GILES DAVIES - Bass Baritone
Professional Singer and Actor
Writer. Translator. Musicologist and Producer
Giles Davies as Jack Point in Gilbert and Sullivan's 'The Yeomen of the Guard'.
Kentish Opera, 2023
"Giles Davies was a fine young(ish) Point, with white facial makeup and a first class voice. Although he was brisk and sprightly, he let his dialogue breathe". 'The Yeomen of the Guard', Kentish Opera. Sullivan Society Newsletter (2023)
Giles Davies – Bass Baritone / Actor
www.gilesdaviessinger.com
Giles Davies studied at the Purcell School of Music, and on a scholarship at the RCM with Norman Bailey, where he was the winner of the Lieder Competition. He was a prize-winner in the 1993 Overseas League, the 1994 Tillett Trust, and the 1999 AESS.
He has recorded for the BBC (Dichterliebe at the Wigmore Hall), and appeared with the late Richard Hickox (A Sea Symphony/Dido and Aeneas) Philip Pickett (Monteverdi’s Vespers) Trevor Pinnock (Handel’s Apollo and Dafne); Mahler’s 'Kindertotenlieder' (Ballet Rambert) and London Mozart Players. As a young actor Giles appeared as Hans in Massenet's 'Werther' and Puck in Britten’s 'A Midsummer Night’s Dream' at the ROH, and since then his many operatic roles have included the title role in ‘The Piano Tuner’ (Osborne/Holden), for MTW, receiving acclaim in the national press, (‘commanding’, ‘outstanding’, ‘sympathetic’, ‘rich and smooth toned’), and an onscreen appearance as John Goss in the film 'Peter Warlock, Some Little Joy.' (Signum DVD). His song album, Gossiana, dubbed ‘a mighty labour of love’ by International Record Review, is on Divine Art Records, and featured in the I-Tunes Traditional Christmas Chart in 2009. He also appears on the new recording of Edward German's 'Tom Jones' (Naxos), and has collaborated on the albums 'Illumination' and 'Temptation' with the Mediaeval Baebes.
Operatic roles include Figaro in Rossini's 'Barber of Seville' (Scottish Opera), English Pocket Opera), Dr Kolenaty in Janacek's 'Makropoulos Case' (Scottish Opera), Schaunard in 'La Boheme', (Castleward/ Holland Park Opera/ Scottish Opera), Falke in 'Die Fledermaus' (Crystal Clear and Carl Rosa), Figaro in Mozart's 'Marriage of Figaro' (Holland Park Opera), Besso in Cavalli's 'Giasone,' (Megaron, Athens), Dmitri in the European Premiere of Richard Wargo's 'The Music Shop', (Jigsaw Music Theatre), Ferryman/
Ananias/ Father in the 'Church Parables' of Britten, (Opera du Rhin, Strasbourg), 'Love's Labyrinth' with Opera Restor'd, (Wigmore Hall) Pish Tush in 'The Mikado', Strephon in 'Iolanthe' and Sir Richard in 'Yeomen of the Guard' (Carl Rosa Opera).
Other engagements have included Ariodates in Handel's 'Xerxes' (OTC), Dandini in Rossini's 'Cinderella', (Epoc), Giacinto in Galuppi's comedy 'Il mondo alla roversa', (NCO), Lord Chancellor in 'Iolanthe' (Buxton Opera House), Vaughan Williams' 'Five Mystical Songs', and a recital for the Franz Schubert Society (London). Concerts have included Mozart's C Minor Mass, Handel's Italian 'Acis, Galatea and Polyphemus', Haydn's 'The Creation', Purcell's 'Dido and Aeneas', and Viscomte Cascada in Lehar’s 'The Merry Widow' (Scottish Opera).
2010 and 2011 engagements included Pish-Tush in 'The Mikado' for Raymond Gubbay across the UK at the Barbican, RFH, Symphony Hall and Bridgewater Halls, Strephon in 'Iolanthe' (Buxton), Papageno in 'The Magic Flute' for Opera Brava, and Cavalli’s 'Erismena' at New College, Oxford.
2012 engagements included Bach’s 'St John Passion' and a Gala concert of Baroque music for the 25th Anniversary of Suffolk Villages Festival, Baron Douphol in Verdi’s 'La Traviata' (Garden Opera) and an appearance on ITV’S 'You Cannot be Serious.'
A CD of songs by Viardot-Garcia has been released alongside the book Years of Grace, (Cambridge Scholars Press) for which he also contributed the Preface.
2014 engagements have included Bach’s 'B Minor Mass' and Handel’s 'Messiah' (SVF). He has also appeared as Colonel Calverley in 'Patience' at the King’s Head Theatre in Charles Court Opera’s acclaimed new production, and as Cecil Graham in Oscar Wilde’s 'Lady Windermere’s Fan' at the Tabard Theatre, London, including onstage cabaret as singer, actor and pianist.
2015 engagements included the role of Saul in Charpentier’s David et
Jonathas at the Suffolk Villages Festival and Markar in the UK premiere of Tchoukhadian’s 1875 Opera Buffa 'Garine' at the Arcola Theatre.
2016-17 engagements have included the role of Seneca in Monteverdi’s 'L’Incoronazione di Poppea' at Suffolk Villages Festival, Bach Cantatas, Vaughan Williams’s 'Carol Fantasia' (St Alban’s), Venetian Vespers by Monteverdi and his contemporaries (Cambridge), and a Lieder recital for the Franz Schubert Society. (London)
In 2018 he appeared as Maximillian and other character roles in Leonard Bernstein's 'Candide' with Surrey Opera at the MinackTheatre, Cornwall.
He also appeared as Don Bartolo in Mozart's 'Le Nozze di Figaro' at Theatre Royal Portsmouth with Beechwood Opera. He returns to Surrey Opera as the Judge in Gilbert and Sullivan's Operetta 'Trial by Jury'.
2019 engagements have included songs by Peter Warlock at the Guard's Chapel, London, accompanied by the Countess of Wessex's Orchestra. He has also appeared in the role of Don Bartolo in Rossini's 'Il Barbiere di Siviglia' with the Scherzo Ensemble, and as Doctor Spinelloccio and Amantio di Nicolao in Puccini's One Act Operatic Comedy 'Gianni Schicchi' for Lunchbreak Opera, including performances at the Bridewell Theatre and King's Head Theatre, London.
In Autumn 2021 he appeared in the premiere of the new Opera 'Madeleine', (Hackbridge Johnson / Jonathan Butcher) with Surrey Opera. He was interviewed live on air by BBC Radio Jersey / BBC Sounds discussing his involvement in the roles of James Smith and the Counsel for the Prosecution.
Giles also featured on the new Mediaeval Baebes (UK) album 'Prayers of the Rosary', released for Christmas, 2020, which has been featured on BBC Radio 6. Engagements for 2022 have included Leporello in Mozart's 'Don Giovanni' for Surrey Opera (London and Cornwall).
He has also appeared with New Sussex Opera in Offenbach's 'The Princess of Trebizonde' (5 Stars - Opera Now Magazine), and 'La Belle Lurette', critically acclaimed by Opera Magazine. In 2023, appearances have included Jack Point in Gilbert and Sullivan's 'The Yeomen of the Guard' with Kentish Opera, and Sir John Middleton in 'Sense and Sensibility', the musical with Surrey Opera. He returned to Kentish Opera for their fully staged and costumed summer Gala at Chiddingstone Castle, Kent, performing the roles of Papageno, Count Almaviva, Rigoletto and the Lord Chancellor. Kentish Opera are winners of the Noda award for best Opera production in the South East of England, 2022. His translation of the French Mediaeval Chanson 'L'amour de moi', is published by Fand Music Publishing, Sheet Music Publisher of the year, 2023.
In August he was interviewed on the Alison Moss show on BBC Radio Jersey, discussing historic recordings and recent stage productions. He was also featured
on BBC Radio 6, on Iggy Pop's show in 'Pater Noster' by Katharine Blake.
He recently appeared as Sir Joseph Porter in 'HMS Pinafore' (Grim's Dyke Opera).
Also as the Lord Chancellor in 'Iolanthe' (Opera Anywhere). At Christmas he joined the Allegri Singers as soloist in Vaughan Williams' 'Fantasia on Christmas Carols', and Finzi's 'In Terra Pax'.
Engagements in 2024 will include appearances as the King of Egypt in Verdi's 'Aida' with Kentish Opera, and Surrey Opera's revival of 'Sense and Sensibility', the Musical, at the Minack Theatre, Cornwall. He also returns to 'Opera Anywhere', as the Lord Chancellor in Gilbert and Sullivan's 'Iolanthe'.
All Rights Reserved / 2024
GILES DAVIES. Professional Singer and Actor.
PRESS REVIEWS
"Giles Davies was a fine young(ish) Point, with white facial makeup and a first class voice. Although he was brisk and sprightly, he let his dialogue breathe". 'The Yeomen of the Guard', Kentish Opera. Sullivan Society Newsletter (2023)
"Others who are also excellent in role include Giles Davies as sixteenth-century jester Jack Point. He is able to give genuine poise and depth to this part, especially in his dialogue, and his Act Two scene with Wilfrid Shadbolt (Graham Stone) is one of the highlights of the show, being both witty and poignant". The Yeomen of the Guard, Kentish Opera. London Theatre 1 (2023)
"Soloists Stefanie Kemball-Read, Felicity Buckland, Giles Davies and Jonathon Cooke ... giving us excellent performances, backed up by the glorious sound of the Kentish Opera chorus". - NODA
Opera Gala at Chiddigstone Castle. (2023)
"Clarke and his cast lean into it, with the malevolent wise men Scaphio and Phantis (Robert Gildon and Giles Davies) throwing some very daft shapes indeed while dressed in outsize breeches and stovepipe hats, while the orchestra and chorus are buoyant and warm". Utopia Limited, Buxton Opera House. The Arts Desk. (2022)
"I found that the two Wise Men came across better here than in other productions with their more meaningful reading of Gilbert’s book to help a better understanding of the plot. An excellent overture (recently composed by John Owen Edwards) was added since none was ever written by Sullivan. The singing was strong throughout and it would be unfair to single out principals for their excellent contribution". Utopia Limited, Buxton Opera House. Seen and heard International. (2022)
"Clarke has removed the locale from the “luxuriant and tropical landscape” of the original book to a generally Middle Eastern one, with palms and porticoes. He leaves it to the expertise of performers such as Robert Gildon and Giles Davies (as the Wise Men of pre-reform Utopian society) and Ben McAteer to get the story over in Act One, which they do with excellent diction, and there is a delightful character study from Monica McGhee (as Princess Zara, the daughter of the kingdom, who returns from Girton College, Cambridge, to share all she’s learned of enlightened society). She has absorbed the Queen’s English so much, she sounds like the Queen herself". Utopia Limited, Buxton Opera House. (2022)
"Musically, Belle Lurette is superb, almost every number showing the composer at the height of his powers. In fact, this is the composer’s last full-length operetta, lasting 150 minutes, plus interval, and it was wonderful to hear it musically complete". La Belle Lurette, New Sussex Opera, Operetta research centre. (2022)
"Other memorable performances come from Robin Bailey's priveleged Duke, Kristin Finnigan's don't mess with me laudress Marceline and Giles Davies's double-act as military officer Belhomme and grotesque courtier Le Boisene - two characters scarcely recognisable as the same character".
La belle Lurette, New Sussex Opera, The Stage. (2022)
"Giles Davies plays up effectively the affectations of Belhomme, leading a cohort of soldiers who also come to flirt with the laundresses, to the consternation of Marceline". La belle Lurette, New Sussex Opera, Classical Source. (2022)
"It was old-school RP for the aristocrats and the Prince’s tutor—here Dr Elastoplast rather than Dr Sparadrap, a study in nervous exasperation by Giles Davies." The Princess of Trebizonde, New Sussex Opera, Opera Magazine (2021)
"La princesse de Trébizonde [has] a marvellous title and a fun premise… I have rarely spent three such happy hours in an opera house (the cute Britten Theatre at the Royal College of Music). New Sussex Opera has brightened our lives for many years with offbeat material, and this was one of the best." Opera Now Magazine. (2021)
"Paul Featherstone’s crazed Casimir and Giles Davies as Raphael’s tutor/minder Dr Elastoplast also provide many moments of sheer lunacy." The Princess of Trebizonde, New Sussex Opera, The Stage. (2021)
"Prayers Of The Rosary' is at once meditative and uplifting, spiritual yet psychedelic, introspective yet buoyant. In a world of twenty-second soundbites, social media engagement analytics, and disposable everything, ‘Prayers Of The Rosary’ might just be the antidote we didn’t realise we needed all along". Mediaeval Baebes, 'Prayers of the Rosary' CD (2020)
"I was won over by the Monteverdi 'Coronation of Poppea' by the beautiful playing, wonderful singing, and mostly by the characterisations and story- telling ability of the singers. Giles Davies taking his tie off was as important as his fine singing''. Online Review. Monteverdi 'Coronation of Poppea', Suffolk Villages Festival (2016)
"Katie Grosset and Giles Davies stole the show as Shoushan (the ballet mistress) and Markar (Armen’s fixer). Davies's clear diction and firm baritone gave his scenes strength". 'Garine', Arcola Theatre London. Bachtrack (2015)
"Her Strephon was Giles Davies, an admirable portrayal with plenty of tone." "He impressed with his carefully paced dialogue and good diction." 'Iolanthe', Buxton Opera House. (2010)
"The single most impressive moment came from the Ariodates of baritone Giles Davies, who briefly showed how a determined singer, standing and delivering, can become a dominant musical force". Handel's 'Xerxes', the Irish Times. (2009)
"This release represents a labour of love. The accompanying booklet is a mine of information with nine pages devoted to the composer and his music. Annotator Giles Davies often gives perceptive critical comments on the performances – honest even to the extent of including certain reservations about specific items but since some works are presented in more than one version, such comparison is useful and I tend to agree with his assessments". Peter Warlock collected 78rpm recordings,
Divine Art Historic Sound, Gramophone. (2009)
"Giles Davies is a wonderful Lord Chancellor with the largest wig in creation and gives his virtuoso arias - like the Nightmare Song - to an enraptured audience". Iolanthe, London. (2008)
"His rendition of 'Love unrequited robs me of my rest' is a standout." Iolanthe, London. (2008)
"It can't aid anyones attempt at verisimilitude to know that as well as being a beautiful Arcadian shepherd who is a fairy down to the waist and who will suddenly and successfully enter politics and take over Parliament, hes supposed to be a mere 25. Luckily Giles Davies took Strephon in his stride with just the right edge of self-awareness - it never does to undermine the internal logic of Gilbert's plots and characters, but there's a way of being knowing without eroding the innocent fun".
Iolanthe, Theatre Royal Newcastle. (2007)
“This recording is a mighty labour of love. Giles Davies and the Goss Male Quartet with pianist Steven Devine illuminate an important tradition in English singing that is almost lost. How sad that so few of the singer’s own recordings have survived. That is all the more reason to cherish this recording. It’s not John Goss, but it’s as near as we are likely to get to a fine and generous artist and a lost tradition of music-making". Gossiana CD, International record review. (2007)
"Giles Davies sings impeccably throughout. For Giles Davies, this is obviously a labour of love and he manages to squeeze out all the emotional and musical expressiveness of the repertoire in question." Gossiana CD, Classical Net (2007)
"Throughout, Giles Davies sings impeccably, with a fine sense of style, and is admirably accompanied by Steven Devine. The recording quality is also excellent, and performance notes and texts are included. This is a really delightful CD, which is wholeheartedly recommended". Gossiana CD, Musical Opinion. (2007)
"The ensuing Lieder are also beautifully sung, especially Schubert's Totengrabers Heimweh, in which singer and pianist build up a terrific sense of tension from the beginning, with Davies both meltingly tender and full of passion. It is, however, early twentieth-century English songs that are given the fullest representation on this disc. Davies's love and knowledge of this repertoire shines through clearly in pieces such as Moeran's Dream of Death (in which Davies achieves a particularly beautiful tone), the brilliantly-sung As ever I saw, and the rousing Captain Stratton's Fancy, both by Warlock. The disc closes with five traditional ballads and sea-songs".
Gossiana CD, Divine Art Records. Albion Magazine (2007)
"Throughout, the singing is exemplary, the diction faultless, and a wide range of tone and colour coupled with the wide range of repertoire means that one’s mind is always kept captivated. The pianist, Steven Devine, also has a vivid sense of colour and there were moments when I wondered how many different instruments he was playing, the Elizabethan songs are almost lute-like, and the end of Schubert’s ‘The grave-diggers longing for home’ has the depth and resonance of a real double bass". Gossiana CD, Divine Art Records. PWS Newsletter. (2007)
"Giles Davies, who fully explores the comic opportunities of Leporello, Giovanni's reluctant sidekick, and whose strong, melodic baritone voice is the most beautiful of the entire cast." 'Don Giovanni', Chipping Norton Theatre, Oxford Times. (2006)
"Giles Davies has a very versatile baritone which is tenor-like in its secure higher reaches, but strong and powerful towards the bottom." Love's Labyrinth, Wigmore Hall, London. (2005)
"Commanding", "Outstanding", "Sympathetic","Smooth and richly toned." UK National Press,
The Piano Tuner by Nigel Osbourne MBE and Amanda Holden, Linbury Theatre, Royal Opera House (2004)
"Firstly, Giles Davies was quite the best Pish-Tush I've seen in a long time in what can be a thankless part - superb diction with acting to match - a delight, and a lesson in how it can be done''. The Mikado, Savoy Net. (2003)
"Giles Davies cut a dashing figure as the ardent young lover singing Purcell’s 'I came I saw and was undone', with great passion, then gradually declined into an outstanding portrayal of the reeling drunken husband in 'Bacchus is a Pow’r Divine', and finally realising the incapacities of old age with real regret in "The Fire of Love'' by Robert King. He performed most convincingly throughout, combining beauty of tone and impeccable vocal technique with remarkable acting skills.’’ Suffolk Festival, ‘Love’s Labyrinth’, Opera Restor’d (2002)
"Giles Davies' Schaunard in particular brings a depth and conviction to his role not seen in much grander productions.'' La Boheme, Scottish Opera Tour. The Times. (2002)
"Figaro (Giles Davies) gave a masterful characterisation. In possession of a finely and evenly produced baritone voice his Figaro was expressive both vocally and as an actor. His duets with Count Almaviva were witty and sung with verve." The Barber of Seville, Echo, Malvern Theatre. (2000)
“Giles Davies sang the more reflective roles of the Ferryman, Ananias and Father with conviction". Britten Church Parables - Curlew River, The Burning Fiery Furnace and The Prodigal Son.
Financial Times. Opera du Rhin, Strasbourg. (1999)
“Giles Davies’ Figaro: a bright naughty spark with a nimble light baritone, perfect for outwitting his master and rattling through yards of recitative.” The Marriage of Figaro, Holland Park Opera, The Times (1999)
"As Kolenaty, Giles Davies sang with colour and force”. Opera Magazine, The Makropoulos Case, Scottish Opera Tour (1998)
“Giles Davies’ Schaunard added lustre with notable ensemble contribution mixed with splendidly timed and delivered comedy; - Death of a Parrot is hilarious - the trumpet ploy in the Cafe scene a bit of genius, and sardonic wit overlying pragmatic philosophy.” La Boheme, Castleward Opera, Belfast Newsletter. (1997)
“The wily and inventive Figaro was sung at short notice by Giles Davies, a highly engaging and appealing performance, expertly shaped both musically and dramatically.” Caithness Courier, The Barber of Seville, Scottish Opera Tour (1997)
"It was good to have for Puck neither an adult dancer, nor an airborne boy, as at Glyndebourne, but young Giles Davies, showing a remarkable stage presence as the keen mischievous boy tumbler Britten really wanted". (1984) Daily Telegraph, Britten's 'A Midsummer Night's Dream', Royal Opera House