Although I specialised in opera at college, I have always had a soft spot for oratorio. I’m often asked whether oratorio can be as exciting as the whole opera thing with sets and costumes.

The answer is that it’s usually more exciting, and here’s why:

Almost every night’s a "first night".

Oratorio performances do not tend towards long runs, where boredom can set in; also rehearsal time is usually short and efficient.

In oratorio, everyone comes to the table primed and ready to go, which allows soloists, orchestra, conductor and choir to communicate with absolute spontaneity.

At its best, it’s like a kind of dance, requiring capability and trust all round - then real alchemy can take place, with everyone totally absorbed and transported.

Now that’s exciting.

My first official engagement as an oratorio soloist was at the age of 19. My Mum made me the most beautiful dress for the occasion from apple green fabric, with pink blossoms around the neckline. It looked exquisite, but was rather hot to wear: being intended for curtains, the material was insulated on the reverse.

Some years later, I was a national finalist in a competition organised by the National Federation of Music Societies (now called Making Music).

Part of the prize was a list of solo engagements with clubs and societies all over the country, and that’s where I really learned about oratorio in its natural habitat.

Many, many engagements sprang form that award - among them were my first opportunities to perform great pieces like Elgar’s Sea Pictures, the Verdi Requiem and Bach’s St Matthew Passion.

I also learned a salutary lesson in geography.

The most northerly of these concerts was in Shetland, the most southerly in Surrey. Such extremes of the British Isles, I was familiar with, but the time I accepted engagements in Oxfordshire and Birmingham on consecutive days - with Manchester in between - taught me to get the map out before automatically agreeing to a date. Talk about learning a simple lesson the hard way!

Although I offer all the core oratorio repertoire, I am most often asked to perform larger works. My favourites are probably Elgar’s Dream of Gerontius, Verdi’s Requiem and Handel’s Messiah - although I have a passion (no pun intended) for anything by Bach and a real affection for rare witty pieces like Rossini’s Petite Messe Solonnelle (who says continentals don’t do irony?).

I have experienced such a range of performances in my career. I have been amazed by the sheer logistical ingenuity and resilience of societies in remote rural areas. I have also been moved and changed occasionally by stunning amateur performances, some of which have eclipsed professional standards.

But mostly for me, it’s a joy to see groups of people come together with a sense of commitment and occasion to create something - and it’s a privilege to join that team for the night and make my contribution.

Crucial to the prosperity of performing in our communities is the work of Making Music who support and encourage all aspects of live performances in our clubs and societies with financial and expert help.

Continuing to give oratorio performances is definitely part of my life plan - not only for the reasons given, but also because it appeals to the gypsy which lives in every performer. Most of us will always have an impulse to go "on the road".