In conversation with Charles Naylor: on choral singing, cultural value and why access matters

Finding music later than most

Charles Naylor did not grow up immersed in choral singing. Although his father had been an aspiring concert pianist, music was not central to his early education. He attended a small boarding school with limited musical provision, learned piano to around Grade 4 and sang occasionally in school productions, but encountered no formal choral tradition as a child.

It was not until his mid-teens that singing properly entered his life. Noticed for the quality of his voice, he was sent on a choral course – an experience that proved transformative. Looking back, Naylor is clear-eyed about what he missed. Singing in a choir at a young age, he believes, should be universally available. His own late start left lasting gaps – particularly in sight-reading – but it also instilled a deep conviction about access and opportunity.

An unconventional choral scholar

At St John’s College, Cambridge, where Naylor was a choral scholar, he was something of an outlier. Many of his contemporaries had come through cathedral or specialist school systems; he had not. Supported generously by fellow singers, he learned music the hard way, memorising repertoire rather than relying on fluent reading.

In retrospect, he sees value in that approach. Learning music thoroughly, almost by absorption, fostered a different relationship with repertoire. While he readily acknowledges the importance of sight-reading, the discipline of deep familiarity shaped his musicianship – and perhaps his resilience.

Academically, his degree followed an unconventional path. Beginning in geography, the demands of seven weekly services and an active life as a DJ made fieldwork impossible. He switched to history, graduating with a hybrid degree that reflected the practical realities of choral life.

From academy to Vienna

Committed to singing, Naylor progressed directly from university to the Royal Academy of Music, spending four years there before moving straight into a contract at the Vienna State Opera. At the time, such a transition was demanding but not unheard of; today, he notes, it would be far more difficult.

The professional landscape has shifted dramatically. With fewer companies and opportunities, many gifted singers struggle to find sustainable work. As a trustee of Oxford Song, Naylor has seen this first-hand: auditions attracting extraordinary talent, far exceeding the number of available opportunities.

Vienna, however, proved formative. Working in a city where opera is culturally embedded – and publicly funded – left a lasting impression. Even decades later, he remains a pensioner of the Vienna State Opera, a testament to how deeply the arts are woven into Austrian civic life.

A radical change of direction

Marriage and practical considerations eventually brought Naylor back to the UK. He continued singing, but increasingly questioned whether a lifetime on stage was right for him. The decision to change course was abrupt. Responding to a job advertisement in The Guardian, he found himself interviewed for a role in the petrol industry.

The interviewer laughed when Naylor cited opera singing as his experience – but hired him nonetheless. His first role involved visiting petrol stations across the country, quite literally stocking shelves with Mars bars. It was a baptism of fire, but one he relished.

From there, he built a substantial corporate career, rising through roles at Shell, Hess and British Gas (Centrica), before moving to Switzerland. His musical background proved unexpectedly valuable: cultural fluency, discipline and language skills – particularly German, honed during his Vienna years – helped him navigate international corporate environments.

Music as an enabler

Throughout his corporate career, music remained a quiet constant. It shaped how he worked, how he led and how he understood people. Discipline, preparation, collaboration and listening – all honed through singing – translated directly into professional life.

Living in Switzerland brought another realisation. Despite the country’s strong cultural institutions, amateur music-making was limited compared with the UK. When Naylor stopped singing professionally, he struggled to find comparable opportunities. Returning to Britain in 2011, he re-engaged with amateur opera and choral music, rediscovering the richness of the UK’s grassroots scene.

The contrast sharpened his appreciation of Britain’s amateur tradition – and his concern about its fragility.

Culture, education and access

Naylor is unequivocal about the central role of education. In countries such as Germany, Austria and Switzerland, the arts are understood as part of national culture and are publicly supported accordingly. In the UK, by contrast, access increasingly depends on schooling and background.

He cites a striking statistic: around 2.5 million people sing in amateur choirs in the UK – more than play amateur football. Yet participation is increasingly skewed. The decline of county music services and reduced provision in state schools have narrowed pathways that once drew talent from every background.

Recent UK education policy shifts, particularly the renewed emphasis on music in the curriculum, offer hope. But rebuilding infrastructure will take years. There are simply not enough trained music teachers to meet demand, and progress will be uneven.

For Naylor, the consequences are clear. When children do not encounter music early, entire communities become disconnected from it. That disconnect feeds cultural indifference – and ultimately threatens funding, advocacy and sustainability.

Choral Futures and collaboration

As chair and trustee of several organisations, including the Rodolfus Foundation and Oxford Song, Naylor is deeply engaged in addressing these challenges. He also chairs an informal coalition of national choral organisations – provisionally titled the Choral Futures Forum – bringing together groups such as Gabrieli ROAR, National Youth Choirs, the Cathedral Music Trust and others.

The aim is simple but ambitious: to break beyond the 'choral bubble' and reach communities with little prior exposure to this music. The obstacles are substantial. Awareness, affordability and infrastructure all pose barriers. But shared effort, he believes, offers the best chance of progress.

Rodolfus exemplifies this approach. Founded over 45 years ago, its residential courses have reached an estimated 12,000 young singers. Many arrive with little or no choral experience; by the end of an intensive week, they perform at an astonishing level. The model relies on collective responsibility, high expectations and exceptional teaching – without compromising quality.

Funding, trusteeship and responsibility

Funding remains a constant concern. Like many arts charities, Rodolfus relies heavily on course fees, supplemented by donations that support bursaries. Trusts and foundations are under pressure, and competition for funding is intense. Individual giving increasingly fills the gap.

Naylor is candid about trusteeship. It is serious, demanding work – not a ceremonial role. Trustees carry real responsibility, financial and otherwise. Yet for those passionate about the cause, it is deeply rewarding. Seeing tangible impact, especially in young people’s lives, makes the commitment worthwhile.

Looking ahead

Naylor returns repeatedly to a single conviction: exposure changes lives. Choral singing fosters confidence, discipline and belonging. It connects people across backgrounds and generations. But it cannot survive as a closed ecosystem.

If the next generation is to inherit this tradition, access must widen. That requires education, outreach and sustained advocacy. It also requires telling stories – not just of excellence, but of transformation.

For Naylor, music did more than shape a career. It provided a framework for life. Ensuring others have the same opportunity, regardless of background, is now his enduring focus.