Edward Grint

Edward Grint


Representation: General Management

Photo: Jan Rebuschat


British bass-baritone Edward Grint studied at King’s College, Cambridge and at the International Benjamin Britten Opera School at The Royal College of Music. An experienced musician, Edward is establishing himself in the contemporary music field by performing works by Mark-Anthony Turnage, Edward Hughes, Jool Scott, Vasco Mendonca in the UK, Korea and in Europe. Equally present on the concert and opera platforms, Edward excels in the repertoire of Monteverdi, Bach, Handel, Mozart, and Gluck.


Full Biography

British bass-baritone Edward Grint studied at King’s College, Cambridge as a choral scholar, and at the International Benjamin Britten Opera School at The Royal College of Music. Edward was awarded 2nd prize at the 3rd International Singing Competition for Baroque Opera Pietro Antonio Cesti in Innsbruck, was a finalist in the 2014 London Handel Competition, and won the Clermont Ferrand competition in France.

On the operatic stage, Edward’s roles include Arcas Iphigenie en Aulide (Theatre an der Wien), Adonis Venus and Adonis, Aeneas Dido and Aeneas (Innsbruck Festival), Father Akita in Neige by Catherine Kontz (Grand Theatre Luxembourg) and Teobaldo Faramondo by Handel (Göttingen Handel Festival). At the Royal College of Music, Edward performed Count Almaviva Le Nozze di Figaro, Isacio Riccardo Primo (London Handel Festival,LHF), Splendiano Djamileh, Mr Delancey Aqualung (World Premiere), Garibaldo Rodelinda (LHF), John Styx Orpheus in the Underworld, Tirenio Il Pastor Fido (LHF), 2nd Priest/Armed man Die Zauberflöte, Micha The Bartered Bride. Other roles performed include Colonel Patience (Musée D’Orsay, Paris), Hobson Peter Grimes, Mother Die Sieben Tödsunden (Cuenca Festival), Thoas Iphigenie en Tauride (Euphonia), Zaretsky Eugene Onegin (Ryedale Festival), Guglielmo Cosi fan tutte for the Rye Festival, Achilla Giulio Cesare in Amsterdam under Michael Chance, and Polyphemus Acis and Galatea with Laurence Cummings in London.

In concert Edward has performed with many of the UK’s leading ensembles. Highlights include Bach and Kuhnau Cantatas with The King’s Consort (Wigmore Hall), Bach St. Matthew Passion (London Handel Festival and The King’s Consort), St. John Passion (St. Paul’s Cathedral with the London Mozart Players), Magnificat with the OAE (Valletta Baroque Festival, Malta), Bach Coffee Cantata with Laurence Cummings and the Adderbury Ensemble (Holywell Music Rooms, Oxford), Haydn Creation, Handel  Israel in Egypt (King’s College Cambridge), Messiah (City of London Sinfonia, and Birmingham with Ex Cathedra), Handel Dixit Dominus in Cambridge, Brahms Requiem (Cadogan Hall), Verdi Requiem (West Road Concert Hall, Cambridge), Britten War Requiem (Huddersfield Town Hall),  Elgar Dream of Gerontius (Ely Cathedral and Cadogan Hall), and Vaughan Williams Sea Symphony(National Festival Orchestra). Other appearances include Missa Solemnis at the Three Choirs festival, Polyphemus Acis and Galatea under Damien Guillon (Clermont Ferrand, Avignon and Rennes) and Arvo Pärt’s Passio in King’s Place, London, and King’s College Cambridge and Gelone Orontea with David Bates and La Nuova Musica at the Wigmore Hall.

Edward also performed Elijah, Christmas Oratorio, Messiah, new compositions by Vasco Mendonca in Mexico City (Sponsored by Rolex), a programme of Bach with the Orchestra of the Age of the Enlightenment, Chandos Te Deum for the London Handel Festival, Il Re Ariodante with Opera Theatre Company, Brockes Passion with King’s College Cambridge, Messiah and Monteverdi Vespers with the Dunedin Consort, and Polyphemus Acis and Galatea at the Festival de La Chaise Dieu with Damien Guillon.

With a keen interest in contemporary music, Edward has performed Brother The House Taken Over by Vasco Mendonca (Aix en Provence, Strasbourg and Antwerp), the world premiere of The Cool Web – A Robert Graves Oratorio by Jools Scott in Bath Abbey, and Eddy in Mark Anthony Turnage’s Greek in the UK and Korea with Music Theatre Wales.  He also recorded the role of The Poet in Edward Hughes’ new opera When the Flame Dies and the role of Gavin Waylock in Joe St. Johanser Clarges. In recital Edward has performed Brahms Vier Ernste Gesänge, Dvorak Biblical Songs, Finzi Earth and Air and Rain and Let us Garlands Bring, Vaughan Williams Songs of Travel, Schumann Liederkreis op. 24 and Ravel Don Quichotte cycles. Edward has also recorded the baritone solo in Faure Requiem (BBC Concert Orchestra) for a BBC Radio 2 broadcast, High Priest, Judas and Pilate in St Mark’s Passion by Charles Wood and Peter in Sir Harrison Birtwistle’s contemporary opera The Last Supper with the BBC Scottish Symphony.

Further engagements include Elviro Xerxes under Christian Curnyn at St John’s Smith Square (London), Verdi Requiem with the North London Chorus, a programme of Monteverdi Madrigals with Les Arts Florissants and Paul Agnew, Sylvano La Calisto with La Nuova Musica and David Bates, a return visit to Clermont-Ferrand to sing The Lovers by Barber, a programme of Monteverdi Madrigals with Les Arts Florissants and Schütz Christmas Story with the King’s Consort.

Performances last season included Polyphemus Acis and Galatea on tour with Opera Theatre Company, St John Passion with Les Musiciens du Louvre in Toulouse (Minkowski), a programme of Chandos Anthems and Joseph and his Brethren at the 2017 London Handel Festival, Mass in B Minor with Cambridge University Music Society and Vaughan Williams Sea Symphony with Richard Cooke in Canterbury Cathedral.

Engagements in 2017/2018 include appearances at the Kilkenny Festival, St John Passion and Dixit Dominus with Les Musiciens du Louvre (Minkowski), Creation with the Royal Choral Society, Haydn Schöpfungsmesse with the City of London Choir, Don Nobis Pacem at Canterbury Cathedral, Brahms Requiem at St Alban’s Cathedral, Messiah with the Hanover Band, Christmas Oratorio,  Messiah and Venus and Adonis with the Dunedin Consort, Acis & Galatea for the London Handel Festival, Arminio for the Göttingen Handel Festival,  Dream of Gerontius at Canterbury Cathedral and Mozart Mass in C Minor at the Salzburg Festival.

Promoters please note: if you wish to include this biography in a concert programme etc, please contact Hazard Chase to ensure that you receive the most up to date version.  Email: Elin Jones



Advent Concerts this Christmas

November 24th, 2017

Take a look at the festive programmes coming up this December with Hazard Chase.

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March 16th, 2017

Hazard Chase artists celebrate the culmination of the religious calendar

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The 12 Days to Christmas

December 7th, 2016

A festive feast of delights – a summary of Hazard Chase artists appearing in Christmas concerts this season

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‘Serse’ at St John’s Smith Square

November 18th, 2016

Critically acclaimed production features several Hazard Chase singers

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Lammermuir Festival 2016

September 8th, 2016

Hazard Chase has a strong presence at this year’s festival in East Lothian

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Birtwistle THE LAST SUPPER – BBC Scottish Symphony (Brabbins)

“Led by Grint and Norman, the disciples were skilfully individuated and blended, while Bickley and Williams sang with poise and authority.”
The Times, Anna Picard (17th January 2017)

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Cesti ORONTEA (Gelone) – Wigmore Hall, London – La Nuova Musica, David Bates

“…and the young bass, Edward Grint, was superb as Gelone”
The Times, Neil Fisher (Dec 2015)

“La Nuova Musica, however, did it wonderfully well. Bates’s conducting had superb poise, and the cast was impeccable, with not a weak link anywhere.
Bevan’s and Czerniawski’s ecstatic duets stood out, as did Edward Grint and Christopher Turner as a pair of unsavoury choric commentators, whose remarks punctuate the drama with delicious shafts of irony”
The Guardian, Tim Ashley (Dec 2015)

“As Orontea’s advisor Creonte, Tibrino and Gelone respectively, Timothy Dickinson, Christopher Turner and Edward Grint all played their parts to the full”
MusicOMH, Sam Smith

“Edward Grint, dapper in a midnight blue velvet smoking jacket, gave us an excellent character turn as the lovable bass drunkard Gelone, who assures us that “You won’t live longer if you give up drink; it’ll just seem longer…”
BachTrack, Charlotte Valori

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Arvo Pärt PASSIO – King’s Place, London – King’s College Cambridge Choir, Stephen Cleobury

“The work is also scored for two soloists, and these roles were impressively executed by the bass-baritone Edward Grint (Christ) and the tenor Thomas Hobbs (Pilate). The voices complemented each other perfectly – Grint warm and mellifluous, Hobbs bright and edgy – and when they were joined by Joel Williams, the tenor Evangelist, for the trial before Pilate, the variance in timbres created a sublime example of minimalist contrast”
MusicOMH, Barry Creavy (Oct 2015)

“Edward Grint sang Jesus’s role with strong and steady tones. It is a low role, with the notes all of rather long values, giving it a slightly dogged quality. Grint (whose Twitter tag is MisterGravel) brought a lovely dark, centred quality to Jesus’s part providing a steady thread through the work”
Planet Hugill, Robert Hugill (Oct 2015)

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Handel ACIS & GALATEA (Polyphemus) – Opera Grand Avignon – Le Banquet Celeste

“De cet ensemble de jeunes talents se dégage un caractère : le baryton basse Edward Grint donne au personnage de Polyphème une authentique présence, servie par une puissance vocale permettant de déployer un large éventail de nuances, depuis l’expression de la rage dévastatrice (« I rage, I melt, I burn ») jusqu’à l’amour éperdu (« O ruddier than the cherry ») en passant par les émois de l’amoureux rejeté (« Cease to beauty to be suing »). La technique impeccable – justesse, clarté, souffle et projection sont au rendez-vous – se double d’une prestance qui confère au personnage, en dépit des monstruosités relatées par les récits mythologiques, une forme de grandeur tragique.”
Fabrice Malkani, ForumOpera

“From this set of young talent emerges a character: bass baritone Edward Grint gives the character of Polyphemus an authentic presence , served by a vocal power to deploy a wide range of shades , from the expression of the devastating rage (“I rage, I melt , I burn ” ) to the desperate love (” O ruddier than the cherry “) through the emotions of the rejected lover (” Cease to beauty to be Suing “). The impeccable technique – accuracy , clarity and projection breath await you – doubling as a presence which gives the character , despite the horrors related by mythological stories , a form of tragic grandeur .”

“Le Polyphème de la basse britannique Edward Grint n’est pas en reste, avec une voix sonore et une forte présence dramatique, et il se tire avec beaucoup de style et d’émotion de ce rôle de « méchant ».
Emmanuel Andrieu, Opera Online

“The Polyphemus of the British bass Edward Grint is not outdone, with a sonorous voice and a strong dramatic presence, and he pulls with great style and emotion of the role of  the “bad guy””

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Beethoven MISSA SOLEMNIS – Hereford Cathedral – Three Choirs Festival

“At extremely short notice Edward Grint stepped into the breach. This would have been a daunting assignment under any circumstances but I understand that Mr Grint did not even have the opportunity for rehearsal so his contribution was all the more praiseworthy…I thought he made a thoroughly creditable contribution to the quartet and when he got the chance to come into his own in the solo at the start of the Agnus Dei his singing was firm and noble of tone.”
John Quinn, Seen and Heard International

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Artist Manager

John McHugh (Cambridge)
01223 706024

Assistant Artist Manager

Elin Jones (Cambridge)
01223 706026