Spring 2020
Jessica Victoria
Songs of the Summer Realm Jessica Victoria is a classically trained singer who has won numerous competitions and given recitals at the famed Lincoln Center and sung for Pope John Paull II at the Vatican. She holds a doctorate degree in music and composes using Braille. For her debut classical crossover album, Jessica turned to the legends of Arthur for inspiration.
NB: Your debut album Songs of the Summer Realm is very fascinating in that it tells the legend of King Arthur. Where did the inspiration come from or have you always been attracted to history and literature about Arthur? Jessica Victoria: For as long as I can remember, I have been drawn to Arthurian tales and history, but the impetus to make an album around these themes was my reading of Stephen Lawhead’s Pendragon Cycle. This set of five books tells the story of Arthur from a perspective that was fresh and fascinating for me. As I thought about it, I realized that many of my favorite authors — J.R.R. Tolkien, Alfred Lord Tennyson, and G.K. Chesterton to name a few — had all written about Arthur in some way or another. For me, storytelling through song has always been at the
center of my music-making, so having such a rich tapestry of tales from which to draw was like being a little girl in a candy shop. NB: Did you write all the songs on the album? If so did you compose them in order at around the same, or individually over a course of years/ months? Jessica Victoria: The whole writing process took several months. I wrote many of the songs on the album — for some of which I wrote both the music and lyrics and for some of which I wrote just the music. For the latter, the lyrics come from Arthurian literature. Once I knew what story I wanted to tell, the songs started coming, one after another. Some took longer than others to come together in their final form, but I wrote some of them within days. Mr. Lawhead graciously gave me permission to use texts from his Pendragon Cycle as lyrics for several of the songs. NB: Are there any other artists that inspired you with creating this style? Jessica Victoria: Loreena McKennitt is the artist that inspired me the most. Instead of being penned in by one musical genre, she lets the genre serve the story, while elements of Celtic music unify her work. Like her, I swirl
genres together, sometimes within the same song, sometimes within a bigger project, to tell stories. Other artists who inspired this project include Jeff Wayne, Pentangle, Steeleye Span, and Iron Maiden (especially “The Rime of the Ancient Mariner”).
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NB: In this lockdown, it’s exciting to get new music. Will you be performing any of it live on Facebook etc?
Jessica Victoria: When life gets back to normal, I would like to record a project on the Camino de Santiago de Compostela. It is likely that some of my roots lie in Galicia, a region of Spain associated with the Celts, and I would love to make the pilgrimage and to record and write songs along the way that share my experiences.
Jessica Victoria: I plan to perform music from Songs of the Summer Realm via live stream, and I’ll be posting announcements about it on my social media channels and on my
NB: In the future are there any other stories you would like to bring to life musically?
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bellevoci.co.uk
Belle Voci
Convid-19 Benefit Concert Classical Crossover Vocal Duo Belle Voci premiered a benefit concert for WHO Covid-19 Solidarity Response Fund live on YouTube on March 26th. Emily & Sophie who’s motto is Opera for Everyone were introduced to the British public through the blind audition round on The Voice. They have continued to be in high demand in public and private performances and have also found the time to release two albums. NB: We are living in a really surreal time that is especially hard on artists, with gigs being completely canceled for the foreseeable future. It makes it so impressive and touching that you ladies decided to put together this wonderful concert in benefit of WHO Solidarity Response Fund. How did you come up with the idea?
near future!) but I do need to say this concert looks like something that could have aired on Songs of Praise. The production value is just wonderful. How were you able to pull that together so quickly?
NB: Lots of artist are doing Facebook live concerts which are so fun and important (CCM hopes to present some special content in the
NB: I know that staying in is really a struggle during this time but it does give a lot of time for reflection and creative brainstorming. Have you ladies been
Belle Voci: Thank you so much, we are so delighted with the final product. We initially asked people on Twitter if anyone had any Belle Voci: It is, is has been quite a idea how to live stream on YouTube and whirlwind adjusting to such a quiet Chester Tweets tagged Picturehouse Films diary! In times like these we should who immediately got in touch with us and come together to support one another really drove the project from the word go. and we thought what better way to do They were amazing and, obviously being a that than through the gift of song. So, professional film crew, had such amazing whilst we are all far away from each ideas that we went from just Sophie and me other we wanted to bring people singing in our sitting room to a full camera, together with something to uplift their sound and lighting crew in different spirits, keep them going, and raise locations around Chester! Would highly some money for a great cause. Oh, and recommend this amazing company, not only also to give us something to focus on were they slick and good at what they do, that wasn’t binge-watching Grey’s but they were such a joy to work with- big Anatomy! shout out to them!
working on new material/ideas? Belle Voci: Absolutely, it can be challenging at times but we have seen it as a gift – when else do we have the time to properly sit down and just be creative? So often we are rehearsing in our cars or hotel room or working on trains and planes that it has been wonderful to sit and plan our next shows which are coming along nicely‌ watch this space!
we felt that the rug had been pulled from under our feet. Their continued support motivates us to keep creating, keep publishing new and old videos and just generally keep focused on a time when this is all over and we can go back to singing around the world. People have also been buying our CDs from our website which has been a big help, so a huge thank you to them!
NB: What are some of the ways that fans can help support you (and other artists) during this time?
NB: Once this horrible pandemic is finally cleared, where is the first-place you girls would like to go?
Belle Voci: We have been overwhelmed by Belle Voci: We are off to the pub for the response from people watching our prosecco and pizza, 100%. And we aren’t concert. The influx of emails and social leaving all day! media posts has really boosted us when
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Sarah Class
Green Man
Sarah Class has built a prolific career as a composer and has been nominated for both a BRIT and Tony award. She is perhaps less known as a singer but audiences will soon hear her on the new EP Green Man that is streaming now. We were able to speak to Sarah to get to know a little bit more about this talented musician.
NB: One thing that comes across from your career is a constant progression. Lots of musicians seem to appear and disappear but it takes a lot of dedication and perseverance to have staying power. Would you say this is a result of your personality? Sarah Class: Yes, it must be. I am quite tenacious – and obviously quite insane. It could be because despite the highs and lows of being a musician – (probably any artistic pursuits for that matter) I don’t tend to give up easily and music is such a part of me that I couldn’t stop writing if I tried. I thrive on change and a variety of different projects. You have to keep challenging yourself or there would be no progression. There are so many things I want to do musically, and if I’m inspired then I’m unstoppable until I think I’ve achieved that particular musical goal or dream. The musical journey is also a personal evolution and it is fraught with all sorts of demons. But I also can’t help but feel there is some higher purpose at work, which also inspires me to write and create. I’d love to think that the music I write could help people by uplifting their spirits and
subliminally letting them know everything will turn out ok in the end. This probably drives me more than anything. NB: Mentors are also an important part of growth for an artist. You were nurtured early on by George Martin. What were some of the lessons you learned from him? Sarah Class: He taught me to keep a sense of humour, to maintain musical and personal integrity, to keep moving forward and listen and learn from great songwriters. Burt Bacharach was a particular favourite of George’s. I really miss his presence on this earth. An incredible person and musician. NB: Tell us a little bit about the first film you composed for The Weekend? Was it a challenge to write music for specific situations, and moods that needed to be conveyed rather than just free expression or did that make it easier to stay organized since the goal was very specific?
Sarah Class: Yes, when you have pictures to write to, this informs and inspires the music for that particular scene, and then I start to build in the emotional layers in the score as the film progresses. There was great complexity in The Weekend as there were so many undercurrents of emotional tension, disharmonious relationships, and unresolved feelings to the narrative. To some extent, you are being led by the pictures, but there is freedom to that kind of constraint in some ways. If you are writing a piece for say, an album, the sky is the limit, although again I look to other things for inspiration. For example, Green Man and the album to come, is inspired by the spiritual forces of nature and the interconnectedness of all things. NB: Crossover fans have heard your work with artists like Cantamus and Hayley Westenra. I loved her Pure album (had several different versions of that!) so I’d love to hear more about that collaboration and your inspiration for the song Across the Universe of Time. Sarah Class: It was great working with Hayley and we’re still in touch. She’s a wonderful person and a dedicated musician and she was very young when we first met. The album Pure was a collaboration of many composers and writers coming together including Sir George Martin. Giles Martin his son, produced the album and I also produced a couple of the tracks (Dark Waltz and Across the Universe of Time) and arranged many of the others. Across the Universe of Time was about
knowing your soul-mate before coming to this earth and the pact to be together, and then the soul’s emotional journey of trying to find them in this life-time. NB: Do you ever listen to a singer and think “I’d like to write for that person?” or maybe read a book that you’d love to do the score for? Sarah Class: Oh, yes! I often read books and think how much I’d love to write the score for that particular movie if it was made. You can’t always guarantee that the film will do the book justice and some of the films which I hoped would be made as a result of the greatness of the book, haven’t been as amazing. One book which is absolutely brilliant and the best re-telling of the King Arthur story is The Mists of Avalon by Marion Zimmer Bradley. It’s unputdownable and so magical. I love anything which completely takes you into other worlds, and this book certainly does that. I hope someone makes a film and does the book justice! It’s probably a series as it’s a long book! As for singers, there are many in different genres. I’ve written operatic pieces I’d love to be performed by such gorgeous singers as Pretty Yende, Golda Schultz or Lise Davidsen. I’m excited about up and coming singer/ songwriters like Imogen Williams and classical crossover soprano, Jackie Evancho. I love the tone and power of Adele’s voice and also Beth Rowley and tenor David Phelps. In another lifetime I’d have loved to have written for
Tony Williams, Elvis Presley, and Eva Cassidy. There are so many. I’m currently collaborating with the wonderful Irish singer and composer Eimear Quinn on her new album Erihu, and she will be also working with me on Natural High. It’s a mutual collaboration/appreciation society! NB: Do you have a favorite film score or composition that you’ve done? (or maybe top 5) Sarah Class: • Aurora – Cantamus • Okavango River of Dreams • The Meerkats • BBC Africa Series • Brothers of the Wind NB: In addition to being a wonderful composer, you’re also a singer and your voice can be heard on the new EP Green Man which will be part of a full-length album to follow. When did you start singing? Do you normally record the vocals on demos for any singers of your compositions? Sarah Class: I started singing about 12 years ago, relatively late compared to many. I’m still developing my vocal technique and tone and excited to find out what is possible with the voice. I generally always record the vocals for demos for other singers if I can, and also sing my own vocals on many of my scores. I love exploring singing in other languages too.
NB: Tell us more about Green Man and Natural High. The album seems based on nature and your experience growing up. I love the concept of through-composed albums/concerts. Sarah Class: I first wrote Green Man, wanting to express the healing and spiritual forces of Nature through my music. Green Man is about rebirth and renewal and the regenerative qualities of nature as a metaphor for our lives, and the idea for it first came to me when walking on the beach on the Isle of Wight where I grew up. The island is such a beautiful place with it’s own ecosystem and such varied landscapes. It’s a place I dream of and escape to, and go there “in my mind” when I can. I feel very lucky that my father encouraged me and my sister both in music and also passed on his protective love of wildlife, and strong sense of environmentalism and conservation to us. Natural High will be a fully realised musical version of Nature in all her glory, harnessing the power of the Nature Gods and Goddesses in different cultures and ancient civilizations through the music. It aims to capture the tangible magic and power of nature which affects us and connects us all in different ways. NB: We’d love to hear more of you in the classical crossover genre where original music is greatly needed. Do you ever accept commissions and if so what are the kinds of things you ask for? Mood, range, that sort of thing? Sarah Class: Absolutely! I would LOVE to do more in this genre. This is partly
why I wanted to write this first classical/crossover album of my own as I would like it to cross so many musical boundaries. They are of course musical walls we have made ourselves over the years which need to be, and are being, released. There are infinite ways of expressing beautiful music and I love exploring new avenues of doing this! I think this genre freedom is key to being a film and TV composer – you have to keep musically agile. It suits my free spirit, and I wouldn’t have it any other way.
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Jay Dref
Drifting Listening to Classical Crossover singer Jay Dref for the first time it’s hard not to draw comparisons to Josh Groban. There is the same accessibility and appeal of a young Groban singing but Jay’s baritone also has a seasoned maturity and his own unique story to tell. Jay has been steadily building a following after the release of his debut single, Taxi in the Rain. “Taxi in the Rain is a beautiful song written and produced by Stephan Moccio and Lauren Christy. I immediately fell in love with it the first time I heard it. It’s one of those songs that when you hear the first notes, you know it’s going to be special. I love the simplicity of it and how it takes you on this journey. It’s the kind of song I feel like anyone can relate to.” When he was eleven a musical director in a children’s chorus suggested that Jay’s voice had potential and should be developed further. “I was always singing around the house, in the shower, everywhere, so I thought I should give it a shot. A week later, I met with my first voice teacher and that really was the beginning of my journey on this path. I was very lucky to have people believe in me and my talent.”
Jay describes being “scared out of my mind” at his first performance a year later. “I sang some musical theatre tunes and a patriotic medley… I think I even forgot some of the words. I had never sung by myself in front of an audience before.” Over the years he continued to perform in recitals, and musicals and his interest was eventually directed towards classical music. When time came to look for a university, Jay’s voice teacher suggested Julliard. “She had previous students who had gone there and loved it.” Despite its prestigious history Jay admits, “Crazy enough it was never a lifelong dream of mine to go there.” He prepared three songs for the audition in English, Italian and German. “I also had to brush up on my music theory and ear training skills. I’ve learned that being able to sight-read music is very important in this business. I remember spending multiple hours at the piano going through a ton of scores. You really have to have the patience and dedication which isn’t hard if you really have the passion.” The passion and potential were evident and Jay was accepted into the program with a full scholarship. “I’ll never forget how exciting it was to open up
that acceptance letter. It was a grueling process but definitely worth all of the hard work I had to put in to get to that level.” Furthermore, he tells us, “Attending Juilliard was one of the greatest experiences of my life. I’ve never felt more at home. They made me feel so welcome and the training I got was absolutely incredible. I had the opportunity to work with the best of the best in the classical singing world.”
“What I love about this genre is how I can take on a song and make it my own. It allows me to go back to my roots of classical singing but at the same time I’m singing songs that I am hugely passionate about. These are also songs that appeal to a wider variety of people. There’s no greater feeling than nailing a huge power ballad, using my vocal training.”
The Julliard experience equipped Jay’s already impressive raw talent with the skill needed in the professional world. All seemed set for a career in opera. “As I was about to graduate, I thought I had an idea as to where my career was going but that changed. I studied to be an opera singer but I wasn’t sure that’s what I wanted to do. I knew I had passion singing other types of music and I wanted to explore.”
Just at the right time Jay’s music came to the attention of songwriters Stephan Moccio and Lauren Christy. “Moccio wrote one of the top pop songs of the last 20 years with “A New Day Has Come” sung by Celine Dion not to mention songs like “Earned It” and “Wrecking Ball.” It was AWESOME! They heard my demo and immediately fell in love with my voice. Working with them brought me to a new level of singing.”
After graduation, Jay discovered a new passion for classical crossover by listening to performers like Josh Groban, Il Divo and Andrea Bocelli. “Something sparked in me. I just thought to myself ‘Wow I kinda like what they are doing! They are taking these incredible songs that we all know and giving them their own take - putting it to a classical full orchestra’. I fell in love with it and I wanted to do that.” Recording “felt more fulfilling” to Jay. “I needed to follow my instincts and I’m so glad I chose the path I’m on. I feel more true to myself and I bring more of myself to songs in the classical crossover genre.
After Taxi in the Rain, Jay released a Christmas single A Wish on Christmas Day. Two more singles followed (Drown & Embrace Me Now) and then his first EP Drifting. Although his operatic chops are impressive, Jay’s crossover style leans more to the contemporary side of the genre. The sound is rich but also very accessible and allows Jay to share the special musical qualities that have always been important to him. “I really love a song that starts out soft and then builds to a forte. I have a powerful voice and love to show that off. I also enjoy singing in my falsetto. It’s another quality I’ve really worked on developing as a singer. It gives me a chance to express
my emotion and I’m able to tell a story through the music.” Through the unexpected covid 19 lockdown, Jay has been actively collaborating with various other crossover artists including the Bel Canto Sopranos and Nadia Eide. He has also participated in our Classical Crossover Magazine concerts. Jay’s Embrace me Now single is especially poignant in the light of current events. In the future Jay plans to continue to record and hopes to eventually go on tour. “It’s always been a dream of mine to travel the world and sing.” He would also like to continue to develop new skills such as accompanying himself during performances. “It is something I
would like to do in the future. I am equally as passionate about the piano as I am singing.” For those young singers dreaming to someday pursue a career like Jay he advises, “Nothing in this business is impossible. It’s a long road and a lot of preparation but so worth it in the end. I can promise if you work hard at something, stay focused and don’t give up it will definitely pay off.”
Photo credit: Jamel Toppin
Thank You JAY LOUIS DREF For recording our song “You Are My Encore”
Amber Guderian, Kristi Fitzwater, Phillip Keveren Randy Cox Music
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Gruffydd Wyn
Chapter One Twenty-two-year old Welsh tenor Gruffydd Wyn got his big break by auditioning for Britain’s Got Talent. It was heartwarming to watch the young performer overcome his own nerves to bring down the house with a rendition of Nessun Dorma. Gruffydd sailed into the semi-finals and then caught the ear of fellow reality contest Rhydian Roberts who is now guiding his career into the next phase. His debut album is appropriately entitled ‘Chapter One‘ signifying the beginning of what we all hope is a long career ahead of him.
NB: Wales seems to be such a musical place, when did you know that your passion for music was something more than a hobby? Gruffydd Wyn: I’ve always been interested in music, growing up as a kid in Wales it was hard not to be interested. I was a member of various choirs growing up and my love for performing grew from there. I studied acting at university but I quickly realised after completing this course that I wanted to pursue a career in singing. NB: Can you remember the first classical piece you heard and worked on in a voice lesson? Gruffydd Wyn: There are many pieces of music that inspire me and that I have worked on, from classical to rock from pop to country, but if I was to choose one, it would be Nessun Dorma, there’s something about this song that I absolutely love!
NB: Was there a particular performer you saw on Britain’s Got Talent that inspired you to try out yourself? Gruffydd Wyn: Growing up as a kid watching BGT, I’ve seen many memorable moments. I particularly remember the audition of Susan Boyle, it was iconic! Look where she is now! The shock on the whole nation as she opened her mouth to sing was fantastic, nobody expected it! This was a standout moment for me! NB: What was the most unexpected part of your BGT journey? Gruffydd Wyn: The whole thing was unexpected. When I first auditioned I never in a million years thought that I’d get the Golden Buzzer and reach the final! But for me, the most unexpected thing was how fantastic the support for me was! I couldn’t believe it, and to this day I will always be grateful for that!
NB: Speaking of which, after the show, you received a message from Rhydian Roberts. What was that like and how has he helped you continue to develop your career? Gruffydd Wyn: Rhydian has been an instrumental part of my development as a singer since Britain’s Got Talent. I was thrilled when he contacted me after the show. He offered me some great advice and since then he became my manager and it’s great to have him part of my team, but even greater to be able to call him a good friend! NB: As a young performer, how do you feel like crossover can make itself more appealing to people in your own age group? Gruffydd Wyn: I’ve always had an interest in crossover music, I think this is because of my broad music taste in general. When I sing I believe a vital part of it is that I tell a story and bring the audience on an emotional journey with me. I think that if you connect with the audience then it doesn’t matter what age you are, you’ll fall in love with this style of music. NB: As you look to the future, what are some of the things you would like to accomplish in your career? Gruffydd Wyn: I’ve always wanted to sing the Welsh national anthem at the Principality Stadium during the rugby, so to do that would be unreal, a Welsh boy’s dream come true!
Looking forward, I’d also like to be able to release more of my original music, and share it with the world! “Chapter One” features mainly popular covers that have been given a crossover treatment and it feels very genuine to Gruffydd. He has the power to sell the big moments when the music calls for it but there is something especially appealing about Gruffydd’s ability to communicate on the more intimate moments. Although he is still a young artist there is a real authenticity to his vocals and interpretations that makes this album a real treat. Gruffydd told us: “This album is quite personal in terms of song choice, there are some songs that I remember hearing my mother listening to around the house and in the car when I was a kid and I thought it would be nice to sing them as a tribute to her for being such a great mum. There are others that mean a lot to me for different reasons. But, the message of the album and the reason for the songs were that I wanted to bring love, happiness into people’s homes with my music and I believe that I’ve accomplished that.”
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Louisa Alice-Rose
Summer Rose
Louisa Alice-Rose made her debut on the West End stage at eight years of age and has continued to perform and develop her voice into a shimmering mature soprano that still maintains the winning clarity from childhood. Her debut album, Summer Rose is now available from all major streaming services. NB: Your career is the definition of crossover from making your debut on the West End and then studying opera in university. Was your voice always very flexible in switching between multiple genres? Louisa Alice-Rose: Since I started singing (at the age of 6), I have always sung a variety of genres. I was really lucky to have an amazing singing teacher, Liz Harley, who encouraged me to explore different styles. She gave me a really good understanding of the vocal techniques required in each style so that I can move between genres really easily.
you have kept in your repertoire since the time you began singing even till now? Perhaps one on your album? Louisa Alice-Rose: I started singing Song Of Dreams by Simon Hale and Claire Moore when I was 12. I performed the song at a school music competition, the Rotary Club Young Musician of the Year and now it’s on my album too! The music of Les Miserables has a very special place in my heart, but I’ve moved on from singing Castle On A Cloud!
NB: Was there a singer whose career or perhaps timbre really helped inspire you on your journey?
NB: How did Summer Rose come about? Was recording an album something you’d always wanted to do?
Louisa Alice-Rose: There’s not really anyone in particular. I listened to a lot of different music as a child. My parents always had Classic FM on. When I first became interested in opera, I was obsessed with Le Nozze Di Figaro by Mozart. And Joyce DiDonato – she’s incredible.
Louisa Alice-Rose: I’d been thinking about making an album for a few years. I wanted to record all my favourite songs that I have been singing since I was 18. I turned 25 last year, so it just felt like the right time to mark my quarter century!
NB: Is there a particular song that
NB: This wasn’t your first recording
project, but was there anything you learned from this experience that you can share with other young singers who are working towards their first album? Louisa Alice-Rose: My advice would be, definitely pick songs that you love singing and when you’re recording, imagine there’s an audience there. NB: Looking to the future what are some of the things personally and professionally you’d like to accomplish? I would love to sing at Carnegie Hall one day! I really enjoy having such a varied career – from musical theatre to opera. I’d love to sing on a West End stage again. I also want to continue developing my operatic career, wherever that might take me. I see myself focusing more on opera in the years to come. NB: Besides music do you have any hobbies? Louisa Alice-Rose: I love horse riding and animals in general. Also, not really
a hobby – but I run a Performing Arts School – LAR Performing Arts. We offer tuition in singing, acting and dance for ages 3 +. I love teaching singing as much as I love performing onstage and I feel very lucky to spend every day doing something I love. NB: You run a Performing Arts School? Louisa Alice-Rose: So I started teaching singing and drama after music college and I realised I really enjoy it! I also love the admin side of things – organising shows, concerts etc. So I decided to start running my own classes! LAR Performing Arts was formed in January 2018. I teach mostly 1-2-1 singing and run the Pop Choir. My boyfriend is the Vice-Principal and LAMDA Drama teacher. I’m lucky to have lots of talented colleagues that teach Street Dance, Musical Theatre, Ballet / Contemporary Dance, Drama etc for me. We’ve got branches in Tring, Welwyn, Brixton and Manchester!
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Alexa Ray
From the Ashes Canadian songstress Alexa Ray trained to be a classical singer but her musical journey took a different path with inspiration from the gaming world. On top of the various awards and accolades throughout her career so far, in 2019 Alexa reached another milestone with one million views on YouTube! Her album From the Ashes is cinematic with soaring vocals, lush orchestration, and original lyrics. NB: What draws you into the music you listen to? Alexa Ray: I listen to a lot of music in a couple of different genres. Sometimes it’s the singer that draws me in; the colors of their voice they use or interesting texture to their sound. Sometimes it’s the brilliant lyrics or amazing production but I think what I’m drawn to most in music is the emotional story, even if there are no words. I grew up listening to classical music and studied opera for a number of years so have a deep appreciation for the classical genre. I was always in love with the emotion of music which is why I think fell in love with film, game and tv music. There is so much emotion and creativity in the production, using both classical and futuristic elements to convey a certain image, feeling and or story. NB: You come from a classical background, tell us a little bit about that time in your life and the lessons you learned from that training. Alexa Ray: I remember my parents had
a record player, and would sometimes put us to bed playing the full soundtrack of Star Wars or Dvorak. My mom was probably the reason I fell into classical music. She would often play CD’s of the greats such as Kathleen Battle, Cecila Bartoli and Maria Callas while cooking or cleaning and I remember telling myself I wanted to be just like them. I began studying music and classical voice at the age of 10 and was always very serious about music. I knew if I wanted a career in music the path wouldn’t be easy so immersed myself both in study and training. When I was 18, I joined the conservatory and Young Artist Programs and graduated from a specialty High School for the Arts. I then went on to study classical voice in University and was briefly a part of an opera studio here in Toronto. I definitely learned a lot of vocal technique and a lot about my body as an instrument. I think if nothing else I also learned a lot of discipline and training gave me a lot of good structure and understanding of basic theory. NB: Your music has really evolved into epic pop / fantasy / soundtrack.
How did this process come about, and did you have a moment or series of moments that made you realize you’d found the right sound? Alexa Ray: Great question, I don’t know that I went searching for a sound. I think my initial change in music came from having to adapt my career. I found that it was becoming more and more difficult to find work as a classical musician, or that the classical work that was available I didn’t enjoy. I also realized that over the years I had been doing what everyone wanted me to do and felt a growing restriction without a lot of creative room, especially among the purists in classical music. I never cared about making my music mainstream, I just wanted it to be something I’d listen to and I’m really enjoying the creative process right now. There was definitely a period where I was trying different things and experimenting with different elements, but the root of my searching was always ‘is this me?’. I started going after my authentic sound but ultimately, I’ve stopped caring about pleasing others, I’m just putting my soul into music and hopefully some people enjoy and will relate to it. NB: How do you adjust your vocal technique to accommodate the new styles you are singing? Alexa Ray: I’ve thrown it out the window.. I’m sure some of its ingrained into me from my operatic training but I don’t even think about it anymore. When I studied and sang opera it was always about singing the ‘correct’ way. I lived and breathed vocal technique and saw vocal coach’s weekly who told me
exactly how to sing, what to feel and how emote the ‘right’ way. I was so focused on being perfect. Now when I sing it’s about using a color or sound that conveys a feeling, I want the listener to feel. So sometimes I’ll purposely sound breathy or want to have a bit of grit to my belt- I feel a lot more freedom in my sound now, and because I’m writing my own music, there is no right or wrong. Because of this, I also feel that I also have a deeper connection emotionally to each song. A lot of what I write is from experience; things that have happened or lessons I’ve learned. It’s a bit scary to open your heart for everyone to hear and judge, but I equally feel that you can’t fake the music. Good music goes there, and that’s what makes it relatable and people are drawn to real… at least I am. NB: You have the word Fearless tattooed on your body and it also features in your artist shop on your website. What does that word mean to you both as a person and the artist you have become? Alexa Ray: Yes, fearless or ‘No Fear’ as it appears in my tattoo, is sort of a moto I’ve embraced. I was asked a few years ago how my life would differ if I lived without fear - if I wasn’t afraid to fail, how would that change my decisions? It really made me see life in a different light and still something I ask myself every day. By no means is it a state of being I’ve achieved. Being Fearless isn’t something you are, it’s a conscious mindset you choose; in spite of fear you chose to be fearless anyways.This concept is what has inspired the title of
my next album I will be releasing with composer, Randall Jermaine (date TBA) . I’m excited for this album, not only has it been a great experience to work with Randall, but we’ve really tried to create a fresh sound and blend the worlds of pop and film score in a unique way. The album is themed on fearless but not the epic hero version everyone thinks of when you hear the word. The album focusing on being fearless in everyday life; being fearless to go after your dreams, fearless to start over, fearless to walk away, or just getting up in the morning to face another day… for some that’s not easy. So, I hope that my music is uplifting and gives my listeners the inspiration to keep going and be fearless. NB:When did you first begin songwriting? Was it something you learned naturally, or did you take classes, write with a team? Alexa Ray: I actually never took any formal songwriting lessons. It was only about two years ago I was doing an atmospheric vocal when the composer asked me if I could put the lyrics to the song. I admitted I’d never done it before but could give it a try. I thought it would be difficult, but it seemed to just flow out of me and I realized a lot about myself from that project. As a kid I remember going through a phase where I wrote poems and loved the sound of certain words. Because I was bullied a lot, I always thought that maybe it was weird because other kids weren’t doing this so didn’t embrace it in order to fit in better. Now I realize that maybe there’s been a writer in me all along and didn’t realize
it until now. It’s been interesting to see all these pieces of my life I didn’t know could work together, all of a sudden come together and I’m learning a lot about myself. Right now my creative process involves me being in my PJ’s curled up with a lot of coffee and a good bar of chocolate (a writing tip from Jennifer Thomas – Chocolate 100% creates better music) After winning the Hollywood Music In Media Awards for Best Lyrics, I feel a lot more confident in my abilities and writing is certainly something I want to continue to focus on. I actually just had my first ever official writing session the other day which I intend to do more of in the future so I can continue to grow as both an artist and writer. NB: Tell us about your new album, From the Ashes. Alexa Ray: This is my very first full body of published work I have written lyrics for. It was an amazing experience to be able to work for Atom Music Audio on this project and had a lot of fun with Lisa Val Hal creating each track. She is such a talented composer and I hope we get to work together on a project again in the near future. From the Ashes is meant to be an epic uplifting and motivational album for people in hard times and written in an epic trailer/ film score style. I had gone through a couple years of low moments myself, so I think a lot of these songs were me coming back to life and finding
my footing to stand up again after feeling like I’d been knocked down.
motivational and uplifting.
NB: What do you want people to take NB: Are you planning any live events soon? away from your music? Alexa Ray:A lot of what I write is from experience either things that have happened or lessons I’ve learned. So, I hope listeners relate to the lyrics and love the epic orchestration. But on a deeper level I hope they find it
Alexa Ray: I have been heavily focusing on writing and recording but hopefully, in the near future, it would be wonderful to perform some of the tracks live!