'That exposed the singers to close scrutiny, but they lived up to that convincingly and charismatically, especially Joseph Doody’s Count Almaviva and Trevor Eliot Bowes’s Figaro in playing off one another in their ultimately successful trick to rescue Rosina from Bartolo’s clutches. Doody secured a consistently lyrical, soft-grained tone, winning sympathy for a character whose sincerity and charm in this opera is a considerable way off from the philandering Count of the Marriage of Figaro.'
Curtis Rogers, Seen and Heard International
'All the singers are virtuosos with young, fresh voices... If I had to single anyone out it would be Joseph Doody as Count Almaviva, who has a voice like silk (even when crawling between rows of the audience or throwing beer cans down the aisle).'
Peter Roscoe, Shropshire Music Trust
'Flora McIntosh as Rosina and Joseph Doody as Almaviva stood out with their faultless harmonisation and onstage chemistry.'
Helena Gumley-Mason, The State of the Arts
'Joseph Doody had the knack of the room's acoustic and his solo moments, when he sang quietly, were lovely. Pylade is a high tenor part and Doody had a nice ease and freedom here.'
Robert Hugill, planethugill.com
'But the inner voices were what made this performance glow from within. Soloists stepped briefly out of the choir: a plangent tenor (Joseph Doody), a rich but nicely-focused bass (Lewis Jones) and an alto (Polly Jeffries) whose unfussy tone was affectingly poignant against the choir’s velvet cushion of sound.'
'Joseph Doody is hilariously camp, and deeply musical, as Basilio, in Heath’s vision a sensually abandoned priest as well as a music master.'
Charlotte Valori, bachtrack
'The second movement of '[Finzi's Farewell to Arms], the Aria, is simply gorgeous and the Camerata and soloist did full justice to it. Along with a polished interpretation from Joseph Doody, there was excellent ensemble playing from all sections of the orchestra...'
Elaine Annable, Yorkshire Times