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 (Opera Holland Park); Forester The Cunning Little Vixen and 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) 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, and Nello in Pia de’ Tolomei.

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, Bournemouth Symphony Orchestra, Tasmanian Symphony Orchestra and 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.

The Skating Rink (Enric)

Garsington Opera, world premiere 5 July 2018

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 *****

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 *****

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

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, May 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, March 2018

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

John Allison, Opera magazine

Dardanus (Teucer)

English Touring Opera, October and November 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 (Jonathan Dove)

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, July 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 (March - June 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 does the anguished Nello very effectively, a part that combines rather lovely lyricism with violence and passion.

Robert Thicknesse, Opera Now *****

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

Yehuda Shapiro, Opera Magazine

Bach St Matthew Passion

Ex Cathedra, March 2016

Grant Doyle emerged triumphant [...] Doyle had only met his Evangelist (Andrew Tortise) on the very morning of this concert, but their empathy was remarkable.

Christopher Morley, Birmingham Post

La bohème

English Touring Opera (March and April 2015)

Grant Doyle’s Marcello was a keenly-observed example of alpha-male frustration in his dealings with Musetta, and the way he kept Marcello’s dominating swagger just about under control was very true to life.

Peter Reed, Opera Magazine

The Siege of Calais

English Touring Opera (March and April 2015)

Grant Doyle, as Edoardo III (now ‘leader of the besieging army’) carried the first scene forcefully, with his reliably robust baritone injecting an element of psychotic wickedness into his generally upbeat aria.

Peter Reed, Opera Magazine

Iphigénie en Tauride

Pinchgut Opera (live recording, released Dec. 2015)

Grant Doyle makes an impassioned and moving Orestes, fining down his virile baritone to a numb pianissimo for the illusory peace of ‘Le calme renter dans mon coeur’

Richard Wigmore, Gramophone

The Cunning Little Vixen

Garsington (June 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 *****

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 ****

[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

King Priam

English Touring Opera (February 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 handsome-sounding Hector.

Hugo Shirley, The Spectator

Opera Holland Park – Les pêcheurs de perles

Summer 2013

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

Opera Magazine

Australian baritone Grant Doyle was a characterful Zurga, establishing a powerful stage presence and alert to every
dramatic gesture and detail. Doyle sang with a credible dark tone and rich warmth, particularly in his Act 3 aria,
‘L’orage est calmé’ as both the natural tempest and his own anger quieten.

Opera Today

Grant Doyle’s Zurga is vividly characterised and ... bravely sung




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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