But I'm ready for what's next after rugby. Being able to not just say that, but to truly feel it, is a privilege. Ultimately, getting to leave your sport on your own terms is all you can really hope for as an athlete.

I realized I wasn’t sounding as good as my reputation was, so I wanted to kind of get to that point where I wouldn’t be ashamed to go on the bandstand, which happened to me one time on a job I was playing with… Elvin Jones, at that time, was the drummer playing with me. We used to go around, had a big sign, “Sonny Rollins is coming to town,” everybody was there, but I didn’t sound good, and I knew I wasn’t playing up to what I should be. So I said, “Okay, I am getting out of here. I am going to go and woodshed,” as they say, and get myself together.

As a very young singer, I was invited to the opera house in Berlin by the then-director of the opera house, Egon Seefehlner, and I had one opera to my name that I knew. He felt that there was a lot that I could learn there, which was very true, and I was so lucky to be able to have this opportunity. The thing that was happening is that I kept being offered operas that I knew that I wasn’t ready to sing, just from an experience point of view, as well as being 24 years old. So I was always asked to sing things that I thought, “Well no, I really don’t think I should sing that now. I need to sing that maybe in five years, or maybe in 10 years, but not right now. Couldn’t I please sing something else?” And that became a difficulty for me. And after being at the opera house for three years, and singing Elsa and Elisabeth — the Wagner roles that are not sort of the heavy Wagner roles — and then Mozart operas that suited my voice at the time, I was continually invited to sing things that I just felt I shouldn’t. So I took it upon myself to go to speak with the artistic director to say that I thought I should leave the opera house, and come back in some years when my maturity sort of chronologically would have caught up with the invitations that I was being offered. Of course, considering that he’d taken me into the opera house when I knew one role, he wasn’t all that happy. I thought he’d say, “Oh, what a smart girl. Oh yes, absolutely. That’s what we’ll do.” No, no. He was absolutely furious.

I don’t want my children to look at Netflix and see me on screen in the arms of someone who’s not their dad.

My team.

That everyone understood and respected the food pyramid, the way it all works. Good food doesn’t come cheap. You know, there’s a lot of heart and soul and care that goes in producing as well as cooking. So I’d give a little bit more love to farmers.

There’s a huge amount of chefs that I find inspiring and have been influential in my career from early days. People like Marco Pierre White and the Roux brothers are amazing, but even now there's some fantastic young chefs that are creative and exciting.

Yeah, I try to make sure Sundays I’m about and present. This weekend he wants to do an apple crumble. We’ll normally do some sort of slow roasting in the morning because we’ll be off to rugby training, and then the afternoon when we get back, it’s all cooked and lovely.

For me, too many chefs and too many restaurants are too precious about what they serve. They create what they see as a temple of gastronomy and it becomes an experience of how fantastic everything is, rather than 'just come and have a nice time'. That's it... it's that simple.

Everything that’s happened to me was because I said yes to everything and gave it a go. I never thought, wouldn’t it be good if I got two Michelin stars and my own TV shows. I just tried my hardest at everything I got the chance to do. If I could give the younger me advice I’d just say, never underestimate graft. Give up on sleep, work very hard, and it will pay off. Graft graft graft. And never give up.