Born in Adelaide, South Australia, Grant Doyle moved to London to pursue his studies at the prestigious Royal College of Music. He is also an alumnus of the Jette Parker Artists Programme at the Royal Opera House, a key stepping stone in his opera career. With over 100 principal roles to his name, Grant has performed with esteemed companies such as the Royal Opera House, Glyndebourne, Opera Holland Park, Garsington, Grange Festival, Scottish Opera, Opera North, and English Touring Opera. His international engagements have taken him to major opera houses in Berlin, Madrid, Rome, Zurich, Sydney, Adelaide, Brisbane, and Xi’an, China.
Grant’s diverse repertoire includes iconic roles such as Don Giovanni, Macbeth, and Rigoletto, alongside Almaviva (The Marriage of Figaro), Germont (La traviata), Ping (Turandot), Escamillo (Carmen), Yeletsky (The Queen of Spades), Forester (The Cunning Little Vixen), Zurga (The Pearl Fishers), Dr Bartolo (The Barber of Seville) and Don Magnifico (Cenerentola).
As a concert soloist, Grant regularly performs masterworks like Carmina Burana, the Requiem Masses of Brahms, Fauré, Verdi, and Mozart, Britten’s War Requiem, Vaughan Williams’ Sea Symphony, Bach’s Christmas Oratorio and St. Matthew Passion, and Handel’s Messiah. Notably, he has appeared over 40 times as a soloist at the Royal Albert Hall.
Recent and upcoming engagements include the role of the Forester in The Cunning Little Vixen at Opera Holland Park, King Dodon in Rimsky-Korsakov’s The Golden Cockerel for English Touring Opera, Don Magnifico in La Cenerentola for Nevill Holt Opera, La Rocca in Un giorno di regno for Garsington, and Sam in Bernstein’s A Quiet Place for the Royal Opera House.
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 ****
Doyle is simply the class act of the evening. His own baritone is immensely rich and secure, and he captures the humorous and sinister aspects of the character in equal measure
Sam Smith
musicOMH ****
The best of the principals is Grant Doyle’s expertly crafted Don Magnifico. He alone maintains a three-dimensional character – a thoroughly dislikeable one, but he’s meant to be – thus fulfilling the old dictum that comedy is a serious business; the reason Doyle is funny is that he plays the wicked stepfather for real. Spot-on diction, too.
George Hall
The Stage Jun 23, 2023
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.
Richard Fairman
The Financial Times ****