The baritone Roderick Williams (pictured above in a photo by Theo Williams) has become something of a regular with the SCO of late, and not just as a soloist. The SCO Chorus included his composition O Adonai in their Christmas concerts in December last year, and he performs his own arrangement of Butterworth's Six Songs from 'A Shropshire Lad' in The Language of Eden in late March - a concert named for the new work by our Associate Composer Jay Capperauld, in which he also sings. In the circumstances, an interview seemed long overdue, so we were delighted when Roderick agreed to speak to us.

Welcome back to the SCO! You’ve become something of a regular with the Orchestra in the last few years. What are your own highlights of your performances together?

It’s difficult to pick a single highlight from one of my performances with the SCO. I’ve really cherished them all; most recently L’Enfance du Christ (which is such a fabulous piece of music) was the perfect way to set me up for Christmas. Before that, I really enjoyed those wonderful performances of the Five Mystical Songs by Vaughan Williams and the Fauré Requiem. That was such a terrific program. And then even before that, we performed Elijah both in Scotland and at the Proms. I so enjoy singing that and it was a marvellous opportunity for the Chorus and the Orchestra to show what they’re made of. I have great memories with the SCO stretching back many years.

You’re back in Scotland to perform (among other things) the premiere of Jay Capperauld’s The Language of Eden. As its featured soloist, what can you tell us about the piece?

I was in rather a privileged position to have been shown the score and have excerpts played almost before anybody else had heard it apart from its creators. I’ve only just received the vocal score and I’m looking forward to getting to grips with it. It’s an interesting prospect; Jay and Niall [Campbell, author of the libretto] have set themselves the task of writing a piece about an experiment in language that seems to exist outside of language itself. They have also written a piece where the SCO Chorus stands in for an entire island. I can at least tell you that it is a lyrical piece and is full of beautiful textures and gratifying vocal lines.

You were involved in the coronation of our Patron, His Majesty King Charles III, in a dual capacity as performer and composer. What do you remember of the occasion?

I was very aware that I was taking part in a piece of history, but at the same time I was reassured by the idea that I was doing something that I have done all my life. The piece of music that I was asked to sing, the Confortare by Walford Davies, did not last long and nor was it particularly difficult. Having been a professional singer for over 35 years and an amateur singer for at least 15 before that, you could say that I’ve been training all my life for this one moment. What I enjoyed most was being part of a community of musicians; I was seated beside Bryn Terfel and opposite my fellow composer colleagues. When I sang, I was looking directly at conductor Andrew Nethsinge a few paces in front of me, and surrounded on both sides by the choir of Westminster Abbey along with all the other choirs that joined that day. It even included my two nephews, both choristers in the Abbey choir. So it may have looked as though I was a soloist, but I was far from alone.

Taking into account that we’re seeing you as a composer, arranger and singer this Season, do you have any other musical ambitions we should be aware of?

I think that’s about it, don’t you? Later this year, I am actually going to be conducting a chamber ensemble in Mahler’s First Symphony. But I can assure you this is a one off; if I have learnt anything during my singing career, it is that a conductor’s job is most definitely not easy. Apart from my huge enjoyment in coaching, I think we can agree that singing and composing will be quite enough to keep me fulfilled, thank you.

For everyone who enjoys the English song repertoire, are there any lesser-known composers or repertoire you would particularly recommend?

Over the past five years or so, I have been discovering the music of forgotten female composers. It is with a feeling of embarrassment that I realise how much repertoire that has been out there if only I had known where to find it. Only this week a promoter asked me if I sang any of the songs by Augusta Holmès. I had to admit that I had never heard of her. However, this embarrassment is tempered by the thought that there is a lot more music that I have yet to discover.

In that vein, I would certainly recommend people seek out to the songs of Rebecca Clarke if they don’t know her music already. I recently joined mezzo Kitty Whately and tenor Nicolas Phan for a recording project of her songs. I would add to that recommendation list songs by Doreen Carwithen, Muriel Herbert, Ina Boyle and Mel Bonis. And there are many more.