Bass-Baritone David Wilson-Johnson, who was born in 1950, is one of the world's most versatile singers and is internationally greatly in demand for the quality and exceptionally wide range of his talents.

He is equally at home in oratorio, opera, recitals and contemporary music-theatre, displaying a remarkable catholicism and imagination in all genres. He is a regular guest at major opera houses such as the Royal Opera House Covent Garden, the Paris Opera, the Geneva Opera, Brussels Opera, Turin Opera and the Netherlands Opera, with whom he has formed a particularly close and happy association. His roles range from the dramatic to the cameo, and include a very broad variety of characters, to which he brings equal flair as an actor and a singer. He has scored notable successes in works as diverse as Ravel's L'Enfant et les Sortilèges, Mussorgsky's Boris Godunov, Puccini's Turandot, Mozart's Magic Flute, Britten's Billy Budd, Tippett's King Priam, Messiaen's St Francis d'Assisi, Birtwistle's Punch and Judy, and Henze's We Come to the River. His concert engagements have included regular appearances at Festivals such as the BBC Proms, Salzburg, Aldeburgh and Flanders, and with orchestras in Vienna, Munich, Cleveland, London, Paris, New York, Amsterdam, Leipzig and Birmingham. He has sung with conductors such as David Atherton, Carlo Maria Giulini, Nicolaus Harnoncourt, Pierre Boulez, Christoph von Dohnányi, André Previn, Mstislav Rostropovich, Gennadi Rozhdestvensky, Kurt Masur, Sir Simon Rattle and Zubin Mehta. He scored a particularly popular recent success with his highly amusing but brilliant portrayal of Inigo in a concert performance of Ravel's L'Heure Espagnole conducted by Andre Previn, and subsequently took part in Previn's new recording of the opera.

David Wilson-Johnson also pursues a busy schedule as a recitalist and he has made a particularly strong impression with his performances and recording of Schubert's Winterreise in which he has been accompanied by David Owen Norris on an 1824 Broadwood Piano. On the Chat Channel he explains how, after detailed research, he decided to re-arrange the order of songs to create what he believes is a more balanced picture of the lovesick wanderer in keeping with Schubert's and the poet Muller's real intentions.