Daniel Grice - Bass-Baritone

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Daniel Grice trained and worked as a nurse and a chef before studying music at the Guildhall School of Music and Drama and with bass Robert Lloyd. He made his operatic debut as Nick Shadow in The Rake’s Progress opening the 2006 Aldeburgh Festival with the Philharmonia Orchestra under Martyn Brabbins directed by Neil Bartlett.

This season he has performed Idraote/Astarotte Armida and Haly L’Italiana in Algeri for Opéra Orchestre National Montpellier, Sam Un Ballo in Maschera and Wagner Faust for Dorset Opera and the previous season Papageno Die Zauberflöte and Zoroastro Orlando for Welsh National Opera also understudying Peter Hansel und Gretel, Dulcamara L’elisir D’amore, Sam, Leuthold Guillaume Tell for the Royal Opera House. Other performances include Schaunard La Boheme and Flemish Deputy Don Carlo for the Royal Opera House, Ein Mann/Ephramite Moses und Aron, Schaunard, Angelotti Tosca, Lord Rochfort Anna Bolena and Roderick Usher (cover) La Chute de la Maison Usher for Welsh National Opera. He also performed Pastore/Spirito Orfeo for Opera National de Lorraine and Les Talents Lyriques with Christophe Rousset also in concert at Salle Playel, Paris and Escamillo Carmen at the Royal Albert Hall.

During 2010-2012 as a Jette Parker Young Artist at the Royal Opera House, Daniel sang Wolfram Tannhäuser, Fiorello in Il Barbiere di Siviglia, Commissario in Madama Butterfly as well as the role of Enrico in Haydn’s L’isola disabilitata with the Young Artists in the Linbury Studio Theatre, Wagner in Gounod’s Faust, Pinellino Gianni Schicchi, Marquis d’Obigny La Traviata, Hunter Rusalka, Soldier and Mercure Les Troyens, Antonio Il Viaggio a Riems and covered the roles of Guglielmo Cosi Fan Tutte, il Principe de bouillion Adriana Lecouvreur, Papageno and Schaunard. He also performed the baritone solos in Faure Requiem for the Royal Ballet as well as various scenes on the main stage and in the Linbury Theatre as Leporello, Guglielmo, Schaunard, Leader of the Players/Hotel Barber Death in Venice, Elmiro Rossini Otello, Rigoletto, Dandini and Dulcamara and also performed in all episodes of the BBC television series Maestro at the Opera singing Escamillo, Leporello and Schaunard.

Previous operatic experience includes Flemish Deputy several times for the Royal Opera House (Antonio Pappano and Nicholas Hytner), Bogdanowitsch The Merry Widow and Frank Die Fledermaus for Scottish Opera, Papageno (English Touring Opera), Il Principe de Bouillion Adriana Lecouvreur, Leuthold Guillaume Tell, Don Ramiro Maria Padilla and Medico/Servo/Sicario Macbeth for Chelsea Opera Group at Queen Elizabeth Hall, Gottfried Die Rheinnixen (New Sussex Opera), Yamadori Madam Butterfly for English National Opera and Leone (cover) Tamerlano for ROH, Schaunard for RTE in concert, Aeolus/Grimbald King Arthur at the Snape Proms, Figaro Le Nozze di Figaro and Papageno (Armonico Consort), Nick Shadow and Dulcamara (Iford Festival), Leporello Don Giovanni, Luka The Bear and Dido and Aeneas with the Orchestra of the Age of Enlightenment.

Daniel is also a committed recitalist and concert performer, appearing in recitals and opera gala concerts around the UK, notably with the CBSO and regularly in recitals. Song recitals have included works by Poulenc, Ullmann, English song, Schubert Schwanengesang (ROH Crush Room and Schubert Society) and other projects including Brahms Liebeslieder with the Young Artists in the Linbury Theatre, Ibert Don Quixotte, Schumann Liederkreis and Schubert Winterreise. Oratorio experience includes Bach Lutheran Masses with The Orchestra of the Age of Enlightenment and Gustav Leonhardt, many performances of The Messiah and The Dream of Gerontius with Timothy Redmond.

He has recorded Don Carlo, Les Troyens and Gianni Schicchi for DVD with the Royal Opera House, cinematic versions of Faust and Madama Butterfly in 3D with ROH, a television series Maestro at the Opera for the BBC and numerous live broadcasts for BBC radio 3 and big screen events from ROH and WNO.

 

“Good calibre is, in this case, an insufficient a description for Daniel Grice’s interpretation of Papageno […] youthful of figure, his acted assumption matched his clear well-articulated mellifluous toned lyric baritone. Add excellent legato to his vocal expression, clear diction and acted interpretation made his contribution the highlight for me. His clear and incisive diction reminded me of when I first heard Thomas Allen […] I suggest that Grice, with careful choice of repertoire and a diligence, will have as good and long career in his chosen profession as Sir Thomas. I hope WNO keep him in sight and provide the kind of security of opportunity that this Papageno points towards deserving […] it is an interpretation worth catching” Seen and Heard International, March 2015

“The soloists were superb, particularly Daniel Grice” Mark Ronan, July 2014

“A baritone of striking weight, intensity and poignancy. Grice’s Ephraimite was – for all his modest contrary interjections – something special” Roderic Dunnett, July 2014

“Daniel Grice proves a very fine actor as Schaunard” MusicOMH, July 2014

“Daniel Grice a very well-turned Schaunard” Guardian, July 2014

“Daniel Grice makes as much as possible of Anne’s implausible brother Rochefort” The Arts Desk, September 2013

“Daniel Grice was a noble and steady voiced Rochefort” Mark Ronan, September 2013

“Daniel Grice was one of the most likeable Schaunards we’ve heard” Birmingham Post, November 2012

“Daniel Grice had a lovely swagger as Schaunard” Opera Today, October 2012

“Daniel Grice an engagingly animated Schaunard” Seen and Heard, September 2012

“A well sung, twinkling performance from Daniel Grice” Theatre in Wales, September 2012

“Daniel Grice – a fine voice” Opera Britannia, July 2012

“I’ve tried to identify what it is I like about Mr Grice’s performances (in this instance as Guglielmo). On third hearing I realise his appeal lies in not one aspect of his performance, but it is a combination of the tone quality of his voice, musical intelligence and the ability to physically embody the character he is portraying” Opera Britannia, June 2012

“Throughout the evening one of the best singing actors to be seen was Daniel Grice who always commanded attention as Guglielmo and Leporello and he was just as good as Schaunard” Seen and Heard, June 2012

“Daniel Grice a sappy voiced and appealing Leporello” Classical Source, June 2012

“Daniel Grice made a great impact as Don Ramiro” Musical Criticism, May 2012

“Daniel Grice showed real promise, revealing a fine ability to narrate effectively in recitative” Seen and Heard, May 2012

“Daniel Grice aquitted himself with glowing colours, indeed, Grice’s solo, enveloped by miraculous Freischutz-like horns from the orchestra, movingly evoked a world of lost or never-existent woodland innocence” Boulezian, February 2012

“Daniel Grice’s suave Marquis D’Obigny the pick of the bunch” Intermezzo, November 2011

“Daniel Grice was touchingly urgent in HostiasThe Arts Desk, October 2011

“Bass-baritone Daniel Grice was darkly ironic and persuasive as the hotel barber and leader of the players” Opera, July 2011

“The most promising talent of the evening Daniel Grice as the Hotel Barber and Leader of the Players embraced this part as one would a lead role and seemed to revel in the character’s ostentatiousness. Most importantly his Bass-baritone was simply beautiful, well pitched and firm of tone. It is hard to pigeon-hole Grice in to any one type of role, his macabre playfulness here offset his appearance earlier in the programme as Elmiro in Otello (…) Daniel Grice showed himself not only promising but an already outstanding bass-baritone.” Bachtrack, June 2011

“Daniel Grice was simply magnificent in a pair of Dionysian roles as the Hotel Barber and Leader of the Players.” What’s on Stage, June 2011

“Daniel Grice was excellent as Elmiro, providing edge to a drama that was sadly missing elsewhere (…) Daniel Grice similarly excelled as the Hotel Barber and Leader of the Players.” Opera Britannia, June 2011

“The young British baritone, Daniel Grice, who had already impressed me in L’isola disabitata made what is tantamount to his main stage debut in this production as Fiorello… I hope this young man has a great career ahead of him. He is not only a consummate actor, but seems totally at ease on this vast stage. As I surmised in the Linbury, he has no trouble at all projecting his voice in the main house without any signs of forcing. I hope his talent will soon be recognised internationally.” Opera Britannia, January 2011

“Daniel Grice as Enrico delivered his one aria while displaying a series of martial arts moves with a stave. He was also convincing in the tussle to disarm Gernando. His interaction with Anna Devin as Silvia crackled with sexual electricity. I look forward to hearing his Fiorello in Il Barbiere on the main stage next year as he can convey humour both physically and vocally.” Opera Britannia, October 2010

“Daniel Grice impressed as Enrico, warmly expressive of tone, there is an especially winning ardent quality to Grice’s baritone” Seen and Heard, October 2010

“Enrico, beautifully sung by Daniel Grice” The Times, October 2010

“Daniel Grice was splendid as Enrico, his warm baritone and physical grace recalling a young Keenlyside” Intermezzo, October 2010

“Daniel Grice’s Enrico and Devin’s Silvia get more liberated music, sound glorious and are rather erotic” The Guardian, October 2010

“The exciting, vibrant Daniel Grice” Opera Britannia, May 2010

Daniel Grice’s fleeting appearance as the brave shepherd Leuthold revealed a magnificent bass voice” What’s on Stage, May 2010

“Daniel Grice poured dramatic conviction into his brief appearance” The Arts desk, May 2010

“Daniel Grice was sadly wasted as Leuthold. He only appears a couple of times, but his powerful bass rang out magnificently through the Queen Elizabeth Hall”

“A tone richer than double cream…” Opera Now, July 2009

“The performance is blessed with one of the finest of all Papagenos – witty, touching, infinitely endearing – in Daniel Grice.” The Guardian, March 2009

“Daniel Grice’s genuinely funny Papageno commands the audience without becoming too showy. Vocally attractive, Grice is equally accomplished in projecting the spoken dialogue” The Stage, March 2009

“The highlight is Daniel Grice’s Papageno, the bird catcher, looking at times like a young Stan Laurel – and almost as amusing. This is a real treat.” City Life, April 2009

“Of the ensemble of unforgettable characters its Daniel Grice’s Papageno that steals the show as Tamino’s impish but sweet-hearted companion.” Cambridge News, April 2009

“Daniel Grice, a chocolate-voiced Prince de Bouillon” Opera, April 2009

“Daniel Grice’s Papageno was as engaging a rogue as you could wish for and well sung too.” Manchester Evening News, February 2008

“Grice’s natural comedy touch – flirting with, but never descending to the pantomimic – was central to the enjoyment.” Irish Post, March 2008

 “Grice proved himself to be a singer of considerable stature, implying the insinuating charm of Nick as well as his darkly sinister power most convincingly.” Opera, September 2007

“Daniel Grice a great discovery as a charming and saturnine Shadow.” Opera Now, November 2007

“Definitely one to watch is the Nick Shadow, sung and acted with steely power by Daniel Grice.” Bristol Evening Post, June 2007

“Daniel Grice’s Nick is a personable mentor-buddy whose initial scariness is a tendency to stare like Derren Brown about to put someone under. The charisma is quiet but insidious and when pay-back time degenerates into an all-or-nothing game of cards he unleashes the hitherto concealed Nasty Nick with blistering vocal immediacy.”

Venue, July 2007

“Grice’s voice brilliantly suggested dark forces at work.” The Guardian, July 2007

“The unscrupulous Dulcamara – for whom the business of health is simply a means to wealth – sung by Daniel Grice could not have been bettered. Grice is a very considerable performer and, with acting to match his fine singing, clearly a singer to watch out for.” Musical Opinion, August 2007

“Daniel Grice created Dulcamara, a representative of a multi-national drugs company, with a dazzling display of verbal gymnastics.” Bristol Evening Post, August 2007

 “Daniel Grice’s Nick Shadow was a real vocal charmer and acted with aplomb.” Opera, August 2006

“I liked Daniel Grice’s power and incision… there’s more than a touch of Dirk Bogarde about his creepy demeanour.” The Times, June 2006

“Daniel Grice was a suave, commanding Devil” Sunday Times, June 2006