“Daniela Mack’s vocals are lovely, but her acting is even better as she plays Rosina as not quite the virginal waif we might think her to be, what with having a guardian. She is randy and embraces a ‘partner in crime” persona with Almaviva, but for a short time when she thinks he might have betrayed her.”
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“Mezzo Daniela Mack has by far the fullest operatic voice in this ensemble, along with a powerful dramatic presence…she looks to me like an operatic star on the rise.”
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“As Rosina, Daniela Mack is a marvel, shining in her first solo number, the cavatina, “Una voce poco fa” (“A voice a little while ago”) and later bringing down the house with the stunning aria in Act II, “Contro un cor”. She also has a real gift for comedy, as she masterfully combines an innocent sexuality with an expressive face as she defies her oppressive and lecherous ward.”
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“The ‘beauty’ is mezzo-soprano Daniela Mack, as Rosina, who delivers a triumphant Una Voce Poco Fa, as Rossini wrote it, in the original key! We know everything we need to know from that aria: She can be sweet if she wants, but do not cross her or you will feel her wrath. Her gorgeous top notes are surpassed only by her astonishing, comic low notes.”
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“Vocally, Friday’s opening performance belonged to mezzo-soprano Daniela Mack. Making her company debut, Mack’s Rosina was a compelling, noble force of nature. Her tone was supple and technical command excellent, with Rossini’s coloratura flourishes (especially in ‘Une poco voce fa’ and “Contro un cor che accende amore”) firmly projected and precisely sung.”
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“Daniela Mack brought a lustrous mezzo-soprano and focused expression to her solos in the ‘Recordare’ and elsewhere.”
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“Daniela Mack, as Isabella, is luminous both in her stage presence and her contralto, which is youthful and light.”
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“Daniela Mack exuded charisma and lively virtuosity across her impressive range”
“The cast was excellent, led by mezzo-soprano Daniela Mack as Isabella; she provided superb bel canto singing, along with intelligence and beauty.”
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