege that not all artists

get. I love every minute of singing each

of the songs that feature on my album as

I had complete freedom to choose music

I love.”

Carly was recently awarded the

prestigious Premio Barocco award and

will be heard in ‘La Messa Arcaica’ by

composer Franco Battiata in Catania,

Sicily later this year. Other

performances include a charity concert

in Assisi, Italy. “Many of Italy’s most

acclaimed artists from the pop world,

will be joining me that evening to help

raise money for a charity of The

Vatican’s choice. I’ll be performing the

Bach/Gounod ‘Ave Maria’ and closing

the evening with my own Ave Maria,

which is a great honor.” Soon too will

come her album showcase at Bafta, 145

Piccadilly. “This is really my own

personal celebration of my album

launch, Singing My Dreams.”

It seems clear that Carly is destined for

great things. Musically she teases that,

“I’ve always had a soft spot for music

from The Great American Songbook.

There's an idea ticking at the back of my

mind of singing some of the lost gems we

forgot about from this golden age of

music.”

To continue to follow Carly’s career visit

carlypaoli.com

Careers in music

Alessandra Sorace Music Ministry By Natasha Barbieri

I first learned about Alessandra Sorace

when a friend posted a video of hers to

Facebook. My interest was piqued at her

clear, lovely voice and I wanted to learn

more about her. “Singing has always

been a part of my life,” Alessandra

shares after agreeing to an interview.

“My mother would play the piano and

then put on music both of which I would

sing and dance around in circles to all

morning. Somehow I have no memories

of getting dizzy.”

Alessandra was only eight years old

when she first began to perform on

international television networks.

Alessandra remembers, “When we were

done at the end of the day, the staff

(probably sensing my childish curiosity)

showed me around the control room,

explained a bit of the production

process, and some of the cameramen let

me sit up on their chair. They even let

me try the camera! Needless to say, I

was hooked.” Alessandra has continued

to observe the process and says she

enjoys working with the different crews.

“I have a high respect for the amount of

time put into a production and the

meticulous people behind it. I suppose it

helped to have that background view for

when I co-directed one of our larger-

scale music videos when I was 16.”

Alessandra is reminded of these early

performances often. “I think most

singers cringe when they have to hear

their “greener” selves,” but she has

learned to embrace it. “I’ll frequently

get messages from some of my audience

with a clip of a video they took of a

rerun they were watching on TV. It’s

sweet. I’ve come to accept it as part of

the process of improving your trade. If

you see it that way, it can actually be

encouraging to see how far you’ve come.

(And what bad habits you still revert to

that need to fly ASAP.)”

Alessandra started being involved in

voice competitions around the age of

eleven. “My vocal coach would pick my

repertoire.” She admits it must have

been a challenging task at times because

“I had quite a distaste for all things too

mushy and lovesick.” The years haven’t

done little to change her opinion either.

“I’m still not a fan. Somehow, with so

much of classical music being the

melancholy goo that a lot of people love,

she still managed to find great pieces

that helped me win. I’m thankful I had

such a kind and patient coach especially

at that stage of life.”

Alessandra’s career evolved in a

different way than some of her peers.

While she performed at many

distinguished events singing also

became a chance to share her faith with

others and hers quickly became a music

ministry.

“I suppose there are two ways of

viewing an audience. One, where you

are honored that they actually like you

enough to come to your concerts, love

you, and support you, and another

where you are honored to serve such an

audience with your gift, love them, and

support them by providing music that

will uplift them in their times of

need. We are all on a journey and have

bumps on the road. Music is a practical

way to share my faith with my audience

especially through songs that encourage

the conviction held near and dear to

many hearts - that no matter where the

road of life may take us, we have

Someone who knows the big picture, yet

is concerned with the little details of our

lives; only wants what is best for us, yet

allows life’s tests to make us stronger

and bring us closer to Him, our Creator

who’s love will never leave us. Whether

it’s religious or secular music, I think it

just might be the best tool to

communicate in a lasting way. Along

with the receptive ears of our audiences,

we have a responsibility. Robert

Schumann put it well when he said, ‘To

send light into the darkness of men's

hearts - such is the duty of the artist.’”

Alessandra’s first album “Oh Love That

Will Not Let Me Go” was a collection of

twelve hymns and sacred songs. She

later released the same collection in

Spanish and then Portuguese. “I speak

Spanish and, although I haven’t really

learned my father’s Italian nor my

mother’s French other than for classical

singing, the Latin-based languages

coupled with great coaches really helped

me to sing in Portuguese both for TV

when I was younger, and later for one of

my albums. For my album, I frequently

spent 16 hours a day and weekends for

three weeks learning the pieces and their

pronunciations. My main coach would

sit in every studio session, several of

which ended at 1:30 or 2 am. She would

work with my producer and me patiently,

making sure I had gotten the little

pronunciation nuances right. I was

inspired by her quiet dedication and

vision for more faith-based music in her

people’s language. To make it more

incredible, her time was volunteered.”

The song choices were made carefully to

be meaningful to her listeners.

“Imagining scenarios where the piece

would fit in someone’s life, I would

‘watch’ the story in my head as I

recorded. Except for the Portuguese

album. In that one, I was just trying to

get it right.”

Alessandra’s multi-lingual approach has

opened opportunities for her to perform

in different countries. She shares this

exciting news, “We have several tours in

the early works largely based on volume

requests from our audience. Among

them are Australia, South America,

Europe, and the Philippines.”

Her largest single performing audience

to date has been a daunting 70,000

people! But far from relaxing before the

big event, she spent the day “running

around the Alamo dome with someone

looking for a pair of

in-ear monitors. I had experienced a

tremendous amount of echo when I sang

there a couple months before, and I did

not want that to happen again. We

finally got some about an hour before. I

had only learned they existed that

morning so it would be my first time ever

singing with IEMs. But I knew my piece

very well.” There wasn’t time for a

sound check so Alessandra prayed and

sang anyway. Fortunately, it turned out

fine in the end.

For Alessandra discovering the classical

crossover music was a Godsend. “I

didn’t know it was a thing until around

four years ago. I always felt like a misfit

singer who liked just enough pop to not

be classical, and just enough classical to

not be pop. It’s the best genre for

people who don’t like labels and

boxes. It’s pretty versatile.” Her

favorites from the genre are now “too

many to count” but include Andrea

Bocelli, Josh Groban, Celtic Woman and

Michael Ball as well as “YouTube artists

that are doing a fabulous job in our

genre.”

Alessandra has most recently released

singles of “The Star-Spangled Banner"

and "What is America to me.” “What do

you think of when you think of your

country?” Alessandra asks. “Do you

think of the cultural foods and sights,

your friends and neighbors, and the

warm feeling of coming home? I do. I

chose these songs because they remind

us of what our nations really mean to

us. It’s not the geography or the systems

with their many imperfections, but the

people around us that make the country

we love so sweet. For me, that country

is the USA.”

She spent time researching the story

behind the songs. “It took such bravery,

self-sacrifice, and integrity to do what

the American people, in general, did in

both of these eras. These traits did not

die with those generations though; they

are still evident in the people around us.

In a world of bad news, politics, and

uncertainty, I was moved to bring

attention to and appreciation for the

goodness in our daily lives.” She

recorded an extended version of the

national anthem which Alessandra says

she sings “in admiration for it is a

solemn depiction of sacrificial effort

which resulted in freedom under God. It

enables us to praise and worship Him

freely, and secure the blessings of liberty

for ourselves and our families.”

Alessandra is also sharing her music

through music videos. “We actually

filmed several of them at the same time,

depending on the state. I loved co-

directing one of them with Eduardo

Gonzalez from Scene Alive

Inc. Drawing the storyboards, securing

and scheduling locations and

coordinating dozens of extras at a time

with Eddie, riding a chainless vintage

bike downhill on camera through a

heavy transit road, borrowing an

immaculate 1952 Ford truck, briefing,

and debriefing meetings at 11:45 pm

and 6 am; I wouldn’t take those months

back for anything. We met the nicest

people on our filming trips. From our

great extras to our generous sponsors,

there was a sense of unity. The county

of Orange, Virginia just opened their

doors to us. Hotels who sponsored our

stays, local businesses and tourist

attractions who volunteered their

services, the marines in the New

England locations, the local

governments, and so many more were

instrumental in the production’s

success. It was a privilege to work with

such beautiful people; many of which we

are still in contact with today.”

Another aspect of her music ministry is

public speaking. “The goal for a singer

is maximum communication, whether

through the lyrics, or thoughtfully

executed melodies that stir personal

feelings in people. Since that’s the goal,

public speaking came naturally to

me. You can talk to your audience like

you are talking to a friend - just try your

best to make it worth their time. Both

require ample study and preparation,

memorization, improv, stage presence,

and love for people. I think when they

are put together its double power.”

When it comes to goals for the future as

well as her education Alessandra says,

“Music is a lifestyle of which I am and

will always be passionate. The goal is to

keep creating new high-quality content

that will uplift and inspire our

audience. We plan to contribute more in

the future to philanthropic, bi-partisan

government, corporate, and community

events on a larger scale, as well as

continuing to serve in the faith-based

community.”

Some of her dreams are to perform with

New York Philharmonic, The Mormon

Tabernacle Choir, at Carnegie and

Disney Concert Halls among others but

“the list could go on forever.”

“In regards to a major, I actually found

a dream voice professor who specializes

in both classical and commercial music

using the Bel Canto technique at a

certain University. It’s definitely a

possibility I am considering.”

For now, “We have two different major

productions on the horizon that we are

really excited about; one of which is

scheduled to be released next year.”

Alessandra’s 5 Favorite Hymns

1 Amazing Grace

2 Be Thou My Vision

3 Oh Sacred Head Now Wounded

4 Be Still My Soul

5 God Be with You ‘Till We Meet Again.

alessandrasorace.com

The Up & Comer

Amy Manford By Natasha Barbieri

While crossover is our main focus it is

always a privilege to feature more

classically inclined artists. One young

soprano who we believe is destined for

great things is the lovely Amy Manford

from Australia.

While music may be her main passion

today her parents “encouraged me to

pursue a range of passions.” Amy spent

her younger years competing in

Rhythmic Gymnastics and pole vaulting.

Despite the elite level she maintained,

“All the while I managed to sing and

play violin in every possible ensemble at

school. My Dad is a self-taught guitarist

and my younger sister Chloe is an

extremely talented singer so music runs

in the family. Most of our weekends were

spent messing around with harmonies

and convincing Dad to learn the chords

to our favorite Disney songs, looking

back I guess he had a lot of patience!”

Her friends also played a big part in her

development. “We spent countless

holidays contriving new productions and

throwing concerts for our parents and

friends. Looking back I had a very

stimulating and creative childhood. I

was lucky to have free reign to pursue

anything and everything I loved doing.”

Her violin repertoire exposed her to

classical music at the tender age of 6.

Singing was something she was

naturally gifted at but “I never really

considered it my thing.” At age thirteen,

however, she began attending her

sister’s singing lessons. “The classical

training that I was introduced to really

inspired me and I knew it was something

that I wanted to pursue. So, I guess I

have my sister Chloe to thank!”

In addition to music, Amy was also

temporarily interested in filmmaking. “I

studied media in school and had a knack

for editing, however, this was more of a

hobby than a life calling. When push

comes to shove I simply couldn’t

imagine a life where I did not wake up

every day and sing. It has always been

this unrelenting passion that has

motivated me to pursue singing as my

career path.”

Following her decision to pursue a

career in classical music Amy prepared

her audition for university. She advises

that “simplicity is key, pick arias or

songs that are within your technical

ability at the time you are choosing

them. You want to show potential; that

you have a knack for languages and a

sense of drama. I would suggest

choosing a varied list of simple German

lieder, French melody, and English song

but above all make sure you love what

you are singing! Your passion will be

infectious and that is the most important

aspect of an audition by far.”

Amy received her Bachelor’s degree

from The Western Australian

Academy as well a post-graduate

certificate. Her audition strategy did not

change but her repertoire has certainly

increased in difficulty and range. “I did

a lot of research in an attempt to find

songs that were interesting and different,

arias that I knew the panel wouldn’t

have heard 10 times that day. You want

to give the impression that you are an

exciting innovative artist, and position

yourself as one of a kind! After you have

chosen your rep, it is imperative that you

perform, perform, perform! It is no good

just singing behind your singing teacher

a couple of times in your lesson. You

need to get a group of friends and family

together to test out your program, taking

note of what went wrong and what went

right in each rendition. After that, the

audition should be a piece of cake!”

Her careful research and attention to

detail have paid off. Throughout her

studies, Amy has been awarded the

Barbara MacLeod Scholarship for Most

Outstanding Female Classical Student,

the Michelle Robinson Award for most

outstanding first-year recital and the

Open Aria and Open Musical Theatre

sections of the Fremantle Eisteddfod and

Radzyminski Family Prize in the

International Australian Singing

Competition.

Amy shares a little about her studies.

“The curriculum at the RCM is

challenging and diverse and requires a

lot of hard work outside my singing

lessons. Languages play a huge role in

Opera. I study French, German and

Italian and am hoping to learn a bit of

Russian in the future. I spend a lot of

time working with language coaches and

recording friends who are from different

speaking countries. Movement and

acting classes have been extremely

important in both my undergrad and

postgrad training. In addition to this, I

also have studied the Alexander

Technique, which is a movement method

that works to change bad habits in our

everyday activities. Growing up I also

studied a lot of music theory as it was a

compulsory aspect of my AMEB violin

exams. Although I found it very boring

at the time, I developed a very good ear

and with the benefit of hindsight, it has

helped me to pick up music very quickly.

Basically, the training never stops!”

Fans will discover that Amy has crossed

over on occasion. She finds the largest

difference between her classical singer

and crossover to be amplification.

“Classical crossover singers usually use

a microphone so they can afford to go

off the voice a bit (my singing teacher

would kill me to hear me say this, but

sometimes I like the effect it gives!) In

contrast true classical singing is

produced from your body alone with no

microphone. You need to think of

yourself as a violin, never letting the

bow leave the strings.”

“If I had to pick an all-time aria, I

would have to say Olympia’s Doll Song.

It is so virtuosic and I love hearing what

different Sopranos can do with it. I also

will never get over Diana Damrau

singing Queen of the Night; I feel like

she will conquer the world with that

aria. When it comes to a Musical

Theatre piece I would be hard pressed to

pick. Some days I am obsessed with

Disney musicals and on other occasions,

it’s the classics like The Sound of Music

and My Fair Lady. If I had to pick one

Musical Theatre performance song it

would be Light in the Piazza.”

It’s equally difficult for Amy to narrow

down a favorite composer or music

period. “I couldn’t say - it changes every

day! Today it is Vivaldi because it is

Spring in London and I listened to The

Four Seasons this morning walking to

college - and on the way home I listened

to Cecilia Bartoli singing Agitata Da

Due Venti which always reminds me why

I sing!”

Audiences have already seen Amy

onstage in a few opera roles. “My first

performance role in Opera was Dido in

Dido and Aeneas. It was a great first

role because Dido is a strong powerful

woman and it encouraged me to quickly

develop into a mature, confident

performer.” Her favorite so far has been

Clotilde in Handel’s Faramondo. ‘The

Opera is very rarely performed so I

really had to create the role from

scratch without turning to past

performances for inspiration. Alongside

the challenge of creating such a

multifaceted character, it was an

absolute dream to perform with the

London Handel Orchestra under the

baton of Laurence Cummings. My dream

role is Queen of the Night.”

Amy’s unique history and achievements

in sports have seen her become a

national champion in gymnastics and

also a more rounded performer. “I’m a

happier person when I have a million

things on my plate and I think I perform

well under pressure. If I had any tips I

would say surround yourself with like-

minded people.” She again points to the

importance of friends as well as time

management and making lists. “I think

seeing a checked off list by the end of

your day is really rewarding and

reminds you of what you have

achieved.”

As she looks to the future Amy is careful

to remember those who have helped her

get where she is today. “I have been

very fortunate to have had a lot of

positive and influential figures in my life.

My family has always provided me with

a sense of stability and my Mum, being a

very creative person herself, has

encouraged me to follow my dreams and

supported me whilst achieving my goals.

I have also been lucky to have

knowledgeable singing teachers who

have had incredible careers themselves

and have guided me in the right

direction. This is fundamental to

successful development as a vocal artist.

As for the future, like any artist, I have

my wish-list and work hard every day

towards those dreams. I love both Opera

and Musical Theatre and will continue

on this incredible journey to grow as an

artist and explore these genres.

Performing is my passion in life and I

feel very fortunate to be a working vocal

artist, sharing this with audiences all

over the world!”

Continue to follow Amy’s blossoming career at: facebook.com/amymanfordsoprano

Q & A with

Natalie Di Luccio By Chantelle Constable

1) What is the story of how you first

started in music?

My parents put me in singing lessons

when I was five years old. I always use

to sing as a child and my brother had a

fascination with the guitar so they put

both of us into music lessons. Music was

my only interest while growing up. I

never missed a lesson and as I grew

older I became much more serious about

it. My mom used to drive me around

every day after school for music classes,

auditions, rehearsals, piano/dance

lessons, meetings - you name it. I

wanted to do everything. I owe her and

my dad everything today. They

sacrificed a lot for me.

I remember as a child I had to practice

30 minutes of singing and 30 minutes of

piano every day before I was allowed to

go outside and play with my friends. I

entered singing competitions from the

age of 6 and got accepted into a high

school for the arts when I was 12. After

graduating from high school I went on to

McGill University to study Western

Classical Voice. A career in music was

my only option. I had no backup plan.

1b) Share your first influences?

In my early teens, I was introduced to

my current vocal coach, Inna Golsband.

She has been my biggest musical

influence and has really helped me find

my voice and master my technique.

I grew up listening to a lot of Classical

Crossover music. I really felt inspired by

singers like Andrea Bocelli, Celine

Dion, Josh Groban, and Sarah

Brightman. I would say they are my

strongest musical influences to date!

2) You did musical theatre as a

younger artist, correct? Any plans to

pursue more theatre in the future?

Yes, I did. And I loved it! There is no set

plan as such in the near future but my

life has always been very spontaneous

and you never know what can pop up

around the corner. Having said that, it’s

not a priority of mine right now as I’m

focused on releasing my album this year.

3) Please tell the story of being invited

through MySpace to sing on an Indian

music compilation album in 2009

During my time at McGill University, I

received a message from an Indian

composer on Myspace. He messaged me

about coming to India. I wasn't even

going to respond because often one got

random messages on MySpace, but I

did, saying, 'Thanks so much, maybe

one day'.

A few months later he got in touch again

and said he was doing music for an

album and wanted me to sing from

Canada. So I recorded and sent him my

vocals. After a few months, I got a CD.

My voice was on an album of India’s

biggest superstar, Sonu Nigam. This

man had been working on Sonu Nigam’s

album. That’s where it all began.

After this, I decided to take up the

composer’s first offer and come to India.

His wife is a singer and he wanted to do

a fusion album. It was from my first trip

that I was introduced to Bollywood.

India just sucks you in. I fell in love with

Bollywood films and Indian music. I

also started meeting a lot of people

working in films which made it all the

more interesting to watch. After

experiencing all of this, I knew this was

something I liked and wanted to be a

part of.

4) Your thoughts (especially as we

were in the first generation of artists

to grow up with computers/the

internet) on the use of social media to

assist in a musician's

career/promotion?

Whether we like it or not, Social Media

is changing the way we artists function. I

believe it is an integral part of every

artist’s career now. The artists we

admired growing up always had a

mystery around them and now with

social media, it’s become almost

expected for artists to document our

daily life. I’m actually a pretty private

person so I sometimes struggle with this

but I also realize that times are changing

and you can’t live in the past.

The wonderful thing about social media

and in particular YouTube is that an

artist is in control of his/her career.

Earlier in the day, we could only be

heard if a record label signed us. Thanks

to the internet, we have the freedom to

release content anytime we’d like. Once

you can cultivate an audience on

YouTube, the world is at your fingertips!

The only con with YouTube now is that

we have a surplus of music and content

and I feel people’s attention spans have

reduced. Fans have gotten used to artists

releasing music videos almost monthly.

Earlier on, an artist would work on an

album for a year and release maybe 3-4

singles a year. Social media has moved

everything in the fast lane. My only

concern is the quality. I wonder if we

can still create “legends” in this day and

age with how quickly things are moving

now.

5) Your transition in moving to India.

What were the challenges in the

cultural difference, and learning new

languages?

Well, the first time I came to India, I, of

course, had a culture shock. It was the

polar opposite of almost everything I

knew growing up in suburbia outside of

Toronto. The immense population, the

extreme diversity in rich & poor, the

intense driving, the cows, the barbers on

the sidewalk. I’d never seen anything

like this. At the same time, I was so

fascinated by all of it. I loved it. I loved

that my eyes never got bored looking out

the window or walking down the street.

There was always something completely

foreign to me happening at any given

time. I crave this diversity now. India is

never boring it’s the perfect place for

someone like me who gets bored easily

and likes to keep my brain stimulated.

There is never a dull moment!

I didn’t know a word of Hindi before

coming to India. I actually remember my

first day sitting in this families living

room and I was thinking, “I’ll never

know this language in my lifetime”. It

was super frustrating initially. Once I

spent more time there, the words started

becoming more familiar to me. I had no

preconceived notions of what Hindi was

(grammar or vocabulary) so I learned it

as a baby would. I heard people talk. I

immersed myself in it. I went to plays,

movies, learned songs, got a Hindi tutor,

got a diction coach, practiced basically

any way I could. Honestly, more than

any textbook will ever teach you-you

just need to be immersed in it and then

suddenly one day it starts to click. You

somehow start to understand and the day

you realize its happening it is really

exciting. Now it’s been about 5 years

and I’m quite proud of myself that I

understand about 70% and can speak

enough to deal with any situation. I no

longer need to call my friends to deal

with the delivery guy or taxi driver or

anything like that! Those were the

frustrating times!

6) Your recent TED talk on "leaving

the comfort zone." Can you give us a

summary of that, and why that topic

is so important to you?

I am constantly in awe of the incredible

moments we can experience when we go

outside our routine. Magic lies beyond

your comfort zone. We often stop

ourselves from experiencing so much

because we are afraid.

Fear is the reason many of us don’t

fulfill all our dreams, not because we are

not good enough. We are afraid to step

outside our comfort zones, break

routines and take chances but the most

magical moments in life will happen

when you allow yourself to step outside

your comfort zone. My entire journey till

date, my career, all the incredible

experiences I’ve had, and people I’ve

met have all been because of that. In my

TED talk, I speak about my journey and

also encourage people to get out of their

comfort zones even if in the smallest of

ways because when you let go of fear,

the sky’s your limit.

7) Of the wide variety of projects, you

have sung on so far (films, adverts,

compilations, etc) what has been your

favorite?

I enjoy the variety of work I’ve done in

films/adverts but my deep passion has

always been in Crossover music. My

favorite project so far which is really

close to my heart is a single that I

released last year. It’s an Indian fusion

rendition of the Morricone classic “Nella

Fantasia”.

8) Your facebook bio states that you

have worked with Mauro Malavasi, a

producer of Pavarotti and Bocelli.

Your website promises an upcoming

album. Can you give us any hints/

teasers/ideas of your musical

direction?

I worked with Mauro Malavasi in

Bologna for about a month and it was a

magical experience. He taught me a lot,

especially how to dig deep into my

emotions while singing. Without giving

much away, the music that I plan to

release this year will follow along my

path of bringing people closer together

through music.

9) You have a history of traveling --

back to your home in Canada, to Italy,

to Thailand... do you plan on staying

mainly located in India, or do you

foresee moving to another location to

pursue further music opportunities?

I am somewhat a nomad. I travel a lot

but in the past India has been my base.

This year, I definitely foresee spending a

lot more time in the US and Europe to

pursue my crossover career further.

10) Did you finish your studies at

McGill University before moving to

India? How important do you think a

college degree is to those interested in

the performing arts?

I didn’t complete my studies at McGill.

During my second year I was feeling

very confused, here I was accepted into

one of the best opera programs in the

world but in my gut I knew it wasn’t the

degree that was going to give me a

career in singing, it was the

opportunities already knocking in front

of me, especially if I wanted to get into

mainstream music. I had a lot of

opportunities at that time but I couldn’t

explore any of them because I was in

school. This is where I talk about letting

go of fear. It was one of the most

difficult decisions to leave at a time

when all of my friends were studying, to

pursue a career which is very uncertain,

but if I didn’t take the chance when I

did, I really don’t know where I’d be

now!

To answer your question, it definitely

depends on the direction of the singer. If

you are getting into Opera, then a degree

can be very necessary to enter the opera

world, or if you are looking to teach

music then a degree is necessary. If you

are looking to sing in the crossover or

pop world, then a degree is not going to

give you your career but it can of course

help you become a better musician and

give you a backup plan as a teacher. I’m

not a fan of backup plans though. In my

opinion, the most important thing a

singer should have is a great vocal

teacher. I think at the end of the day, a

career in music all boils down to hard

work, talent and persistence.

11) "Her aim is to constantly finding

ways of bridging the gap between the

east & west through music." -- What

do you think is the biggest gap

between the east & west? Many

eastern classical music can sound

foreign and even unpleasant to ears

used to the western classical tradition.

Do you foresee a possible career, even

on the side, even in music education?

That's an interesting question. I often

find when I am in the West I get tons of

questions about what life is like in India

and also since I’ve traveled a lot, I get

many questions about the eastern

continent in general.

There is still a lot of curiosity

surrounding these regions. Many people

believe in the stereotypes and only know

India for example as what they’ve seen

on news or from films like Slumdog

Millionaire. I feel in some small way,

through music, I have an opportunity to

educate people on different parts of the

world, different cultures, different ways

of life. In a very small way, I’ve seen at

least the people I’ve grown up with have

a changed perception of what India is

and I feel good about that. I’ve had

many friends travel this side of the world

that may never have if I didn’t tell them

about it, so in a small way, I feel I have

this unique opportunity to break down

walls between cultures. While talking

about the music aspect, there are so

many musical traditions that we don’t

know about, so many unique instruments

out there that haven’t come to the

forefront, so many interesting ways

music is a part of people’s daily life

across the world. Even if in the most

subtle of ways I can start adding these

elements to my music, or at least giving

these traditions a platform, it would be a

step in the right direction.

12) What are some of your other

influences besides classical and

eastern music? Any secret guilty pop

music pleasures?

I am all about heart. Anything where

you can feel the singer’s emotions bleed

strongly connects with me. I find myself

listening to a lot of Ed Sheeran, Sam

Smith and Rachel Platten lately.

Recently anytime I need to feel inspired,

I find myself listening to The Piano

Guys. I love their energy!

13) What (if any) are some of your

regular disciplines in maintaining

your vocal and physical health?

I usually go on voice rest one day a

week if I can. I also try to warm up my

voice every day before speaking so my

voice is placed correctly throughout the

day! I use to go to the gym a lot but now

I’ve gotten into Yoga. It’s really helped

me instill calmness in my mind and

become extra aware of my breath. I

think Yoga should be a part of every

singer's routine!

14) Do you have any dream duets or

collaborations? (When I listen to your

music, I am reminded of the

"Dharohar Project" with Mumford &

Sons and Laura Marling.)

(Wow! I’d never heard “Dharohar

Project” before. This is super cool!

These are Manganiyar folk artists from

the same family that I collaborated with

in Rajasthan.) Well of course like most

crossover singers, it’s always been a

dream to sing with Andrea Bocelli &

Josh Groban. Two singers I’ve grown up

admiring. Outside the crossover world,

there are so many collaborations I want

to explore. One being in North East

India where they have very unique tribal

choirs. Without giving too much away,

trying to get to North East next!

15) Do you write original music,

prefer to sing / re-arrange covers, or

debut songs by other original

composers?

I love to do it all, although I love re-

arranging old classics and bringing my

own twist to them. Having said that,

there is nothing like singing your own

songs.

16) Finally, let’s end with the story of

making your music video for Nella

Fantasia "A Dream From Rajasthan.”

The concept came to mind four years

ago when I met Sawan Khan

Manganiyar in Mumbai. He was

performing on MTV’s Coke Studio at

the time and his performance gave me

goosebumps. I spent hours on the

Internet watching video clips of

Manganiyars of Rajasthan and was

extremely fascinated by their style of

music. I knew that together we could

create something magical and showcase

the beauty of Rajasthan at the same time.

This video was a 3-year journey. We

first recorded my vocals in LA and then

I brought Sawan Khan to Mumbai for

recording his bit. Sawan was the real

deal and not someone touched by

modernization, which I absolutely loved.

Although Sawan and I couldn’t

communicate directly -- he only spoke in

Sindhi and I, in broken Hindi, which his

son then translated, to Sindhi -- we

formed a special bond instantly.

Shooting the video was a memorable

experience. We landed in Jodhpur and

spent about a week trying to get

permissions for the Mehrangarh Fort and

flying the crew from different areas in

India. We shot the video in 8 hours as

the Fort couldn’t be held up for long.

Needless to say, it was one of the most

special days of my life and a project I

am really proud of.

Keep up to date with Natalie’s travels at

nataliediluccio.com