Composer

Olga Thomas

“I was born in Moscow into a family

rich in musical history. A family who

throughout the generations were

prolific musicians and inventors,”

Olga Thomas tells us. The composer

is known to the public primarily for

her ‘musical gifts’ to the royal family

that have been heard topping the

classical charts.

She shares more about her family

saying, “My mother, who was a

musician and costume designer, was

my first and greatest inspiration. I

was very lucky to have both musical

multi-subjects, such as piano,

composition, musicology, history etc

and the normal academic curriculum

in the same school, the famous

Gnessin school which gave us one of

the best piano performers Evgeny

Kissin. I was very lucky to study piano

under the same teacher as Evgeny

Kissin.”

Olga’s training continued at the

Moscow Tchaikovsky Conservatoire

where she met the “wonderful”

composer Edison Denissov. “[He]

was was equally great as a classical

composer and a film composer.”

Soon, she was learning from the man

himself. “He suggested that I should

stay the way I am, he did not wish to

affect my creativity and make me a

cliché composer as he described it.

He encouraged me just to be myself.

Instead of teaching me we spent our

lessons playing wonderful piano duets

by the great composers. It was

absolutely amazing.”

She is grateful for his mentorship and

belief in her “unique” style. For Olga,

composing has always been a part of

her life. “I have a permanent

‘background application’ in my brain

which constantly composes.

Situations, images, stories inspire me

all the time.”

Inspiration can come from reading a

great novel or even a trip to the

grocery store! “When I was having

my driving lessons, I drove my poor

instructor mad because every

interesting situation was leading

to a composition.” Her ‘Roundabout

Waltz’ was based on some driving

frustrations she experienced on, what

else, a roundabout! The piece came to

the attention of Peter Falk (of

Colombo fame), in fact, he liked it so

much that Olga transformed it into

‘Just One More Thing’ in his honor.

“He later invited me to his beautiful

house in LA, showed me his drawings

and asked me to compose ten more

pieces!”

One tune that would feature on the

West End production of the Cheery

Orchard was composed at the age of

5! “Obviously, I didn’t tell anyone

that I composed it when I was 5!”

If you are a fan of classical crossover

you are sure to enjoy the music Olga

creates. More specifically she

describes her style as, “very

cinematic…. It has catchy tunes and

can bring visual images when you

hear it.” While that is her personal

style she of course accommodates and

adapts to the various projects she is

involved in. She writes in a unique

way: “My compositions come to me

entirely, the whole piece and I just

tidy them up. I jokingly compare it to

Athena emerging complete from the

head of Zeus.”

Olga’s uncanny ability to find

inspiration in everyday moments has

led to success in television and film.

“I always knew that it is what I was

going to do. Interestingly it was the

film project what brought me together

with the famous Hollywood dynasty,

the Douglas Family, and since then

we have been friends for very many

years.”

Of course, the process varies. “The

way I compose for any drama

depends on particular projects. The

Douglases, for instance, gave me the

script. When I compose for the BBC

drama I also usually have the

scripts.”

When it came to the film Chernobyl

Olga was presented with the

unfinished film footage. “I saw the

visual part and absorbed the mood of

the film.”

Olga’s musical gifts for the royal

family have blossomed out of

“lifelong admiration” for the Royal

Family. “My first piece related to the

Royal Family, “Themes of Life and

Glory,” was written as a tribute to

The Queen Mother soon after she

died. I wrote it to celebrate her life

and express my great admiration. To

be honest, I could never imagine that

one day, years later it will be

presented to HM!”

It was through her friend Carroll

Froth that Olga became involved in

the Cruse Bereavement Care charity a

cause which she holds close to her

heart. It just so happened that the

Queen was a Royal patron of the

same. “It was decided by the Cruse

trustees to give Her Majesty a gift of

music, my piece, Themes of Life and

Glory. I had the immense honor to

present this composition to HM in St

James’s Palace.”

Another touching moment came when

Olga heard her own music being

played. “When I entered the Palace

and heard my music played there I

had tears in

my eyes.”

Olga is

now the

resident

composer

for the

charity.

“Since

2009 I

wrote

several compositions as my private

musical gifts on behalf of the charity,

to commemorate the most important

events in the life of the Royal Family,

all of them were presented to The

Queen.”

Generously 100% of the profits from

these compositions is donated to

charity.

Her album, ‘Jubilation’ is a collection

of these themed compositions and was

recorded with the Royal Marines.

“The album was released to celebrate

Her Majesty The Queen’s 90th

Birthday year and to commemorate

the longest reign of any monarch in

British history. All proceeds from

sales of the album were split between

Cruse Bereavement Care and Royal

Navy and Royal Marines Charity.”

Olga composed ‘Royal Platinum Love

Song’ in a “very cinematic” style.

The song reached No.1 on the

classical charts and featured the

vocals of

Joanna Forest

and Daniel

Koek with

producer Robert

Emery. She

wrote carefully

for the singer,

“I had in mind

their voices,

their vocal

reach and

capabilities, I took in mind their tone

and wrote the songs to suit their

beautiful, rich vocal offerings.”

‘Royal Hollywood Love Song’ was

originally written for Joel Douglas on

the occasion of his wedding. “I

composed it in the majestic setting of

Clark Gable's house. It was then

played for Her Majesty the Queen at

her Golden Jubilee reception on

behalf of Cruse Bereavement Care, a

charity for which the Queen is a

patron.”

When Olga heard about Prince

Harry’s engagement to Meghan

Markle she was inspired to re-imagine

the song for them. “I went into Angel

studios with a 72-piece orchestra and

recorded the song in the most

spectacular cinematic Hollywood way

possible.” She believes that “Love is

universal… This piece is about love, it

is emotional, epic, romantic, grand

and very cinematic. All these

characteristics are there. It has the

feel of the State Music, related to our

Royalty, it has the quality of the film

music of Hollywood and it conveys

love from the beginning to the end.”

Although Olga is partial to the piano,

she also enjoys writing for the violin.

“I have a soft spot for that instrument,

one of my ancestors who immigrated

to the USA was the founding

professor of violin when the Eastman

School of Music was opened in

September 1921. He was

Concertmaster in the London

Philharmonic, then the Rochester

Philharmonic and then from 1933 till

1964 with Boston Symphony

Orchestra.” She often pairs violin,

with oboe and piano. “When we did

the album ‘Jubilation’ it was Royal

Marines Band, as I jokingly call it,

‘no strings attached’ arrangement.

Though in real life I am very strongly

attached to the Royal Marines and

always greatly enjoy collaborating

with them.”

In addition to composing, Olga

enjoys teaching private lessons. “I try

to be an inspiration for my students. I

have always had a great respect for

the teaching profession and was very

lucky myself to have great teachers.”

She believes teaching is meant to be a

passion and not simply something

someone does when a performance

career doesn’t pan out as planned.

“Quite the contrary, one has to be

very successful in order to share

experience, knowledge etc. with

others through teaching. The teacher

has to be a source of inspiration. I

continue to be creative in my teaching

as well. Like with my compositions my

style is ‘tailored’ to fit specific

individual students.”

This tailoring was especially

beneficial in one of Olga’s student

with Parkinson’s disease. Because of

the nature of her illness, the student

only had limited capacity in her left

hand. Olga says she “created a special

way” and was very proud that she

passed her music exams. “The

examiner commented on a good

coordination between her hands. It

was such a great achievement for

both of us. There even was a special

BBC program about it.”

She continues to work for the future

saying, “I would love to perform for

Her Majesty The Queen in person, it

would be a lifelong dream fulfilled. I

will also release a Christmas themed

EP ‘A Royal Christmas with Olga

Thomas’, which will feature my latest

releases as well as Anno Domini. And

once again Joanna Forest and Daniel

Koek will feature on a brand new

track recorded with the 72 piece

orchestra titled ‘This Is His Song’

which will be released as my next

single along with the EP at the end of

November.”

For the latest information about Olga Thomas visit:

olgathomascomposer.com

Voice Divine

Katie Marshall

Teenage soprano Katie Marshall’s

love for music began early: “I first

fell in love with classical music and

asked to have Classical singing

lessons at 6 years of age.” She was

nurtured in a musical family and

enjoys singing in different languages

including Italian, Latin, German and

French.

Her new EP “Voice Divine” shows

new-found maturity. In Katie’s words:

“I am very excited to have recorded

an album of songs that have been a

part of my life for so many years.”

The album features the Kent Sinfonia

Orchestra “who I performed with a

few years ago at a charity concert

held at Rochester Cathedral.” It is

produced by VOCES8 musical

director who also recorded Katie’s

debut EP. It was mastered at Abbey

Road Studios by Simon Gibson.

Katie’s lovely clear high notes are one

of the highlights of the album which

opens with “O Mio Babbino Caro.”

The second track, “Art Thou

Troubled” by Handel is beautifully

accompanied and presented, perhaps

for the first time to the crossover

audience. Early Music fits Katie’s

voice like a glove and it’s easy to

picture her following in the steps of

Elin Manahan Thomas. Her takes of

Caccini’s “Ave Maria” and Mozart’s

“Laudate Dominum” are especially

lovely.

Katie’s dedication to vocal health is

promising. “Looking after my voice is

very important as I want to be singing

for many more years to come. I have

many exercises that I do to keep my

voice healthy. Alongside learning new

repertoire and languages, I work on

my voice every day and want to

inspire more young people to learn

classical singing.”

Katie plans to continue her studies at

a music college in the future, but for

now, is “enjoying all the

opportunities I have to perform.” She

was recently honored with a

nomination for a Classic Brit Award

in the Sound of Classical Poll. Katie

can also be heard on the Downtown

Abbey Christmas CD in a duet with

Julian Ovenden.

She also supports many charities

including ‘Born Free’ for whom she is

an ambassador. “I am performing for

‘Abigail’s Footsteps’ at their ‘Queen’

Concert in October at Rochester

Cathedral and will be duetting with

Jonathan Ansell on some classic

Queen songs that Freddie Mercury

sang with Montserrat Caballé.

I am also supporting and performing

again this year for Battersea Dogs

and Cats Home and Nichols Spinal

Research at their Christmas Concerts

in London.”

In addition to singing Katie enjoys

“dance, drama, yoga, swimming,

cooking and walks in the

countryside.”

To purchase the EP visit Katie’s website:

katiemarshallmusic.com

Down Under With

Josh Piterman

Jokingly referred to as the ‘bad boy of

Australian musical theatre’ while

promoting the musical ‘Twisted’ Josh

Piterman is, in fact, a charming tenor

whose career has balanced the worlds

of classical crossover and Broadway.

His lyrical voice combines the best of

both worlds.

In his younger years, Josh’s greatest

passion was for sports but music

found a way of taking over his life.

“Like most guys, I started in High

School. My first musical was ‘Fame’

when I was 16. I wasn't very good,”

he says modestly but admits, “I liked

being front and center so I was

certainly on the right track.”

Josh refined his skills while studying

at The University of Ballarat Arts

Academy. “My family wasn't very

musical but they were certainly

supportive of all my musical and

theatrical endeavors. Getting a break

though definitely came down to hard

work.”

He made his professional debut in

‘The Drowsy Chaperone.’ “I got the

pleasure of performing alongside

some of the most well-known and

revered actors in the Australian

Industry, including Geoffrey Rush. It

was an incredible show and an

amazing learning experience.”

Josh has since performed several roles

including Edward in Blood Brothers,

Corny Collins in Hairspray, Ramon

Gutierrez in An Officer and a

Gentlemen among others.

“Currently I’m playing Gerry Goffin,

(Carole Kings first husband and

writing partner) in Beautiful: The

Carole King Musical, which is

touring across Australia. We recently

brought up our 300th show. It has

definitely been the most challenging

and rewarding role to play. Gerry

was such a troubled genius. A

complex man with his own mental

demons, but a beautiful romantic man

at the same time. Transforming into

him 8 times a week is something very

special.”

His love for sport once again crossed

paths and Josh was given the

opportunity to sing the Australian

national anthem for the NRL State of

Origin game at the Brisbane Suncorp

stadium. The event was broadcast live

in 90 countries! The passion for sport

and fitness also led Josh to become

certified as a personal trainer and

open his business PITFIT. He aims to

assist musical theater performers to

train their bodies in a way that is

uniquely specialized for their

profession.

What helps to set Josh apart as a

singer is his commitment to the

character. “I think it’s always an

emotional connection,” he tells us

that draws him to a song. “Whether

that be melodically, lyrically or just

feel. I love to listen to someone really

feel. That doesn't mean they have to

be painful or melancholy, but I always

want to hear someone delivering their

truth.”

He advises young singers to focus

first and foremost on the character

and emotion when auditioning. “I

guess Brian Cranston says it best

when he talks about the trap most

young actors fall into when

auditioning. We generally go into an

audition looking to get a job/role

when really, we should be going in to

convey the most compelling version of

whatever character we’ve been asked

to audition for. It’s that simple.

There’s power in that. There’s focus

in that. There’s less pressure in that

and more often than not the quality of

the work is far better when we

approach things from that angle.”

Josh was part of the group ‘The Ten

Tenors’ in 2008 and tells us that

“Classical crossover has always been

at the core of me. It’s the style I most

love to sing in and is most natural for

me.”

He’s had to make “minor adjustments

in placement and tone when doing

musicals” in comparison to his

crossover sound. “In each show, I try

to make the vocal choices character

based so there will always be a

natural shift away from my true

authentic sound, however, I do believe

the root/core of any singer’s sound

should always remain intact because

that’s what keeps everything together.

Having performed roles in ‘West Side

Story’, ‘Hairspray’, ‘Blood Brothers’,

‘Cat’s, ‘The Last Five’ years etc, I

have always relied on my ability to be

versatile, otherwise, I’d probably

have worked a lot less.”

His self-titled debut was released

under Fanfare Records (distributed

through Sony) and featured the City

of Prague Philharmonic Orchestra.

The album was a hit in Australia and

Josh tells us, “There was never a

moment of doubt” when it came to

choosing the classical crossover genre

for the record. The collaboration with

his record company also seemed like

a perfect fit. “It really came about

through my work in musicals. Sony

has a lot to do with Beautiful so the

connection there was pretty strong

and very natural.”

The album features; “Unchained

Melody,” “Wicked Game,” “Creep”

“Hallelujah” “A thousand years”

(Por Mil Anos Mas) and seven others.

Josh’s bucket list includes playing the

title role in ‘Phantom of the Opera’

and he also thinks ‘The Notebook’

would make an interesting musical.

“What a love story that would be

onstage!” We can also expect to hear

more crossover music from Josh in

the future. “I want to tour this album

first, but I already have loads of ideas

for [album] number two!” The

concert stage will allow Josh to

authentically show himself “as much

as possible” which is a complete shift

from his transformation into the

various roles he plays on stage. Josh

hopes to share the album

internationally and to “spend a lot

more time sharing my love for

crossover music with the world.” Josh

recently shared the stage with another

Australian classical crossover artist,

Mirusia Louwerse.

One song he is especially looking

forward to performing from the album

is ‘Say Something’ originally by A

Great Big World and Christina

Aguilera. “There’s an emotional level

to it that just gets me every time. I

have yet to perform it live but I have a

feeling it will be extra special in a live

setting. But I always love singing ‘The

Prayer’ live. It’s about as good as

classical/crossover gets for me.”

joshpiterman.com.au

5 Questions with flautist

Christopher Leigh

1. At what age did you begin playing the flute?

I started playing the flute when I was about 12 years old. I was going into junior

high & had to pick an elective. It was either drama, speech or band. I was painfully

shy, so the first two were definitely not going to happen, & I had already been

playing the piano, so band was the easy choice. My piano teacher just happened to

play the flute, so that’s really how I came to play it at all.

2. Tell us about your most recent release. How did the inspiration come

about?

I would say the inspiration for this album started way back when I was around

11 years old or so, & I heard Vanessa Mae playing Bach’s Tocatta & Fugue on an

electric violin. It really just blew my mind. I didn’t know that A. electric violins

were a thing, or B. that you could take such a well-known piece of classical music

& totally rock it out! Shortly after hearing Vanessa Mae, I found Bond, & they

were taking even more classical tunes I was familiar with & putting this pop/rock

spin on them. I was totally hooked on it & knew that’s what I wanted to do

someday.

3. Most memorable performance to date?

Right before my album came out, I was asked to perform on tv. I was

interviewed about my upcoming album, & I played Infrared from the album. It was

such a fun experience, & it was really cool to have my music broadcast across the

entire state. I’d love to do it again!

4. Who are you currently listening to (for enjoyment or inspiration)?

I listen to a wide variety of music, but I really have an affinity for older rock.

I’m writing this as I sit here in a Pink Floyd t-shirt. I’ve always got my radio tuned

to Classic Vinyl. Some of my favorites are David Bowie, Prince, Led Zeppelin,

Allman Brothers, & really too many more to name. But I also still listen to the

people who got me interested in playing this style of music. I still find inspiration

from groups like Bond & Vanessa Mae, & I listen to a lot of Lindsey Sterling as

well. I often cover her songs on my YouTube channel. She even shared one of

them last year!

5. Favorite piece of classical music you play?

I think probably my favorite piece is the version of the Devil’s Trill by

Giuseppe Tartini. It’s the last track on my album, & probably the one that took me

the most time to learn & record. It was originally written for violin, but I’ve always

loved it & was determined to play it. There are always challenges when adapting a

piece not meant for a wind instrument, the biggest being where to breathe! That,

along with it being relatively fast in tempo, really made that piece a challenge for

me, but enjoy it.

Follow Christopher at christopherleighmusic.com

Question and Answer with

Emili rackemann By Chantelle Constable Emili Rackemann is a virtuoso pianist with seven albums and over 140

compositions to her name. Her ancestors Professor Frederic Rackemann and

brother Ludwig of Germany consorted with Felix Mendelssohn and Clara

Schumann during the mid-nineteenth century. As a child in the Australian outback,

by day she patrolled the land and checked watering points in an old Land Rover

and by night she wrote short stories and played the piano for her family, serenading

them into another day. Here, in an exclusive interview with Classical Crossover

Magazine, Emili talks about her inspirations and creative habits, her passion for

electronic music, and vision for women in the arts.

How did growing up in the outback

inspire you musically?

Given I was immersed within the

rural environment, it wasn’t until our

family sold the cattle station was

when I realized how much the

outback taught me resilience; to never

give up nor think that anything was

impossible.

When I have writer’s block, I

frequently visit my inner child, the

young girl who felt inspired to dream

big, write stories in her father’s old

brown diary and create simple

melodies while daydreaming about

horses. I will often ‘go home’ and

upon reflecting on a simple memory

of my childhood, I re-enter the present

moment with a name or story I never

would have thought to write about.

The outback will always inspire me to

stretch the limits of sound and story-

telling. It is a place where I can

always refresh my creativity and dig

deeper into many worlds.

Tell me about your quest to bring

women composers into the

limelight.

My quest is to share our beautiful raw

‘womanhood’ culture in a man’s

world; to educate women that by

embracing their essence, we also

guide society into redefining what it

means to be equal but also different.

Rather than crying out for acceptance,

we need to rest our desperate plea to

be noticed and instead, focus on being

the feminine creators that we are.

‘Into the limelight’ I believe will

appear when we have learned to let go

of our personal subconscious

struggles surrounding equality.

Who are some of your female

heroes -- from any career/field?

1. Bjork, female singer/songwriter -

for her artistry and exploration as both

artist and human being.

2. Lyn White, Animals Australia - for

shining the spotlight on animal abuse

both in Australia and abroad.

3. Jane Goodall, primatologist and

anthropologist - for her extensive

work on conservation and animal

welfare issues.

What is the most unusual source

from which you have received

inspiration?

Some years ago, my father told me a

story about Kuru disease (laughing

sickness), an incurable

neurodegenerative disorder that was

common among the Fore people of

Papua New Guinea where he resided

as a boy. After researching photos and

footage of this terrifying illness, I

later sat at the piano and composed

what I would call ‘melodic turmoil’,

signifying the horror these

communities both witnessed and

experienced. Within minutes, the

confronting melodic frequencies

brought about nauseousness, so I

never recorded nor released it given

its confronting tapestry of sound.

This creative experience did,

however, consolidate my belief’s

surrounding the power of sound and

the incredible influence it has on the

human mind/body.

What are your earliest memories of

music?

My earliest memories of music are

attending weekly singing lessons with

my parents before we moved north to

work on the station. I still remember

singing up and down the scales while

my parents were eagerly trying to

focus.

I also frequently tormented my

brothers while they practiced the

piano, although little did I know this

would lead me into a world of

curiosity.

At age five, my parents decided to

take me to weekly piano lessons, and

by age eleven I composed my first

composition titled, “Wars of

Europe.”

What are some of your other

creative outlets? Do you still write

short stories?

Short stories and composition for me

always work in unison. Without one I

feel the creative process is lacking;

although I’ve recently embraced a

hidden passion for drawing. I use

bright metallic pens and create

different patterns which interlock and

somehow seem to tell a story of its

own. I call it ‘journey art’ as I assume

it is reflective of what the

subconscious mind wishes to express.

What is your practice regimen like?

Any particular rituals, when

practicing or before performing?

Leading up to a show I categorize a

group of works for each practice

session, and at approximately six

weeks out, I like to rehearse the entire

program at a slow tempo and without

any sustain pedal. This exposes any

technical errors which I would then

single out ready for the next session.

My only ritual when practicing is

having a chai latte beside the piano

and ensuring my little pug, Gloria is

tucked in bed and ready to lap up an

afternoon of piano music. Life

wouldn’t be the same without

animals. She is my constant reminder

that life is meant to be simple.

How would you define “classical

crossover” as it applies to your

music?

Although I consider my work as an

aural tapestry of sound rather than one

specific genre, I also feel “classical

crossover” best describes the majority

of my work, given my equal love for

various genres. If one listens to

Queens English followed by Van

Vent Gogh or my upcoming release

Elysian, “classical crossover” would

be best describe my creative journey

to its present. Not only does “classical

crossover” reflect my music, it also

has given me the opportunity to

express myself visually in different

ways.

At what age did you know you

wanted to be a professional

musician? Did you ever consider

any other career?

Upon completing my first few

compositions, my parents contacted

the department of music at one of the

local high schools, asking if we could

look at their notating software. I

remember walking into a room full of

brand-new IBM Aptiva computers

and MIDI keyboards and being

overwhelmed by the fact I would soon

be able to notate my music.

The lovely man who was head of the

department asked what I wanted to do

when I left school. My immediate

response was ‘a composer. I want to

write for film’. Although I toiled with

the idea of practicing alternative

medicine and becoming a professional

horse trainer which, I equally

committed to during and after music

studies, music composition carved its

way back into the front seat. It wasn’t

until my mid 20’s is when I knew my

childhood love for composing was a

large part of my life purpose.

What music did you listen to while

growing up; who are some of your

biggest influences?

Country and classical music were the

two most prominent genres I listened

to when I was a child. Country music

I naturally gravitated to because of

my environment and those who

surrounded me, although my parents

loved classical music. I was always

listening to Mum’s Pavarotti and

Marina Prior tapes playing in the

background. My parents always

encouraged me to listen to and attend

various concerts and musicals during

my mid to late teens.

During my early adulthood, I was

busy exploring the intricacies of

music technology, having bought my

first digital audio workstation at 18.

During the day I attended lectures and

spent a minimum of three hours

locked away in a practice studio;

while of an evening I would throw on

my headphones and explore the

ambient sounds of my Roland

synthesizer, trying to capture that

same feeling of freeness I felt when

listening to eight-minute dance tracks.

Today I enjoy a mixed playlist,

ranging from classical with

composers such as Erik Satie, Sergie

Rachmaninoff, Clara Schumann, and

Prokofiev, although my love of dance

and electronic music is still part of my

daily mantra. Groups such as Hybrid,

Massive Attack, Phaelah, Bjork,

Trifonic and yes, Underworld and a

Cafe Del Mar’s Volume No. 5 still get

a look in.

Are you still an outdoorsy person?

What are some of your non-musical

hobbies?

Living in the Australian Alpine

Region, I am accessible to an

abundance of outdoor activities

including skiing, mountain bike

riding, kayaking, paragliding, hiking

and of course running; however, in

early 2017, a friend invited to me

attend our local Shotokan Karate

Dojo. Upon observing instruction, I

was immediately drawn to this

incredible art form and now train

three times a week with my father.

My connection with horses has also

played a vital role in my life. Having

trained competitively in the field of

dressage throughout my child and

young adulthood, any opportunity I

have to be with horses I jump at.

What are some difficulties, if any,

you’ve encountered as a female

musician and composer?

To be honest, I think the only

difficulty is being in a world

surrounded by subconscious religious

conditioning. So much of classical

music was written by men and for

religious purposes and while the great

field of secular classical has

developed in its own right, it seems to

be the core contributor towards

division between male and female in a

traditional classical sense. We have

been conditioned to listen to classical

music for thousands of years. I

attribute a deeper understanding of

classical music in more recent history

to classical crossover, as the genre has

helped define the undefinable for a

much wider international audience.

This has also led to a gradual

transition where more women

composers are being recognized.

Classical crossover means many

things to many people, but I really

connect with the idea of “out”, like in

free jazz. From a structural

standpoint, I know traditional forms

of classical composition and

everything outside that range or ideas

considered experimental.

As a female classical crossover artist,

I use sound collage and nonlinear

themes in my compositions. I love

testing the realms of structure. The

classical canon for me is incredible,

but I create using it both as a

launching pad and something to be

challenged.

What advice would you give to

young ladies (or young people in

general) wanting to pursue music as

a career?

Never let your past circumstances

define your present reality. As Alan

Watts describes, ‘You are under

obligation to be the same person you

were five minutes ago’.

Since hearing these words from such

an incredible teacher, I have been

more mindful about changing my past

paradigms surrounding the stigma

towards women in music.

Does playing a synthesizer /

electronic music help you

communicate in a different fashion

than playing traditional piano?

Yes absolutely. Since my mid-teens, I

have equally loved electronic music. I

am fortunate to have a digital audio

workstation where I compose both

piano and more cinematic

compositions. My husband and I also

write electronic music together,

therefore I often feel inspired by what

we do. I think the two genres dovetail

beautifully.

Describe your creative process.

About how long does it take you to

finish composing a song?

The duration varies. Sometimes I

compose a work within minutes.

Other compositions require more

technical detail; therefore, it can take

up to a week.

My creative process tends to vary

quite a lot. If I am inspired by a story

I have read or a documentary I have

watched, within minutes I will go to

the piano and start composing.

Lately, my entire mind and body have

almost become entranced in a

meditative experience. At present I’m

gravitating to Middle Eastern music,

therefore my whole experience on the

piano turns into a melodic mediation.

That said I’m sure next week I will be

drawn to another musical genre, story

or culture, and again my music will

take another turn or tell another story.

Who would you like to collaborate

with, and why?

Hans Zimmer - for his adaptability

and penchant for collaboration. It is

difficult to characterize his style with

a single example, hence why I would

be honored to share my work with

such a humble character.

Bjork - for her ability to constantly

push herself into unknown territory. If

there is one woman who knows how

to embrace womanhood, it would be

Bjork.

Hybrid Soundsystem - I have always

loved this group. They are true

pioneers of the electronic genre,

although have also mastered the art of

orchestral sound with their cinematic

approach to production.

Nils Frahm - When it comes to

emotion, this stunning

composer/performer truly captivates

one's soul. I would love to work on an

album with Nils. Working with

someone who understands simplicity

is the most powerful tool, would be a

beautiful and humbling experience.

How did you discover your musical

style, and how has it evolved over

the years?

I think having the opportunity of

living both in the outback and in cities

has led me to where I am in terms of

musical style. I find when I discover

another layer about myself, my

musical style tends to embrace

another fragment of what is never-

ending. I remember a student asking

me, ‘did you create the music or did

the music create you?’ Still, I keep

asking myself that question.

What message or vibe do you hope

people take away from your music?

There are many messages I would like

to translate to my audiences, although

most importantly I wish to give

listeners an opportunity to visit

different worlds, perspectives,

emotions and most of all, experience a

moment where they can reflect on

their own journey. Music is a

powerful conduit for communication

between individuals, so if I can take a

small role in leading humanity

towards their true identity, I am

fulfilled.

Have you released all of your

albums as an independent artist?

What are some of the lessons you

have learned in that process?

Yes, I have, and it has come with

quite a few valuable lessons.

Resilience and patience are the two

words which best reflect my personal

growth throughout this process.

Leading up to my first album release,

I paid a large sum of money to a

graphic designer who was going to do

a website for me. Unfortunately, it

was not what I was expected, nor did I

like not having the opportunity to

share in the artistic design.

After throwing away a few thousand

dollars with nothing in return, I

decided to throw myself in completely

and take full reins of the project -

from web design to posters, CD

artwork, bookings, marketing plans,

recordings, and mastering, I managed

to be the one stop shop in service to

myself.

It hasn’t been an easy process,

although it certainly has been

rewarding. Knowing I can always rely

on myself at any given time gives

much comfort.

Have you had a favorite teacher?

What was some advice they gave

you that you still cherish?

There are many teachers who have

directed me along the way, some of

which aren’t related to music as such,

although in all each person has given

me a gift - either to learn by

someone’s frailties or become the

frailty itself.

What value do you believe music

has for the world in 2018 and

beyond?

Despite mainstream media’s

fear-based motives, I believe we live

in a world full where there is

incredible beauty, creativity, and

abundance. In my opinion, I feel

music has been and will continue to

be the ingredient which people

gravitate to for a sense of belonging

and validation. Where all else fails,

music won’t.

Would you like to share anything

about your upcoming project,

Elysian?

Elysian has been a special part of my

musical journey. Inspired by the

Elysian Fields of ancient Greek

mythology, my love for all things

beautiful is captured within this

album. From the depths of ancient

Egypt and Greek mythology to the

beautiful landscapes of Mongolia and

Africa, Elysian reflects the ‘beauty of

all things beautiful’.

Follow Emili at emilirackemann.com

Bella Parsons By Chantelle Constable

As a child in Poland, Bella Parsons

began studying music at the age of

six, passing her entry exam to piano

and beginning instead on the violin,

moving on to voice, guitar, and

further piano later on.

“I have loved classical music from my

very first lessons… ...I was always

inspired to push forward and to

express myself through music. It was

also a lot of work, but I have never

had a moment when I wanted to stop

learning music. I was also part of

choirs and orchestras and that was a

lot of fun to sing or play with others.”

She came to the United States at age

fifteen. She studied at Eastman

School of Music in Rochester, NY for

a year than in Wilmington School of

Music in Wilmington, DE, both on a

full scholarship. Bella received further

scholarships to study Arts

Management & Music at Shenandoah

University and receive her Master's in

Music at Azusa Pacific University,

California.

With her sisters Aleksandra and

Monika -- the three are identical

triplets -- Bella is part of world pop

group “Alizma.” Their first album

“Tell Me How To Love You” features

all original songs in English and

Polish with a message dedicated to

love and hope. According to their

website, “The intention behind our

music and lyrics is to convey positive

and inspirational messages to our

audiences around the themes of

‘staying true to who you are’ and

choosing to ‘walk the path of life in

truth and love.’”

Bella says, “It is always fun to

play/sing with others, especially if

they happen to be your siblings. When

I perform solo, I focus more on what I

as Bella Parsons wants to say and

express through music and what my

heart is truly saying. I don't

necessarily do it for the sake of money

or even trying to impress anyone but

for the sake of the gift which is

music.”

Bella also collaborates with her

husband Timothy under the name

Timbella (timbella.com), in fact,

Tim’s ability to “compose heavenly

music” is one of the things that first

attracted her to him.

“I can write music in many different

ways. I often just sing what is in my

heart and record it on my phone or a

computer and then add piano chords

or sing it to someone

who is able to play the

piano well and compose.

Or I'll sit at the piano

and play and sing

together, or that can be

also with a guitar. I also

love to compose on the

violin with someone

playing the piano with

me. My favorite way,

however, is to simply

sing out any melody that

is in my heart and have

my husband Timothy

improvise on the

keyboard or a piano. I

believe I have created my

best music so far through

that particular process. I don't think I

have met anyone more gifted in

regards to composing music and

being able to feel the music the way

that he does.”

Bella began composing music in

college; drawing inspiration from

romantic relationships and her faith,

she was motivated by the creative

atmosphere of school “...and being

around many creative students who

were always composing music and

sharing it with friends either on the

grass in front of dorms or in practice

rooms.”

She believes in casting your net wide

for musical inspiration, saying, “A

painter can paint the Eiffel Tower in

Paris but he can also paint the ocean

or a city view. I

believe us

musicians-

composers are

the same in that

regard. We can

paint with notes

and with lyrics.

We can

musically paint

a moment in

time and

capture it on

the recording.”

As with

Alizma, the

message that

Bella hopes her

listeners derive from her solo music is

one of transparency and personal

truth, regardless of what may be

popular or better understood by the

masses. “If it's in your heart and if it's

true then you should express it and

that is what I did. Also, I truly wanted

to express my passion for the Word of

God and my love for Him or rather

His Love for me!”

As a hard-working performer, Bella

likes to unwind by seeing movies,

running, swimming, and getting her

hair done. While she neither drinks

nor smokes, she admits to a penchant

for coffee. A former teacher, who had

a Wagnerian career, swore by sugar-

free Ricola cough drops and Bella

stands by her advice to this day. Of all

the places she has performed, which

include “Las Vegas (where I lived for

7 years), New York, Los Angeles,

Hollywood, Singapore, China, Hong

Kong, Brazil, Bahamas, Germany,

Poland, England, Italy, and most of

the states in America,” her favorite

place has been Hawaii. “I still have

many places I would like to visit. I

really love to perform anywhere and

everywhere in the world… Traveling

is one of my favorite things about

sharing the gift of music.” Her dream

duets include Josh Groban and

Andrea Bocelli.

While Bella is passionate about

traditional classical music, she values

the crowd appeal of classical

crossover and its lack of form and

boundaries. “I would love if my album

was remixed by a DJ. I would still

consider it a classical crossover

album, but re-mixed version - so even

wider audience could dance to it and

simply understand it.”

“Vita Aeterna” is an eleven-track

original sacred album sung

completely in Latin. It was largely

produced in Logic, a digital audio

workstation and MIDI sequencer for

the macOS platform, with the guest

appearance of flautist Vivien Hibbert

on some tracks. Fans of Enya and

Sarah Brightman will appreciate the

transportive, ethereal nature of the

album, while the sacred influence of

Bach is clearly divined. Bella’s

evocative soprano voice strikes just

the right balance between haunting

and passionate, handling the Latin

fluently and the high notes

effortlessly.

Here are some of Bella’s own words

about the process of making the

album: “For Vita Aeterna, I had the

album title first and also the title of

the main song. I knew exactly what I

wanted to sing about and it was even

more challenging because I wanted to

make an album all in Latin, which

happens to be one of my favorite

languages to sing in… ...I then told

my husband Timothy about it and he

caught on to the idea and we made

time to play/sing together and that's

how our first two songs of the album

came about "Vita Aeterna" (Life

Eternal) and "Verbum" (The Word)

were written just minutes apart. We

simply improvised and sang/played

our hearts out for a few minutes. I

taped it on my phone and picked my

favorite parts of the "jam" and then

re-recorded the piano parts first. I

then added the vocals and

transformed it into Latin lyrics that fit

the melody line... The whole album

was complete within four months.”

“This is the first time I created a

whole album, that was dedicated to

God or about God. My number one

inspiration for this Album was the

Bible and God's direct Word. I chose

to sing it in Latin because I really

think it sounds beautiful spoken/sang

in that language. Plus, my classical

background taught me to appreciate

sacred music and that's where I really

fell in love with it first… I consider

music to be a vessel, a gift and I

believe when I combine it with my

faith in God it grows beyond my

human capabilities because in some

unknown way it touches hearts and

souls in a way we cannot understand

but can be a part of.”

bellaparsons.com

Collaboration in music By Chris pinnella

Collaboration is key when you are

creating something whether it be a

new song, arrangement, album, or

concert. However, at times we as

artists can get into a certain headspace

that can feel extremely isolating.

From my own experiences as a singer,

songwriter to being on the road and

acting as a producer to a lot of my

own concerts in addition to

marketing, promoting, contracts,

riders, stage plots, payroll, taxes, etc. I

started to feel less like a musician and

more like a businessman. I was

collaborating but not on the creative

side of things. My only moments of

musical clarity were happening within

a 2-hour time frame that began when I

stepped out onto the stage for a

concert or performance.

I began talking with other musicians

and was hearing extremely similar

stories wherein there was a disconnect

leading up to or between shows and

projects as well as a lack of

collaboration and doing something

creative that didn’t have a paycheck

attached to it or a deadline to meet.

From there I decided to form The

Musicians Collective which allows

artists to join us at a specific location

and together we choose a song to

collaborate on that day. It can be a

cover song or that artist’s original

work or both. Genres don’t matter

because we are creating something

new that fits everyone involved. We

recently collaborated with a

singer/songwriter and we covered a

Bruce Springsteen song, turned it into

a duet, added a saxophone player and

some acoustic guitar. The week

before that it was The Beatles

‘Something’ with our guest pianist

being from a progressive metal band

and our trumpet player being a highly

skilled jazz player. We film the entire

creative process and I’m toying with

adding in an informal interview

segment as well. The result so far

after only three sessions has been

incredible. It’s allowing for open and

honest discussion about the industry,

creative ideas, and a ton of

inspiration. I’ve also found that the

more open I’ve been to musical

collaborations of any kind the more

rewarding it’s been for me on an

intellectual level.

Getting to create with musicians from

all different musical backgrounds has

pushed my musical parameters and

forced me to continuously strive to be

better.

There’s something to be said about

being on stage live with your

musicians whether it’s for 5 people or

15,000. You start a song and instantly

this connection is made between

everyone. That connection then

radiates out to the audience,

multiplies, and then is sent back to the

stage wherein an emotional

connection is then made between

audience, performer and song. That

collaborative process, while it relies

on the musician’s technical mastery

(of their instrument), is, more

importantly, a practice in giving and

receiving energy. That’s what we

crave about the creative process —

It’s the undeniable feeling you are

taking part in something that feels

spiritual, instinctual, raw, emotional, and perfectly imperfect.

Chris Pinnella is a talented singer, songwriter, and producer who began his career at

the age of sixteen. He graduated from Marymount Manhattan College and was

featured in “Simeon’s Gift” (co-written by Julie Andrews) in the title role. Chris has

also toured with the Trans-Siberian Orchestra and performed at such distinguished

venues as the Rainbow Room, Lincoln Center and Feinstein’s 54 Below.

To keep updated on Chris please visit: chrispinnella.com

Kathryn Grayson By Jennie Watters

Katie Grayson and her friend

scrambled over the fence at the St.

Louis Municipal Opera Amphitheater

to find the janitor. Earlier they had

been practicing an aria from an RCA

record at Katie's home. Although the

only person present at the theater in

Forest Park at this time of the day was

the fellow who was there mopping

floors, the little girls imagined they

were auditioning. After all, he got to

hear opera singers perform for real all

the time! They sang their little hearts

out. "Bravo!" the janitor applauded

when they were finished, "You're as

good as the singers who perform here

on stage! Perhaps one day you'll be

singing for an audience of

thousands." The girls beamed,

thanked him, then scampered away to

learn another song. The next one

would be even better! "We thought we

were pretty hot stuff," Grayson

reminisced as an adult. "That is until

we learned that the janitor was stone

deaf!" she laughed.

"Katie" had been born Zelma Kathryn

Elisabeth Hedrick on February 9,

1922. She came by her singing ability

quite naturally, since her two older

brothers and even her younger sister

had four-octave ranges.

"Sunday mornings, we all used to get

together for a 'sing-song.' We might,

for the time being, be living on

potatoes, but we never sold the

piano." Stories of how Kathryn first

started taking professional voice

lessons vary. A 1941 issue of

Hollywood magazine Screen Album

claims: "School life and home-taught

singing enlivened uneventful years

until Kathryn was fifteen, when the

finger of Fate pointed to Fame, via a

holiday trip to Texas. An accident, in

which Kathryn and her mother were

seriously injured, detoured them for

five months of medical care, after

which Papa Hedrick decided to join a

former partner's real estate business

in Hollywood...Arrived there, Mama

Hedrick decided that her talented

child should seriously study voice

while enrolled in the Manual Arts

High School."

If the old movie magazines are to be

believed, an MGM talent scout

discovered Grayson at a music

festival where she was performing.

She was asked to audition before Mr.

MGM himself, Louis B Mayer. For

two or three hours, she sang songs by

Deanna Durbin, Jeanette McDonald,

and Grace Moore. She was offered a

contract, but Kathryn had her doubts

about stardom. "I was too plain. One

glimpse in the glass at my turned-up

nose, my awkward shaped face,

convinced me that an audience would

never look at and listen to me." She

only signed once Mayer promised that

she wouldn't have to appear onscreen

until she was properly prepared. For a

year before her first screen test, she

was to take acting and singing

lessons, put on a diet and trained in

physical exercise. This, she was

assured, would transform her into an

ideal star. She agreed and her given

name became "Kathryn Grayson."

Mayer was as good as his word and

Kathryn started a rigorous schedule

that lasted for the year. Finally, the

big day arrived. After doing some

comedy bits, popular songs, and

dramatic singing, Kathryn went to

lunch. While she was eating

Katherine Hepburn came running

over, "I just saw your screen test, you

are the greatest young actress I have

ever seen," she gushed, impulsively

kissing her hand. At such praise,

Kathryn rushed to the executive

building, breathlessly hoping that she

was half as good as the great

Katherine Hepburn said she was. She

nearly cried when she saw herself

larger than life on the big screen. "I'm

not pretty. I can't act. I'm a failure,"

she thought. She immediately went to

L.B. Mayer's office and said, "Mr.

Mayer, you have been very kind and I

want to thank you very much, but I

can see I'm not the right person to be

in the pictures." Mr. Mayer tried to

calm the young actress down and

assured her that he'd heard nothing

but positive feedback about her screen

test. Her parents also urged her to

persevere, telling her it wouldn't be

fair to quit now, after all the time and

money the studio had invested. So she

moved forward, six months

later making her debut in Mickey

Rooney's movie "Andy Hardy's

Private Secretary" (in the part of his

teenage secretary.)

Audiences loved the young coloratura

soprano, whose voice, although

occasionally a tad shrill, was strong,

precise and angelic. One article

described her as "fresh as a hyacinth

and as sweet!" Fans did not realize

that this sweetheart also had a tough

streak. She rode a Harley-Davidson

motorcycle to and from work, against

the advice of studio executives. When

Kathryn felt she needed to advocate

for herself, she did. The Metropolitan

Opera House was interested in giving

her the leading role in Lucia di

Lammermoor, but Louis B. Mayer

told them she couldn't do it, which

infuriated Kathryn. "We had this

tremendous row," she said, "I loved

the opera and wanted to do it

desperately." Mayer insisted that if

she started this early in her career

taking leading roles in operas, it

would jeopardize her reputation as an

actress. "Kathryn," Mayer said,

"you're such a little rebel, I want you

to go to a mountaintop and yell 'Go to

hell!' and then I want you to listen to

the echo coming

back at you. I then

want you to yell,

'God bless you!'

and listen to that

echo." Mayer got

his way...this time.

Even Mickey

Rooney asked

Louis B. Mayer

for permission to

do certain things,

and he was known

as the "box office

king" from the late

30s to the early

40s. When Rooney

married his first wife Ava Gardner, he

paid his boss a special visit to get his

blessing. Mayer considered himself

the father of a large family, and he

often treated his employees like his

children. Kathryn Grayson by her

own admission liked L.B Mayer, but

she was not going to let him run her

life. When she fell in love with

divorcee John Shelton, she shocked

everyone by running away to Las

Vegas to elope! Her marriage to

Shelton proved to be a tempestuous

one which ended five years later after

several separations and attempts to

reconcile.

Kathryn had steady work at MGM,

most notably Anchors Aweigh, a film

that today is best remembered for the

scene where Gene Kelly dances with

the cartoon mouse (Jerry) from Tom

and Jerry. SIXTEEN

musical numbers are

scattered throughout

the two-and-a-half-

hour runtime, much

of it led by Spanish

conductor and

pianist Jose Iturbi.

Although not a

household name

today, Iturbi was

famous then and

hoped to use his

popularity to bring

classical music to

the masses. He and

Kathryn were close,

they would often go

to dinner or concerts together as

friends. Sadly, many serious

musicians shunned him as soon as he

got involved in Hollywood, accusing

him of "prostituting his art" by

appearing in movies. Kathryn stuck

up for him saying, "If he was

prostituting his art, then I'm grateful

he did it...we gave the world some

wonderful films!"

Although her movies were fun to

watch and financially successful,

Kathryn Grayson realized that they

were not going to be enduring

classics. Friends would ask "Why

can't you do great stories?" and she

wished she could but Mr. Mayer

would say "The public likes you the

way you are with the things you're

doing, you make them happy!" She

argued that the public would be even

happier if she was allowed to appear

in a movie with a better-developed

plot and

characters. She

always had to

play the part of

the sweet, likable

ingenue, which

went along with

the carefully

crafted reputation

the studio had

built for her.

Even Life

magazine called

her 1945 film,

Two Sisters from

Boston, "a

pleasantly silly

little musical."

Grayson's

character is a

barroom singer with aspirations for

the opera stage and "cuter than a

bug's ear" sister June Allyson

endeavors to keep her on the straight

and narrow. Even though she had top

billing and handled the role very well,

she yearned to do more.

Not much had changed by 1947 when

she married her second husband, radio

singer Jonnie Johnston. On October 7,

1948, Kathryn gave birth to her only

child, a daughter she named Patricia

Kathryn Johnston (nicknamed "Patty

Kate.") It wasn't long before the new

mother was back to work, co-starring

with Mario Lanza in the great tenor's

first movie at MGM. She was in two

mindless operatic musicals with

Lanza: The Midnight Kiss and The

Toast of New

Orleans. By the

time she was cast

Showboat, in

1951, her

marriage to

Jonnie was on the

rocks, and she

was able to get a

divorce granted

to her on the

grounds of

"mental cruelty."

Kathryn was

delighted to play

Magnolia Hawks

in Showboat, the

daughter of the

riverboat captain.

This was going to be an artistically

profound historical film, set around

the turn of the century, with glorious

music by Jerome Kern. The other

female lead was the character of Julie,

a biracial woman who performs along

the Mississippi River on the

"showboat" - a traveling theater

company. The part was written for a

light-skinned person of color since

Julie is perceived to be white but

when her lineage is revealed, she is

kicked off the boat. Lena Horne was

considered. Like Julie, she was

biracial, and she was also a skilled

singer. Horne had already performed

with Kathryn Grayson, in Till the

Clouds Roll By, during which she

sang one of

Showboat's most

iconic songs: "Can't

Help Lovin' That

Man." However, at

that time it was a

challenge for any

person of color to get

ahead in Hollywood,

no matter how

talented. If an

African American

performer was in a

movie in a non-

subservient role, their appearance was

kept brief so that their scenes could be

trimmed if theaters in certain parts of

the country decided they didn't want

to show them.

Today, we would refer to it as

"whitewashing," but not an eyelash

was batted in 1951 when it was

announced that Julie would be played

by white actress, Ava Gardner.

Another role for a woman of color

was significantly reduced in the

adaptation, that of the cook,

"Queenie," which had been originally

played by Hattie McDaniel in the

1936 Showboat movie. In MGM's

version, Frances E. Williams appears

with minimized dialogue and no

screen credit. If any of Showboat's

leads noticed how parts involving

black people were diminished, it

doesn't appear that anything was said

about it, which is a pity.

During the filming of Showboat, Ava

Gardener recalled how she

and Kathryn would ignore

"one of Metro's cardinal

rules," and between takes

"smuggle in enough tequila

to send us back home in the

best of humor." She and

Howard Keel also got

along extremely well. His

deep baritone laugh set

everyone at ease and they

became fast friends. One

thing that annoyed Keel

about Kathryn was how,

when they were dancing, she "moved

like a Mack truck." He later found out

it was because Kathryn felt self-

conscious dancing close to her male

co-stars and was trying to create

distance. Her bust was an ample 39

inches, which is why she tried to get

out of posing for pin-up photos. "I

don't want to be known as the

operatic Jane Russell," she would

say. Ava was more blunt, joking that

Kathryn "had the biggest boobs in

Hollywood...with her, they didn't need

3-D!"

In 1954, Kathryn Grayson WAS

filmed in 3-D. Television was viewed

as competition for the big studios, so

"[Mr. Mayer said] we should do great

films to get and to keep our

audience." They used the most

advanced method available:

stereoscopic 3D. Originally a

Broadway play, Kiss Me Kate is an

updated version of Shakespeare's

Taming of the Shrew - Grayson being

the "shrew." Not only is this Kathryn's

most dynamic role, it's arguably one

of the best

musicals of the

50s. The New

York Times called

it "magnificent,"

and it certainly has

a memorable Cole

Porter score, a

phenomenal cast

(including one of

Kathryn's best

friends - dancer

Ann Miller) eye-

popping

Technicolor and

lavish costumes.

Best of all the

music carries the

plot along,

enhancing the

emotion the

characters are

feeling. When

delivering her solo number "I Hate

Men," Kathryn practically spits out

every word, justifiably angry with her

ex-husband (Keel) who is acting like

"a louse!" When Howard Keel

mischievously connives to win her

back, it's hard not to root for him. In

real life, Keel and Katie had

acknowledged that they loved each

other, but they decided remaining

friends would be best. "We were mad

about each other, and there was no

way to stop it," Keel later disclosed,

"I'm amazed we didn't say to hell with

it and go someplace alone together,

but that would have hurt too many

people."

Kathryn never

remarried, but she

was rarely lonely. In

Santa Monica, she

owned a 5,381

square foot Tudor

mansion. Her aging

parents had one

wing to themselves,

another wing was set

aside for her singing

teacher, and there

was plenty of room

left over for herself

and her daughter, as

well as the many

nieces and nephews

who would

frequently visit. She

acknowledged that

"belonging to a big

family is the best

tonic, the best balance wheel, the

most effective sanity-keeper and

common-sense provider on earth."

Kathryn also extended her home to

anyone who needed a safe haven.

When her former co-star Mario Lanza

unexpectedly died of a massive heart

attack at the age of 38, Kathryn

invited his wife and four children to

live with her. They stayed with her for

several months until they felt ready to

get back on their feet.

By that time, Kathryn was done with

the movies. Her last movie (The

Vagabond King) was so embarrassing

that she admitted: "it should never

have been made." Kathryn finally

pursued the stage career that Louis B.

Mayer had kept her from years ago.

Few classical crossover singers go on

to sing full opera, but in 1959 she

fulfilled that dream, singing Puccini's

Madame Butterfly. Throughout the

60s she had roles in La Boheme and

La Traviata, as well as operettas like

Orpheus in the Underworld, Naughty

Marietta, and The Merry Widow.

Kathryn also reprised roles from her

movies Showboat and Kiss Me Kate,

and replaced Julie Andrews as

Guinevere in Camelot on Broadway.

Throughout the 70s and 80s, Kathryn

Grayson gave many concerts,

oftentimes with her old friend Howard

Keel. On television, she had a

recurring role on the hit show,

"Murder She Wrote," starring another

longtime friend Angela Lansbury. As

she grew older, she began to travel

less and started giving private singing

lessons out of her home. It is the same

Santa Monica mansion where she

ended up living for 65 years. She

passed away peacefully in her bed at

the age of 88. It's a shame that she

never finished writing the memoir she

started. She realized that it wouldn't

be the sensational tell-all publishers

wanted. "I'm a Pollyanna," she

confessed, "I love everything and I

was saying everyone was beautiful. I

just happen to think people are pretty

wonderful."