'The strongest stage presence was lyric tenor Joseph Doody’
- BachTrack
La Cenerentola, Opéra de Québec 2025
‘British tenor Joseph Doody, who was also making his Canadian debut at the Opéra de Québec, performed Prince Ramiro. The voice is clear and at ease in all registers, the high notes are easy and powerful, as is his fioratura, well showcased in his great aria with chorus, Si, ritrovarla io giuro.’
Opera Canada
‘The British tenor Joseph Doody… portrayed Prince Ramiro. His voice is clear and at ease in all registers, the high notes seem effortless, and he makes short work of Rossini’s acrobatics, as could be seen in the great aria with the chorus in Act II.’
L’Opéra, revue québécoise d’art lyrique (translated from French)
Il Barbiere di Siviglia, Longborough Festival Opera 2025
‘First to impress was Joseph Doody, making his Longborough debut… Doody sang strongly throughout with a quite a bit of wit at times. His singing of ‘Ecco ridente’ was… with control, smoothness and a degree of calmness as all around him there is chaos!’
Seen and Heard International
‘As Almaviva, Joseph Doody showed off exceptional vocal quality and control – a true tenore di grazia, high and penny-bright, never insipid, with pearly fioritura, ringing high notes and elegant phrasing.’
Opera Canada
‘Joseph Doody [was] an appealing, resourceful Almaviva, ringing and supple’
Midlands Music Reviews
‘Joseph Doody… has clearly grown into Rossini’s primo uomo roles. Here, he produced high-wire coloratura in spades... We didn’t get his final aria, alas, as I would have loved to hear Doody’s combination of heroic timbre and virtuosity’
Planet Hugill
Carissimi: Jonae, IF Opera 2025
‘Joseph Doody gave a resolved, defiant account of [Jonah’s] prayer, giving the prophet’s words an arresting authority’
Classical Source
Offenbach, Orpheus in the Underworld, IF Opera 2025
‘Joseph Doody’s engaging tenor singing of Orpheus was beautiful and his acting showed the character as suitably hapless.’
operascene.co.uk
The Snow Maiden, English Touring Opera 2024
‘Joseph Doody was the Tsar, a benevolent figure got up rather like a South American icon with a halo-like tiara and a magnificent dress… Doody brought a nice ease and lovely tone to the sometimes high-lying role.’
Robert Hugill
‘Standouts include… Joseph Doody’s Tsar Berendey, conveyed through his perfectly managed, subtle vocal lyricism.’
George Hall, The Stage
‘Joseph Doody brings clean lines and clear high notes to the Tsar. And apparently cross-dressing balls were a regular event at the 18th-century Imperial Russian court, so maybe that’s why he spends the whole opera wearing the hell out of a strapless corseted ballgown.’
Erica Jeal, The Guardian
The Barber of Seville, Charles Court Opera 2024
'Joseph Doody's superb Almaviva sings with such style and assurance'
Neil Fisher, The Times
Stanford: Shamus O’ Brien, Retrospect Opera recording 2024
‘Joseph Doody’s unmistakable timbre, musicality and technical mastery are spellbinding: this is a starry reading of the opera’s most interesting role.’
Christopher Webber, Opera Magazine
La Cenerentola, English Touring Opera 2023
‘…it was Joseph Doody as the Prince himself who was the production’s revelation. The tenor’s vocal sound was reminiscent of a young Juan Diego Flórez and the confident ping of his high notes was simply thrilling. Watch his career erupt.’
Mark Valencia, BachTrack
'Joseph Doody, a born tenore di grazia... was the picture of romantic ardour, singing with shapely phrasing and stonking high notes.'
Hugh Canning, Opera Magazine
'Prince Ramiro is sung by Joseph Doody in a megawatt tenor with all the high notes'
Erica Jeal, The Guardian
'...a wonderfully confident and fully rounded portrayal of Prince Ramiro.... It is a fine, vibrant instrument that did far more than negotiate Ramiro's roulades, made the Prince a pleasure to listen to. The result was to give Ramiro rather more backbone than usual, make him feel more in control of the action.
I enjoyed every moment of Doody's performance, from the bravura fireworks to the more tender intimacy… I would love to hear him in Rossini's Barber of Seville in an uncut performance that gives us the Count's final showpiece'
Robert Hugill, Planet Hugill
Il Re Pastore, Buxton International Festival 2023
'Joseph Doody's Alessandro is every inch the conventionally magnanimous ruler, while also showing an impetuous streak.'
Classical Music Daily
‘…the lovable Alessandro (Alexander) from Joseph Doody… keeps trying to do the best thing… and in a twinkle of an eye (or majestically sung aria) sets all right.’
Opera Scene
‘Joseph Doody was a virile Alexander with a melodious tenor voice that was ideally suited to the fine acoustic’
Plays to See
‘As for Joseph Doody… he portrays a vocally muscular Alessandro with well-honed intonation.’
anaclases.com (translated from French)
'Buxton assembles a cast that is up to the high vocal level required and in certain instances – notably mezzo Katie Coventry’s expressive Aminta and tenor Joseph Doody’s Alessandro – rises to serious achievement.'
The Stage
The Soldier's Legacy, Retrospect Opera recording
'Joseph Doody is an exciting find as Jack, possessing a highly personal light lyric tenor of great charm - he sounds a born Nemorino.'
Opera Magazine
'Joseph Doody brings real dash as Jack Weatherall.'
Gramophone Magazine
At the Boar's Head, Leeds Opera Festival 2022
'The strongest stage presence was lyric tenor Joseph Doody as Prince Hal, always in great command physically, blending well with others. His voice has power and sweetness, and his diction is spot-on.'
BachTrack