"We call ourselves the men in black - no one knows we are are around.
"We're not used to being the centre of attention - we're just part of the backdrop."
Mr Philpot is the chief - all the work is at his fingertips - sliding controls on master system high above the audience to control lighting and sound.
He will be setting the scene, warming the stage, adding amber to the white light so there is no distracting reflections, for example, on the piano keyboard - all are part of his checklist.
Planning for the three-day Aria competition began this week when he sat down with organisers to finalise a list of requirements - where to position the piano, where to seat the judges, and where to place the on-stage flowers while ensuring no pollen will upset a singer's delicate vocal chords.
"The Aria is comparatively easy to work on compared to other shows as there is only one performer."
There is still a juggle to fit more than 100 people including a choir, and full orchestra on stage, with lights and sound to match.
"The lighting is important but in the Aria you are wanting the presentation to be the highlight."
Above the stage can be anything up to 70 lights, about 150,000 watts, to control to get the right presentation - for a single performer on stage only about 4000-5000 watts will be used.
"We need to make it look good for the audience, to use the right lighting to soften the edges."
This year's Aria will be his sixth or seventh - "I've forgotten really" - but he hasn't stopped learning.
Among the "teachers" was Dame Kiri Te Kanawa who sang at the Civic Theatre last year.
Dame Kiri brought high standards in lighting styles from her experience in some of the world's greatest theatres, he said.
"Kiri knew exactly what she wanted and she was very knowledgeable."
