July 2021 – Handel Acis and Galatea – Early Opera Company – Buxton International Festival

“Edward Grint convinces as the raging, rock-wielding Polyphemus” The Times, Rebecca Franks

“The musical performance is impeccable, with thoroughly stylish singing from Anna Dennis (Galatea), Samuel Boden (Acis), Edward Grint (Polyphemus), Jorge Navarro Colorado (doubling Damon and Coridon) and the chorally employed David de Winter” The Stage

“Polyphemus’s neurotic rages are best characterised here, in Edward Grint’s compelling performance as a lone psychopath, first gorging on chicken legs; killing Galatea’s little caged birds, presaging the manner in which he will later fatally divide the happy lovers; and creepily and obsessively wearing Galatea’s silk dressing gown….Anna Dennis’s full-toned, operatically engaged Galatea suggests a singer fully signed up to the cut and thrust of Handel’s drama, as do the subtle inflections of Grint’s realisation of the ‘monster’ Polyphemus, giving his performance a sinister edge” Classical Source

“Musically, the performance, under conductor Christian Curnyn, was practically perfect in every way, and Anna Dennis, Samuel Boden, Jorge Navarro Colorado, Edward Grint and David de Winter all sang with great distinction.” Theatre Reviews North

February 2021 – Purcell Royal Odes CD – The King’s Consort

It helps that King has assembled another crack team of singers who double as soloists and ensemble. The melting sweetness of Iestyn Davies’s ‘Britain, thou now art great’, the voice in an intricate dance in and among the ground bass, is a beguiling foil to Edward Grint’s soot-black ‘Accursed rebellion’ or, later, the rampant testosterone of the duet ‘Her hero to whose conduct’ by Grint and Matthew Brook. Alexandra Coghlan, Gramophone

Brook and Edward Grint form a bravura partnership in the religious politics of ‘Her hero to whose conduct’ (Now does the glorious day appear?) and reminders of Mary’s warrior husband William III are given plenty of heft in ’He to the field by honour called shall go’ (Welcome, welcome, glorious morn). Opera Today

April 2019 – Polifemo – Handel Aci, Galatee e Polifemo – Wigmore Hall, Butterfield

With his extremely strong and versatile baritone, he impressed in particular in ‘Far l’ombre e gl’orrori’, a good proportion of which sits extremely low. Much has been written about the exaggerated musical range of Polyphemus in Acis, but this aria (which was later to be used in Sosarme) goes from A flat above middle C to D nearly two octaves below it. Sam Smith, MusicOMH   

January 2019 – Sorceress/Spirit – Purcell Dido and Aeneas – LPO/Norrington – Royal Festival Hall

“Edward Grint as the Sorceress was satisfyingly evil, as were the two witches who were deliciously malicious, with strong accurate singing from all three” BachTrack, Mark Thomas

” Edward Grint, on top form and ably supported by two malevolent witches (Martha McLorinan and Anna Harvey) and a cackling choir, cast his spells with just the right element of pantomime evil” Seen and heard International, Chris Sallon

March 2018 – Handel Acis and Galatea – London Handel Festival

“Edward Grint makes a fearful, powerful impression as the raging, jealous Polyphemus” Classical Source, Curtis Rogers

“Edward Grint with his assertive bass-baritone made quite an impression as the Cyclops Polyphemus” MusicOMH, Sam Smith

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

“Edward Grint made an impressive entrance through the red curtains behind the instrumentalists, bristling with fury. But, even in Polymethus’ 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” OperaToday, Claire Seymour

December 2017 – Handel Messiah – Dunedin Consort – Queens Hall, Edinburgh

“…an impressive The Trumpet shall sound” Seen and Heard International, Simon Thompson

December 2017 – Bach Christmas Oratorio – Dunedin Consort – Wigmore Hall

“For the recitative choral numbers, we had the striking duets between [Mary] Bevan’s Lyrical expressive line, and Edward Grint’s darkly, characterful recitative” Planet Hugill, Robert Hugill

August 2017 – Rediscovering Irish State Musick – Ensemble Marsyas – Dublin Castle

“Dubourg’s collage of music from Birthday Odes over three decades was full of stylish contrasts opening with a recitative, Hibernia Smiles by Mellifluous bass Edward Grint” Irish Examiner, Cathy Desmond

April 2017 – Handel Joseph and his Brethren – St. George’s Hanover Square – London Handel Festival

“Edward Grint made a powerful impact as Pharaoh, combining both agility and authoritative weight and as fully immediate and charismatic as Joseph and Asenath.” Classical Source, Curtis Rogers

“First I have to mention Edward Grint who made a majestic Pharoah….his delivery was splendid.” The Idle Woman

April 2017 – Handel Acis and Galatea – Ireland – OTC

“Bass-baritone Edward Grint packed a deadly punch as Polyphemus, performing a wonderful “O ruddier than the cherry” and very convincing as the jealous drunkard; his voice had that satisfying round, deep quality that you want to hear in a bass.” BachTrack, Pia Maltri

“The singing mostly matches the spirit of the music-making from the pit. Mulhall and Fairbairn are a well-matched pair of lovers, and Grint an imposing villain.” Irish Times, Michael Dervan

“The violence of Polyphemus’ arrival is strongly evoked both vocally and physically by bass Edward Grint, the contrast in status between him and Acis simply effected through costume. It is in their conflict that Creed’s concept is most telling, as Grint’s bullying boss/landlord out-drinks and out-smokes his feckless opponent, allowing the tragic violence to come naturally through the story. The attention to detail in Polyphemus’ recitative (‘I rage—I melt—I burn…’), for example, is both superb and disturbing to witness.” GoldenPlec

“Particularly impressive was the English Baritone Edward Grint, who consistently grabbed attention as the drunken oaf” The Sunday Business Post, Dick O’Riordan

March 2017 – Bach St. John Passion – Halle aux Grains, Toulouse – Musiciens du Louvre, Marc Minkowski

“Edward Grint (qui se substitue à Stéphane Degout souffrant) interprète avec dignité le rôle délicat de Jésus” Classical Toulouse, Serge Chauzy

” Le Jésus d’Edward Grint, avec noblesse et jeunesse nous rend le Christ particulièrement proche” Classiquenews

January 2017 – Birtwistle The Last Supper – Glasgow City Halls – BBC Scottish Symphony and BBC Singers

“Led by Grint and Norman, the disciples were skilfully individuated and blended, while Bickley and Williams sang with poise and authority.” The Times, Anna Picard

November 2016 – Cavalli La Calisto – Wigmore Hall – La Nuova Musica, David Bates

“Edward Grint revealed a strong bass-baritone as Silvano” MusicOMH, Sam Smith

November 2016 – Handel Serse – St. John’s Smith Square – Early Opera Company, Christian Curnyn

“Edward Grint was an equally delightful Elviro, taking the character quite seriously, except for the obvious buffo moments (an entirely legitimate approach) rather than giving us a complete buffo performance… Grint had a nice feel for Handel’s music and a lovely way with it.” Planet Hugill, Robert Hugill

“Edward Grint seemed a natural Handelian in the role of Elviro and his garish headscarf and throaty character voice during the flower seller scene added a welcome dash of tomfoolery” Opera Magazine, Claire Seymour

April 2016 – Handel Brockes Passion – King’s Place – King’s College Cambridge, Stephen Cleobury

“Edward Grint is a regular these days in historically-informed performances, and his voice for Jesus was perfectly deep and sonorous” MusicOMH, Barry Creasy

March 2016 – Bach Lutheran Masses – St. John’s Smith Square – OAE, John Butt

” the four soloists admirably handled its varied and demanding vocal writing…their intonation was impeccable and their phrasing, while sometimes quite individual, was always musically intelligent. As soloists they each inhabited their own distinctive identity: Edward Grint (baritone) was imposing” Bachtrack, David Truslove 

December 2015 – Gelone – Cesti Orontea – Wigmore Hall, London – La Nuova Musica, David Bates

“…and the young bass, Edward Grint, was superb as Gelone” The Times, Neil Fisher

“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” The Guardian, Tim Ashley 

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

“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…” BachTrack, Charlotte Valori

October 2015 – 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

“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 – Polyphemus – Acis and Galatea – 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“”

July 2015 – 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

June 2015 – Vaughan Williams Five Mystical Songs – Orchestra of the Swan – Stratford Arts House

“Vaughan Williams’ Five Mystical Songs – sung with ecstatic fervour by the small but powerful Orchestra of the Swan Chamber Choir and baritone Edward Grint – raised the evening onto another level. The quiet inwardness with which Grint responded to the third song, Love Bade Me Welcome was something to cherish”, Richard Bratby, Birmingham Post 

May 2015 – Brahms Deutsches Requiem – Cadogan Hall

“Edward Grint, whose rich and incisive baritone was alive to the vibrancy of the language, not least in the sixth movement’s “We shall all be changed, in a moment, in the twinkling of an eye”.  Bachtrack, Alexander Hall

April  2015 – Achilla in Handel’s Giulio Cesare – Concertgebouw, Amsterdam

“Edward Grint’s warm baritone, boasting a solid and dark-coloured low register, was an appealling Achilla.” Bachtrack, Nicholas Nguyen

March 2015 – Christus in Bach’s St. John Passion – Kingston Parish Church

“Edward Grint as Jesus. His deep bass resonated majestically in the lofty expanse of All Saints’.” Kingston Arts, Colin Bloxham 

December 2014 – Handel’s Messiah – Birmingham Symphony Hall

“The bass soloists fared rather better, starting with chorus member Edward Grint’s uplifting “The people that walked in darkness” which was smoothly sung and so well articulated that every word was clearly audible.” Bachtrack, Travis Mason 

“The basses Greg Skidmore and Edward Grint were firm and reliable: I particularly enjoyed the latter’s the people that walked where the sepulchral “darkness” was really sung not just growled”. Birmingham Post, Norman Stinchcombe 

November 2014 – Purcell’s Ode for St. Cecilia’s Day – Brighton Early Music Festival

“Perhaps the work’s most famous duet was the one for two basses “Let these among them selves contest” finely sung by Edward Grint and George Humphreys.” Robert Hugill, Planet Hugill 

October 2014 – Jools Scott – The Cool Web “A Robert Graves Oratorio” – Bath Abbey

“Most of the solo work was in the very capable hands British baritone Edward Grint whose commanding performance was absolutely central to the success of the work. He became Robert Graves for the duration, his thrilling voice and facial expressions capturing the emotion of the piece with intensity and sincerity. We hung onto his every word in Goliath and David, A Child’s Nightmare was utterly chilling whilst the Last Days of Leave – an a cappella piece for soloist and male voice quartet – was heartbreakingly lovely.” Fine Times Recorder 

October 2014 – Benjamin Britten War Requiem – Huddersfield Town Hall

“The performance conducted by Ellin had a true dramatic arc, drawn persuasively towards the long final poem with its refrain, a duet between tenor Justin Lavender and baritone Edward Grint, both of whom displayed the clarity that was required”.  Huddersfield Examiner

June 2014 – Handel’s Faramondo – Gottingen International Handel Festival

“The cruelty to his son Adolfo (countertenor Maarten Engeltjes) is obviously rooted in troubled family relationships, and was effectively contrasted with genuine disappointment at the treason of his right-hand man Teobaldo (baritone Edward Grint). Although given only one modest aria, Grint proved that Stanislavski’s maxim about there being no small parts only small actors also applies to opera seria, or at least to this performance.” Ivan Curkovic, BSECS

“Baritone Edward Grint had only one aria as Teobaldo, but acquitted it well with a forceful confident bass.” Sandra Bowdler, Opera Brittannia

“Das Ensemble wurde noch durch den BaritonEdward Grint und die Sopranistin Iryna Dziashko sehr gut ergänzt. Alle Solisten erhielten am Ende ihre verdienten Bravi” Jens Wortmann, Kulturbüro Göttingen

“In zwei kleineren Rollen ergänzten das hochkarätige Sängerensemble noch der britische Bariton Edward Grint als Tebaldo” Udo Pacolt, Der Neue Merker

“Mit Edward Grint (Bariton) und Iryna Dziashko (Sopran) waren auch die kleineren Rollen erstklassig besetzt” Maren Lippke, Kulturbüro Göttingen  

“und Edward Grint und Iryna Dziashko runden als Teobaldo und Childerico das großartige Sängerensemble hervorragend ab” Thomas Molke,OMM

” machten das Sängerwunder perfekt, zu dem auch die beiden kleinen Rollen (Edward Grint als Teobaldo und Iryna Dziashko als Childerico) beitrugen” NMZ 

“Es würde dem Abend nicht gerecht werden, einzelne Sänger hervorzuheben. Das Ensemble, dem noch Maarten Engeltjes als Adolfo, Edward Grint als Teobaldo und Iryna Dziashko als Childerico angehören, sang durch die Bank betörend schön – was das Publikum regelmäßig mit Zwischenapplaus honorierte” Jonas Rohde, Göttinger Tageblatt

“Edward Grint rather gets the short straw as Teobaldo, but he acquits himself with some brilliance. ” Robert Hugill, Planet Hugill 

April 2014 – Israel in Egypt – King’s College, Cambridge 

“Edward Grint and James Oldfield were nicely vibrant in The Lord is a man of war” Robert Hugill

March 2014 – Brahms’ Deutches Requiem – Cadogan Hall

“Edward Grint, the fine young baritone soloist, made the first of his contributions in the third
movement. His voice combined warmth and power…more of the rich, confident tones of Edward Grint” Colin Bloxham

January 2014 – Neige – Catherine Kontz – Father Akita – Grand Theater de la Ville, Luxembourg

“Edward Grint, confident as Father Akita” D’Letzebuerger Land, Marc Fielder

December 2013 – Bach and Kuhnau Cantatas – The Kings Consort – Wigmore Hall

“Kuhnau’s inventive sacred concerto “O Heilige Zeit”, which followed, brought sensuous solos from Robin Blaze and Rebecca Outram, and solid…contributions from Edward Grint, along with some creamy ensemble singing” Hannah Nepil, Financial Times

November 2013 – When the Flame Dies – Poet/Cocteau – metier msv 77203

“The cast here is a persuasive one – dominated by Edward Grint’s emotive and increasingly self-regarding Poet” International Record Review, Richard Whitehouse

“Watching the same performance however brings a rather different perspective, mainly because Edward Grint as the Poet and Lucy Williams as the Princess bring a sense of dramatic engagement to their conversational lines…when Andrew Radley as Raymond finally appears, the looks that Grint flashes between the two competing demands on his attention are quite gripping” Music Web International, Paul Corfield Godfrey

“The fluid vocal lines are managed by five young singers, all excellent” L’avant Scene Opera, Pierre Rigaudier

“The two main characters, baritone and mezzo playing Poet and Death, present their lines at a steady pace with lyrical effusions in some monologues which are glassy and enamelled in tone. Edward Grint…proves very comfortable in the main role” Laurent Berry, Forum Opera 

September 2013 – The House Taken Over – Vasco Mendonca – deSingel, Antwerp

“Ze laat bariton Edward Grint en mezzo Kitty Whately met afgemeten gebaren acteren, daarmee op indringende wijze gestalte gevend aan de neurose die deze zeer kwetsbare personages gevangen houdt. ” Cutting Edge, Jan Jakob Delanoye

August 2013 – Dido and Aeneas and Venus and Adonis – Aeneas and Adonis – Innsbrucker Festwochen der Alten Musik

“Edward Grint, zweiter Preisträger des Wettbewerbs, glänzt als Adonis und Aeneas mit markantem Bariton und erfüllt auch optisch die Anforderungen an diese beiden Partien.”, omm, Thomas Molke 

“Edward Grint sang den Adonis nicht nur, er war in mehrerlei Hinsicht eine Idealbesetzung für diese Rolle – und war dann auch ein viriler Aeneas mit Sex-Appeal”. Kronen Zeitung 

“Edward Grint’s wohltönender Bariton vereinnahmt, einmal Softie, einmal Macho, sowohl Adonis als auch Aeneas” Tiroler Tageszeitung, Ursula Strohal

January 2013 – Bach Magnificat – St. John Co-Cathedral, Valetta, Malta – OAE

“Tenor Matthew Long and bass Edward Grint were confident and assertively decisive singers, with both having a very pleasant timbre.” Times of Malta

June 2012 – Nozze di Figaro – Count Almaviva – RCM

“A Graduate of the opera course, Edward Grint cut a distinguished figure as Count Almaviva, his powerful baritone voice well prepared to face the professional world, as his dramatically inflected singing of “Vedro, mentr’io sospiro” revealed when he seized the opportunity to make his one aria tell”, Opera, Margaret Davies

March 2012 – Riccardo Primo – Isacio – Royal College of Music

“Edward Grint as the villainous Isacio excelled in his furious “vendetta” outbursts” Observer, Fiona Maddocks

“Grint clearly has more to offer than the role permitted, but relished playing the villain, and his “Nel mondo, nel abisso” was a delight” The Arts Desk, Alexandra Coghlan

“Complementing the lead performers on both nights was the solid bass Edward Grint with his two demanding “furioso” arias for the tyrant Isacio. Indeed he excelled in the kind of bluster that the original stentorian bass, Giuseppe Boschi, must have brought to the role”, Opera con Brio, Richard B Beams

“Mr Grint acted beautifully in all his recitatives, really using the words” Opera Britannia, Miranda Jackson

December 2011 – Djamileh – Splendiano – RCM

“Both casts on 30 November provided engaging performances…Edward Grint (Splendiano) has a powerful voice, which projected very well.” BachTrack, Francesca Vella

“Splendiano was well sung by the baritone Edward Grint”, Opera, Margaret Davies

“Splendiano’s arioso, where he contemplates his future life with Djamileh, is probably one of the best-known moments for true opera cognoscenti and Edward Grint sang it quite persuasively”, Seen and Heard International, Jim Pritchard

June 2011 – Cosi fan Tutte – Guglielmo – RCM

“Anthony Gregory (Ferrando) and Edward Grint (Guglielmo) had great on-stage chemistry and injected a lot of humour into the opera…duet with Guglielmo, Il core vi done (‘I give you my heart’), one of the highlights of the opera.”, BachTrack, Laura Kate Wilson

“Edward Grint (Guglielmo) and Samuel Evans (Alfonso) both solid singers and entirely natural stage-creatures” Opera Now, Robert Thicknesse

May 2011 – Patience – Colonel Calverley – Musée D’Orsay

“(Duke of Dunstable est d’une grande drôlerie, proche du slapstick américain, et ses compères militaires Edward Grint (Colonel Calverley) et David Hansford (Major Murgatroyd) également parfaits”, Forum Opera, Jean Marcel Humbert

“Edward Grint s’affirme en militaire et réussit aussi sa patter song”, Alain Zurcher

March 2011 – Rodelinda – Garibaldo – RCM

“Hugely impressive too in this, one of two casts, are … Edward Grint as the opportunist Garibaldo,” Independent, Claudia Pritchard

December 2010 – Orpheus in the Underworld – John Styx – RCM

“… and the best aria of the evening was Edward Grint as the idiot gaoler John Styx: he sang ‘When I was King of Boeotia’ with grace and warmth, and the tune has stuck firmly in my head despite the fact this was the first time I’ve heard it. ” BachTrack, David Karlin

“John Styx (flouncy, rich-toned Edward Grint)”, ClassicalSource, Simon Thomas

“Edward Grint was a strong John Styx, giving an attractive and accomplished account of his aria”, Classical Music Daily, Robert Hugill

“Everyone knew what they were doing and why. …and Edward Grint as the perpetual inebriate, John Styx, kept the comic momentum, … outstripping the work of some of Britain’s smaller professional companies.” Independent, Anna Picard

“…baritone Edward Grint, who filled the Cathedral with his full rich sound” Elgar Dream of Gerontius, Chelmsford Cathedral July 2011, David Batterbee

“After an effective duet with Lorna Bridge’s Susannah, Ed Grint’s Count embarked on his most difficult aria. He handled its complexities with ease and conviction”, Operatic Arias, Jerwood Studio, Glyndebourne, November 2010, Michael Kaye

“Edward Grint, a previous choral scholar at King’s College Cambridge, gave the Priest’s role power and conviction and his pleading tones as the Angel of Agony hinted appropriately the approaching final resolution.” Elgar: Dream of Gerontius, Ely Cathedral, June 2010

“Edward Grint is a considerable talent and given the blockbuster “Why do the nations so furiously rage together”, did not fail to thrill.” Handel: Messiah, David Batterbee, December 2009

“In ‘Let Rolling Streams their Gladness Show’, Allsopp was joined by bass Edward Grint in one of Handel’s best duets, very pleasantly sung. Grint was full of expression and accuracy in ‘Let Envy then Conceal her Head’, Handel’s writing, Grint’s singing and the strings of Florilegium all combining to evoke the implicitly serpentine imagery of Philips’ text and its many sibilants.” Handel: Ode for the Birthday of Queen Anne, March 2009, Seen and Heard International.

“Edward Grint sang the part of Christ. A product of King’s Cambridge, he showed unfailing musicality throughout, produced nobility of sound, and his exchanges with Evangelist Andrew Kennedy were beautifully judged and always interesting.” Bach St John Passion, Snape Maltings, March 2009, Musical Criticism.

“The five Gospel excerpts, with organ accompaniment and occasional choir contributions, are all magnificently sung by Simon Wall (tenor) as the Evangelist; James Birchall (baritone) as Christ and Edward Grint (bass) in the roles of the High Priest, Judas and Pilate.” Review of St. Mark’s Passion recording, St. John’s Cambridge, Music Web International 2008, Michael Cookson.