Randall has become a sought-after artist by some of the world’s most esteemed opera houses. In December of 2019 he made a spectacular debut at London’s Royal Opera House as Apollo in Britten’s Death in Venice, singing to sold-out audiences at Covent Garden in David McVicar’s acclaimed production. Randall then joined the roster of the Metropolitan Opera to cover performances of Handel’s Agrippina and returned to the Met in 2022 for performances of Eurydice by Matthew Aucoin. In the spring of 2022 he made another impressive debut at the Bayerische Staatsoper singing the role of Michael in a new production of Haas’ micro-tonal opera Thomas. Randall’s debut solo album with the Orchestra of the Age of Enlightenment, was released by Signum Classics in September 2022, entitled The Crown: Heroic Arias for Senesino. The recording earned high praise from many reviewers; “Scotting lets loose a ravishing vocalism, deep colours, muscular core…Scotting’s messa da voce is mesmerising in music about love and despair alike” **** BBC Music Magazine.

A dramatically persuasive and intensely musical interpreter, Randall is recognised for winning over audiences with his stunning vocal beauty, stylish singing, and charismatic stage presence. Randall’s second album on the Signum label, LOVESICK, also received broad acclaim and was recorded in collaboration with Grammy award winning lutenist Stephen Stubbs. Randall returned to Germany in early 2023 to debut the role of Adone at Staatsoper Hamburg in the world premiere of Sciarrino’s Venere e Adone. Upon receiving rave reviews for his singing and acting as the Refugee in Flight at Seattle Opera, Randall performed again at Seattle Opera in late 2023 singing Ruggiero in Handel’s Alcina.

Three decades ago, a group of London musicians took a good look at that curious institution we call the orchestra, and decided to start again from scratch. They began by throwing out the rulebook. Put a single conductor in charge? No way. Specialise in repertoire of a particular era? Too restricting. Perfect a work and then move on? Too lazy. The Orchestra of the Age of Enlightenment was born.

Since then, the OAE has shocked, changed and mesmerised the music world. Residencies at the Southbank Centre and Glyndebourne haven’t numbed its experimentalist bent. Record deals haven’t ironed out its quirks. Period-specific instruments have become just one element of its quest for authenticity.

Today the OAE is cherished more than ever. It still pushes for change, and still stands for excellence, diversity and exploration. And almost three decades on, there’s still no orchestra in the world quite like it.