“Mr. Daniels is the quintessential exponent of Handelian style.”
- Wall Street Journal, 2008
"The great responsibility for voicing our hero’s distress and deliverance has been entrusted to the internationally celebrated countertenor David Daniels. As Orpheus, Daniels surpasses his exalted reputation with a mesmerizing vocal display that exquisitely conveys his character’s passion, but never overpowers the production. Such carefully tuned sensibilities are responsible for the work’s finest moment, a show-stopping third act aria of stunning beauty."
- The Examiner, Minneapolis, 2010
"It's a production full of wonderful design ideas and some impressive technical hocus-pocus, but what makes this "Orpheus" such a success is Orpheus himself: countertenor David Daniels, who carries the action on his beautiful soaring voice. His rich falsetto bathed the interior of St. Paul's Ordway Center in warmth Saturday night, a piece of his character's deep grief likely delivered to every heart in the house."
- Rob Hubbard, Pioneer Press, 2010
"The production is no less arresting musically. With his first, searing cries of "Eurydice," countertenor David Daniels -- the first countertenor cast as Orpheus at New York's Metropolitan -- forges a close connection with his listeners that deepens as the performance proceeds. (Operagoers still leery of countertenors owe themselves an evening in Daniels' company; his voice is rich, supple, hauntingly expressive.)"
- Larry Fuchsberg, Star Tribune, September, 27 2010
"It boasts, for one thing, the compelling presence onstage of David Daniels, who by now is surely the world’s most revered countertenor in a role that has become for him a trademark. If it could be said that the English mezzo Janet Baker owned the role of Orpheus in the 1960s and ‘70s, then that honor for the past decade has been held by Daniels, who will return to the Met later this season to sing the part in a production that, at least when first seen, had him costumed like a rock star, playing a guitar with a sequined shoulder strap.
His costume here was more attuned to the 18th century, and the performance was both intensely dramatic and vocally accomplished. Where many countertenors emit a steely sound that can be off-putting, Daniels makes his wide-ranging, agile, warm-colored voice seem natural. The character’s grief over the death of his beloved Eurydice in the opening scene came across with touching poignancy Saturday night as did his elation on her recovery. Near the end, his delivery of Orpheus’ great lament, “Che faro senza Eurydice?” seemed the musical embodiment of the noble simplicity that was always Gluck’s goal."
- Michael Anthony, September 27, 2010
“Daniels' powerful Arsamenes reconfirmed his status as opera's top countertenor. He distinguished every aria with his purity of sound and clarity
the sense of great vocal force with seeming effortlessness. While fine in arias of frenzied consternation,
role boasts several beautiful laments, and Daniels' work was especially distinguished in that emotionally wounded vein."
- Everett Evans, Houston Chronicle, May 2, 2010
"And Mr. Daniels triumphs as Radamisto. His poignantly lyrical and stylishly embellished singing of the mournful aria “Ombra cara” utterly quieted the audience."
- Anthony Tommasini, New York Times, August 4th, 2008, Santa Fe Radamisto
"Mr. Daniels nailed the brutally fast coloratura of Tamerlano's Act III rage aria, "A dispetto d'un volto ingrato," with such ferocious agility and volume that listeners were stunned. Here was a male singer who could persuasively take on the big roles that were written for castrati but in modern practice had been cast with mezzo-sopranos. Mr. Daniels's Tamerlano was a thrilling high-wire act, his arias bristling with elaborate ornamentation that upped the ante on the character's bad temper every time. The repeat of the A section of "A dispetto" contained more notes than it seemed possible to sing within a phrase."
- Heidi Waleson, Wall Street Journal, May 10th, 2008, Washington National Opera Tamerlano
"This production, directed and choreographed by Mr. Morris, an often magical and unapologetically fanciful staging, opened on Wednesday night. As Orfeo, who dominates the opera, Mr. Daniels fulfilled all expectations. For some a countertenor’s voice sounds fabricated, a curious kind of falsetto singing. Yet few singers sound as poignantly natural as Mr. Daniels: he’s a wonder, with a warm, virile voice of enormous expressivity."
- Anthony Tommasini, New York Times,
May 4th, 2007,
Metropolitan Opera Orfeo ed Euridice
"Daniels was in fine voice on Friday, bringing a sweet, firm countertenor and a touching sensitivity of phrasing to Oberon's vision
of Tytania lying on "a bank where the wild thyme blows."
- Benjamin Britten, Chicago Tribune, November 7, 2010, Lyric Opera of Chicago, A MidSummer Night's Dream
"David Daniels (Oberon) sings the counter-tenor role with an otherworldly sound. As he floats above his dominion, Daniels’ eerie
vocal range sets the whimsical tone for the elfin world."
- Chicago Now, November 10, 2010
"As Oberon, David Daniels gave an equally estimable performance, with ringing pitches, rhythmic precision, and commanding stage presence. For the first two acts, Daniels was suspended over the stage, and even within the confined space of a “movable basket,”
the gestures, glances, and intonations from Daniels created a three-dimensional portrayal. Indeed, observing his interactions with Christy and Esteban Andres Cruz (as Puck), Daniels was the dramatic and musical core of this production."
- Seen and Heard International, November 10, 2010