David Daniels (countertenor)
12 March 1966 |
Spartanburg, South Carolina
|Alma mater||University of Michigan|
David Daniels (born 12 March 1966) is an American countertenor.
Daniels was born in Spartanburg, South Carolina, the son of two singing teachers. He began to sing as a boy soprano, moving to tenor as his voice matured. His father, baritone Perry Daniels, was one of the pre-eminent members of the performing faculty during each summer at Brevard Music Center, linked to the School of Music at Converse College in Spartanburg; his mother was an opera soprano. Daniels studied music at the Cincinnati College Conservatory of Music. Dissatisfied with his achievements as a tenor, Daniels switched to singing countertenor during graduate studies at the University of Michigan School of Music, Theatre & Dance (Master of Music in 1992) under the guidance of his teacher, George Shirley.
His repertoire has grown to include other major Handel roles, including Arsace in the comedy Partenope at the Lyric Opera of Chicago and San Francisco Opera in 2014; the title role in Tamerlano; and Arsamene in Xerxes. At the Bavarian State Opera in Munich, Daniels played the title roles in Rinaldo and Orlando, as well as David in Saul. He also interpreted Ottone in Monteverdi's L'incoronazione di Poppea. In Vivaldi's opera Bajazet, he sang the role of Tamerlano. In 2013, he sang the title role in Giulio Cesare at the Metropolitan Opera.
Daniels has also branched out from the baroque roles usually associated with countertenors to include Oberon in Benjamin Britten's A Midsummer Night's Dream at the Metropolitan Opera, and as Orfeo in Gluck's Orfeo ed Euridice at the Royal Opera House, Covent Garden. In July 2013 he created the role of Oscar Wilde in Oscar at the Santa Fe Opera, written for him by Theodore Morrison; he then sang Oscar again in Opera Philadelphia's production in 2015. The same year he made his debut at the Vienna State Opera as Trinculo in Thomas Adès' opera The Tempest.
In addition to his operatic work, Daniels also gives regular recitals, for which he has developed a repertoire that includes 19th- and 20th-century art songs not usually associated with countertenors, including works by such composers as Berlioz and Poulenc.