Intermusica Artists' Management



Intermusica represents Roger Vignoles worldwide

Director/Head of Vocal & Opera :
Julia Maynard

Artist Manager:
Catherine Chan-Murphy

Assistant to Artist Manager:
Martha Hartman

Roger Vignoles

Piano Accompanist

Roger Vignoles is internationally recognised as one of the world’s most distinguished piano accompanists and musicians of today. He regularly partners the finest singers in major venues around the world and is regarded as a leading authority on the song repertoire. Originally inspired to pursue a career as a piano accompanist by the playing of Gerald Moore, he read Music at Magdalene College, Cambridge, and later joined the Royal Opera House as a repetiteur. He then completed his training with the renowned Viennese-born teacher Paul Hamburger.

In the course of his distinguished career he has collaborated with such leading singers as Elisabeth Söderström, Dame Kiri Te Kanawa, Sir Thomas Allen, Barbara Bonney, Kathleen Battle, Christine Brewer, Brigitte Fassbaender, Bernarda Fink, Susan Graham, Thomas Hampson, Lorraine Hunt Lieberson, Dame Felicity Lott, Mark Padmore, John Mark Ainsley, Roderick Williams, Joan Rodgers, Sarah Walker, Measha Brueggergosman and Kate Royal. He performs extensively at major venues across the world such as the Wigmore Hall, Philharmonie Cologne, Vienna Konzerthaus, Vienna Musikverein, the Royal Concertgebouw, Musee d’Orsay, Carnegie Hall, the Frick Collection in New York, La Scala, Oper Frankfurt, Théatre des Champs-Élysées, Schubertiade Schwarzenberg, Bonn Beethovenfest, Baden-Baden Festival and Teatro del Zarzuela in Madrid.

Roger Vignoles is frequently invited to devise and direct programmes and festivals of song. He has created several series at the Queen Elizabeth Hall in London, including “Young Brahms”, “Landscape into Song” (a celebration of Schubert) and “Scenes from Schumann”. He presents the annual Ciclo de Lied Galega in Santiago de Compostela. In the 2009/10 season he presented a Strauss song series at the Wigmore Hall.

Roger Vignoles is also an outstanding teacher and has given masterclasses in London, Amsterdam, Brussels, Valencia, Copenhagen, Stockholm, New York, Boston, Baltimore, Los Angeles, Montreal and Toronto. He is a regular visitor to the University of Indiana, Bloomington, the Britten-Pears Young Artists’ Programme at Snape and the Stimmen Festival Freistadt in Upper Austria. Roger is Prince Consort Professor of Accompaniment at the Royal College of Music in London, Vice President of the Jackdaws Music Education Trust, and has been awarded an Honorary Fellowship of Magdalene College, Cambridge honoris causa.

His extensive discography ranges from German Lieder and French Melodies to Spanish Canciones and Cabaret Songs. Vignoles has received much acclaim for his ongoing recording series of Strauss The Complete Songs for Hyperion, with current volumes featuring Christine Brewer, Anne Schwanewilms, Andrew Kennedy, Christopher Maltman, Alastair Miles, Kiera Duffy and Elizabeth Watts. Other recent recordings and forthcoming releases include Schubert Der Wanderer and Carl Loewe Songs & Ballads with Florian Boesch and Tomášek songs with Renata Pokupić, all for Hyperion; Wolf Italienisches Liederbuch with Joan Rodgers and Roderick Williams for Champs Hill; Strauss and Wolf with Angelika Kirchschlager on Wigmore Hall Live; Schumann and Brahms with Bernarda Fink, and Britten Before Life and After with Mark Padmore, both on Harmonia Mundi (the latter received the prestigious Diapason d’Or and Prix Caecilia awards in 2009).

In 2013 Vignoles led Britten’s Church Parables for Mahogany Opera in performances in St Petersburg and the UK. Other recent highlights include recitals with Christine Rice, Mark Padmore, Angelika Kirschlager, Florian Boesch, Marie-Nicole Lemieux, Miah Persson, Roderick Williams, Anne Schwanewilms, James Gilchrist, Elizabeth Watts, Christoph Prégardien, Dmitry Sitkovetsk and Christine Brewer; Poulenc Les Mamelles de Tiresias in Aldeburgh, Aix-en-Provence and Brussels at La Monnaie; and various masterclasses both in the UK and abroad. Future engagements in 2014 include recitals with Clara Mouriz, Matthew Polenzani, Elīna Garanča, John-Mark Ainsley, Joan Rodgers, Renata Pokupić, Antoine Tamestit and Marita Sølberg. Vignoles will also appear in concerts this season with the Nash Ensemble and BBC Singers.

Roger Vignoles is represented by Intermusica.
January 2014 / 599 words. Not to be altered without permission. Please destroy all previous biographical material.

"... with Roger Vignoles at the piano, extraordinary things can happen"
Times, 2006

"... a taste of heaven - literally so and pianistically"
International Record Review, 2007

Recital with Florian Boesch / Wigmore Hall
Krenek Reisebuch aus den österreichischen Alpen

“Vignoles’s playing was just as compelling. It’s the sort of piano-writing that suggests an ensemble without showing any real desire to leave the keyboard. Cabaret and jazz jumped out of its angular style as did the rapid-response word-painting, and there were plenty of subliminal adumbrations of the Lieder tradition for the audience to catch. Vignoles’s stream-of-consciousness engagement with the music matched Boesch’s with rare synchronicity…. Boesch and Vignoles had given us a journey well travelled.”
Peter Reed, Classical Source, January 2015

“Beautiful, brilliant and caustically funny, the perfect vehicle for Boesch’s urbane delivery and Roger Vignoles’s incisive pianism, Krenek’s Reisebuch aus den österreichischen Alpen is probably the best song cycle you’ve never heard: a 20th-century Winterreise.

Vignoles’s control of colour and texture, from the slippery chromaticism and glassy, wide-spaced chords of Verkehr and Kloster in den Alpen to the madcap jollity and raucous gleam of Alpenbewohner and Kleine Stadt, was equally compelling.
Anna Picard, Times, five stars, February 2015

“Vignoles’ playing, lyrical and brittle by turns, underpinned every emotional and intellectual twist. A remarkable work, exceptionally done, and absolutely unforgettable.”
Tim Ashley, Guardian, five stars, February 2015

“Apart from Wolfgang Holzmair, this awkward, brilliant work has had few champions. Which makes last night’s performance by Austrian baritone Florian Boesch and pianist Roger Vignoles all the more interesting.

The voice also plays an unusual role, called on to play the straight-man to the joker of a piano part – smoothly and wittily dispatched by Vignoles– that pretends to conform to tonality only so it can consistently and ear-twistingly thwart all anticipated rules and patterns. By the final Epilogue the assault has exhausted itself, attacking on a whole new flank with its naked melody and harking piano interjections.”
Alexandra Coghlan, The Arts Desk, January 2015

Recital with Christoph Prégardien / Oxford Lieder: The Schubert Project
“Prégardien and Vignoles were at one in creating a clear musical development… Vignoles’s accompaniments were admirably discreet and supportive – though not servile or passive. When necessary he provided cogent and insightful details, furthering the cause of the drama.”
Curtis Rogers, Seen and Heard International, October 2014

Recital with Christine Brewer / Wigmore Hall [CD : Wigmore Hall Live]
“Pianist Roger Vignoles contributes poetic imagination, subtle shading and searching artistry to each song.”
Classic FM, June 2014

Recital with Joan Rodgers / Baldwin Wallace Art Song Festival
“No mere accompanist, the pianist proved an unusually critical and insightful presence, guiding listeners to a richer, more thorough appreciation of the music.”
Zachary Lewis, Cleveland, May 2014

Recital with Elina Garanca / Berlin Philharmonie
“(On Vignoles)…a master pianist who is native to the Schumann sound…”

“Im Nachspiel zeigt sich ein Meisterpianist, der im Schumann-Ton heimisch ist...”
Sybill Mahlke, Der Tagesspiegel, May 2014

The Wanderer / CD: Hyperion
Florian Boesch

“Boesch, who recently released a powerfully convincing Schöne Müllerin cycle, has an ideal voice, at once dark and dazzling, and his accompanist (Vignoles) – except that Schubert’s rich inventive piano parts are so much more than accompaniments – is perfect.”
Sunday Times, February 2014

“…one cannot underestimate the contributions of that Schubert master, Roger Vignoles, maybe the best accompanist in the world today.”
Audiophile Audition, April 2014

Rossini Petite messe solennelle / BBC Singers
“Vignoles, more in the limelight than is usual for him and playing throughout for both chorus and soloists, was on great form – a supple energy rippled through the ‘Kyrie’, there was a terrific swagger to the start of the ‘Gloria’, he made light of the many noodling transitions between sections, and he egged on the four vocal soloists to give their lyrical and dramatic best.”
Peter Reed, Classical Source, February 2014

“Vignoles’ was the announcement of an extraordinary new Rossini style as he glided over the keys – both the physical ones and the range of flats – to let the chorus tread air in the opening Kyrie.”
David Nice, The Arts Desk, February 2014

Britten The Prodigal Son / Mahogany Opera / Southwark Cathedral
“Here Roger Vignoles directed Aurora from the organ, with bold and beautiful playing from principal viola Max Baillie and flautist Alex Jakeman.”
Independent, July 2013

Britten Church Parables / Orford Church and Aldeburgh Festival
“Britten conjures up a strange instrumental luminosity, and the players of the Aurora Orchestra, directed from the organ by Roger Vignoles, certainly revelled in this musical atmosphere.”
John Allison, Opera, August 2013

Britten Church Parables / Orford Church and Aldeburgh Festival
“Roger Vignoles led the colourful ensemble, whose scene-setting from the side of the church was particularly vivid when describing the motion of the boat.”
Classical Source, July 2013

“Additional performers from Mahogany and Jubilee Opera and The Aurora Orchestra sang and played with dignity and refinement with Roger Vignoles directing from the chamber organ.”
East Anglian Daily Press, July 2013

“Close one’s eyes and one heard superb instrumental playing, directed by Roger Vignoles...”
Rupert Christiansen, Daily Telegraph, June 2013

“These performances were well played by members of the Aurora Orchestra, perfectly paced by Roger Vignoles at the chamber organ...”
Financial Times, June 2013

Wolf Italienisches Liederbuch / Joan Rodgers and Roderick Williams / Champs Hill Records
“The most impressive aspect is the expressivity and clarity of Vignoles’s playing, from the pellucid beauty of ‘Auch kleine Dinge’ to the queasy trills in ‘Ich liess mir sagen’ and the feverish chromatics of ‘Selig ihr Blinden’."
Anna Picard, BBC Music Magazine, October 2013

“Vignoles is, of course, these great artists’ collaborator par excellence.”
Editor’s choice: Guy Weatherall, Classical Music Magazine, June 2013

Celebrity recital with Christine Brewer / St. Magnus Festival
“[Brewer] was accompanied on piano by the skilled, experienced and always tasteful Roger Vignoles, who demonstrated with ease his control of elegant space and detail in all the piano parts.”
The Herald, June 2013

Brahms: Lieder / Bernarda Fink CD
“Buoyed by the evanescent shimmer of Roger Vignoles’s accompaniment, Bernarda Fink is all confiding eagerness, phrasing deftly and gracefully and showing a natural feeling for Brahmsian rubato.”

“Fink’s lyric mezzo would seem to be on the light side for “Von ewiger Liebe”. But with Vignoles imaginatively “orchestrating” the keyboard part, she gives a finely graded, deeply moving performance, vividly contrasting the contained passion of the boy’s words with the girl’s gentle candour. The glowing climactic avowal of eternal love is as overwhelming as in any of the more opulent-voiced performances I know, setting the seal on a Brahms recital of rare distinction.”
Richard Wigmore, Arkiv Music, May 2013

Strauss The Complete Songs Vol. 6 / Elizabeth Watts (Hyperion)
“The bloom on the sound, too, draws our attention to how much genuine invention there is in this long chain of satires, abetted by Roger Vignoles’s ability to slip from discordant heavy weather into sparkling waltzes and polkas. The pianist’s limelight here culminates in the lovely Schumannesque interlude…”
David Nice, BBC Music Magazine, March 2013

“The accompanist – and guiding force behind the survey – Roger Vignoles was and is very impressive indeed, here readily catching the extraordinary variety of mood in each song. He plays the often extended introductions and postludes (usually simple in their poetic feeling) quite magically, to say nothing of the extended interludes. The opening song (‘Einerlei – Samness’) is a delightful instance, and is surely a loving picture of Strauss’ wife Pauline. ‘Waldesfahrt’ is similarly affecting”.

“My pleasure is that this latest volume is without any reservations. Elizabeth Watts’ partnership with Roger Vignoles could hardly be more beautifully balanced”.
Ivan March, Gramophone, January 2013

“Roger Vignoles is faithfully his Master’s voice…You expect [Watts and Vignoles] to be on best behaviour in ‘Schlechtes Wetter’ and, sure enough, Vignoles with a complete Viennese insouciance slides into the waltz that accompanies the final vision of the blonde daughter lolling in her armchair as her mother hurries through the snow.”
Christopher Cook, International Record Review, January 2013

‘Mezzo Moon’ / Pia Heise / Danacord
Roger Vignoles is an attentive, vastly experienced accompanist.”
Richard Wigmore, Gramophone Awards 2012

Recital with Florian Boesch / Wigmore Hall
Schubert Winterreise

“A wretched traveller is the narrator of Schubert's Die Winterreise, and at the Wigmore Hall the bleak tale of the unloved came tumbling from Austrian baritone Florian Boesch, who caught his audience's attention with a conversational confession, the Ancient Mariner of music, dogged by despair. The splendour of Boesch's voice, and a power that does not depend on volume, equip him perfectly for this restless and unrelenting journey. Now resigned and confidential in tone, now indignant and dejected, he appealed to his listener with a hand gesture, a shrug that said, "What could I do?", "What would you have done?" With Roger Vignoles peerless at the piano, painting in the woods, the frost, the organ-grinder's drone, this Schubertian swansong – the composer died a year later, at 31 – contains an unbearable paradox: it is the warmth and beauty of the performance that conjure the miserable chill of lovelessness”.
Claudia Pritchard, Independent on Sunday, December 2012

William Lyne Birthday Gala / Wigmore Hall
“[Bolcom’s From the Jersey Side] was brought alive by Christine Brewer’s excitable delivery and Roger Vignoles’s deft touch at the piano”.
Erica Jeal, Guardian, November 2012

Recital with Sandrine Piau / Oxford Lieder Festival
“Piau's gleaming precision and Vignoles's exemplary clarity were perfectly matched”.
Andrew Clements, Guardian, October 2012

Recital with Miah Persson / Wigmore Hall
CD (Wigmore Hall Live)

“Superb pianist... his ability to capture a song’s every mood without grandstanding consistently furthers Persson’s intentions. His joy at the start of Grieg’s “Gruß” (Greeting) is as irresistible as his suitably watery accompaniment in Sibelius’ “Var det en dröm?” (Did I just dream?) is magical. This is wonderful playing.”
Jason Victor Serinus, San Francisco Classical Voice, August 2012

“How measured Vignoles is in the brief piano prelude that introduces [‘Du bist die Ruh’], carefully resisting the temptation to turn honey into saccharine...Best of all is the final song by Sibelius at the end of the recital. Persson and Vignoles completely embrace the rich romantic melody that the composer threads through ‘The maiden’s tryst’.”
Christopher Cook, International Record Review, September 2012

“Roger Vignoles is an ideal accompanist, setting the mood with a few notes or chords.”
Michael Tanner, BBC Music Magazine, September 2012

Ferrier Centenary Celebration Concert with Sir Thomas Allen & Roger Vignoles
Edinburgh International Festival

“Incomparable accompanist Roger Vignoles was on top form, his own brilliant arrangements of traditional songs providing a fitting finale.”
Carol Main, Scotsman, August 2012

Recital with Elīna Garanča / Salzburger Festspiele
“Roger Vignoles is the perfect accompanist to Elīna Garanča’s singing. He plays with great discretion, carries the voice forward unobtrusively, and assumes centre stage only in those brief moments when the score demands it... Not only does he make wonderful sense of the harmonic developments, but also of the emotional ones, which marks Vignoles as an interpreter in the true sense of the word.”
Wilhelm Sinkovicz, Die Presse, July 2012

Concert with Arnold Schönberg Chor
Stimmen-Festival Freistadt / cond. Erwin Ortner

“One of the most influential and outstanding accompanists of our time... Thanks to Roger Vignoles’ magnificent accompaniment this was a real musical feast.”
W. Russ, Oberösterreichische Nachrichten, July 2012

Recital with Florian Boesch / Oratorio de San Felipe Neri, Cadiz
“This Lied recital would not have been such a total success had it not been for Roger Vignoles’ mastery at the piano, which was palpable from the first song “Gute Nacht” up to the end of the concert – each note, trill and arpeggio sounded exquisite. He lent support and security to the baritone, and stole the show in those rare passages of solo piano. In one song, in which the piano score gave just this brilliance he didn’t exploit it, but played each phrase with reserve and nuance, so as to ensure perfect harmony with the voice of the singer. I think I was wrong not to highlight the interpretation of “Der Lindenbaum” and even more “Der Leiermann” in which he seemed to fully recreate a hurdy-gurdy. Bravo.”
Jesús Sánchez-Ferragut, diariodecadiz, June 2012

“Roger Vignoles showcased again his vast repertoire as accompanist of great singers; he contributed with his wonderful work to the excellent outcome of this evening.”
Juan Pablo Otero, Lavozdigital, June 2012

“Pianist Roger Vignoles was the perfect accompanist and an exquisite interpreter of this lofty and ambitious score...”
Lalia González-Santiago, El rayo verde, June 2012

Recital with Christine Brewer / Baldwin College
“Vignoles opened Joaquin Turina’s cycle “Poema en Forma de Canciones” with a beautifully limned prelude that set the scene for the songs themselves…delineating a spectrum of nuances and moods.”
Donald Rosenberg, Cleveland, May 2012

Recital with Sandrine Piau / Wigmore Hall
“But we could divert ourselves with Vignoles’s vividly responsive piano playing. Chausson’s forest creatures and chiming hours, the moisture beads glistening on Strauss’s water lily, the seductive lake threatening Liszt’s sleeping fisher boy: we saw them all, conjured with the poetic precision and grace that makes Vignoles the perfect accompanist.”
Geoff Brown, Times, April 2012

“… partnered with immaculate taste and skill by the ever – attentive Roger Vignoles… Fauré’s melodic flow was confined to the imagination and sensitivity of the remarkable Vignoles.”
Mark Valencia, Classical Source, April 2012

“... with superb accompaniment from Roger Vignoles… Piau and Vignoles played in perfect dialogue in these mood-scapes of love, loss and pain.”
Geoff Diggines, Seen and Heard International, April 2012

Recital with Werner Güra / Wigmore Hall
“Silence. That is the sound which emanates from the auditorium of the Wigmore Hall when a truly exceptional performance is taking place…So it was when Werner Güra and Roger Vignoles took to the platform for the hall’s annual Schubert Birthday Concert…For the gentle longing expressed in Im Fruhling, Alinde and Sehnsucht, Güra and Vignoles simply made us feel we were eavesdropping. And then the piano hurtled into the exuberant energy of Bei dir allein!; calmed yet compelled attention as Der Fischer was lured into the watery depths; and linked the storms of Der Schiffer with the pounding hoofbeat of Willkommen und Abschied in a continuum of racing energy.”
Hilary Finch, five stars, Times, February 2012

Recital with Henk Neven / Wigmore Hall
“Roger Vignoles, as always, was the most sympathetic and collaborative accompanist.”
Melanie Eskenazi, Music OMH, February 2012

Recital with Renata Pokupic / Frick Collection, New York
“The immensely skilled Roger Vignoles… proved a particular wonder in arpegiated passes, such as those in 'Der Nussbaum' and Kunc’s 'For soul and body'.”
David Shengold, Opera News, March 2012

Strauss The Complete Songs Vol. 5 / Kiera Duffy (Hyperion)
“Vignoles, the Strauss pianist par excellence.” 
Tim Ashley, Guardian, November 2011

“In its original version ‘Lied der Frauen’ makes huge demands on both pianist and soprano. Vignoles raises a magnificent pianistic storm at sea to set the song on its way and then allows Duffy to ride the crest of the of the waves.”
Christopher Cook, International Record Review, January 2012

“The excellent Roger Vignoles is the pianist in the whole series and is consistently sensitive and authoritative.”
Marcuse, American Record Guide, February 2012

Recital with Miah Persson, Richard Hosford (clarinet) / Wiener Konzerthaus
“Roger Vignoles drew out of the piano an atmosphere full of sensitivity and trust. With his touch, he created an expressive palette of atmospheric nuances. The introduction, every time, perfectly set the scene, and every time the closing section left the listener in deep thought.”
Florian Kronstetter, Kronen Zeitung, February 2011

“Roger Vignoles endowed [the Sibelius-Minatures] with pastel colours. The second of the two encores, a declaration of love by Grieg, was wildly cheered in the Mozart-Saal.”
Der Standard, February 2011

Recital with Angelika Kirchschlager / Wolf & Strauss / Wigmore Hall 
“Kirchschlager and Roger Vignoles are a real team in Heimliche Aufforderung. (No "accompaniment" here.)

It is admirable of these artists to leave the audience with an ambiguous, unfulfilled song, and it is provocative to think about how different the song would have been if Strauss had set the same poem.

The famous Strauss song Morgen! is often done in a tentative, pastel manner, but here Vignoles's generously rolled chords offer encouragement to the singer, not reticence. Vignoles is a versatile pianist; his Strauss playing for Christine Brewer's Hyperion recital is lush and unrattled.”
William R. Braun, Opera News, November 2011

“Vignoles' touch always delicate and beautiful, even in dramatic or heavy moments.

…the Richard Strauss lieder, begins powerfully with Vignoles' power and passion accompanying the mezzo-soprano.

…the whole album is full of true artistry, and Kirchschlager and Vignoles make each piece truly a joy to listen to. Highly recommended.”                                                                                                                V. Vasan, Allmusic, 2010

“Vignoles is on tiptop form throughout.”
International Record Review, November 2010

“This recital shows the mezzo-soprano at the peak of her powers, richly characterful and infinitely expressive. The same statement can be made about her pianist, Vignoles, in what is quite properly a partnership of equals.”
Sunday Times, 2010

Loewe Songs and Ballads / Hyperion CDA 67866
Florian Boesch & Roger Vignoles 

“Roger Vignoles’s accompaniments are as fine as you would expect from the seasoned pianist; he does a great job with the challenging conclusion to ‘Odins Meeresritt’.”
Paul L Althouse, American Record Guide, October 2011

“Vignoles' kaleidoscopic playing… dispatch[es] a truly spell-binding entertainment.”
The Bay Area Reporter, July 2011

“Roger Vignoles’ accompaniment is always confident, very musical and perceptive.”
Lucy Beckett, International Record Review, May 2011

“For Loewe, the pianist was as important as the singer, and Roger Vignoles is in his element with the high drama of it all. A benchmark recording, and essential listening.”
Tim Ashley, Guardian, 12 May 2011

“Thrillingly performed by Boesch and Vignoles… Roger Vignoles’ accompaniment is always confident, very musical and perceptive.”
Lucy Beckett, International Record Review, May 2011

“Vignoles matches [Boesch] in playing of perception.”
George Hall, BBC Music Magazine, July 2011

“I would be remiss if I didn't mention the contribution of Roger Vignoles; to have the partnering expertise of such an experienced and sensitive pianist at your side is a huge asset for any singer, and together they bring the music and beautiful singing to full flower.”
David Vernier, Classics Today, 2011

“Loewe’s daring and imaginative accompaniments are played here by the incomparable Roger Vignoles, in another addition to his acclaimed discography of Hyperion recordings. His eloquent pianism and penetrating musicianship match Boesch’s artistry to perfection.”
Richard Wigmore, Hyperion Records, 2011

Recital with John Mark Ainsley / Wigmore Hall
“Britten’s realisations of Purcell are exciting music when performed like this, especially at moments such as Ainsley’s superbly unaffected lingering on the final syllable of 'Music for a While' and Roger Vignoles’ demonstration of what panache really means in the introduction to the 'What Magic has Victorious Love' section of 'Sweeter than Roses'. Vignoles, a welcome a presence in so many of these recitals, also gave Ainsley the most fluent and sympathetic support in 'My Beloved is Mine' which was sung with this artist’s signature blend of ardour and restraint.”
Melanie Eskenazi, Music OMH, 16 May 2011

‘Mark Padmore and Friends’ – Mark Padmore & Navarra Quartet
International Chamber Music Season / Queen Elizabeth Hall

“Vignoles's artistry as an accompanist is second to none, supporting and subtly enhancing his singer's effects.”
Michael Church, Independent, May 2011

Recital with John Mark Ainsley / Frankfurt Opera
“John Mark Ainsley’s tenor voice wrapped itself around Britten’s lyrical phrases, and blended perfectly with the noble piano playing of his kindred-spirited accompanist, Roger Vignoles."

"(...) Once again, it was Ainsley’s presentation of subtle British irony, as in Loewe’s ‘Tom der Reimer’, or the drama of Loewe’s ‘Erlkönig’, that made this evening at the side of Roger Vignoles, the nobleman of song accompaniment, such an incomparable experience, rewarded with much cheering from the audience.”
Michael Dellith, Frankfurter Neue Presse, April 2011

“Even in the second half of the recital, dedicated to German repertoire, Britten was an exemplary influence on his generation of song writers, and this could be heard in Roger Vignoles’ playing, which was remarkably well-attuned to the singer.(...) In Loewe’s ‘Tom der Reimer’, Roger Vignoles unveiled the many riches of his effortless piano playing. Vignoles finally got his well-deserved solo in the encore, Schumann’s ‘Mein Wagen rollet langsam’.”
Gerhard Schroth, Frankfurter Allgemeine Zeitung, April 2011

“Ainsley’s piano accompanist, Roger Vignoles, played with great expression in the pieces of his two great compatriots, Purcell and Britten.”
Bernhard Uske, Frankfurter Rundschau, April 2011

“(Despite the 250 years between Purcell and Britten), there were fewer differences between their pieces than would be expected, sounding more like a unified whole. This was also thanks to the extremely sensitive and powerful accompaniment of pianist Roger Vignoles.”

“(...) Roger Vignoles once again fitted himself exceptionally well to Ainsley’s singing in Loewe’s ‘Tom der Reimer’, and played the melodies depicting a twittering bird with great liveliness and vividness.”
Kulturfreak, April 2011

Recital with Renata Pokupic / Wigmore Hall
“Vignoles once again supplied the guiding hand in areas such as setting an ideal tempo and clarity of texture for ‘Chanson triste’.”

“…it was Vignoles’s power in the severe left-hand counter-melody which made the most lingering impression.”
Richard Nicholson, Classical Source, April 2011

Accompanist to Ainhoa Arteta singing works by Schumann, Ives, Copland, Barber & Granados
Teatro Victoria Eugenia, Argentina / March 2011
“Tuvo, además, en la velada de ayer el entusiasta apoyo y la gran calidad musical de Roger Vignoles-uno de los grandes- cuyas manos sobre el piano fueron las acompañantes ideales para que la voz fuera la indiscutible protagonista y el teclado el mejor de los apoyos en permanente simbiosis de equilibrios tímbricos."
(“What’s more she had on her side, during last night’s soiree, the enthusiastic support and great musical calibre of Roger Vignoles – one of the greats – whose hands on the piano were the ideal accompanists”)
diariovasco, March 2011

Recital with Christine Rice / Wigmore Hall
Quatre poèmes de Guillaume Apollinaire
"Both she and accompanist Roger Vignoles however did bring demonstrable enjoyment to the set, with Vignoles’s delicate touch playfully highlighting the shift from furrowed-brow Neo-Classicism to music-hall vamping in “Avant le cinéma.”
Alexandra Coghlan, The Arts Desk, January 2011

BBC Radio 3 CD Review Building a Library / Broadcast 27 Nov 2010
HUGO WOLF Moerike-Lieder – Richard Wigmore recommends
“Both singers…give unalloyed pleasure…while Vignoles, like all the best Lieder pianists, plays words as well as tones.”

“Joan Rodgers and Stephan Genz with Roger Vignoles never disappoint, and at their best they are a match for all comers.”

“Just as memorable is Roger Vignoles’ glistening delicacy in the fiendish piano part.”

“Sung with beauty of tone and intensity of feeling by Stephan Genz.”

“Joan Rodgers’ expressive lyrical soprano is especially effective in the many delicate and whimsical songs, such as Zirtonenfalter im April.”

Recital with Joan Rodgers & Roderick Williams
Edinburgh International Festival / Queen’s Hall
“…absolutely at the top of their game and completely on top of their material, simply let the music flow.” – 5 stars
Michael Tumelty, Herald Scotland, August 2010

Brinkburn Festival / Mark Padmore & Nicholas Daniel
"In Herbert Howells’s Sonata for Oboe and Piano, (Nicholas Daniel) and Roger Vignoles perfectly attuned to each other’s every nuance of phrasing and tone colour. Vignoles brought equal refinement to Britten’s song-cycle on Thomas Hardy poems, Winter Words. Alive to the smallest detail of the composer’s word painting, he and Padmore gave an absorbing performance, the final song building to a breathtakingly powerful emotional climax."
Thomas Hall, The Journal, July 2010

Brahms Violin Sonatas (Brilliant 93989)
“…Roger Vignoles is an excellent accompanist.”
Althouse, American Record Guide, May/June 2010

Strauss Songs Series / Angelika Kirchschlager
Wigmore Hall
"With Vignoles’s fingers crocheting a pattern of fine lacework in Meinem Kinde, her (Kircschlager’s) voice was free to expand from the arch to the ardent."
Hilary Finch, Times, February 2010

Strauss Songs Series / Christine Brewer
Wigmore Hall
“The Christ Child is not yet born, but the Wise Men are already resolutely on their way. And, judging by their sombre footfall in the piano playing of Roger Vignoles, it was certainly a cold coming they had of it. Christine Brewer left Die heiligen drei Könige to the end of her all-Strauss recital and it was certainly worth the wait.

The mystic darkness of the song’s piano prelude, with its sudden starlike trembling high in the right hand, prepared the way for Brewer’s soprano at its most lustrous. And the crescendo of stellar light was, after the folk-like simplicity of the start, well-nigh operatic. It took only a final, Dionysian Rite of Spring (Strauss’s late Heine setting, Frühlingsfeier) to make the Wigmore Hall audience roar for an encore. This was lunchtime — so one only. But the heavy fragrance of Brewer’s Allerseelen lingered long in the air and the memory.

It was with a song often given as an encore that Brewer and Vignoles had begun their recital. The roll and rise of Vignoles’s expansive accompaniment radiated the vocal glow of gratitude within Brewer’s soprano in Zueignung. A palpable exhalation of audience contentment wafted through the hall as she unleashed a flood-tide of Strauss’s love songs to the soprano voice: from solemn worship in Breit’ uber mein Haupt to the gentle simplicity of Gluckes genug. Brewer found the tint and tone of voice unique to each song.”
Hilary Finch, Times, December 2009

Schubert Lieder / Elizabeth Watts (Sony BMG)
“Vignoles's playing is stunning (listen to his uncanny imitation of a harp in "Im Abendrot"), and he supports Watts's rhythmic flexibility throughout the recital. The artists find both movement and stillness in an ethereal interpretation of Rückert's "Sei mir gegrüsst," and they capture the fun of such novelties as Schubert's tiny faux-Spanish piece "Aus 'Diego Manzanares'" and the personality piece "Die Männer sind méchant."
Judith Malaronte, Opera News, August 2009

“On top of it all we have superb notes and even better playing by that Gerald Moore accompanist incarnate—but with better sound—Roger Vignoles, truly without peer these days. Absolutely recommended with much enthusiasm!” - 5 stars
Steven Ritter, Audiophile Audition, July 2009

Britten: ‘Before Life & After’ / Mark Padmore (Harmonia Mundi)
"Padmore is a master of the difficulties of the dark and dangerous world of Britten's John Donne... Between Padmore's range of vocal expressions and Vignoles' alternately playful and poignantly illuminated effects... we have a truly remarkable dramatic experience that's worth many repeat hearings." - Rating: 10/10
David Vernier, Classics Today, June 2009

Strauss The Complete Songs Vol. 4 / Christopher Maltman & Alistair Miles (Hyperion)
“Roger Vignoles captures well the expansiveness and generosity of the writing for piano. He is also a sensitive accompanist in songs where the piano part is relatively simple.”
John Steane, Gramphone, June 2009

"Roger Vignoles can do no wrong in my book, his playing as adept and fresh as ever, strolling through his prime"
Steven Ritter, Audiophile Audition, June 2009

“This latest instalment in Hyperion's series is every bit as welcome and enjoyable as were its predecessors and further volumes are eagerly awaited."
MusicWeb, April 2009

Recital with Ian Bostridge / Aldeburgh Festival
“Roger Vignoles’s playing was beautifully articulated and, in Schumann’s extraordinary postludes, he seemed not only to reflect on the feelings that the singer had invoked but also to encompass an extra dimension in these potent closing bars… Vignoles’s Brahms was also deeply felt."
Rian Evans, Classical Source, June 2009

“…with Roger Vignoles in elegant attendance on the piano.”
Richard Morrison, Times, June 2009

Mahler Des Knaben Wunderhorn / Joan Rodgers & Roderick Williams
King’s Place
“Roger Vignoles’s piano… which commented, threaded and crystallised with expected poetry and finesse”
Geoff Brown, Times, December 2008

Schubert Schwanengesang / Robert Holl (Hyperion)
“Roger Vignoles’ accompaniments are always sensitive…”
Geoff Brown, Times, October 2008

Mahler Des Knaben Wunderhorn / Stephan Genz (Hyperion)
“Genz is partnered, as in his previous recitals for Hyperion, by Roger Vignoles, whose playing is so sharply characterised and finely weighted that I hardly missed the better-known orchestral version. Indeed, his playing is far more substantive and compelling… (Vignoles) treats his part as colourful, texturally detailed piano music. And his extensive booklet-notes are unusually perceptive, too. As usual with Hyperion, the recorded sound is beyond criticism.”
Andrew Farach-Colton, Gramophone, July 2008

Recital with Measha Brueggergosman
King’s Inns, Dublin / Music in Great Irish Houses Festival
“Whatever the subject matter, Measha Brueggergosman catches it perfectly. She is marvellously partnered by the ever-articulate Roger Vignoles, and when required, he is subtly supportive or dashingly demonstrative.”
Pat O’Kelly, The Irish Independent, June 2008

“Brueggergosman effortlessly gilded through them, accompanied by strong, yet unobtrusive guidance, from piano accompaniment Roger Vignoles.”
Dick O’Riordan, The Sunday Business Post, June 2008

Recital with Christine Brewer / Wigmore Hall  
“Lots of pleasure in Vignoles’s multihued accompaniments.’
Times, May 2008

“Roger Vignoles is the immaculate pianist.”
Sunday Telegraph, May 2008

Strauss The Complete Songs Vol. 3 / Andrew Kennedy (Hyperion)
“Roger Vignoles's piano accompaniments are superb.”

"Vignoles's playing continues to achieve a maximum of freshness and invention and a chameleon-like closeness to his singer's tone and line. In the meantime, a lot of work and study has gone into this disc and the readings attain a consistently high standard of beautiful music-making."
Gramophone, July 2008

“Roger Vignoles's playing is as colourful and eloquent as his booklet notes.”
Daily Telegraph

Grieg The Complete Songs Vol. 6 / Monica Grroup (BIS Records)
“Roger Vignoles, her masterly and eloquent accompanist, matches her artistry to perfection.”
Robert Layton, International Record Review, January 2008

Strauss The Complete Songs Vol. 2 / Anne Scwanewilms (Hyperion)
BBC Magazine Award Finalist 2008 (Best Vocal Recording)

“Roger Vignoles is here the unifying force of the project as accompanist and literary authority.”
Richard Nicholson, Classical Source, April 2007

"This fine CD is a worthy successor to Volume One in the series and an essential purchase for all lovers of Strauss lieder"
MusicWeb, Recording of the Month, July 2007

“… perfectly complemented by Vignoles…”
BBC, 2007

Strauss The Complete Songs, Vol. 1 / Christine Brewer (Hyperion)
"This is a major release by major artists, and it is a worthy opening to a major series of recordings."
MusicWeb, Recording of the Month, May 2005

"At all times Brewer and Vignoles work together hand in glove … This is a properly equal partnership that bodes very well indeed for this admirable project. Brewer and Vignoles set high standards for anyone who would record Strauss now and for future collaborations on Hyperion too!"
International Record Review

"There seems to be no challenge that Christine Brewer and Roger Vignoles can't meet in these opulent songs. Brewer's soaring voice offers a fabulous range of colour and dynamics, and Vignoles matches her with a truly orchestral palette at the keyboard."
Classic FM Magazine

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'Perspectives' at Wigmore Hall
Roger Vignoles presents his 'Perspectives' series at the Wigmore Hall Few words more accurately embrace the artistry of Roger Vignoles than ‘perspective’. He curates a glorious showcase of song under the title at Wigmore Hall this season, revealing the musical ties that connect the pianist so strongly with like-minded singers, those with the desire and ability to extract fresh ideas from cornerstone compositions and communicate every...

By Matthew GurewitschPublished on 30 March 2008For Star Singers, a Worthy PartnerIN late November the British accompanist Roger Vignoles visited the Juilliard School for his first New York master class. It was not the sort of public star turn often marketed under that name, but an internal, properly educational affair. Five students sang, accompanied by five student pianists preparing for careers as collaborative artists. Mr. Vignoles...

The Complete Songs of Strauss
> Go to CD details > Go to Strauss series 2009/2010 details STRAUSS: THE COMPLETE SONGS VOL.I Hyperion CDA67488 Excerpts: 'Befreit' 'Wiegenlied' Christine Brewer soprano “This is a major release...


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