Mezzo-soprano Daniela Mack leads the vanguard of a new generation of opera singers, infusing her artistry with a mix of intensity, adventurousness, and effortless charisma. Critics around the world have lauded her as “outstanding” (The New York Times), “a powerhouse mezzo” (Wall Street Journal) possessing “a virtuoso technique second to none” (The Guardian) and “a voice like polished onyx: strong, dark, deep and gleaming” (Opera News).
The 2021-22 Season is filled with exciting debuts for Daniela. She begins the season with her house debut at the Teatro Real in the role of Rosmira in Handel’s Partenope. She continues on to her next house debut at Teatro de la Maestranza, in her role debut as Romeo in Bellini’s I Capuleti e i Montecchi. She has her next role debut as Dardano in Handel’s Amadigi di Gaula with Boston Baroque. The season progresses with a tour of Handel’s Serse where she debuts the role of Amastre with The English Concert, making her Carnegie Hall debut, followed by a performance at Auditorio Baluarte in Pamplona, Spain. She returns to Teatro Real for her role debut as Fenena in Nabucco.
Though the COVID-19 pandemic has completely changed the landscape of the opera industry, Mack embarked on an exciting initiative as an inaugural member of Atlanta Opera Company Players for the entirety of the 20/21 season. Mack was one of the twelve renowned singers in this initiative, along with her husband, tenor Alek Shrader, Jamie Barton, Morris Robinson, and more.
In recent seasons, Daniela Mack made debuts at Royal Opera House-Covent Garden as Rosina in Il barbiere di Siviglia with Javier Camarena, at The Metropolitan Opera as the Kitchen Boy in Mary Zimmerman’s new production of Rusalka, at Ópera de Oviedo as Sesto in La clemenza di Tito, with the BBC Philharmonic as Béatrice in Béatrice et Bénédict, and at Boston Lyric Opera and Michigan Opera Theatre as Rosina in Il barbiere di Siviglia, and she made her role debut as Juno in Semele with Opera Philadelphia. Ms. Mack made her house and role debut as Dorabella in Così fan tutte at Lyric Opera of Kansas City, and debuted at Florida Grand Opera in Carmen where she returned in a highly-anticipated role debut as Charlotte in Werther. Ms. Mack was seen at The Santa Fe Opera for her first North American performances as Isabella in L’italiana in Algeri, as Bradamante in Alcina conducted by Harry Bicket, and in her title role debut in Carmen. She was seen at Washington National Opera as Bradamante in Alcina, debuted at Seattle Opera as Béatrice in Berlioz’s Béatrice et Bénédict, and returned to Arizona Opera as Angelina in La Cenerentola.
Daniela Mack has been seen at San Francisco Opera and Minnesota Opera as Rosina in Il barbiere di Siviglia and as Rosmira in Partenope. She created roles in the world premieres of Kevin Puts and Mark Campbell’s Elizabeth Cree (title role) at Opera Philadelphia, and in David T. Little and Royce Vavrek’s JFK (Jacqueline Kennedy) at Fort Worth Opera with subsequent performances at Opéra de Montréal. She debuted at 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 English National Opera in a new production of Julius Caesar as Sesto under Christian Curnyn, the first time the opera was produced at ENO since the legendary 1979 production. She also debuted at Théâtre du Capitole in Toulouse and LA 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 Isabella in L’italiana in Algeri, and Opera Colorado in Jean-Pierre Ponnelle’s famous production of La Cenerentola directed by Grischa Asagaroff.
On the concert stage, Ms. Mack debuted 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 debuted with the Mitteldeutscher Rundfunk in Rossini’s Giovanna d’Arco under James Gaffigan and performed Vivaldi’s Juditha triumphans with Boston Baroque. She debuted with the New York Philharmonic in Beethoven’s Symphony No. 9 under Alan Gilbert and with the Los Angeles Philharmonic in Manuel de Falla’s La vida breve under the baton of Rafael Frühbeck de Burgos. She performed Beethoven’s Symphony No. 9 with the Los Angeles Philharmonic, Beethoven’s Missa solemnis with the Washington Chorus, Verdi’s Requiem with Opera Philadelphia, Handel’s Messiah with the National Symphony Orchestra, Ravel’s Shéhérazade with the Hong Kong Philharmonic, and Canteloube’s Chants d’Auvergne and Falla’s Siete canciones populares españolas with the Sydney Symphony. 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 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 Program and made her West Coast recital debut as part of San Francisco Opera’s Schwabacher Debut Recital Series. Ms. Mack was a finalist in the 2013 BBC Cardiff Singer of the World competition.