You started out with a degree in ancient languages, at which point did your
need to pursue a musical career prompt a move from the books to baroque?

I was halfway through a postgraduate degree - specialising in a
ninth-century Irish epic - when I was invited to audition for Sir John Eliot
Gardiner and the Monteverdi Choir. Before I knew it I was travelling the
world singing Bach in the Cantata Pilgrimage, and this new life appealed to
me hugely: the people, the places and of course the fantastic music.

Have you always had a particular interest in Bach’s work and early
music? What about it appeals to you most?

In Bach I've always found a very human and personal element. He ranges from
the plaintive and contemplative to the lyrical, uplifting and ethereal. I
first sang the Matthew Passion aged fifteen, with Emma Kirkby and Rogers
Covey-Crump and the Swansea Bach Choir, and it was a definite turning point
for me.

In 2005 you were the first singer for almost three centuries to perform
Bach's rediscovered work 'Alles Mit Gott'. How did it feel to sing it for the first time knowing you were making musical history?

The strangest moment was standing in the studio, looking around at the
orchestra and at John Eliot, and thinking "we're about to play this piece
for the first time in three centuries, and we've no idea what the tempo
should be"! It was a magical time and fantastic to be able to give the first
ever definitive, as it were, performance. Thank heavens the newly-discovered
piece was for soprano, how convenient.

It must have been a wonderful experience to eventually perform the piece for an audience in the unusual position of having no pre-conceived idea of what they were about to hear?

It was a delight. The audience responded very warmly and I think that as
it's fairly unusual to hear Bach write something stanzaic, many people were
above all surprised. It's a wonderful little piece with which to be
associated and I was honoured to have been asked to sing it.

Your debut solo CD 'Eternal Light' (available now) is a wonderful
showcase of the baroque and early music you enjoy most. How difficult was
it to narrow down the choice of which songs to include?

Very! I was lucky in that I had a very free hand in choosing the repertoire,
but as you say, there was so much music from which to choose... In the end I
opted for pieces I felt best suited my voice, and which I would most enjoy
singing. I hope that the result was a programme that people would find
appealing and which would draw them in to enjoy my voice.

You have sung and recorded with such well-respected choral performers as the Monteverdi Choir and the Sixteen, but how did it compare to record a full album this time with the focus entirely on you?

There was a moment, on day one, when I walked into the church with my cup of
tea and saw all the players, and thought "all these people are here for me.
Little me." It was awesome, in the true sense of the word, and I still don't
think that I'm entirely worthy. The recording was a fantastic experience and
I enjoyed every single minute.

Do you have a favourite track on the album?

Um... so many! Nulla in Mundo means a great deal to me as I sang it at my
best friend's wedding as she walked down the aisle. She walked too quickly
because she was so excited and then the piece felt as if it went on forever!
Also Aus Liebe, as I'll never forget the day I heard Emma Kirkby sing it in
Swansea and I first realised what the true spirit of baroque singing can be.

You recently added another string to your bow, co-presenting the ‘Cardiff Singer of the World' programme for BBC Wales. Did you enjoy presenting and is it something we may see you do more of?

Presenting is hard work! Cardiff was an intense time and a wonderful
opportunity to see wonderful singing, from the other side of the stage .
I've since done a week of presenting for S4C at the Llangollen
International Eisteddfod and the two experiences have been a real
eye-opener. In the end, presenting seems to involve a lot of talking, and I
can talk for Wales, so yes I certainly enjoy it! But in the end, as at the
beginning, I'm a singer.

Your husband Robert Davies is a baritone who's about to tour with Glyndebourne Opera (no out of tune singing in the shower in your house then!). Do you critique each other’s singing or do you leave work at the door?

Ha ha no! Bob is incredibly supportive and musical, and his intuition and
understanding of singing, and especially of my voice, has helped me to get
where I am. I adore listening to him sing, and he, poor dab, has heard more
than enough of me. We just enjoy each other's music and are always hopeful
we'll get booked to work together.

You’ve had wonderfully varied musical career so far, what can we expect next from the Bach Soprano?

Many lovely things: the Mostly Mozart Festival; Classic FM's 15th Birthday
Concert; Dido and Aeneas with the Orchestra of the Age of Enlightenment; a
Christmas concert at the Royal Albert Hall; Judith Weir at the Barbican;
Buxton Festival... I'm so excited by the fantastic opportunities that are
coming my way, and I'm going to revel in the wonderful music-making ahead.

Quick fire Qs

What was the last CD you listened to?
Back to Black - Amy Winehouse

Which three words would you use to describe yourself?
Talkative, loyal, lucky

Winter holiday / summer holiday?
Summer, especially this year - where has all the sunshine gone?

And the all-important can't be missed question.... Heels or flats?

Flats. All good singing teachers will tell you to wear flats or your singing
posture will be ruined. Not terribly glamorous though...

Elin's solo debut CD 'Eternal Light' is available now.