“Daniela Mack…has already established herself as a star in houses around the country—including, next month, at Opera Philadelphia, where she originates the title role in Kevin Puts and Mark Campbell’s new chamber opera Elizabeth Cree, based on a novel by Peter Ackroyd.”
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“Here, Mack’s penetrating mezzo boomed through the crypt as if there were a Marshall Stack hidden behind the piano. Mack, whose spring highlights included her Met Opera debut in Rusalka and Beethoven’s 9th with the NY Phil, sang with a poise and composure well beyond her years.”
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“The fascinating excerpts of Puts’ score (Pulitzer winner with Campbell for SILENT NIGHT in 2012), with its chromatic weaving, found a perfect conduit in the velvet authority of flexible mezzo Daniela Mack.”
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“The Argentinean mezzo, who sounds like a contralto, has a lush rumbling of her lower chest which few singers can draw upon.”
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“She intensified its luscious love of death with the dark radiance of her voice, then sent her small but grateful audience back above ground.”
“The greatest of these went to Jackie, sung by the devastating and magnificent Daniela Mack, the evening’s MVP. She has a voice like polished onyx: strong, dark, deep and gleaming. She stripped the first lady of her typical grace and glamour, wearing just a slip, sticking a needle in her leg; she was anxious, exhausted and melancholy. Her moving duet with her older self (a stunningly costumed Katharine Goeldner)—which becomes a trio, with Clara—includes Vavrek’s most piercing dialogue: Mrs. Kennedy, on the morning of November 22, 1963, asking Mrs. Onassis if her husband will love her everyday for the rest of his life.”
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“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.”
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“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.”
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“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.”
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“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.“
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