SELECTED PRESS REVIEWS

''A Mighty Labour of Love'' .

International Record Review, 'Gossiana', Divine-Art Records, 2008.

''Throughout, Giles Davies sings impeccably, with a fine sense of style, and is admirably accompanied by Steven Devine. The recorded sound is also excellent, and programme notes and translations are included. This is a really delightful CD, which is wholeheartedly recommended''.

Musical Opinion on 'Gossiana', Divine-Art Records, 2008.

''For Giles Davies, this is obviously a labour of love & he manages to squeeze out all the emotional & musical expressiveness of the repertoire in question. Steven Devine & the Goss Male Quartet lend sympathetic support throughout. This is certainly a fitting tribute to one of Britain's most lovable yet astoundingly neglected artists.''

Classical Net , 'Gossiana', Divine-Art Records 2008.

''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. But the whole company are vastly talented, the singing throughout is superb and thrilling and they all seem to be having fun. The high professionalism of the company is an incitement for guest artists to appear with them.''

Remote Goat Reviews Online, CCO, 'Iolanthe', 2008

''His rendition of 'Love unrequited robs me of my rest' is a standout.''

 Camden New Journal. CCO, 'iolanthe', 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.''

The British Theatre Guide Reviews, Carl Rosa 'Iolanthe', 2007

''In most of the best performances, the character who everyone loves is Papageno, and it’s probably impossible not to love Giles Davies. He was very funny, completely adorable, and I really wanted to take him home with me. He sings gorgeously, and it’s just a shame he didn’t get to sing ‘Ein Madchen oder Weibchen'’.

Primi Divi Internet Review, Epoc ''Magic Flute'', 2006

''The men were in splendid vocal health: Philip O'Brien and Giles Davies stood out in both works.''

Financial Times, Weill and Henze double bill, Montepulciano 2006

  

"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."

Oxford Times, Caroline Sharman's "Don Giovanni", 2006

''Opera Restor’d are likely to be searching for works that are not particularly well-known, although their wonderful Love’s Labyrinth, beautifully and hilariously performed by Angela Henckel and Giles Davies, seemed more like a new and brilliant invention than a restoration.''

Primi Divi Internet Review, 2006, 'Love's Labyrinth', Wigmore Hall

''Giles Davies has a very versatile baritone which is tenor-like in its secure higher reaches, but strong and powerful towards the bottom''

Internet Review, Wigmore Hall 2005, 'Love's Labyrinth'

''The Walton is the stronger piece, and had a really vital Smirnov in Giles Davies, who threw himself into his role as debt-collector/ suitor.''

Opera Magazine, April 2005, The Bear, Minotaur Music Theatre

''As the piano-tuner Edgar Drake, Giles Davies is outstanding''

The Times 2004, / The Piano Tuner, Music Theatre Wales

''Giles Davies makes a smooth and richly toned Drake''

The Stage 2004/ The Piano Tuner, Music Theatre Wales

''An excellent stab at a difficult role. He manages convincingly to relay the character's innate warmth, humility, sensitivity and openness."

Opera 2004/ The Piano Tuner, Music Theatre Wales

''Commanding central performance from Giles Davies''

The Independant 2004/ The Piano Tuner, Music Theatre Wales

''Giles Davies was an earnest, pleasing protagonist''

The Times Literary Supplement 2004/ The Piano Tuner, Music Theatre Wales

''Giles Davies is a sympathetic figure as Edgar Drake''

The Daily Telegraph/ The Piano Tuner, Music Theatre Wales

''Giles Davies' Drake is very well sung''

The Observer 2004/ The Piano Tuner, Music Theatre Wales

''All the singers, led by Giles Davies in the title role and Steven Gallop as the doctor, get the text across with exemplary clarity''

Evening Standard 2004/ The Piano Tuner, Music Theatre Wales

''This work charts the experience of Edgar Drake in a sustained performance by Giles Davies''

Internet Review (Wales) / The Piano Tuner, Music Theatre Wales

''I thought the Pish-Tush was a standout, with great facial expressions and an unusually beautiful voice''

New England G and S Society, 2004, The Mikado, Carl Rosa Opera

''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''.

Savoy Net 2003/ The Mikado, Carl Rosa Opera

''Giles Davies gave us a fine, well sung Strephon''

Birmingham Post 2002/ Iolanthe, Carl Rosa Opera

''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 2000, Malvern Theatre, Newsquest Online

''Giles Davies' Schaunard in particular brings a depth and conviction to his role not seen in much grander productions''

The Times 2002/ La Boheme, Scottish Opera Tour

“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, Opera Restor’d, 2001

“I liked the understated Figaro of Giles Davies’’

The Telegraph, 2001,The Barber of Seville, Longborough

“The very long wait before Giles Davies (baritone) sang in the Benedictus was worth it, and it was only regrettable that this fine voice, which has won so many accolades already, was heard so little.’’

(London Mozart Players - Mozart C Minor Mass, 2001)

“The strongly projected sonorous baritone of Giles Davies’’

Badische Zeitung, 1999, Britten’s Church Parables, Opera du Rhin

“Giles Davies sang the more reflective roles of the Ferryman, Ananias and Father with conviction.’’

Financial Times, 1999, Britten’s Church Parables, Opera du Rhin

“Giles Davies’ Figaro worried away at the bones of the situational chaos with the strongest of grips, singing off words with firm, unforced tone.’’

Opera Magazine, 1999, The Marriage of Figaro, Holland Park Opera

“Giles Davies’ Figaro: a bright naughty spark with a nimble light baritone, perfect for outwitting his master and rattling through yards of recitative.”

The Times, 1999, The Marriage of Figaro, Holland Park Opera

“As Kolenaty, Giles Davies sang with colour and force”

Opera, 1998, The Makropoulos Case, Scottish Opera Tour

“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”

Belfast Newsletter, 1997, La Boheme, Castleward Opera

“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, 1997, The Barber of Seville, Scottish Opera Tour

''The Piano Tuner'', 2004

  Music Theatre Wales

 As ''He'' in Love's Labyrinth

  Wigmore Hall - 2005