Ellen Williams has long graced the stages of concert halls and performed in various operatic roles. Before the pandemic, Ellen was most recognizable to crossover fans as one of the members of the Welsh trio ‘Athena.’ However, as restrictions made working as a group difficult, Ellen turned her attention to exploring the crossover genre as a solo artist. Fans have embraced her beautiful sweet voice that effortlessly flows over a variety of repertoire. With her new EP “Cinema” it’s easy to see why Ellen Williams is now one of the brightest stars in classical crossover.
Natasha Barbieri: What have been some of your favorite things in this time spent exploring crossover music?
Ellen Williams: I’ve really enjoyed taking this time, where I wasn’t able to perform in live concerts due to the pandemic and restrictions, to record my own versions of some of the film-score greats. One of my favourite things has been hearing how much these songs mean to people. I was really moved to hear how much people had enjoyed my rendition of “Danny Boy”, which has been featured in many films, but there’s a particularly moving rendition in the film Memphis Belle. It tends to be thought of as a sad song, but there’s also an underlying message of hope in those well-known words that love transcends life. The song is often used in scenes where the characters need comforting, and I hope that sense of hope comes through in the arrangement that features on my EP “Cinema”. Many of these well-known theme tunes will stir some sort of memory for people, where they were when they first heard them and saw these movies, and perhaps childhood memories. I really hope people enjoy listening to these new classical arrangements.
Natasha Barbieri: What are some of the scenes in films you’ve watched where the music really moved you?
Ellen Williams: I just loved the movie Tarzan when I was a little girl, and the Phil Collins soundtrack is still one I listen to today. He wrote the song “You’ll Be In My Heart” for the Disney film with his daughter Lily in mind, and there’s just no denying how beautiful it is, both in its lyrics and melody. It was perfect for the film Tarzan and whenever I hear it, it always brings a tear to my eye. As heart-breaking as the scene is in the movie where Tarzan leaves the mummy gorilla, I’m sure that at least by now, it’s more to do with the music and what a touching song Collins wrote!
James Horner’s score for the film Braveheart is certainly one that almost always has me in tears, especially the themes “For The Love Of A Princess” and “A Gift Of A Thistle”, which have to be two of the most heartbreakingly beautiful melodies.
Natasha Barbieri: Do you have a favorite film composer?
Ellen Williams: There are so many film composers I am just in awe of, John Williams, Hans Zimmer, Harry Gregson-Williams, Howard Shore who wrote the scores for The Lord Of The Rings, Rachel Portman, the list goes on and on and I just wish they all wrote more songs, as their instrumental works are incredible! Hans Zimmer doesn’t often write for singers, however, the theme tune from Gladiator “Now We Are Free”, which he wrote with Lisa Gerrard, is one of the most recognised theme tunes ever, and had to be included on any collection of film-score greats for me!
Natasha Barbieri: Do you approach learning film music any differently from an aria?
Ellen Williams: Actually yes, with an aria or a classical work I’d go through every stage with the music, translating any foreign texts, saying it out loud to know where the stresses fall, and then learning the notes, however for film music I very rarely look at any sheet music at all! I’ll tend to listen to a few different versions, although I’ll never listen to the same performance too many times as I like to try and put my own stamp on things especially if I’m singing or recording a song that’s been sung by many different artists. I’ll then print a lyrics sheet, decide the way I’d like to sing each phrase, and memorise it away from the music. In a way, I feel that film music has further scope for creativity for the singer, as film is a relatively new thing, whereas with classical opera or baroque arias, we’ve all become accustomed to hearing these pieces sung a certain way where particular nuances or vocal timbres are expected of the singer. I think film music really lends itself to be reconveyed in many different ways.
Natasha Barbieri: Along with your new music you have been releasing a series of beautiful videos. For someone looking to try something similar, how did you go about finding the right videographer?
Ellen Williams: Thank you so much, with the world becoming more and more digital and visual, I think that video can add another layer to your release, allowing the audience to share in how you visually picture a song and the emotions you hoped to convey as you recorded it. For somebody looking to make a video to accompany their release for the first time, I would suggest starting by watching lots of other music videos in your genre, and seeing how they’re structured, what sort of angles and colour grading are used, and then when you find a videographer who’s work you like, chat through your ideas with them. I think much better than being directed by somebody is chatting through your own ideas and working out how you’re going to create a particular feeling or portray a certain emotion in a video. For me it’s important to find somebody you can share and develop new ideas with.
Natasha Barbieri: As stages open up again, are you looking forward to returning to large orchestral performances? If so are there any works you wish to sing?
Ellen Williams: There’s a definite buzz as you talk to concert promoters and bookers in the UK at the moment and people are excited for concerts to return to the scale they were before the pandemic. I’m very much looking forward to live performances once more and hoping a postponed gala evening in St David’s Hall with the orchestra of Welsh National Opera will go ahead next year. I’m also hoping to tour abroad next year and keeping fingers crossed that things continue to improve enough to do so. At home in the UK, I’m looking forward to numerous Christmas concerts including singing the soprano solo in Handel’s Messiah with orchestra in the Brangwyn Hall.
Natasha Barbieri: What have been some of the surprises in your career so far?
Ellen Williams: Pleasant surprises in my career so far include… being complimented on my gown by Dame Shirley Bassey during a gala performance in Buckingham Palace, being asked to sing at the wedding of Sir Bryn Terfel, which was a huge honour, and seeing my debut single at No 1 in the Classical Charts on the day it was released last December!
Natasha Barbieri: What inspired you to record “Cinema”?
Ellen Williams: Cinema started with the release of “Cinema Paradiso” in time for Valentine’s Day earlier this year. I’d decided to rewatch the Tornatore film one rainy afternoon and was reminded of Ennio Morricone’s incredibly beautiful score and of course the love theme we all know and love, and decided to release my own version. “May It Be” from The Lord Of The Rings followed, having recorded it for the Classical Crossover Magazine mini-concert series, and I started working towards an EP dedicated solely to film music. I’ve always been captivated by how the music fills the silence in a heartfelt scene and takes you right into the world of the scriptwriter, and often feel very moved by film music. I hope people really enjoy listening to these new arrangements from Gladiator to James Bond to The Lord Of The Rings!
Natasha Barbieri: If you could have been featured on any film soundtrack which one would it have been?
Ellen Williams: I would probably have to say The Sound of Music. It’s just jampacked with so many beautiful and memorable songs, almost all of which I’ve sung in concerts at some point or other. Julie Andrews was an inspiration to me growing up, there’s something so magical and captivating about the way she sings. In fact, it’s been too long since I last sat down to watch this film and this question has made me want to revisit the world of the Von Trapps… I’ll have those songs in my head for days!
“Cinema” is now available to stream (physical copies coming soon). Listen now on Spotify!
Stay Connected with Ellen through her official website.
