Mezzo-soprano Daryl Freedman has established herself as a compelling interpreter of dramatic mezzo-soprano repertoire, with appearances at The Metropolitan Opera, Salzburger Festspiele, Dutch National Opera, San Francisco Opera, Lyric Opera of Chicago, Washington National Opera, The Cleveland Orchestra, Théâtre du Capitole de Toulouse, The Atlanta Opera, Virginia Opera, and Opera San José, among others.
Last season, Daryl debuted with the St. Louis Symphony Orchestra in a staged production of Die Zauberflöte (Dritte Dame) conducted by Stéphane Denève and returned to The Metropolitan Opera for The Magic Flute (Third Lady) and Andrea Chénier (Madelon cover).
In the 24/25 season, she returned to The Metropolitan Opera for The Magic Flute (Third Lady). On the concert stage, she debuted with the Pacific Symphony in Verdi’s Messa da Requiem, returned to the Canterbury Choral Society for the same work, and appeared with the Fargo-Moorhead Symphony Orchestra in the final scene of Carmen (title role) as part of its inaugural Masterworks Series program, Passion.
Recent operatic highlights include returns to The Metropolitan Opera for The Magic Flute (Third Lady), Un ballo in maschera (Ulrica cover), Aida (Amneris cover), and Don Carlos (Princess Eboli cover), following her company debut in Die Walküre (Schwertleite). She has also returned to The Cleveland Orchestra for staged performances of Die Zauberflöte (Dritte Dame) and Ariadne auf Naxos (Dryad) and joined the roster of Lyric Opera of Chicago for Aida (Amneris cover).
Freedman made her Salzburger Festspiele debut in Christoph Loy’s production of Suor Angelica (Suor Dolcina) conducted by Franz Welser-Möst. Other notable engagements include Das Rheingold (Fricka) with Virginia Opera, Julius Caesar (title role) with The Atlanta Opera, Un ballo in maschera (Ulrica) with Maryland Lyric Opera, Il trovatore (Azucena) with Opera San José, Aida (Amneris) with Opera Idaho, and Die Walküre (Schwertleite) at Théâtre du Capitole de Toulouse. She joined Dutch National Opera for Robert Carsen’s production of Cavalleria rusticana (Santuzza cover) and San Francisco Opera for Cavalleria rusticana (Santuzza cover). At Sarasota Opera, she appeared in Der fliegende Holländer (Mary), Le coq d’or (Amelfa), and Lucia di Lammermoor (Alisa).
On the concert stage, Freedman has appeared with The Cleveland Orchestra in Schubert’s Mass No. 6 at Severance Hall and Carnegie Hall and with the National Symphony Orchestra in Bernstein’s Songfest. Her concert repertoire also includes Mahler’s Symphony No. 2 with the Erie Philharmonic, Das Lied von der Erde with the Fargo-Moorhead Symphony Orchestra, Beethoven’s Symphony No. 9 with the Fairfax Symphony, Verdi’s Messa da Requiem with the Quad City Symphony and Fairfax Symphony, and Handel’s Messiah with the Santa Fe Symphony and Boise Philharmonic.
A graduate of the Cafritz Young Artist Program at Washington National Opera, Freedman appeared with the company in Don Carlo (Princess Eboli), Hansel and Gretel (Gertrude), Better Gods (Lili’uokalani), Der Ring des Nibelungen (Rossweisse), Dead Man Walking (Jade Boucher), and Le nozze di Figaro (Marcellina). She later returned to Washington National Opera for the world premiere of Kamala Sankaram’s Rise (Powerful Woman; Adelaide Johnson).
2026-2027
