A Divided Duty

  • David Fox

“Daniela Mack (Desdemona) is a riveting presence who knows the value of focus and stillness. To watch her is to feel that she’s fully immersed in the scene. As for the singing, whether in florid work (always cleanly articulated but also bound into a legato phrase) or cantilena, the voice pours out like molten gold.” 


Mainly in the plain


Dazeley and Daniela Mack never touched a score which in particular complemented the latter’s strikingly potent portrayal of the abandoned Amastre, perhaps the day’s most completely satisfying characterization.


English Concert return with a sensational “Serse” at Carnegie Hall

  • George Grella

“Mack, singing with both force and a casual, self-contained swagger, was an excellent wild card. Her role was the necessary trickster who instigates key conflicts, and her stage presence was explicitly about a woman relishing being disguised as a man, not comical but serious, and mocking Serse for not seeing through the subterfuge. Her big Act III aria, “Cagion son io,” another one of Handel’s plangent, slow numbers, was exceptional, one of the musical and dramatic high points of the performance, Mack expressing a complex mix of anger, sorrow, and determination.”


SEVILLA / Una Giulietta sevillana

  • Jacobo Cortines

La argentina Daniela Mack, de voz aterciopelada, alcanzó su cima como Romeo en los pasajes de su largo lamento.