Purcell DIDO AND AENEAS – London Philharmonic Orchestra

“the other roles were such dependably pristine singers as Lucy Crowe, Anna Dennis, Benjamin Appl and, particularly, Edward Grint, Ciara Hendrick and Anna Harvey as a clearly transgender Sorceress and his/her devilish little helpers.”
Richard Morrison, The Times (January 2019)

“Edward Grint as the Sorceress was satisfyingly evil”
Mark Thomas, Bachtrack (January 2019)

“Nobody sings Belinda with more lambent beauty than Lucy Crowe and Edward Grint was a sturdy male Sorceress.”
Richard Fairman, Financial Times (January 2019)

Handel CHANDOS ANTHEMS (Onyx CD), London Handel Orchestra

“Edward Grint and Grace Davidson sing the outer parts with intelligent precision”
David Vickers, Gramophone, (February 2019)

Handel MESSIAH – Edinburgh Royal Choral Union

“She (Rowan Pierce) … and bass Edward Grint perhaps represented the more modern face of singing, both with exemplary diction and expressive approaches to ornamentation”
Keith Bruce, The Herald Scotland (January 2019)

Bach MASS IN B MINOR – London Handel Orchestra

“The singers themselves were universally good, with some outstanding performances. Edward Grint’s voice was perfect for ‘Quoniam’ – dark and solid with a hint of grainy edge”
Barry Creasy, Music OMH (June 2018)

Handel ACIS & GALATEA – London Handel Festival

“Edward Grint’s charcoal-toned Polyphemus was crisply defined and free of bluster – a credible suitor”
Yehuda Shapiro,Opera Magazine (June 2018)

“Edward Grint made an impressive entrance through the red curtains behind the instrumentalists, bristling with fury. But, even in Polyphemus’ first recitative, ‘I rage, I rage, I rage, I melt, I burn’, Grint’s bass balanced ballast and beauty – ‘I melt’ was beguilingly languorous: it was clear why the Cyclops fancied his chances with the nubile nymph. With paradoxical elegance, Grint negotiated the ungainly vocal contours and stuttering breathless which so often characterises the giant’s melodies, Polymethus’ unrest being sweetly countered by the obbligato ‘flauto’ (Catherine Latham, recorder) in the well-known ‘O ruddier than the cherry’. Similarly, the leaping octaves – ‘Torture, fury, rage, despair’ – with which the cyclops interrupts the lovers’ mournful duet were cleanly articulated and prickled with frustration”
Claire Seymour, Opera Today (March 2018)

“In the brief incursion of the one-eyed monster Polyphemus, Edward Grint “raged, melted and burned” with fine, dark bass charisma”
Richard Fairman ,The Financial Times (March 2018)

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.”
Anna Picard ,The Times (January 2017)

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

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

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

“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…”
Charlotte Valori, BachTrack

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 (October 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 (October 2015)

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””

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