El ultimo sueño de Frida y Diego in San Francisco

  • Michael Milenski

“Frida was sung by Argentina born, mezzo soprano Daniela Mack who found Frida’s brashness, her confidence and her vulnerability in a strongly sung performance. The role is lengthy and obviously difficult, delivered with pleasing elan by Mlle. Mack.”— Opera Today


Pain, Beauty and Immortality in ‘Frida y Diego,’ SF Opera’s First Spanish-Language Work

  • David John Chávez

“Mezzo-soprano Daniela Mack is a gargantuan talent with a goosebump-inducing vocal register, but what provides such a full performance is her presence in the mortal world. Just notice all of her discoveries as the 24 hours on earth commence. She sings with verve when reuniting with her beloved Casa Azul, has her breath taken away while her paintings appear (more eye-popping costumes from Kazan), and accepts what is now her immortality as an artistic icon along with her infinite connection to Diego.


As Lorca in Ainadamar

  • Opera

“Utterly convincing as a striking young man, Daniela Mack brought intensity and a gorgeous tonal sheen to Lorca’s music, much of it in her potent lower register.” — Opera

Detroit Opera 2022-2023 Review: Ainadamar

  • John Vandevert

“Completing the trio was Daniela Mack as Frederico himself, the par exemple of mezzo-sopranos and beau ideal of travesti. Despite her coloratura experiences, her chest resonance was pure silk, creamy velveteen waves upon a shore of time-tested obstacles. Her performance as the poet was brilliant, every mannerism and posture exceptional, with a handsome timbre and even more seductive, restorative, suave to the difficulties of Golijov’s writing. The serenity of Mack’s sonic artistry during the execution scene was duende incarnate, “I don’t want to die.” — Operawire


As Desdemona in Otello

“The outstanding performances—both role debuts— of Lawrence Brownlee as Rodrigo and Daniela Mack as Desdemona could surely be matched nowhere else in the world today… Mack embodied the machismo-battered Desdemona’s ever-changing emotions with complete conviction, and utterly commanded the shifting tessitura demanded by this role fashioned for Rossini’s muse, Isabella Colbran. Mack made the harp-haunted Willow song sound like what it is— one of the nineteenth century’s greatest arias, bar none.”— Opera News

Opera Philadelphia excavates a fascinating rarity with Rossini’s tri-tenor “Otello”

  • Alex Baker

Daniela Mack offered a superb turn as the doomed spouse, her rich, incisive mezzo effectively handling the varied vocal demands of the role, from heavy dramatic writing in the Act II finale and final confrontation scene to skillfully dispatched moments of coloratura and an exquisite reading of Rossini’s own take on the “Willow Song.”  — Washington Classical Review