Among the superbly schooled and stylistically sensitive group of accompanists to have come from the U.K. in the last quarter of the 20th century, Roger Vignoles ranks with the finest. Originally inspired by Gerald Moore, who advanced piano accompaniment from subordination to full partnership, Vignoles has, from the beginning, shown a grasp of differing schools of songwriting and the gift for putting his singers at ease. Moreover, his own interests stretch to wide horizons; he is as on the mark with songs from the cabaret as with the rarefied atmospheres found in the songs of Duparc.

Vignoles was born on July 12, 1945, in Cheltenham, England. Following studies at Magdalene College in Cambridge, he resolved that he would pursue a career as a piano accompanist. Further studies at the Royal College of Music and in private classes with Paul Hamburger (himself a noted accompanist) prepared Vignoles for his 1967 debut at London's Purcell Room. From 1969 to 1971, he worked as a coach and répétiteur at the Royal Opera House. One of his first regular collaborators was soprano Elisabeth Söderström. Pleased with her young accompanist's work and personality, the singer frequently re-engaged him during the 1970s and '80s. During this period, other singers took note of his work and began to engage him for recitals as well. Three of the most prominent were Sarah Walker, Thomas Allen, and Kiri Te Kanawa (the latter two before their respective knighthoods). With both Allen and Walker, the association was long-lasting, leaving some memorable recordings as evidence. The Walker and Vignoles partnership resulted in concerts and recordings exploring German lieder, French mélodie, and even an eclectic and intriguing assortment of cabaret songs.

From 1974 to 1981, Vignoles taught the art of accompaniment at the Royal College of Music. A regular presence at many of the world's leading festivals, he frequently appeared at the Schubertiade at Feldkirch. At Queen Elizabeth Hall in London, he created a week-long series in 1997 billed as "Landscape into Song." The following year, he initiated the Nagaoka Winter Festival in Japan, returning each year until 2002 as artistic director to conduct master classes and perform in recital. Vignoles contributed to the 2001 Schumann Festival in London and has accompanied Benjamin Britten's Canticles on several occasions, including a staged version given in Barcelona. Master class experiences have given Vignoles a perspective more sympathetic to terrified young singers than is often accorded by former star singers conducting the affairs. He has urged allowing the participants time to sing a few phrases before being pounced on and corrected. His ability to make singers comfortable and able to give their best has made him a valued ally.

Vignoles continues to be one of the most sought-after collaborators for singers, touring Japan with Mihoko Fujimura and North America with Measha Brueggergosman and Kate Royal. Among his many outstanding recordings is a disc devoted to the complete songs of Duparc with Walker and Allen. With soprano Véronique Gens, he recorded an album devoted to mélodies by Fauré, Debussy, and Poulenc. First recital recordings by mezzo-soprano Katarina Karnéus and bass-baritone Jonathan Lemalu have also greatly benefited from Vignoles' presence, both stabilizing and enlivening their performances. A recording of Schumann songs, including Frauenliebe und -leben with mezzo-soprano Bernarda Fink, has also won admiring reviews. The 2009 Britten: Before Life After, with Mark Padmore, won awards in France and England. That year, Vignoles began presenting a recital series at Wigmore Hall, which hosted a 70th birthday celebration concert in his honor. A partnership with star baritone Roderick Williams has resulted in several acclaimed albums, including Mirages: The Art of French Song in 2022. ~ Erik Eriksson, Rovi