Grant Doyle / Vélemények

"The best of the principals, though, is Grant Doyle’s expertly crafted Don Magnifico. He alone maintains a three-dimensional character – a thoroughly dislikable 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."

★★★★ "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."

Grant Doyle's Dr Bartolo was very much a sleazy curmudgeon, the humour arising because of the mismatch between the character's view of himself as a lothario and the reality of his approach and looks. Also, the production did not shy away from the fact that there is an element of nastiness perhaps even violence to the character which can often be overlooked in a pure buffo performance. Doyle certainly had great fun laying it on, and perhaps we were less sympathetic than usual at the old man's come-uppance.

Of the main principals, however, the strongest performance comes from Grant Doyle, whose baritone is masterly and who cannot help but make us feel sorry for Dr Bartolo as all of his assertions on how he cannot be outwitted are proven wrong.

Movingly articulated at the close of this English-language performance by Grant Doyle’s big-hearted Forester, the inspiring final scene, showing him overwhelmed by the eternal beauty of the environment where he has spent his life, is underpinned by the soaring playing of the City of London Sinfonia in Jonathan Dove’s canny reduction of the composer’s original score under conductor Jessica Cottis.

Grant Doyle sings his noble epilogue about the passing of time and the meaning of life with total security, and seven years on from playing the Forester in Daniel Slater’s brilliant production for Garsington, he’s also won the right to meditate on ageing.

King Dodon features the strong-voiced baritone Grant Doyle, who sports a variety of costumes including some amusing underwear (it has to be said, there is a fair amount of working with the phallic symbolism of artillery in the production; while I am on the subject – an adult fairy-tale, then). Doyle was an exceptional Forester (The Cunning Little Vixen last year at Opera Holland Park, and before that as Robert in Iolanta; he owned the authority of his role here while embracing the King’s faults and frequent silliness.

Gerry Cornelius conducts extremely well, while Grant Doyle with his secure baritone is an excellent Dodon. He is very clever at playing up the Tsar’s bumbling, doddery and lazy nature, even indulging in a dance routine that would rival David Brent’s, so that he feels quite loveable.