Edward Grint

Edward Grint

“Edward Grint’s charcoal-toned Polyphemus was crisply defined and free of bluster – a credible suitor”

Yehuda Shapiro, Opera Magazine

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 platforms, Edward also 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), Splendiano Djamileh, Mr Delancey Aqualung (World Premiere), Garibaldo Rodelinda and Tirenio Il Pastor Fido (LHF), John Styx Orpheus in the Underworld, 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 Orchestra of the Age of the Enlightenment (Valletta Baroque Festival, Malta), Bach Coffee Cantata with Laurence Cummings and the Adderbury Ensemble (Holywell Music Rooms, Oxford), Haydn’s 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 Kings 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 OAE, 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 Orchestra.

Further engagements include Elviro Xerxes under Christian Curnyn at St John’s Smith Square, 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.

Recent engagements include 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,  Brahms Requiem at St Alban’s Cathedral, Mass in B Minor with the Gabrieli Consort, Handel Chandos Anthems at Händel-Festspiele Halle, Christmas Oratorio, Messiah and Venus and Adonis with the Dunedin Consort, Acis & Galatea for the London Handel Festival and Dona Nobis Pacem and Dream of Gerontius at Canterbury Cathedral and Handel Dixit Dominus with Les Musiciens du Louvre.  Edward also appeared in Mozart Mass in C Minor at the Salzburg Festival (Norrington), Acis & Galatea with Banquet Celeste, The Cool Web – A Robert Graves Oratorio at St. Paul’s Cathedral, Chandos Anthems at the London Handel Festival, Mass in C Minor with the Presidential Symphony Orchestra in Turkey, Sorceress/Spirit Dido and Aeneas with the LPO (Norrington), Mass in B Minor with the BBC Symphony Orchestra (Butt), Dream of Gerontius at St Botolph’s, Colchester and Dvorak Stabat Mater in Bedford.

Engagements in 2019/2020 include concerts with Les Arts Florissants at the Festival de Thiré, and on tour in their Madrigal concerts, Acis & Galatea and Acteon with the Early Opera Company in Sicily, Messiah with the Irish Baroque Orchestra, the King’s Consort and the Hanover Band, a programme of Baroque music at the Wigmore Hall for La Nuova Musica, Missa Solemnis with the Oxford Bach Choir, Creation in Bristol, Handel Serse at St John’s Smith Square, Mozart Requiem in Trondheim, The Fairy Queen with Garbieli Consort at the Concertgebouw, Amsterdam, St John Passion with Les Musiciens du Louvre in Gdansk and in Aix-en-Provence and Jupiter Castor et Pollux for the Early Opera Company at the Opéra de Tours.

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: Tom Wood



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Flanders Remembers

November 6th, 2018

Edward Grint joins Remembrance Day commemorations at St Paul’s Cathedral

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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)

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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)

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“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)

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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.”
Anna Picard ,The Times (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”
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

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Discography & Repertoire

Handel – Chandos Anthems

London Handel Orchestra led by Adrian Butterfield with Edward Grint (bass-baritone), Charles Daniels (tenor), Grace Davidson (soprano)

ONYX (2019)

Artist Manager

John McHugh (Cambridge)
01223 706024

Associate Artist Manager

Tom Wood (London)
020 7084 6951