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dentical mirror twins Hannah and

Naomi Moxon grew up singing nursery rhymes and listening to Vivaldi and Shania Twain in the car. "We remember singing along... it was probably quite embarrassing!" Now, at the ages of 20, they are veterans of popular television talent show The Voice, and have just released their first Christmas EP. "We love everything about Christmas... probably our favourite things are: Getting up early on Christmas morning, dinner, wrapping everyone’s presents, and having family board games." A video for "The Living Years," featuring The Voice co-competitor Emmanuel Nwamadi, was released in conjunction with the EP, which is titled "The Night Before Christmas." "Our video was really something Emmanuel & ourselves had been talking about since we left The Voice. We had so many lovely comments about the song so we felt we really wanted to give back something to those who support us!" The girls' love of singing was instilled from an early age. "Since the moment we could talk our mum would sing with us for about an hour every morning. It was never about being

perfect but just having fun!" Classical crossover seems to have also been an instinctive choice, with the freedom it offers in its blend of styles and relaxing mood that appeals to a wide audience, even those who primarily listen to other genres. In choosing songs for their repertoire, melody takes top priority. The twins love "emotional songs," and love having audiences leave their concerts feeling "uplifted and happy." "We always feel really honoured when someone cries or is touched by a song. We had a lovely compliment from a 90 year old gentleman recently who said that we were the pinnacle of his life! We were really moved by that comment!" In life off the stage, Naomi and Hannah present an image of refreshing relatability. Some hobbies they enjoy are "learning how to do makeup online, watching reality TV shows and having long walks with our dog Wylie!" They enjoy listening to popular artists such as The Civil Wars and Charlie Puth. While they "personally feel more comfortable getting dressed up when we sing," because "it makes us feel in the zone," they share that "our everyday style is very girly, we mostly wear skirts and here in the winter always a scarf!" Their experience on The Voice was approached with the same down-toearth equanimity. "[it] was definitely

something we will never forget! We never really had any expectations going in for the show, we tried to take each stage at a time, not thinking too far ahead. We were really surprised at how relaxed we felt through the whole experience, we just wanted to enjoy everything!" As expected, the girls' voices are both soprano, and nearly identical to the point that they will often tradeoff between the high and low harmonies within the same song ("It seems very confusing but it happens naturally"). In their blind audition for The Voice, the judges weren't certain that there were two vocalists until they split into harmony after beginning the song in unison. Naomi and Hannah admit to the occasional argument like normal siblings, sharing that "it’s easy to annoy each other when you are so close," but in the end they get along very well, aided by the fact that they "share the same opinions which is quite useful." The pressure of being in the public eye and competing on a reality show does not seem to have fazed them. They admit to being "the least competitive people, especially when it comes to each other," and have this sage advice to share: "...we do feel the music business can be a tough one. We have had our fair share of rough experiences within the music business, especially when it comes to management, however we feel it's so important to keep focusing on all the

positives that you gain every day & not just the negatives, but most importantly not to compare your career to anybody else's as everybody is different!" Another high priority alongside their career is teaching music to children, something they intend to make time for, no matter how successful they become with their performing career. "We know just how important sometimes a singing lesson is; because when we were at school we had a bit of a hard time. Singing was the thing we really looked forward to all week, we hope that the lessons can be a time for the children to have fun! We think the most important thing to teach a child about music is to have determination, confidence & to enjoy singing always!" However, they share that in order to maintain the health of their voices they are always careful to "not talk too loudly when teaching a large class, so our voices aren't strained at all," and they also ensure that they never get too cold ("especially where we live in the winter"), drink a lot of Vitamin C, and "of course warm up our voices before singing!" In addition to teaching, another cause close to Classical Reflection's heart is the charity "The Guide Dogs." They have boarded guide dogs in their home for ten years, and adopted a former guide dog as their family pet. "We worked with the charity for a week so we could see all the various

ways they help. It was so amazing, we made audio CD’S, learnt a bit of braille and helped on reception. It really made us appreciate just how important the charity is." They anticipate supporting the charity in upcoming events. As to the future, a new album is in the works for 2016; no specific songs were mentioned, but the sisters did drop a few potential hints, mentioning that they were keen to work with modern composer Christopher Broom again, that while they did not anticipate writing their own music they would "love to take a classical piece of music such as Swan Lake and have lyrics put to it," and that some of their favorite classical composers are Ludovico Einaudi and Debussy.

Classical Reflection is a duo with a genuine passion for connecting with their fans. Unlike some talent show contestants who flare up only to quickly fizzle out again, their work ethic and love of music has them on a sure and steady path to success! "Its great to make people feel an emotion through singing. We also love meeting the audience afterwards, it is so lovely to hear their stories and how music helps them. "

For more information visit the official website:

Lisa Peretti is a very busy woman; an

actress, singer and songwriter. “I do like being busy but I find that I have to do my work in stages, in seasons,” Lisa shares when asked how she manages her time. She has taken time off from acting since 2012 in order to focus on her songwriting. “My personal life is most important to me. I have two children, so there are times when work is put on hold. But, when I am performing and writing, family life stays balanced because my husband is so supportive. I am blessed!” Lisa trained at Mountview Theater Academy on scholarship. “I don't know what scholarships are offered these days, but the scholarship I received enabled me to take extra singing lessons while at acting school. I chose Mountview because I was already there attending a summer course. As a low-income student, I only had enough cash for one audition! If I didn’t make it into Mountview then I didn’t have an alternative!” She advises students to do their research before applying to a program. “Try to attend drama school showcases and see which graduates are doing good work. Also, ask what sort of industry connections and showcases the drama school will provide so graduates have the best exposure to agents and casting directors.”

Since graduating Lisa has gained recognition for her classical crossover music and she also has a special fondness for American standards. “I was raised in a musical household,” she tells us. “ but mostly American gospel music as my father was a minister. My mother taught me to play the piano, and we all loved to watch the wonderful MGM musicals on TV.” Lisa would also listen to many Broadway soundtracks. “I loved singing along with Julie Andrews. Later, I started listening to Gershwin, Sondheim and Cole Porter on Barbra Streisand albums. I didn’t think my soprano sound was ‘cool’ when I was young. Then through my training at Mountview I realized there’s support for sopranos who sing a range of styles.” One of the things that sets Lisa apart from others in the genre is her talent for songwriting. She currently writes music for BMI Records and also recorded her own self-titled album. “When writing and choosing cover songs for the album, I wanted to keep songs around 3 kinds of love: spiritual love, romantic love, and love of family. Reviewers said the album “intermingles the romantic and sacred” which fits nicely. For instance, ‘King of the Wind’ is a sweeping gospel ballad, whereas ‘Go ‘Way from my Window’ is an American traditional song about forbidden love. ‘Circles’ is sometimes heard as a romantic song

but it was written about the time I lost my mother - interestingly, it has become a favorite track among my ‘fans’ even though it came from a place of sadness when I wrote it.”

music for the Military Wives Choir Foundation, for the World War 1 centenary. This music grew into solo work, choral arrangements, and was used by other national charities.”

She has the advantage of writing music that particular suits her unique voice. “I do write differently for my own voice. The main criteria is that the song has to be a pleasure to sing. For myself, I tend to write songs with vocal range. It’s more interesting.” Lisa is careful to ensure that the songs don’t all follow the same formula. She also enjoys the challenge of writing music for other people’s voices. “When I write contemporary Christian or gospel songs, I write for group singing or a different voice. I tend to use simpler chord progressions, a narrower range, and an easily memorable melody line - but even songs of worship do better if they have a ‘hook’! Writing for other voices stretches my writing. It gives me a framework for the song as I can ‘hear’ the other voice(s) as I’m writing. This opens different creative possibilities.”

She also offers advise for singers attempting to dabble into the world of song writing. “Write everything down. Or record ideas into a phone or iPad. I think each song, original compositions, or covers, should be viewed as a piece of theatre. Each song is a small scene, a portion of someone’s story. Study writers you admire. Study singers you admire. Learn what you like and don’t like about your own ability or performance. Learning never stops. Understand that ‘success’ comes in many forms and in ways you least expect. So, be brave. Be willing to hone your craft for many years.”

Fans and colleagues who enjoy her music are welcomed to contact Lisa or her publishing administrator ( in order to commission new material. “Provide information on the voice/artist, setting or occasion and we’ll start a conversation,” she answers enthusiastically. “I recently wrote

Although, she has taken a step back from acting it remains an important part of her story. “My first professional job was being an understudy for Christine on ‘Phantom of the Opera’, and I toured Europe. I later did more straight acting in Seattle for several years, and was lucky to do many leading roles. The most satisfying was ‘Candida’ by G. B. Shaw, as my English drama school training came into full effect in a classic British play. I’ve been lucky to do everything from Panto to musicals to radio. I think the real challenge for performers like myself is

to stay buoyant, positive, and in good vocal and physical shape in between jobs” Lisa is committed to embracing her natural sound rather than trying to manufacture her voice into something else. “I think it is vitally important for a singer to find and embrace their own unique sound. To quote the great mezzo-soprano, Marilyn Horne, “Don’t tamper with your natural placement”. Your voice is an extension of your soul. I truly believe this. It is what will touch the heart of the listener. The uncontrived sound, with a knowledge of your own feeling and interpretation, is what will make

you stand apart.” She admits she can get discouraged when hearing recordings of multiple singers with the same sound. “This is the industry sometimes. Record labels tend to release what they think will sell, so don’t take many risks. Originality is lost. Inspiration limited, in my opinion.” She believes it is important for a singer to build a “creative economy.” She explains, “Find what makes you unique, and take creative control into your own hands as much as possible. You are capable of more than you think. If you’re lacking in an area, then find someone who loves to

collaborate and compliment each other’s strengths. Try to have as much ownership over your product - your songs, your recordings, your publishing, your collaborations. This empowers you.” Other important qualities she deems necessary are “kindness, honesty, patience, and staying vocally and physically fit.” She also advises young performers to create their own opportunites. “Easier said that done,” she agrees. “I learned that starting small is a good thing as it gives you confidence and something to build on. Do small things well and you can probably do big things well too.” One of her proudest accomplishment so far has been her album. The project took two years to be completed. “The first time I heard one of my own songs played by a soaring string section I was overcome with joy! Thrilling! Of my own songs, some favorites are ‘Central Park’, ‘Circles’, ‘One Voice’, and ‘My Heart Goes With You’.”

One of her greatest influences and inspirations is her co-writer Jerry Piger. While they often have difference opinions about issues, “we click.” She says, “We respect each other. We apologize when we get things wrong. We listen. We try to trust the other’s ideas. We share equal credit on everything we write together.. His humility is inspirational.” She also fondly remembers her high school music teacher who believed in and encouraged her. “All of us artists need people who will give us helpful feedback, and cheer us on” In the future she hopes to have artists like Andrea Bocelli and Josh Groban cover her songs. “I’d love to collaborate with producer, David Foster. That’s the direction of my dreams. If you want a soaring melody, sensitive lyrics, I’m your girl,” she pitches. “One big dream I have is for my songs 'Stella Mattutina' or 'L'Amore Dell'Anima Mia (duet) to be No 1 classical charts!”

Jennifer Thomas didn’t start out to be

a composer – nor did she think it would be in her future. . “I started learning both piano and violin when I was 5 years old, and spent the next 20 years being classically trained.” Jennifer attend college at Brigham Young University (Idaho), and studied piano there, as well as performed violin in the university symphony. “I was very heavily involved in piano competitions, performances, and that whole ‘classical world’ of music.” Still Jennifer struggled to find out exactly what to do with her gifts. “I saw two pathways I could go – either in the direction of educating, or performing. I didn’t want to pursue music education as a career, and I knew my heart longed to be a performer. But in the classical world, you literally have to be in that small top 1% of the world’s greatest pianists to make it as a professional concert pianist. And while I was one of the top pianists in my university music program, I didn’t consider myself in that small marginal percentage that could make a career out of performing. I was not a perfect player,” she admits. It wasn’t until a couple of years after graduating that Jennifer had an experience that she says, “would shape the rest of my life as a musician forever.” It started simply around Christmas at a concert she attended with her family. The music was from

the new age genre and by Tinstad and Rumbel. “The music struck an emotional response in me so deeply, that it was almost as if someone planted a seed within me that night that made me want to compose music. I went home after the concert and wrote my very first song – without having any prior composing training whatsoever. The next day I wrote another song. For months after this, I would bring my manuscript writing book with me to work (I worked for the Seattle Symphony at the time), and in quiet moments I would find a piano and compose.” Where does she continue to find her inspiration? “To be honest, MUSIC itself is what inspires me the most. When I listen to my favorite composers that I admire so much, or sit in a movie where the film score is beyond fantastic – all I want to do is go home and get on my piano and write, write, write. I feel so inspired inside that it’s like a burning desire to transform those thoughts and feelings into music as soon as possible. I really believe that what we become, and who we develop into as a person is manifested in small ways throughout our adolescence. When I was younger, I would listen to classical works or music on CD and imagine additional orchestration or variations of the song to improve upon it. I would think “This song would sound so cool if there were violins playing an octave higher…”,

or what have you. I would be adding these parts to the music inside my mind, or humming it. I would create mash-ups of classical pieces as well. And now as a composer, I find that I can create entire symphonies in my mind – even re-arranging parts, backing up to replay, transpose, etc. I wrote my entire arrangement of “New World Symphony” in my mind while on an 8 hour road trip across Idaho.” Jennifer makes it sound easy but shares that, “The trick, of course, is always figuring out how to get what is

in my mind out and onto paper, and eventually recorded.” Jennifer plays both the piano and violin “I started playing in orchestras when I was only 7 years old all the way up until my late 20’s, and having that experience has helped me immensely when I write the orchestration on my music.” When it comes to writing her own music however Jennifer really gravitates towards violin. “I use the violin as a secondary instrument. It helps in

ways such as knowing the range of the instrument, what it’s capable of doing or not doing, what sort of articulations sound good on it, and more.” At the moment she is satisfied with these two instruments but dreams to develop her voice. “I used to sing as a teenager in concert choir, but I rarely ever practice singing anymore and my ‘voice muscles’ are just not there anymore – or at least that’s how it feels. I sing in the shower, or to my children but that is the extent of it.” Throughout the years Jennifer’s style has evolved. “I started out being really drawn to solo piano music. I was almost a bit snobbish about it actually,” she laughs, “I felt like my music absolutely had to stand on its own as solo piano music first and foremost. Over the years though, I have really embraced orchestral music, and mostly in a very cinematic nature. While the piano is still a leading voice in my music, it is not always the star of the show. Often times I specifically write songs where the piano leaves ‘holes’ in the music that I know I will later go in and fill with orchestra. Or I might write just a very simply right-hand for the piano knowing that I’m going to counter balance that with bass from the cello and bass section. I also like to double and triple track my piano sometimes to create a “piano orchestra” effect – which I later kick myself for when I

have to go back and re-arrange the music to be playable for live performance.” Jennifer says she has always been inspired by film soundtracks. “ When I was a teenager and started my own music collection, the majority of it was soundtracks from movies that I loved. Some of my favorite film composers are Hans Zimmer – for his love of strong brass sections and agitating epic melodies. Danny Elfman for the sweeping whimsical fantasies his music portrays in my mind, not to mention his use of emotional minor triads. James Newton Howard for his lasting memories and beautiful strings, John Williams for memorable melodies and incredibly complicated intricate orchestration, Dario Marionelli for his beautiful piano-based scores that I connect with so much, and Craig Armstrong for his innovative “outside the box” music. There are SO many more that I have so much admiration for. And I absolutely love that each of them has their own method to the madness when creating.” Speaking of the madness of creation she says. “I used to feel like musical creation was supposed to fit inside this box where you had to do things a certain way. You had to use a certain software, or you had to record you piano just so, or you had to use a digital notation program, or what have you. Last year I attended the

Billboard TV and Film Music Conference in Los Angeles, and when I sat in on a Q&A with Howard Shore (Lord of the Rings), I had the most awakening experience listening to him describe his music creation process. He said that he ponders the film, goes to sleep and dreams about the music, wakes up and writes down the melody. And then, I quote him, ‘The music is finished. The rest is just details.’ Wow. I’m telling you after listening to him and all of the other Oscar winning film composers I was fortunate enough to learn from – I will never again doubt my own methods in the creating process. It is the end product that we are after, and how we get there is not right or wrong.” On the personal side of things Jennifer is the mother of “three adorable little red headed boys.” Her husband is an marathon competitor and so “between the two of us – we keep pretty busy.” She describes her day-to-day life as being “pretty normal.” She explains, “I wear yoga pants, usually no make-up unless I have somewhere to be, I make P&J sandwiches for my kids, and I watch countless episodes of Thomas the Train (thanks to having 3 boys). I do dishes, laundry (although I’m horrible at folding laundry – we are talking weeks of clean laundry piles everywhere), and I absolutely love athome movie nights.”

Jennifer’s husband retired from his job at Microsoft to stay home and help her with her music career. “Now we are a team at this. When I have music projects happening, he is on top of taking care of the kids. If he has a race, or is training heavily, then we swap. We love being by each other’s side and supporting one another and so it works really well for us to be at home together. It allows us the flexibility of not only running our careers, but also being very hands-on parents who are around all of the time.” Another thing Jennifer is happy to own up to is her love for chocolate. “I do love chocolate. Probably a little too much. Right now I’m actually doing a 30-day cleanse from sugar and so I’m missing it dreadfully. I’ve discovered that unless you want to eat straight-up 100% cacao, pretty much ALL chocolate has some form of sugar in it. It was a very sad, sad, very sad realization for me.” She believes that every artists needs to have a platform with their art. “For me personally, I feel like it’s my mission to inspire women out there to know that they can still pursue their talents and dreams as well as being wonderful mothers. I also think it’s extremely important to show the world that you don’t have to give up having a family in order to have a career in music (or entertainment). I’m very proud of my family, and they make me a stronger person and a better artist – not the other way

around. And in a world where the family structure is continually being weakened, I want to be an example of strength, happiness, and unity.” Jennifer is an active vlogger and shares her journey on her YouTube channel. Jennifer is also hopeful that as classical crossover continues to grow as a genre new music will become a part of the norm. “While I love hearing “O Mio Babbino Caro” over and over, I would love to hear fresh new music from the classical crossover artists of today. One artist that I really admire for doing this, is Viktoria Tocca. She is someone I have collaborated with several times, and she is not afraid to create fresh new music in this genre. She writes her own lyrics, and sometimes comes up with melodies as well and then works with a producer, or an orchestrator to dial the song in and give it the right sound and direction. Rebecca Newman is another classical crossover artist who has written some very strong original music.”

While Jennifer receives many requests for new compositions, orchestrations and collaborations in the genre she admits it can be difficult. “Not only am I trying to concentrate on my own music as a recording artist, but I’m having to divide my precious time I have with my husband and children as well. So I have to be extremely selective because my time is so limited. But I do know that there are many composers out there who are specifically song-writers and producers who want to find gems like these talented CC artists to work with. These are composers who essentially work as a “work for hire” on a project. The most ideal setup would be for singers to find a composer who can also produce. At least that is my opinion.”

Jennifer enjoys writing stories in addition to music but sees writing music for films to be a unique experience. “For film, the ideas are put there in place already and you have to find a way to enhance them. You need to write music that caters to the story, and that can get the audience to be provoked to a certain emotional response. Everything is incredibly timed, sometimes to the very second – to create an emotional response. Hits and cues are everything. Whereas, writing my own music is being completely free to create whatever emotion or timing I want from the start.” She shares that often she has no specific story in mind and “it’s only after I’ve begun writing a song where I will visually see where this song is going. This is a big reason why I love and yearn to create more music videos - as I see things so incredibly visually when I create. And sometimes I have an entire

sequence of images before the song is even finished.” Ask Jennifer’s husband and he might label his wife “too epic” on occasion but she counters, “Is that even possible to think too epic when it comes to film and music? I can’t help it if I want explosions, fancy car chases, and grand ballrooms in my videos. Realistically I probably won’t get those, but a girl can dream.” Jennifer certainly does dream but it is her hard work that brings success. Her album “Illumination” took 4 years to write and produce. “I arranged and wrote all the music, and did all of the orchestrations myself, with beats/effects and some additional orchestration on about half of the songs by Glen Gabriel. So, oh so much work went into that album. The music on it really evolved over the 4 years I worked on it as well - as you can imagine happening if you are

working on something for that long.” The album was highly acclaimed and recognized through various awards and nominations. “I will never forget the moment the Spring of 2013 when I was in Hollywood for the Indie Music Channel Awards, and after a long evening of red carpet, performances, and awards they were finally getting ready to announce ‘Album of the Year’ as well as ‘Artist of the Year’. I was standing at the very back of a crowded room at the House of Blues, and as they read off a very lengthy list of nominees that ranged from every genre imaginable, I said to my friend who was there with me, “There is no way I can compete with genres like Pop, country, and Rock. Are you almost ready to go after this is over?” And then all of a sudden I heard “And Album of the Year goes to…Jennifer Thomas for Illumination!”. What? No. Seriously? I couldn’t believe it. My classical crossover/cinematic album beat out the other genres. I accepted the award with the lamest acceptance speech every because I was so baffled. And then walked to the back of the room again, only to be called up again moments later for ‘Artist of the Year’”. Jennifer was also able to perform at Carnegie Hall as a nominee for the Enlightened Piano Radio Awards for “Illumination”. Her 2015 release was a Christmas album entitled, “Winter Symphony.” She jokingly points out

that “it is not easy to write Christmas music through the summer time.” It was a long requested album for her fans and Jennifer “finally arrived at a place where I felt ready to tackle arranging this music. I felt like I wanted to raise the bar even higher on this album, and so all of the orchestrations, the arrangements of the songs, the original songs, live orchestra and choir….just everything is honestly the best I had within me, and there were no short cuts. I really went “all out” with this album – because I wanted to create something beautiful that would last for years and be a go-to album each Christmas holiday. All of the songs were composed with great thought and care – as I wanted to create fresh new arrangements, and also transport the listener into each song with the hope that they feel enraptured in beauty.” The album features collaborations with Glen Gabriel, the voice of the Ensign Chorus, Felicia Farerre, Taylor Davis, Ricky Kei and the Raveolution Orchestra, as well as players from the Salt Lake City Pops Orchestra with conductor Nathaniel Drew. To top it off “all the hard work has been mixed to perfection by 5-time Grammy winning engineer Brian Vibberts (Michael Jackson, Green Day, and more).” For Jennifer it hasn’t been just about the highlight moments but the joy of making a living doing what she loves.

“ Even on the days when I worked on a project for 14 straight hours and am exhausted, I still would not trade it for anything else.” She hopes to establish herself as “That piano girl who writes amazing epic cinematic classical

crossover music.” That and “to never run out of creative ideas. Or chocolate.”

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“I remember being about nine or ten and watching Sarah Brightman on TV performing Andrew Lloyd Webber’s ‘Tell Me on a Sunday’. I was captivated by her performance and was totally inspired to be an actress.” Joanna Forest says explaining how it all began for her. That performance inspired her to go to Stage School. “I would spend half the day learning normal academic lessons and the other half learning all the skills needed for a career in theatre and performing arts. I had my heart set on The Italia Conti Academy of Theatre Arts and thankfully my parents were very supportive and agreed that if I passed the audition I could go! I feel so lucky to have had the opportunities it gave me and think that singing and

performing all the time from such a young age meant that confidence became part of our daily routine.” From an early age she learned to deal with rejection in auditions due to many things that she had no control over. Things as seemingly insignificant as her height or hair color. “As long as you believed in your own talents then the confidence to continue was still there. At 13 my first professional job was at The Dominion Theatre, London in ‘Bernadette The Musical’ and shortly after I got to do several episodes of the popular TV sitcom ‘The Upper Hand’ with Joe McCann and Honor Blackman and was a regular in BBC Schools’ ‘Think about Science’.”

Joanna’s voice is used not only musically but through voice-over acting. She describes it as “liberating to be given parts to voice that you wouldn’t otherwise be cast in a million years, because you look nothing like the part. I have always sounded a lot younger than I am, and it’s come in handy for recordings.” She has recorded Powerpuff Girl, Bubbles and Dee Dee from Dexter’s Laboratory for a Cartoon Network tour. “I also got to sing as these characters!” One of her favorites was for ‘Calcubot’ a Fisher Price talking calculator. “Not only did they want a young child’s voice, they required it to be that of a little boy. My brother,

Samuel, was maybe four or five at the time and my “process’ was to do my very best impression of him! I still have some Calcubots at home and it’s ever so funny hearing my voice come out of this toy!” Things were going well for Joanna professionally at the age of 21. She had just finished a West End run in the play “The Weekend” by Michael Palin. She followed it up traveling around Europe in a musical review called, “The Best of Broadway” as the soloist. Then life took a very unexpected turn. “It was while I was away on this job that I found a lump

in my left breast from out of nowhere; I had no idea that I should be checking and just happened to see it in the mirror. I went and saw my GP as soon as I got back and, even though I was assured I was too young for Breast Cancer, I really wanted it removed. The lumpectomy revealed to everyone’s surprise that it was in fact cancer.” Thankfully she was successfully treated with Chemotherapy, Radiotherapy and even more intensive surgery. “I always had the dream to go back to performing; hoping that I could get back into it after feeling so out of everything and through this time my confidence took a big knock. However, I think when you love something so much, like performing, it never fully leaves you and you always find a way to get back on track.” Joanna returned to singing lessons and it wasn’t long until she was back on the stage. “My first job after being ill was as Wendy in Peter Pan at the Cliffs Pavilion in Southend with Shane Ritchie, from BBC’s Eastenders, as Captain Hook I think whatever you have been through you shouldn’t let it change you and you should still follow your dreams. However, whilst I was going through treatment I didn’t talk about it and tried to stay away from people as much as I could. As time went on I could see that sometimes it was helpful to share my experience with

someone going through it, or had someone close to them going through it.” She has since become involved with the charity CoppaFee thanks to twiter. “I wish there had been a CoppaFeel! around when I was going through Breast Cancer. They are unique as their awareness messages are aimed directly at young people by educating them on the early signs and symptoms. I am now proud to be a ‘Boobette’, who is someone that has been through Breast Cancer or had a scare and shares their story wherever there are young people. I have spoken at schools, businesses and even WI groups to encourage young people to check themselves so that it becomes part of a routine that will last a lifetime and SAVE a life. I never dreamed I would talk about something so private to many strangers but it’s very rewarding to know I am making a difference by helping spread CoppaFeel’s important message.” And of course music is helping Joanna spread the message too. “I had a brilliant time organizing a huge concert for CoppaFeel! called ‘Busting to Sing’ which was sponsored by The Sun Newspaper. We had amazing performers such as Rhydian Roberts, Joe McElderry, Frances Rufffelle, Shayne Ward, Kingsland Road and Jessie Wallace giving their time to take part. Hosted by TV presenter, Matt Johnson, it took place at The Palace Theatre in London where I sung ‘Nessun Dorma’. I also duetted with the

sensational Paul Potts on ‘Point of No Return’ which was brilliant fun. I am so proud that we managed to raise £13,000 for the charity.” When it comes to her musical journey Jennifer is also enjoying sharing a more intimate experience with her audience. “I am now really enjoying just being myself when I sing rather than as a character, which means I have freedom as to how I interpret a song and how I express it, rather than thinking how the character would feel.” Still musical theatre will always be a big part of her life. “There have been so many roles that I have loved, and that’s usually because of the whole experience of lots of fun times with the casts. One of my favorites was playing the part of ‘Tommy

Stubbins’ alongside the legendary Tommy Steele in a UK tour of Dr Dolittle The Musical; I’d progressed from doing a Voice-over as a little boy in a talking calculator to now physically playing one on stage every night for a whole year! I also have a huge soft spot for J.M. Barrie’s character, Wendy Darling, as I have played her at 13 different Peter Pan pantomimes, for hundreds of nights; That’s a lot of Christmases spent in Neverland!” While she agrees that there are “definitely similarities” between the technique from the theatre and classical crossover she is currently, “working very hard” on her classical technique. “There are things I am learning all the time and I can feel my

voice changing. My musical theatre training and background has been a great grounding as the classical crossover genre is a middle ground between opera and more contemporary.” When it comes to choosing repertoire “I think it all starts with material that gets you really excited, makes you want to learn it and make it your own. I really enjoy singing songs which people wouldn’t expect to be sung in a classical way, I love my version of The Stone Roses ‘Made of Stone’ and David Bowie’s, ‘Life on Mars’. I always hope I have got my song selections right for the audience and tailor the set list to where I am signing. I love that certain events require a glamorous dress; I really enjoyed wearing a sparkly ball gown when I sang at this year’s prestigious Charity Awards in Westminster, London. I also wore a beautiful Suzanne Neville dress for the ‘Busting to Sing’ concert, which made me feel like a star, perfect for singing my duet with Paul Potts. However, it’s not always dressed to the nines; when I sang on the pitch at Brighton & Hove Albion Football club in front of the Sky TV cameras and 30 thousand Brighton and Watford fans, I was dressed down in a Brighton football top and leggings!” For her one of the greatest challenges to being a female in the classical crossover genre is “to stand out amongst lots of competition

but I really hope that with tenacity and hard work I can be successful in this field.” She is soon to release her debut classical crossover EP. “I feel so lucky that it’s going to be recorded with the Prague Philharmonic Orchestra, I am working with the brilliantly talented world famous pianist, conductor and orchestrator, Robert Emery who is also Russell Watson’s personal Musical Director.

I can’t wait for people to hear it.

Watch this space!” She hopes to someday share the stage with Alfiie Boe, Russell Watson, Blake, Katherine Jenkins, Jonathon Antoine, Rhydian Roberts. “ I would also love to sing with Paul Potts again and Andrea Bocelli would be amazing.”

Yorkie chocolate bar “It’s Not for Girls” commercial campaign that is now banned for being sexist! I live with my fiancé, James, in a magical little cottage in the middle of Epping Forest in Essex, and next year we are getting married!”

She shares these final details about herself. “I was the girl (dressed up as a boy, again) in the controversial

Joanna has since married James and we wish her the best of luck both in her professional and personal life.

For more information visit:

Soprano Catriona Murray became interested in classical music mostly due to her mother. “She plays and sings, and thought it very important that my brother and I learnt how to play an instrument of some sort. So I started learning to play the piano at age 4 or 5 and took up the saxophone and the flute a few years later.” Her instrumental teacher recommended that Catriona take singing lessons when she was about fourteen. “I started building confidence in my singing and was lucky enough to be accepted for a place at Birmingham Conservatoire's Junior department where I studied voice and advanced music theory. By around 17 or 18 I'd decided I wanted to be an opera singer and so I went to study music at the University of Leeds. I'd always intended to study voice at a postgraduate level in London, but unfortunately I wasn't offered a place when I auditioned at 23. I was never great at performing under pressure - I guess I've learnt to cope with that a little better now. I've spent the last few years working in an office job, performing irregularly, until I was discovered.” The man who found Catriona her was Jamie Lambert who continues to assist Catriona as her manager. “[He] helped me get noticed and consequently helped me get the tour. He's been absolutely instrumental to any professional success I've had so far and is a great, great friend of mine.”

Catriona’s self-titled album has only recently become available. “Nothing beats the feeling of having something tangible that you've made and which people are willing to part with their hard-earned cash for. I'm so flattered and appreciative every time someone buys it. I definitely plan to make another CD with my favorites, plus a few more! My favorite operatic aria (which is on my CD) has to be Vissi D'Arte from Tosca and I adore Angela Gheorghui's rendition - she is everything,” she gushes. Catriona toured with Paul Pots and also completed a tour with Collabro. Of the Paul Potts tour she shared with us, “The highlight of the tour - hands down - was meeting audience members after the concerts. It's an experience I'll never forget. Paul is one of the few artists who still takes the time to go out front, meet and sign things for his fans. It was so surreal sitting there and having people actually want my signature - me? I'm still perfecting my showbiz signature!” Of her musical choices Catriona tell us, “I champion the music which speaks to me - and consequently, my soul. At times it’s difficult to choose what I want to perform and what I want to listen to - but neither is

necessarily confined to any genre in particular. I look for songs I can find connections with - it’s so important if you want to perform something with any integrity. I wouldn’t say I was picky though and I like to think I appreciate a good melody wherever I find it. I do have a penchant for more dramatic, emotive operatic arias (Puccini, Verdi, Massenet, for example) but then I enjoy English & French song (Quilter, Gurney, Howells, Duparc – I could go on). Then again, right now I’m listening to Adele’s new album - and loving it.” Catriona is active online with facebook and twitter. “I’ve only been tweeting for a short while and I’m just getting the hang of it. I will certainly take the time to enjoy the finer things in life when I have the time and money to do so. I consider myself lucky in lots of ways. Wine… red wine is probably my guilty pleasure – and the only reason I say guilty is because, as a singer, your body is your instrument and so you do need to keep it healthy. That said, in my book, there are essentially two seasons: mulled wine season and sangria season. Other guilty pleasures at the minute include: making far too many Yorkshire Puddings on a Sunday, adding cinnamon to everything (not the Yorkshires), watching several hundred funny animal videos on YouTube and listening to Justin Bieber’s new album.”

Nadia Eide comes from a strong musical theatre background. “It will always hold a special place in my heart. But there is something about the freedom and excitement of doing crossover music that I feel really pushes me further and fully utilizes my vocal ability.” The she singer is a strong believer in staying healthy. “I really believe that staying active, fit and strong makes you a better singer. I feel my support is better and I have more energy to really go for those high notes when I'm fit and healthy. Also, I find stretching a marvelous way to relieve any tension.” Nadia is also a member of the classical crossover vocal harmony group Ancora and she has other musical collaborations in progress too. “I have started touring around the world as part of the new classical duo Opera Girls. In addition to that I am setting up a crossover duo with my partner (Michael Storrs) called X-Over. We are busy recording our EP and getting all our arrangements written at the moment. In addition to this I have been working on a project with various record labels.” She has no favorite part of the recording studio process claiming, “I love all of it! I have worked extensively as a recording artist for the past two years and have recently set up my own recording studio at home. Singing in a studio is such a

different thing to singing live. It really takes a lot more stamina and control. I love the whole process of mixing, EQing and mastering the tracks and get a huge satisfaction listening to the final product.” For her the gift that music, particularly classical music, offers to the modern audience is “Escapism. That magical word. Throughout my career I always felt maybe I should

have done something more for humanity as perhaps become a nurse or doctor. Something to help people. But then I realized that entertaining people is such an important thing. And that in the midst of any trouble people actually need escapism, to be able to sit back and dream. I think music is the most beautiful thing in this world and has the power to life anyone’s mood.”

Suzanne Rentzke’s talent from singing was recognized by her teachers and parents from a very early age. She was “always encouraged me to develop it further. I entered Eistadfods and competitions from an early age. After school I started organizing my own solo performances and performed at local music festivals to get my name out there until such time that I was able to make my hobby my career.” Over the years Suzanne’s most important influences have been her teachers. “My singing teacher in high school, Andrew Strauss, has played an important role in my early development, after which I was taught

by Andrea Catzel. However my most important influence was Emma Renzi, who taught me for 8 years.” Other performers who have inspired her include, “Rina Hugo was also an inspiration over the years along with performers like, Sarah Brightman and Katherine Jenkins.” While she loves writing her own material and working with other songwriters for Suzanne “interpreting well known beloveds in my own style definitely is the best. However, local songwriter, Johan Oberholzer also recently wrote a song for me, ‘To the

moon and back’, which I really enjoy performing as it suits my voice like glove!” One of her favorites things about music is its storytelling ability. “I always choose songs with lyrics that I can relate to, even though it’s a cover song. Lyrics about loved ones and positivity would always grab my attention. Although music can be an important vehicle to portray a certain message I believe that we as musicians need to be sensitive about the messages we convey.”

Louise Dearman is best known for portraying not one but both witches in the West End production of Wicked – the first woman ever to do so. “It was a very natural progression, I started dancing when I was three years old,” she says of her origins, “at the time it was just a hobby but as I got into my teenage years it became

such a passion of mine, I started going to watch Musicals in the West End more and more. At 15 decided that there was no other option as far as I was concerned, a career in Musical Theatre was the only route I wanted to pursue and so off I went to train professionally at Laine Theatre Arts. Performers such as Ruthie Henshall, Linzi Hately and Linda Eder were all so inspiring to me and still are. At college my singing tutor Mr Brooks convinced me to take part in his opera class. At the time I found it terrifying but I'm so glad I did it, learning how to use my 'classical' voice has helped in so many ways.” She says she has “genuinely loved every role I have played. I've been so fortunate to have played so many different characters and challenge myself as an actress and a singer. Ok so it's impossible to choose but Wicked for me was a game changer, being in that show opened up so many doors for me. Playing both Galinda and Elphaba was a massive honor and an opportunity I'll be forever grateful for. Guys and Dolls holds a very special place in my heart, being in the ensemble in the West End was terrific, I then went on to play Sarah Brown on the UK tour for 5 months which remains one of my all time

favorite roles. The show itself is on my top 5 musicals list, for me, it's everything a musical should be.” When it comes to recording Louise is less of a fan. “I feel very aware of my surroundings and I over analyze every sound that comes out of my mouth! Onstage it's completely different, I have the edge of adrenalin running through my veins, what happens in that moment is all that matters so it's easier to let go and allow myself to get completely absorbed in the atmosphere, the story, the character. There is no feeling like it.” She keeps herself in performing shape in her words by, “Being incredibly boring!” Incredibly boring means getting a lot of rest, not going out to party or staying up late. “When I'm playing a demanding role I cut back on caffeine, alcohol, drink loads of water. I steam a lot, I've had the same steam inhaler for over 10 years, and it’s battered but amazing! Stamina is hugely important so I exercise too. When I'm not in a show I get very lazy with exercise but I'm pretty good with eating well and all the other stuff that keeps you healthy.” For a song to capture Louise, “it has to grab my attention within the first few bars, if I'm trying too hard to like

it, it never works for me. My problem is that I love so many different genres of music. At home my radio mostly plays Classic FM but then if the mood takes me I'll switch to Radio 1 so it completely depends how I'm feeling. I have to feel moved by a song, whether it gives me goosebumps or brings a tear to my eye if I don't feel anything when listening to it then how can I deliver that song to the best of my ability and make my listeners feel those very emotions that drew me to the song in the first place?”

In her career she has learned most importantly to, “Be myself. I'm still learning to do this. Show business is a tough industry, constantly trying to impress and it becomes draining at times. I'm getting better at just thinking before a meeting or an audition, ‘be yourself, show what you have to offer and that is enough’ that's all you can do. Trying to mold yourself into something you're not will only make you miserable.”

Emily Estelle’s debut EP is called “More Than Words.” For Emily, music is just that. “Music for me, as I'm sure it is for most people, is full of emotion. Whether it be rock, classical, jazz or any other styles, everyone has a song that they completely relate to and the music really is more than words!” The EP is an important tool that helps artists establish themselves and so song selection is vital. “I wanted to create an EP that had something for everyone, which is why the album includes a mixture of popular songs, film music and music from the classical genre. I then worked with my amazing producer for the EP, John Haywood, to create

orchestral arrangements that would connect the songs, so that each one had a classical twist!” For Emily it all began at primary school. “My music teacher at the time gave me the part of Blousey in Bugsy Malone for one of the school productions and I can remember loving every moment of performing in front of an audience and at that point, knowing that I wanted to do it for the rest of my life. My parents were incredible with supporting my love for music and it is thanks to them that I have been able to follow my dream career.” Emily studied opera at the Royal Northern College of Music but admits, “[the] Classical crossover style has always been my passion. I love all music and its great being able to have the flexibility to perform such a wide range of repertoire and even

more fun working out ways to give them a contemporary classical feel. It’s because of 'classical crossover' that classical music has become more accessible to the general public and hopefully from my concerts they can see why I love performing it so much.” She is currently working together with award winning pianist Mariana Lieberman as ‘The Duo.’ “Our shows are called 'Beethoven to Broadway' and we infuse operatic pop, jazz standards, movie soundtracks and musical theatre with classical precision. I also work with the group 'Bravo Amici' who I’m going to be touring in America with for a month. It's so great to be able to share the stage with other brilliant artists and the laughter backstage leaves your tummy hurting for days!”

Singers Kristyn Murphy and Abbie Sands are known collectively for their “Lovers & Monsters” cabaret show. Abbie tells us that they “began collaborating on Kristyn’s new album “A Time to Remember”, and during that time we discovered that we worked well together, have similar goals, and have a complementary toolkit of skills. Our voices blend well together, and it made sense to combine our efforts to create a new kind of show.”

Over the course of a year the project evolved into a 2 woman cabaret act that has seen the pair tour in various venues including the NYC Metropolitan club. “After we had our initial idea we pitched the show to individuals we wanted to work with and whom we knew could help the show move forward.” Their team includes a music director and arranger, choreographer, creative director, business and tour manager “all working towards making Lovers & Monsters a successful nationally touring show.” Both ladies are very self-motivated and have “a very clear idea of the direction we want our careers to take, and do make many decisions on our own. With that said, we are very lucky to have a wonderful organization and team of people to help and guide us as we develop as artists individually, and as a team.”

Individually both Abbie & Kristyn “place a great deal of focus on the storytelling aspect of singing, so naturally we explore many different characters and emotions on stage. We don’t change this when we perform together. Collaborating together has increased our exposure and opened up performance opportunities. By working together we both have learned new musical material through collaborating in concert and in the studio.” How are they inspired? “Instead of taking inspiration from small groups and duos we take our inspiration from artist collaborators such as the Rat Pack, who took each artists’ strengths to craft a unique performance experience.” Both artists have also released solo albums. “A Time to Remember” and “Journey” are available now through major digital download stores.

Elowen is a classical crossover duo that features vocalists Sally Holiday and Abigail Seabrook. “It all started when Sally and I decided to do some busking one Christmas in Shrewsbury. I had a battery amp that I bought for Lady Georgianna's outside gigs and we had mics. We got our hands on a few backing tracks and away we went! We didn't make a lot of money, but we had a lovely day out nevertheless. We carried on busking together in Victorian costume and getting some local gigs (mostly at Christmas) and the response to our act was pretty good, so last year, we decided to branch out and include a less seasonal repertoire. We mostly just picked the music we liked, as well as popular classical music. Gothic and Fantasy are favorite genres of ours.” They enjoy both presenting audiences with an authentically vintage music style and also changing it up with some modern elements. For them it’s all about the audience. “Some want the traditional carols, and we try to include those that were popularized in the Victorian era or before. However, with other gigs, we've mixed in operatic duets, and some pop songs that have the right feel, such as Hayley Westenra's ‘Dark Waltz’ and ‘May It Be’ from Lord of the Rings. It's about creating a mood really.” Both women have other musical projects they are involved in. Sally was a part of the orchestral gothic band “Hanging Doll” and Abigail had several projects

including a gypsy jazz group (Playing Django) and an 18th century popular music group (Lady Georgianna). How have these other collaborations influenced Elowen? “I think that it all goes into the mix, whatever music you happen to be performing! For me, learning about historical music helps when looking for specific repertoire to fit a particular era, on the flip side, having experience of popular music helps me to “think out of the box”, interact better with audiences and deliver an experience that is a little different to a straight classical performance. Having the skills to set up amplification and adapting our vocal technique when using microphones is important too,” Abigail shares. For Sally, “I definitely feel the more theatrical side of our influences is most apparent. Visually we like to dress specifically for the audience and setting. This with the operatic vocals makes for an elaborate combination. Hanging Doll used this method quite a bit too although I toned down the operatic vocals as I feel that operatic vocals with metal music has become a little oversaturated in recent years. My other projects include a traditional Goth cover band (Cure For The Mourning). This style of music is where a vast amount of my musical

inspiration comes from. A wartime set (Blitz Time Sally) which is what I am doing for my main income. This has become most popular with the big band revival. And finally a folk, rock acoustic duo with medieval elements (Maidenhair). I enjoy the variety and take inspiration from all of these styles. I really like the vocal style of the likes of Vera Lynn and the haunting, dark quality of traditional Goth, Folk and Medieval material. The operatic style of music does have quite a haunting quality to it too and I think that is why it also appeals. I would love to experiment more with different instruments and looking for Abi and I to work on some original material which adds fantasy aspects with ethereal undertones.” They think you would be surprised at just how many elements from the Victorian era are still popular in our modern world. “The entertaining spirit of the Music-Hall is still with us, and orchestral instruments are widely used in popular music. Gothic, Metal and Rock genres still show a theatricality that our forebears would have appreciated, and the attention that Steampunk has had lately also helps to widen audiences' experience.” There are currently no recordings available from Elowen but “we have been dying to do some for a very, very long time! We're both in a transition phase work-wise, I have just got my

first job as an assistant psychologist after several years working in a variety of creative fields, and Sally has recently relocated. Hopefully when things settle down a bit we can get some recording done. You'll be the first to know when we do!�

For now information on live bookings can be obtained from their website.

These interviews were all conducted thanks to tireless work from contributor and artist selection collaborator

Chantelle Constable.

Winner of the 2012 Voice of Europe Hercules Smith is a passionate upand-coming artist whose love of classical music is taking him places. July 2014 Hercules performed on the very popular television show Noot vir Noot which was broadcast to millions of viewers across South Africa. Apart from this prestigious accolade he has had the honor to perform on Sky Sports at the 2014 castle lager rugby championship between South Africa and Argentina. “I can't remember when music was not part of my life. I sang. It gave me joy. So, I continued to sing,” Hercules says. “I’ve been performing since I was in Kindergarten and continued to sing through my school years. I participated in all my school's concerts and competitions. We always won and our coach would credit me,

for our success. I was proud, but it can be a double edged sword.” One of the earliest songs he learned and performed was the Mario Lanza classic, “I’ll Walk With God.” He speaks of it fondly saying, “I remember it, as if it was yesterday and I still love that song.” Hercules has a love for opera, “But I love all good music. And I of course have sung in all those music genre styles. Though I've been told I sound ‘operatic’.” He says “It is my dream” to perform in operas and musicals but that it is “as yet to be fulfilled.” For him it’s more than just choosing repertoire. “The songs choose me,” he claims. When it comes to original material he says, “Sometimes, I think, the muse is playing hide and seek, with me. I am not currently working with anyone,

but would welcome some new songs.” He learned a lot through the process of recording his album, ‘I am Yours.’” It was hectic. But it was a good learning experience. Part of my dream of recording this song, I've

written for my wife and my daughter, was coming true. The most fun part was, choosing the songs. I am very critical of myself, as an artist. I would had liked to spend more time working on this album. “

As a tenor he is a great enthusiast of Luciano Pavarotti and Mario Lanza. “Luciano Pavarotti is my hero. They are different voices. Mario Lanza's is closer to mine. He seemed like such a fun guy. Always willing to improvise. Pavarotti's voice is more lyrical. But, the first time I heard Pavarotti's voice, it was as if a sliver of the sky had been opened, so I could peak at

its glory. Mario Lanza seemed more like a free spirit, willing to push the musical, operatic, envelope.” If given a choice to perform with any singer dead or alive they would be his choices. “And isn't it fantastic, that with today's technology, it can be made possible?” Hercules has performed in Italy, Spain, Greece and South Africa. He says he is looking forward to perform

in the USA as well as Germany, France, China, Russia, Montenegro, Romania, Australia, New Zealand, Argentina, Mexico, Chile and “so many others.” He currently manages his own career and lives by the motto, “But I’m too positive to be doubtful, too optimistic to be fearful and too determined to be defeated." The quote originates from Hussain Nishah.

When it comes to live performances Hercules loves to sing, “Soaring songs. Ballads. Songs that will shake the audience with emotion”. His favorite? “‘I AM YOURS’, because the lyrics are dear to me. This song is a hymn to my wife and daughter.” When it comes to signature songs

however, Hercules is more vague. “I think, that we, as artists are continually defining ourselves. You see, each song speaks to us, seductively. We sometimes say, "This is it!" But soon enough, we find others that call to us, like sirens' songs.” Hercules was born in Pretoria, South Africa. “My early childhood seems idyllic,” but admits, “Life changed, once my parents got divorced.” Still, his family continues to support his dream. “Yes, they do. My sisters are so proud of me and are always there for me.” Hercules spent three years touring. “It is both hard work, fun and stimulating. But at the end of the day, I missed my family.” Hercules has currently relocated to England where he resides with his family. Outside of music the most important thing to Hercules is being a father. “I know, that sooner or later, I will have to go on the road. So, I am spending as much time with my daughter, as I can, reading, playing, canoeing, going to the movies, etc.”

He has a background in karate and wrestling and admits to being “very good at it.” Still, these pursuits do not quite match his love for motorcycles. “I love riding motorcycles! Fast! Feeling that South African wind rubbing against my skin. And the interminable open spaces. My heart just sings!”He also spends hours

working out at the gym every day. He doesn’t consider himself a chef but can cook. “I love stir fry dishes and I can make a mean stir fry”. Hercules and his family also have two Chihuahuas, Rocky and Diamond who he says “help to complete our family.”

This interview has been a collaboration with Classical Crossover Global Music’s founder Anastasia Lee. She offers the following thanks to Hercules. “I would like to close by saying how grateful I am for being able to interview Hercules and for his allowing each of us a peek into his life, career and music. [He is] a most interesting and gifted performer, who we shall much more of in the future”.

To learn more about Hercules please visit his official website:

You are also encouraged to visit to read more interviews conducted by Anastasia Lee. Her personal website is

Classical Crossover Magazine Summer 2016 Issue  

Featuring sister duo Classical Reflection, Lisa Peretti, Jennifer Thomas, Joanna Forest, Catriona Murray, Nadia Eide, Suzanne Rentzke, Louis...

Classical Crossover Magazine Summer 2016 Issue  

Featuring sister duo Classical Reflection, Lisa Peretti, Jennifer Thomas, Joanna Forest, Catriona Murray, Nadia Eide, Suzanne Rentzke, Louis...