Manager: Damon Bristo
Management Territory: Worldwide
"With her unfettered, steely mezzo, resilient from bottom to top, Daryl has a real flair for opera's quirky roles. Daryl recently gained her operatic laurels when she tackled the incredibly difficult lead role of a new chamber opera "Better Gods" at Washington National Opera. As queen Lili'uokalani, Hawaii's last reigning monarch, she gave a convincing and confident vocal and dramatic portrayal that would have tired many more experienced singers, with its dissonant score and interspersed with Hawaiian folksong. She has just appeared as a Valkyrie at in Washington operas Ring and Wagner seems to beckon for this big, confident versatile voice. In the meantime, she continues her training as a Domingo-Cafritz young artist in Washington." Opera Now, May 2016 - Written in the Stars: Ten young American singers intent on taking the opera world by storm
"On the basis of two hearings, Marcellina in Figaro and Ortrud in last night’s “Ortrud! Wo bist du?” from Lohengrin, I have become a major fan of Philadelphia native, mezzo-soprano, Daryl Freedman. Her strong, slightly harsh, distinctive voice and somewhat imperious presence seems tailor made for both roles, as different as they may be in character." San Francisco Classical Voice - Merola Grand Finale
"As the Queen, Mezzo-Soprano Daryl Freedman commands royalty and presence on the stage in both her voice and prowess. Her mighty range soars from a delicate upper register to a deep and soulful low sound." BroadwayWorld - Queen Lili'uokalani in Luna Pearl Woolf's 'Better Gods' at Washington National Opera
Praised by Opera News for her "striking dark timbre" and "expansive, sumptuous" performances, mezzo-soprano Daryl Freedman is in her final season as a member of the Washington National Opera’s Domingo-Cafritz Young Artist Program.
At Washington National Opera, Ms. Freedman will sing the role of Jade Boucher in Dead Man Walking and also Marcellina in the Emerging Artists performance of Le nozze di Figaro. She has also been seen at WNO as Gertrude in Hansel and Gretel, Lili'uokalani in the world premiere of Better Gods, and as Rossweisse in . . . Francesca Zambello’s production of Der Ring des Nibelungen. She returned to Sarasota Opera to sing Amelfa in Rimsky-Korsakov’s Le coq d’or and was an Apprentice Artist at Santa Fe Opera, where she covered the role of Herodias in Salome. She appeared at Carnegie Hall debut singing Handel's Messiah with the Cecilia Chorus of New York and her Wagnerian role debut as Mary in Der fliegende Holländer with Sarasota Opera, where she also covered Azucena in Il trovatore. She was also seen at Santa Fe Opera as a first-year apprentice covering the roles of Fraulein Krone in The Impresario and Death in Le Rossignol.
Recent seasons have included Zotico in Cavalli's Eliogabalo with Gotham Chamber Opera, Mozart’s Requiem with the Florida Orchestra, Marcellina in Le nozze di Figaro with the Merola Opera Program, Ascalax in Telemann's Orpheus with New York City Opera, and both Federica in Luisa Miller and Third Lady in The Magic Flute with Chautauqua Opera. Additional engagements have included Alisa in Lucia di Lamermoor with Sarasota Opera, and covering Ruth in the world premiere production of Nico Muhly’s Dark Sisters at both Gotham Chamber Opera and Opera Company of Philadelphia. She performed Alan Smith's Vignettes: Covered Wagon Woman and covered Baba the Turk in The Rake's Progress with Music Academy of the West, and has sung with Central City Opera and the Caramoor Festival.
Ms. Freedman was a member of the Studio Artist Program at Portland Opera from 2009-11, singing Concepción (L’heure espagnole), Dinah (Trouble in Tahiti), Venere (Monteverdi’s Il ballo delle ingrate), Sandman (Hansel and Gretel), Maman (L’enfant et les sortilèges), and Aglaonice in Philip Glass’ Orphée, the last of which was recorded and released on Orange Mountain Music Records. She holds degrees from Manhattan School of Music and Temple University.
(Updated October 2016)