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                                            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 anyone’s 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, he’s 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

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