photo: Raphaelle Photography

“One of the finest singers of early music around… Julia Doyle’s singing is outstanding.”

Andrew Benson-Wilson

”Julia Doyle sings with quicksilver suppleness, stylistic acumen and immaculate communication of the text.”


“Standing out strongly and radiating formidable assurance, soprano Julia Doyle excels at displaying conspicuous purity and smooth tone throughout. A particular highlight … demonstrates Doyle’s markedly impressive control of coloratura passages”

“The four vocal soloists were good, with Julia Doyle’s pure soprano a joy.”

The Times

“The crystalline vocals of soprano Julia Doyle”

“British soprano Julia Doyle’s clear and pure voice was perfect for the role.”

“The highlight amid an otherwise uniformly fine performance is the singing of soprano Julia Doyle. Superbly dramatic, effective far beyond its already considerable beauty…”


“…Julia Doyle’s Et Incarnatus Est was one of those spellbinding moments you live for, when time disappears, the Earth stops turning on its axis, and you can imagine every creature in the universe listening in rapt attention.”

Robert Harris, The Globe and Mail, Ottowa/Quebec Edition May 2017

“Julia Doyle was a pure-toned, innocent Golden Age, singing with lightness and fleetness and exercising consistent vocal control and an impressive precision in the higher registers.”

Claire Seymour, Opera Today (3rd May 2016)

“Again Julia Doyle excelled. Not just an exquisite singer, but an inspired performer.”

Andrew Benson Wilson, (11th December 2015)

“…Handel’s buoyant Gloria, replete with soprano Julia Doyle’s stunning coloratura.”

“Julia Doyle dazzled again in the two songs, taking Purcell’s variously lyrical, disjointed, and virtuosic lines in her stride.”

Claire McGinn, York Press (12th December 2015)

“Julia Doyle sings with sweetness and candour, decorating I know that my Redeemer liveth vivaciously.”

Anna Picard, BBC Music Magazine

“Doyle’s performance of I know that my Redeemer liveth is rightly a thing apart: melding excellent diction and an obvious affinity for the music with spot-on commands of pitch and rhythm, the soprano makes the aria the emotional catharsis that Händel surely meant it to be.”

“She and her male colleagues comprise a refreshingly well-matched quartet betrayed by none of its members, one of the finest complements of soloists recorded Messiah in recent years.”

Joseph Newsome, (16th December 2015)

“…the most satisfying performance is that given by soprano Julia Doyle. There is a depth of purity to Doyle’s voice and with seemingly effortless delivery she expresses the text with unassailable reverence.”

Michael Cookson, Recording of the month, MusicWeb International (February 2016)

“soprano Julia Doyle delivers an impressive, grown-up Rejoice greatly, with dazzling runs and turns and ornaments all-aglow.”

David Vernier, (February 2016)

“Doyle brought a lovely clarity to the various bewitching changes of emotion and metre, including some superb passagework (for instance when tempests were blowing) and a bravura finish.”

Planet Hugill (15th October, 2015)

“Grace Davidson and Julia Doyle were absolutely outstanding, giving one of the finest performances of this work that I have ever heard helped by beautifully sensitive playing by Steven Devine and Jonathan Manson.”

Andrew Benson Wilson, (20th May 2015)

“…the outstanding soprano Julia Doyle…”

The Times

“…and Julia Doyle as a shining champion of the soprano arias.”

Donald Rosenberg, Gramophone Magazine (November 2012 – recording of St John Passion with the Bach Choir of Bethlehem.)

“…soprano Julia Doyle and countertenor Robin Blaze were the most striking. Doyle’s control at high pitches was superb in her aria, and her interaction with guest leader Daniel Bell showed a touching mutual willingness to listen and adapt.” Rohan Shotton, Nov 2012

“The arias were taken with stylishness and feeling by soprano Julia Doyle, counter-tenor Robin Blaze, tenor Nicholas Mulroy and baritone Roderick Williams.”

David Fanning, The Telegraph, November 2012

“Of the aria soloists, all excellent, Julia Doyle is outstanding.”

George Pratt, BBC Music Magazine (November 2012 – St John Passion recording, Bach Choir of Bethlehem)

“The other soloists are also excellent, particularly soprano Julia Doyle who imbues Ich folge Dir gleichfalls with the perfect blend of delight and innocence.”

Alison Melville, May 2012

“Her opening solo, Grandi’s Salve Regina was exquisite… Her use of ornaments was exemplary, as was her ability to shape a musical line, to sing with delicacy, and to blend her voice with the accompanying instruments.”

Andrew Benson-Wilson, Early Music Today, April 2012

“…ringing from the top tier of the Albert Hall as paradise is glimpsed from purgatory, soprano soloist Julia Doyle casting a line of pure silk around the dome.”

The Independent, 07.08.11

“Joined last night by soprano Julia Doyle they offered up some of the best Purcell London is likely to see this year.”

Alexandra Coghlan, The Arts Desk, Feb 2011 (Retrospect Ensemble, Wigmore Hall)

“…Julia Doyle, whose singing of the two soprano arias was radiant, intelligent and wholly engaging.”

Martin Kettle, The Guardian, 05.04.10

“Among the soloists…particular mention must go to the crystalline fluidity of Julia Doyle…”

Early Music Today, 01.10.10

“The soloists are ideal. Julia Doyle is a charismatic Angel/narrator in the pastoral scene, and her embellished recapitulation of I know that my Redeemer liveth is spine-tingling.”

David Vickers, Gramophone, 11.09

“A superb line-up of young soloists”

Early Music Today December 2009/Jan 2010

“But the real star among the soloists is soprano Julia Doyle, whose light coloratura soprano voice leads the pack in so many of these arias, not overwhelming at all, and not too opera-house either, instead regulating her instrument to the needs of each Handelian moment, along with an articulation that simply thrills. “

Audophile Review, Steven Ritter, 03.12.09

“Soprano Julia Doyle is a major discovery: Her voice has more body and personality than many of her early-music counterparts but no lack of agility.”

Philadelphia Enquirer, David Patrick Stearns Dec 09

“Julia Doyle’s coloratura is impressive”.

Hi-Fi Critic November 2009

“…with sensitive, lyrical soloists in Julia Doyle and Roderick Williams”

Telegraph Geoffrey Norris 04 Dec 09

“Alexander was also much moved by the soprano Julia Doyle’s beautiful rendering of Lascia ch’io pianga at a Handel concert at Kings Place”

Alexander Chancellor, The Guardian, 15.05.09

“The central aria, with soprano (Julia Doyle on ravishing form) and oboe hauntingly echoing across the platform, was divine.”

Simon Thomas, Music OMH, 05.01.09

“…made the audience sit up with her crystal-clear, beautiful voice…there was a feeling that they might have been written for Doyle’s timeless voice.”

Roddy Phillips, Abderdeen Press and Journal 08.12.08

“…this part of the evening belonged to soprano Julia Doyle, a young artiste with great presence and a voice combining power with a sweet, clear tone that soared above chorus and orchestra to thrilling effect.”

Simon Johnson, Kentish Gazette 27.01.08

“Julia Doyle slotted into place perfectly, her bright soprano airy and free-flowing.” 
(Halls/The King’s Consort/Cadogan Hall Messiah)

Nick Kimberley, Evening Standard 19.11.07

“…crystalline solos by soprano Julia Doyle…”
(Zinman / BBC SO)

Pittsburgh Post-Gazette 22.11.07

“The soprano soloist Julia Doyle is in fine form” (Zinman / BBC SO)

David Mellor, Mail on Sunday Dec 2007

“The vocal numbers showed guest soprano Julia Doyle to have one of those beautifully pure, chaste-sounding, emotionally-reserved, early-music voices…she revealed a sound with a musically exciting edge, and a communicative immediacy…”

Michael Dervan, Irish Times 26.09.07