Grant Doyle


"The always likeable Grant Doyle blossoms with star quality"

Daily Telegraph

"Grant Doyle as Zurga had a commanding, anchored presence and sang the role beautifully"

Opera Magazine

"Grant Doyle’s charismatic Figaro is a delight"

The Stage

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Born in Adelaide, Grant studied at the Royal College of Music in London and was a member of the Jette Parker Young Artists Programme at the Royal Opera House Covent Garden.

For the Royal Opera House he has performed Ping Turandot, Harlequin Ariadne auf Naxos, Schaunard La bohème and Billy Wayne Smith in Anna Nicole.

Other opera credits include Yeletsky Queen of Spades, Zurga Les pêcheurs de perles, Robert Iolanta (Opera Holland Park); Forester The Cunning Little Vixen, Enric The Skating Rink, Don Giovanni (Garsington Opera); Abraham Clemency (Scottish Opera), Robin Oakapple Ruddigore (Opera North), Schaunard La bohème (Glyndebourne), Marcello La bohème at the Royal Albert Hall (Raymond Gubbay), Demetrius A Midsummers Night’s Dream (Madrid & Berlin), Ned Keene Peter Grimes (Gran Canaria), Vater/Andervater Coraline (Zurich) and Mike in John Adams’ I Was Looking at the Ceiling (Rome). For English Touring Opera he has sung the title role in The Barber of Seville, Orestes in Gluck’s Iphigénie en Tauride, Marcello La bohème, Hector King Priam, Nello in Pia de’ Tolomei, Tiridate in Radamisto, and Macbeth.

For State Opera of South Australia, Grant Doyle has performed Don Giovanni, Count Le nozze di Figaro, Zurga Les pêcheurs de perles, and Starbuck in Jake Heggie’s Moby Dick (Adelaide) as well as Orestes in Iphigénie en Tauride (Pinchgut Opera Sydney).

As a busy concert soloist, Grant Doyle has performed with the Philharmonia Orchestra, Hallé Orchestra, Ulster Orchestra, Copenhagen Philharmonic Bournemouth Symphony, and Tasmanian Symphony Orchestras as well as The Bach Choir in works including Carmina Burana, Fauré Requiem, Judas Maccabeus, Glagolitic Mass, Brahms German Requiem, Britten War Requiem, A Child of Our Time, Messiah and Christus in the St John Passion and St Matthew Passion.

This biography is for information only and should not be reproduced.

Iolanta (Robert)

Opera Holland Park, July 2019

OHP has mounted some triumphs in the past, but none surely eclipses this for sheer musical excellence...Grant Doyle was a strong Robert

Colin Clarke, Seen and Heard International

The quality runs right through the cast... [including] Grant Doyle’s heroic Robert

Alexandra Coghlan, The Arts Desk ****

Grant Doyle [is] in good form as Robert

Barry Millington, Evening Standard ****

Grant Doyle is in superb voice as Robert

Peter Reed, Classical Source *****

Grant Doyle was a persuasive Robert

Claire Seymour, Opera Today

Doyle delivered his aria in praise of his beloved Mathilde with an intensity which brought the house down

Planet Hugill

[Grant] Doyle’s noble baritone


[A] strong portrayal of the Duke of Burgundy by Grant Doyle

Mark Ronan, The Article

Macbeth (title role)

English Touring Opera, Spring 2019

Doyle’s declamatory way with the opening scenes gives way to a fierce, expressive lyricism as guilt and isolation begin to corrode both Macbeth’s mind and his sense of his own integrity

Tim Ashley, The Guardian ****

[Grant Doyle] sings the role with such unforced strength and, in his closing aria, stylish musicianship that audiences round the country should count themselves lucky to have him

Richard Fairman, Financial Times ****

Grant Doyle finds real depth of feeling for Macbeth's despairing final moments

Nick Kimberley, Evening Standard ****

Grant Doyle carried the role on vibrant, forthright tone and, having somehow retained an air of humanity throughout the murder and mayhem, filled Pietà, rispetto, amore with regret

Yehuda Shapiro, Opera Magazine

Grant Doyle combines Macbeth’s monstrous pessimism, his courage and agonising moments of self-knowledge with disarming directness. This is a commanding performance, and Doyle has the vocal resources and dark Italianate inscrutability to give the role full measure

Peter Reed, Classical Source

Grant Doyle was a forceful, multi-faceted Macbeth, capturing the early torment and moral decline with subtlety. Vocally he was imposing... he brought an appropriate sensitivity and drama to key moments, most noticeably the banquet scene and the finale

Dominic Lowe, Bachtrack ****

Grant Doyle rages and rampages as Macbeth

Claire Seymour, Opera Today

Grant Doyle carries the role with a vibrant, forthright tone and, retaining an air of humanity, fills his final aria with regret rather than self-pity.

The Stage

Grant Doyle finds a fine lyricism in the last act

Ron Simpson, TheReviewsHub

Radamisto (Tiridate)

English Touring Opera, Autumn 2018

The cruel rasp of Grant Doyle's Tiridate underlines the sheer physicality of this performance

Michael Church, The Independent ****

Grant Doyle threatens to overturn the opera’s moral compass by endowing the old-world, male chauvinistic pig Tiridate with surpassing power

Richard Fairman, Financial Times

the Armenian king Tiridate, Grant Doyle, appropriately venomous

Richard Morrison, The Times ****

Grant Doyle is a rough and gruff villain

Rupert Christiansen, The Telegraph ****

Individual cast members have a lot to offer... Grant Doyle making a vigorous villain as Tiridate

George Hall, The Stage ****

The Skating Rink (Enric)

Garsington Opera, world premiere 5 July 2018

As Enric, Grant Doyle is a fully rounded, sympathetic character

Andrew Clements, The Guardian

Garsington has assembled a resourceful cast. Grant Doyle [is] excellent as one of the main suspects, civil servant Enric

Richard Fairman, Financial Times

Grant Doyle is heartbreaking as lumpen embezzler Enric, a little man who really does gaze at the stars with his feet in the gutter

Charlotte Valori, Bachtrack *****

Garsington has assembled a great cast. The focus is Grant Doyle as Enric. He sings with burnished tone throughout and is dramatically effective

Alexander Campbell, Classical Source *****

The cast is consistently strong, with standouts…especially [from] Grant Doyle as cheesy, desperate Enric

George Hall, The Stage

As the final narrator Enric, Grant Doyle was particularly impressive having taken on the role at relatively short notice... Doyle gave a beautifully crafted, multilayered performance which really brought the character alive and, surprisingly, made us begin to sympathise with him

Robert Hugill ****

Grant Doyle, replacing an ailing Neal Davies as Enric for all performances, really grows in stature as the evening progresses as his expansive baritone comes into play to carry off the largest role with aplomb

Sam Smith, Music OMH ****

The Pearl Fishers (Zurga)

State Opera of South Australia, 2018

Grant Doyle is commanding as Zurga the king pearler, reprising the role from last year with Opera Queensland

Graham Strahle, The Australian

A warm reception was extended to Grant Doyle, who performed superbly in the role of Zurga, a jealous man driven to mad decisions

Greg Elliott, InDaily

Doyle's resonant voice gives gravitas to his character as he takes us on an emotionally charged roller coaster ride through Zurga's mood swings. Zurga's ultimate understanding and change of heart is a profound moment in Doyle's hands...Doyle and Goodwin make a sensational pairing, with some intense interactions. Their duet, Au fond du temple saint (In the depths of the temple), is a showstopper

Barry Lenny, Broadway World

From the House of the Dead (Čekunov)

Royal Opera House, 2018

“This gallery of characterizations also included hard-working performances from Grant Doyle (Čekunov)”

John Allison, Opera magazine

Dardanus (Teucer)

English Touring Opera, Autumn 2017

Grant Doyle is first-class

David Mellor, The Daily Mail

Grant Doyle’s grandly emphatic Teucer

George Hall, The Stage

Grant Doyle, as Teucer, evoked nobility and desperation in equal measure

Benjamin Poore, Bachtrack

Mansfield Park (Sir Thomas Bertram)

The Grange Festival, 2017

Grant Doyle exuded imperious authority as Sir Thomas Bertram

Claire Seymour, Opera Today

The rich baritone of Grant Doyle as the stern but kindly Sir Thomas Bertram was well caught

David Truslove, Bachtrack ****

The Magic Flute (Papageno)

Longborough Opera, 2017

Grant Doyle made the ideal comic, cocky Papageno, his German crisp, clear and expressive, his timing perfect (even down to an irresistible Brexit joke) and his baritone endlessly generous

Charlotte Valori, Bachtrack

Grant Doyle’s Papageno was both witty and charismatic and, with his swaggering stage presence, he was a joy to watch

Opera Now

Pia de’ Tolomei

English Touring Opera, Spring 2016

Doyle’s sonorous, majestic baritone served a characterisation that moved from affronted arrogance to desperate pain without varnishing one or blunting the other

Richard Bratby, ****

Grant Doyle asserted Nello’s dominance powerfully, while crucially also doing justice to the character’s softer side

Yehuda Shapiro, Opera Magazine

Grant Doyle does the anguished Nello very effectively, a part that combines rather lovely lyricism with violence and passion

Robert Thicknesse, Opera Now *****

The Cunning Little Vixen (Forester)

Garsington Opera, 2014

His final hymn to the renewing force of nature is properly moving

Neil Fisher, The Times ****

As Grant Doyle sang out sonorously in the Forester’s closing paean to nature, the sun was setting outside over the Wormsley estate, art and nature in sync. Janáček would have approved

Richard Fairman, The Financial Times ****

Grant Doyle's powerfully sung and subtly acted Forester

Guy Damman, The Guardian *****

An authoritative Forester, [his] comparative youth adding a note of interesting potency to a role that can often feel quite autumnal

Warwick Thompson, Opera Magazine

The human story of the villagers – perfectly exemplified… especially, Grant Doyle’s expertly sung and superbly acted Forester – comes into sharp focus in the foreground

George Hall, The Stage ****

King Priam (Hector)

English Touring Opera, Spring 2014

Grant Doyle’s confident and musically intelligent Hector sings everyone else off stage

Hilary Finch, The Times

There were fine individual performances, too, not least from Grant Doyle's handsome-sounding Hector

Hugo Shirley, The Spectator



Carmen (Escamillo)
Les pêcheurs de perles (Zurga)


A Midsummer Night's Dream (Demetrius)
Albert Herring (Sid)
Owen Wingrave (Owen Wingrave)
Peter Grimes (Ned Keene)
The Rape of Lucretia (Tarquinius)


Pelléas et Mélisande (Pelléas)


Don Pasquale (Malatesta)
Il Campanello di notte (Enrico)
L'elisir d'amore (Belcore)

Gilbert & Sullivan

Ruddigore (Robin Oakapple/Sir Ruthven)
Trial By Jury (The Learned Judge)


Moby Dick (Starbuck)


The Adventures of Mr Broucek (The Poet)
Cunning Little Vixen (The Forester)


Die Tote Stadt (Frank/Fritz)


I Pagliacci (Silvio)


Clemency (Abraham)


Cendrillon (Pandolfe)
Manon (Lescaut)
Werther (Albert)


Sophie's Choice (Nathan)


Die Zauberflöte (Papageno)
Don Giovanni (Don Giovanni)
Le nozze di Figaro (Count Almaviva)


Fantastic Mr Fox (Fantastic Mr Fox)


Dido and Aeneas (Aeneas)


La Bohème (Marcello)
Madama Butterfly (Sharpless)
Turandot (Ping)


La Cenerentola (Dandini)
The Barber of Seville (Figaro)


Ariadne auf Naxos (Harlekin)
Capriccio (Olivier)
Die Frau ohne Schatten (Der Einäugige)


Eugene Onegin (Eugene Onegin)
Pique Dame (Prince Yeletsky)


Hamlet (Hamlet)


Falstaff (Ford)


The Jewels of the Madonna (Rafaele)

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