Colleen Daly

 

Soprano

 

Colleen Daly

Soprano

American Citizen

 

Colleen Daly has been hailed as a “dramatically powerful” (The Washington Post) young singer. In 2017, Ms. Daly appears in Julian Wachner’s Rev.23 with the Friends of Madame White Snake in Boston, the title role in Floyd’s Susannah with the Baltimore Concert Opera, Martin’s In Terra Pax with the Grant Park Festival, Dvorak’s Te Deum with the Washington Cathedral Choral Society and Carmina Burana with the Washington Chorus. In 2018, Ms. Daly joins the Windsor Symphony as Countess Almaviva in a concert version of Le nozze di Figaro, appears as the soprano soloist in Mahler’s Symphony No. 2 with the Bozeman Symphony and sings Violetta in La traviata with Annapolis Opera.

Ms. Daly made her international concert debut with the Calgary Philharmonic Orchestra as Madeline in Philip Glass’ setting of The Fall of the House of Usher, and was immediately reengaged for Mahler’s Symphony No. VIII. She return to the Kennedy Center Concert Hall as a soloist in the Washington Chorus’s presentation of Ralph Vaughan Williams’ A Sea Symphony and has also appeared with the Bozeman Symphony in Verdi’s Requiem.. Notable roles include Musetta in La Bohème with Annapolis Opera, Lyric Opera of Baltimore and Des Moines Metro Opera; Violetta in Opera Delaware’s production of La traviata, which she also covered at New York City Opera; Fiordiligi in Così fan tutte with Intermountain Opera; Micaëla in both La Tragédie de Carmen with Syracuse Opera and in Carmen with Baltimore Concert Opera; the Countess in Annapolis Opera’s production of Le nozze di Figaro; and the title role of Thaïs at Opera Company of Middlebury. In the winter of 2016, Ms Daly returned to one of her signature roles, Micaëla in the Maryland Symphony Orchestra’s presentation of Carmen, and was later presented in her role debut as Fidelia in Puccini’s rarely heard Edgar with the Baltimore Concert Opera.

Ms. Daly’s work as a concert and recital soloist has been widely recognized in performing such works as Mozart, Brahms, Fauré, and Rutter Requiem Masses, Mendelssohn’s Elijah, Beethoven’s Ninth Symphony, Händel’s Messiah, Haydn’s Creation, Lord Nelson Mass, and Missa Solemnis, Poulenc’s Gloria, Mozart’s Davide Penitente, and Stravinsky’s Les Noces. Colleen has appeared with Opera Delaware, the Columbus Symphony, the Mid-Atlantic Symphony, the Master Chorale of Washington in her Kennedy Center debut, Washington Concert Opera, the Post-Classical Ensemble, the New Dominion Chorale, the Maryland Philharmonic Orchestra, and the Händel Society of Dartmouth, among others. The 2015 season was marked by her professional recital debut performeing a program of art song inspired by works in the permanent collection at the Phillips Collection, and reprised a portion of her program at the Kennedy Center, which was streamed live worldwide.                                     

November 2017

 

 

 

 

OPERA

Bizet Micaëla CARMEN
Bizet/Brook Micaëla LA TRAGÉDIE DE CARMEN
Britten The Governess/Miss Jessel BRITTEN
Cipullo Young Alyce GLORY DENIED
Donizetti Anna Bolena
Lucia
ANNA BOLENA
LUCIA DI LAMMERMOOR
 Dvořák Rusalka RUSALKA
Glass Madeline FALL OF THE HOUSE OF USHER
Gounod Juliette ROMÉO ET JULIETTE
Handel Alcina ALCINA
Janáček Jenůfa
Katěrina
JENŮFA
KAT’A KABANOVA
Massenet Manon
Thaïs
MANON
THAÏS
Mozart Fiordiligi
Konstanze
Erste Dame/Pamina
Donna Anna
Contessa di Almaviva
COSÌ FAN TUTTE
DIE ENTFÜHRUNG AUS DEM SERAIL
DIE ZAUBERFLÖTE
DON GIOVANNI
LE NOZZE DI FIGARO
Offenbach Antonia LES CONTES D’HOFFMANN
Puccini Mimì/Musetta LA BOHEME
  Edgar FIDELIA
  Magda LA RONDINE
  Liù TURANDOT
Strauss, J. Rosalinde DIE FLEDERMAUS
Strauss, R. Arabella ARABELLA
Tchaikowsky Tatyana EUGENE ONEGIN
Verdi Violetta LA TRAVIATA
  Leonora IL TROVATORE
  Desdemona OTELLO

MUSICAL THEATRE

Schmidt Luisa THE FANTASTICKS
Simon Lily THE SECRET GARDEN
Sondheim Amy COMPANY

 

ORATORIO

Bach Cantatas 70, 80
Christmas Oratorio
Beethoven Symphony No. 9
Brahms Ein Deutsches Requiem
 Dvořák Te Deum
Fauré Requiem
Handel Messiah
Haydn Harmoniemesse
Lord Nelson Mass
The Creation
Mahler Symphony No. 8
Mendelssohn Elijah
Mozart Coronation Mass
  Davide Penitente
  Exsultate Jubilate
  Mass in C minor
  Requiem
  Vesperae Solennes de Confessore
Orff Carmina Burana
Paray Messe du Cinquième Centenaire de la mort de Jeanne d’Arc
Rutter Requiem
Stravinsky Les Noces
Vaughan Williams Donna Nobis Pacem
  A Sea Symphony
Verdi Messa da Requiem

 

“As Persephone, Colleen Daly’s powerful soprano proved as comfortable with histrionic drama, as with rich, meditative arias.” [REV. 23, The White Snake Projects]

The Boston Music Intelligencer – Sundeep Agarwala

“Soprano Colleen Daly played Persephone – the ultimate moll and muse to the opera’s two hellboys, Hades and Lucifer – with beautifully haunted, odylic vocal smolder.” [REV. 23, The White Snake Projects]

La Scene Muiscale – Charles Geyer

“Soprano Colleen Daly in the role of Persephone maintained fragility and desire yet never succumbed to feeling weak (her performance of the best-known aria “Blood Rubies” was the highlight of the production).” [REV. 23, The White Snake Projects]

The Boston Music Intelligencer – Ian Wiese

“The soprano Colleen Daly showed a mezzo-tinted lower register rising to a wonderful warm top.”[Carmina Burana , The Washington Chorus]

The Washington Post – Anne Midgette

“Then came the Te Deum, in which both Michael Nyby and the soprano Colleen Daly (who was also featured at the Washington Chorus’s season-ending concert last week) showed vocal muscle as well as vocal beauty.” [Te Deum, Cathedral Choral Society]

The Washington Post – Anne Midgette

“Soprano Colleen Daly’s voice was ample enough to ride clearly above the chorus and yet remain vibrant.” [A Sea Symphony, The Washington Chorus]

The Washington Post – Anne Midgette

Colleen Daly likewise registered impressively as Musetta, pouring out a consistently warm, creamy sound and revealing the character’s flirtatious and caring sides with equal conviction.”[La Bohème, Lyric Opera of Baltimore]

Opera News

Colleen Daly tamed Musetta’s potential hard edge with a shimmering soprano and a heartbreaking sincerity in Act IV.” [La Bohème, Des Moines Metro Opera]

Opera News

“Annapolis Opera’s La Bohème was brightened by Baltimore diva and Annapolis Opera favorite Colleen Daly as the flirtatious BEAUTY Musetta, a role she owns. Capable of turning heads, Daly brought delicious fun and warmth to the famous Waltz and dramatic passion to her interplay with Timothy Mix’s Marcello. In the final act, Daly delivered a compassionate intesi dire, describing her finding Mimi ill. Later, her heartfelt prayer for Mimi is incredibly moving. [La Bohème, Annapolis Opera]

The Baltimore Sun

“…soprano Colleen Daly was imposing enough to make her presence felt from her first entrance. Her first aria, generally known as Musetta’s Waltz, was seductively appealing, and her stage business, as she attempts to tantalize Marcello, her former lover, was deliciously droll.” [La Bohème, Annapolis Opera]

The Capital

Daly, a soprano, sings with a heartbreaking purity that fits Micaëla’s innocence. Although the timbre of her voice is absolutely delightful, her dynamic control is what really takes her performance to a memorable level. She sings with the soft desperation one would expect from an innocent woman in love, but in the next line she is filling the Carrier Theater with her rich voice…[Daly’s voice is] classic, clear perfection.” [La Tragédie de Carmen, Syracuse Opera]

The Daily Orange

“We only hear the role of Micaëla at the beginning and end of the Brook version and that’s a shame, because soprano Colleen Daly’s silky and deeply penetrating soprano provided a treat for the ears I wish did not have to end. Daly’s duet with Don José at the smuggler’s camp was full of expression and nuance, and she projected well throughout the performance.” [La Tragédie de Carmen, Syracuse Opera]

CNYCafeMomus.com

“…soprano Colleen Daly gave a shimmering account of “Depuis le jour” from Charpentier’s Louise.” [Lyric Opera of Baltimore, Season Preview Concert]

The Baltimore Sun

“…the flirtatious Musetta, portrayed here with great warmth by Colleen Daly. Her creamy radiant tone paid dividends all evening.” [La Bohème, Lyric Opera of Baltimore]

The Baltimore Sun

“The singing and acting are magnificent…from the fast paced swirl of the crowded Christmas Eve scene to the passionate vocal interplay of Daly the coquette and Mayes the painter.” [La Bohème, Des Moines Metro Opera]

The Des Moines Register

“Standouts were…soprano Colleen Daly, singing with a light lyric soprano of noticeable beauty.” [Mostly Mahler, The Washington Chorus]

Washington Examiner

NEWS

Soprano, Colleen Daly Sings as Persephone in the new contemporary opera REV. 23, produced by White Snake Projects. Shows Run September 29 – October 01, 2017 at John Hancock Hall, Boston.

Photo by Kathy Wittman   

AUDIO

Excerpt from “Libera me” from Verdi’s Requiem 

Dulcissime from Orff’s Carmina Burana with the Washington Chorus (2017)

In trutina from Orff’s Carmina Burana with the Washington Chorus (2017)

“Robert, toi que j’aime” from Robert le diable by Meyerbeer

 

VIDEO

Lois Alba Aria Competition 2015 1st place and audience choice award winner

“È Strano…Sempre Libera” from La Traviata by Verdi