Philip Langridge was born in Kent and studied at the Royal Academy of Music, London as a violinist before turning to singing. He is now one of the world's most distinguished singers, whose musical and dramatic qualities ensure that he is in constant demand throughout Europe, the USA and Japan. In recognition of these qualities, he was made a Commander of the British Empire in the Queen's Birthday Honours of 1994.

He has also received a number of other awards, including the prestigious Olivier Award, the Singer of the Year Award from the Royal Philharmonic Society, The Worshipful Company of Musicians' Santay Award, the NFMS/Charles Groves Prize "for his outstanding contribution to British Music", and most recently the Helpmann Award for his performance of Death in Venice in Sydney Opera House.

His remarkable versatility and command of a wide variety of styles is reflected in his extensive discography, ranging from the early classical period to the present day. These recordings have gained him two Grammy Awards (Moses und Aron and Peter Grimes), the Gramophone Award (War Requiem) and a Classic CD Award (Turn of the Screw).

His most recent opera recording (Death in Venice) received particularly high praise and was nominated for a Grammy award. International opera houses and Festivals with whom he is closely associated include:

Salzburg, the Metropolitan Opera New York, La Scala Milan, Bayerische Staatsoper Munich, the Royal Opera House Covent Garden, Glyndebourne, Edinburgh, and the English National Opera.

Philip has given recitals with David Owen Norris, Steuart Bedford, Graham Johnson, John Constable, Peter Donohoe, Maurizio Pollini and Andras Schiff, making recordings of songs from many periods. Philip is also well known his communication masterclasses with young singers, and has appeared in this capacity in Salzburg, Paris, Munich, New York, Porto, Aix en Provence, The Britten Pears School, Royal College of Music, Royal Academy of Music and Royal Scottish Academy of Music and Drama, and the Sammling Foundation. He hopes that eventually this kind of work will become a permanent part of any singer's study programme and that young singers will quickly realise the importance of communication in their performances.

© Richard Davies