Born in Adelaide, Grant Doyle 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 and Forester The Cunning Little Vixen (Opera Holland Park); Don Giovanni, Forester The Cunning Little Vixen, Enric The Skating Rink (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.
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Dr Bartolo (The Barber of Seville)
Nevill Holt Opera, June 2022
Grant Doyle delivers a solidly crafted Bartolo in the traditional mould.
George Hall, Opera Now
The Cunning Little Vixen (Forester)
Opera Holland Park, July 2021
Grant Doyle also excelled as the Forester...He convincingly embodied the weariness and elegiac qualities of the role, and sang with remarkable clarity of diction
Benjamin Poore, Operawire
Grant Doyle's bluff, resonant Forester has the stage presence to match her.
Erica Jeale, The Guardian
Seeing and hearing Grant Doyle as the Forester was a treat, not least in that final Hymn to Nature. Doyle paced his assumption of the role as if his every contribution in the opera led to those final uplifting moments
C Clarke, Seen and Heard International
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
Bachtrack
[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 ****
Opera
| Bizet | Carmen (Escamillo) |
|---|---|
| Britten | A Midsummer Night's Dream (Demetrius) |
| Debussy | Pelléas et Mélisande (Pelléas) |
| Donizetti | Don Pasquale (Malatesta) |
| Gilbert & Sullivan | Ruddigore (Robin Oakapple/Sir Ruthven) |
| Heggie | Moby Dick (Starbuck) |
| Janáček | The Adventures of Mr Broucek (The Poet) |
| Korngold | Die Tote Stadt (Frank/Fritz) |
| Leoncavallo | I Pagliacci (Silvio) |
| MacMillan | Clemency (Abraham) |
| Massenet | Cendrillon (Pandolfe) |
| Maw | Sophie's Choice (Nathan) |
| Mozart | Die Zauberflöte (Papageno) |
| Picker | Fantastic Mr Fox (Fantastic Mr Fox) |
| Purcell | Dido and Aeneas (Aeneas) |
| Puccini | La Bohème (Marcello) |
| Rossini | La Cenerentola (Dandini) |
| Strauss | Ariadne auf Naxos (Harlekin) |
| Tchaikovsky | Eugene Onegin (Eugene Onegin) |
| Thomas | Hamlet (Hamlet) |
| Verdi | Falstaff (Ford) |
| Wolf-Ferrari | The Jewels of the Madonna (Rafaele) |
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