Grant Doyle is represented by Rayfield Allied worldwide.

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Grant Doyle


  • Grant Doyle’s charismatic Figaro is a delight
    The Stage
  • 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
  • Born in Adelaide, Grant Doyle completed his studies at the Royal College of Music in London, and then joined the Young Artists Programme at the Royal Opera House, Covent Garden. Subsequent roles for the Royal Opera include Tarquinius The Rape of Lucretia, Harlequin Ariadne auf Naxos, Schaunard La Boheme, Bello La Fanciulla del West, Demetrius A Midsummer’s Night Dream, Morales Carmen, and roles in three world premieres including Mark-Anthony Turnage’s Anna Nicole and James MacMillan’s Clemency, which he also sang for Scottish Opera.

    Appearances in Europe include Demetrius and Der Einäugige Die Frau ohne Schatten at the Teatro Real in Madrid, Ned Keene Peter Grimes at the Teatro Pérez Galdós in Las Palmas and Demetrius at the Komische Oper Berlin.

    In the UK he has made regular appearances with Opera North as Sasha Paradise Moscow, Albert Werther and Robin Oakapple/Sir Ruthven Murgatroyd in the acclaimed production of Ruddigore; for Garsington Opera as Count Le nozze di Figaro, Don Giovanni and Forester The Cunning Little Vixen; and for Opera Holland Park as Frederic Lakmé, Marcello La Boheme, the title role in The Fantastic Mr Fox and Zurga Les pêcheurs de perles. His other roles have included Marcello at the Royal Albert Hall, Schaunard for Glyndebourne on Tour; Apparition of a Poet The Adventures of Mr Broucek for Scottish Opera, Figaro Barber of Seville, Paolo Simon Boccanegra and Hector King Priam for English Touring Opera, Eugene Onegin for Opera Project and Ping Turandot for the Royal Opera House Covent Garden.

    In his native Australia, Grant has appeared as Starbuck in Jake Heggie’s Moby-Dick, Zurga Les pêcheurs de perles, Count Le nozze di Figaro and Pooh-Bah The Mikado for State Opera of South Australia and Yamadori Madama Butterfly for Opera Australia. He sang King Phillip II in Isaac Nathan’s ballad opera Don John of Austria with the Sydney Symphony Orchestra. Other roles include the title roles in Britten’s Owen Wingrave, and Thomas’ Hamlet, Papageno Die Zauberflöte, Silvio I Pagliacci, Escamillo Carmen, Frank/Fritz Die tote Stadt, Dandini Cenerentola, Belcore L’elisir d’amore, Sid Albert Herring, and Nathan in Nicholas Maw’s Sophie’s Choice.

    On screen he played the lead role in the Channel 4/ABC film of The Eternity Man, (winner of the 2009 Rose d’Or Award for Best Performing Arts programme) and recorded the Forester for the BBC animated film of The Cunning Little Vixen with the Deutsches Symphonie-Orchester Berlin conducted by Kent Nagano as well as creating the role of Carlo in Judith Weir’s opera Armida for Channel 4.

    As a busy concert soloist, Grant Doyle has performed with the Philharmonia Orchestra, Hallé Orchestra, Ulster Orchestra, Royal Philharmonic Orchestra, Bournemouth Symphony Orchestra, Tasmanian Symphony Orchestra, Bach Choir, Irish Chamber Orchestra and at the Royal Albert Hall, 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.

    • Le Nozze di Figaro
      Longborough Festival Opera, June - July 2016

      Indeed, the singing was uniformly excellent, with the vocal highlights coming from Grant Doyle’s Figaro
      David Lister, The Independent
      Grant Doyle as Figaro revealing a powerful and rounded baritone.
      Sam Smith, musicOMH
      There is a fine, confident insolence about Grant Doyle’s portrait, backed up by superb, genuinely basso quality singing that emphasises, as Mozart surely intended, Figaro’s weightier character compared to the flighty, unscrupulous baritone Count.
      Stephen Walsh,
    • 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
    • Iphigénie en Tauride
      English Touring Opera (March - June 2016)

      Grant Doyle is the sturdy, haunted Orestes.
      Robert Thicknesse, Opera Now
    • 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 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
    • 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
    • Iphigénie en Tauride
      Pinchgut Opera (December 2014)

      Grant Doyle is a stunning Orestes, occupying the role with a profound sense of fate, all the more devastating for its restraint. Vocally, he doesn't hold back, unleashing one of the smoothest, most agile baritones I have heard in a while.
      Harriet Cunningham, The Sydney Morning Herald
      Baritone Grant Doyle also impressed as Iphigenie’s tormented brother Orest. Maintaining a burnished, smokytoned timbre, he captured his character’s anguish, seamlessly shifting from quietly smouldering resentment to explosive rage.
      Murray Black, The Australian
    • 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
  • Opera

    • 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)
  • Photos