Daniela photographed by Dario Acosta
Mezzo-soprano Daniela Mack has been acclaimed for her “caramel timbre, flickering vibrato, and crisp articulation” (Opernwelt) as she “hurls fast notes like a Teresa Berganza or a Frederica von Stade” (San Francisco Chronicle). Ms. Mack was recently a finalist in the 2013 BBC Cardiff Singer of the World Competition.
In the 2015/16 season, Daniela Mack returns to the San Francisco Opera to reprise her performances as Rosina in Il barbiere di Siviglia and creates the role of Jacqueline Kennedy in the world premiere of David T. Little and Royce Vavrek’s JFK at the Fort Worth Opera. She also makes her Arizona Opera debut in the title role of Carmen and will be seen in recital with tenor Alek Shrader at the Tucson Desert Song Festival. On the concert stage, Ms. Mack debuts with three orchestras under Charles Dutoit: Orchestra de la Suisse Romande in Ravel’s L’heure espagnole and L’enfant et les sortilèges, Boston Symphony Orchestra in L’heure espagnole, and Chicago Symphony Orchestra in Falla’s Three-Cornered Hat. She also debuts with the Mitteldeutscher Rundfunk in Rossini’s Giovanna d’Arco under James Gaffigan and will record Vivaldi’s Judith triumphans with Boston Baroque.
Future seasons will see her at the Metropolitan Opera, Royal Opera House-Covent Garden, San Francisco Opera, Seattle Opera, Washington National Opera, Opera Philadelphia, and English National Opera.
Recently, Daniela Mack has been seen at San Francisco Opera as Rosmira in Handel’s Partenope in a production by Christopher Alden, as well as Rosina. In the summer of 2014, she made important role and company debut: the title role in Carmen at Santa Fe Opera in a new production by Stephen Lawless. She also debuted at the Lyric Opera of Chicago as the Kitchen Boy in David McVicar’s production of Rusalka conducted by Andrew Davis and returned to Madison Opera as Sister Helen Prejean in Dead Man Walking. She has been seen at the English National Opera in a new production of Julius Caesar as Sesto under Christian Curnyn, the first time the opera was produced at the ENO since the legendary 1979 production. She also debuted at Théâtre du Capitole in Toulouse and Los Angeles Opera as Nancy in Albert Herring, Washington National Opera as the Madrigal Singer in Manon Lescaut, Deutsche Oper Berlin and Verbier Festival as Cherubino in Le nozze di Figaro, Opéra National de Bordeaux as Angelina in L’italiana in Algeri, and Opera Colorado in Jean-Pierre Ponnelle's famous production of La Cenerentola directed by Grischa Asagaroff.
In concert, Ms. Mack has been heard with the Los Angeles Philharmonic in Manuel de Falla’s La vida breve under the baton of Rafael Frühbeck de Burgos and Beethoven’s Symphony No. 9, Washington Chorus in Beethoven’s Missa solemnis, Hong Kong Philharmonic in Ravel’s Shéhérazade, and with the Sydney Symphony in Canteloube’s Chants d’Auvergne and Falla’s Siete canciones populares españolas. She also made her Cincinnati May Festival debut in Mozart’s Requiem under James Conlon and in an all-star gala at the Opera Theater of San Antonio.
Daniela Mack is an alumna of the Adler Fellowship Program at San Francisco Opera where she has appeared as Idamante in Idomeneo Siebel in Faust and Lucienne in Die tote Stadt for her house debut. She performed the title role of La Cenerentola as a member of the Merola Opera Programand made her West Coast recital debut as part of San Francisco Opera’s Schwabacher Debut Recital Series. Ms. Mack was recently a finalist in the 2013 BBC Cardiff Singer of the World Competition.
::: Updated August 2015 :::
"As Rosmira, mezzo-soprano Daniela Mack delivered a superb follow-up to her star turn in last season’s “Barber of Seville,” delivering athletic, perfectly tuned coloratura and letting the audience feel viscerally the depth of the character’s ardor and pain.”
—Joshua Kosman, San Francisco Chronicle, October 16, 2014
"Mack’s arias were strong and also virtuosic, befitting the trouser-role character. She has the opera’s single stop-time contemplative piece, an exquisite accompanied recitative that she sang lovingly."
—Robert Commanday, San Francisco Classical Voice, October 16, 2014
“Carmen’s Seguidilla in the first act has in recent times become the vehicle for the singer to convey a maximum of sensuality. Daniela Mack matches a bounty of rounded curves with her sultry mezzo voice, dark enough to be rebellious yet bright enough to keep the character constantly intriguing. One can easily believe her seducing Don Jose into abandoning all sense of duty.
No one will be able to claim this isn’t the “real Carmen” in either voice or appearance.”
—D.S. Crafts, Albuquerque Journal, June 28, 2014
"Thursday’s cast also featured the terrific Rosina of mezzo-soprano Daniela Mack. Her appearance was not a company debut, but it might as well have been, given how thoroughly her artistry has blossomed since her days as an Adler Fellow. She sang with an irresistible combination of tonal luster and bravado, bringing energy and charm to her coloratura passages and delicate wit to her characterization."
—Joshua Kosman, San Francisco Chronicle, November 15, 2013
"Argentina’s Daniela Mack, whose Rossini in the final and Gluck in the heats (again seen on TV) revealed a virtuoso technique second to none."
—Tim Ashley, The Guardian, June 24, 2013
"Argentinian Daniela Mack might have scored highest on points: a purringly elegant BMW of a singer, with perfect legato in Gounod’s “O ma lyre”…I would deem her the finished article."
—Rupert Christiansen, The Telegraph, June 24, 2013
"Mezzo Daniela Mack and tenor Alek Shrader brought admirable technique and sparkling personality to scenes from Rossini’s La Cenerentola and (joined by Belcher) Barbiere. Mack’s solo turn, “Pensa alla patria” from L’italiana in Algeri, showcased the singer’s burnished tone, evenly produced from top to bottom."
—Tim Smith, Baltimore Sun, April 15, 2013
"Daniela Mack’s feisty Sesto gave a rounded portrayal of the proud young avenger."
—Melanie Eskenazi, Music OMH, October 2, 2012
"ENO débutante Daniela Mack made a fine Sesto, gracefully sung and expressive with a radiant quality to her mezzo-soprano voice..."
—Opera Britannia, October 2012
"Daniela Mack boasted a lyrically appropriate instrument for the title role, with a goodly bit of heft in mid-range and an incisive gleam above the staff. Mack made a dazzling thing of the final rondo."
—Mark Thomas Ketterson, Opera News, July 2012
"…Daniela Mack, the mezzo soprano in the title role, is exceptional. With a powerhouse instrument and the acting chops to match, Mack takes a character known even in fairy tales for being a doormat and gives her, quite literally, a voice. And what a voice! Her embellishments in solo arias and ensemble work sound stunning and effortless."
—Lindsay Christians, 77 Square/Wisconsin State Journal, April 28, 2012
"As the title character, mezzo-soprano Daniela Mack is simply dazzling, her beautiful voice, strong projection, and confident vocal pyrotechnics providing an anchor for the performance."
—John W. Barker, Isthmus, April 28, 2012
"Onstage, mezzo-soprano Daniela Mack, along with baritone Liam Bonner… were compelling, delightful, and melodic, embracing their full ranges during lightning-quick tempo changes…"
—Robert F. Adams, CASA Magazine, March 9, 2012
"The young lovers, a sensual Daniela Mack (Nancy, the bakery girl) and a spry Liam Bonner (Sid, a butcher’s assistant), light up the stage as they lead Albert astray."
—Mark Swed, Los Angeles Times, February 26, 2012
"His salvation is a coronation cocktail (lemonade surreptitiously laced with rum) given to him by a horny young couple known as Sid and Nancy (no relation to the latter-day punksters), brilliantly sung and acted by Liam Bonner and Daniela Mack."
—Robert Hofler, Variety, February 26, 2012
"Mezzo-soprano Daniela Mack, with her youthful good looks and pliable voice, was as a natural in the title role, handling Rossini’s bel canto writing with technical command and expressive ease. Expect other companies to come calling for her talents in this role."
—Opera News, August 2011
"In the anchoring romantic roles, mezzo-soprano Daniela Mack is a natural as Cinderella, combining youthful good looks with a lovely, supple voice that is strong and sure up and down her range. Perhaps most impressive, she brings appropriate dexterity and clarity to Rossini’s often challenging bel canto writing."
—Kyle MacMillan, Denver Post, May 2, 2011
"As Isabella, Daniela Mack’s voice was right at home in the generally low range of her role, singing with vibrant color. I would not be surprised to learn of her career rising substantially."
—expressmilwaukee.com, March 2011
"Mack has all the moves and the haughtiness of a girl who’s sexy, knows it and knows how to use it. ..Mack made her big, rich mezzo serve Isabella’s flirty, seductive ways."
—Third Coast Digest, March 2011
"Daniela Mack appeared as Isabella…, singing with tremendous facility and a warm, colorful sound. She delivered vocal lines as naturally and convincingly as though speaking."
—Milwaukee Journal Sentinel, March 2011
"Daniela Mack possesses the right color for the role of Isabella. Hers is a dark, velvety mezzo-soprano that shimmers…"
—Forum Opera, January 2011
"Daniela Mack as Isabella was fiery and fierce, proving an excellent Rossini voice with a tone that reminded one irresistibly of Marilyn Horne. She has agility and beautiful fluidity… She was a very committed actress, sparkling with life and energy…"
—classiquenews.com, January 2011
+Rossini's The Barber of Seville / San Francisco Opera / November 25 & 29; December 1, 5 & 9, 2015
+Ravel's L'heure Espagnole / Orchestre de la Suisse Romande / October 28 & 29, 2015
Daniela appears with the Orchestra of St. Luke's as Joacim in Handel's SUSANNA at Town Hall on February 3, 2015. ***UPDATE: Due to cast illness, this performance has been postponed until further notice.*** Read further details >