Don Pasquale - Opera On The James
- Voix des arts
...Tenor Daniel Curran brought a refined, capably-projected voice and technique that qualified him equally for the part’s bel canto intricacies and lovesick ecstasies...it was apparent that Curran was an Ernesto to the Schipa, Valletti, and Kraus manner born, his excellent breath control permitting him to execute marvels of phrasing impossible for less-prepared singers.
La descente d'Orphée aux enfers - Gotham Chamber Opera - New York Times
...the tenor Daniel Curran as Orphée, his voice precise and penetrating, with careful diction and an affecting sense of seriousness. Mr. Curran ably met the demands of the role, which is written not for a booming modern tenor but for an haute-contre...simultaneously requiring intensity and preternatural poise.
- Opera News
...true musical pleasure, especially in the work of Daniel Curran, the evening's Orphée. His tenor was limpid and ringing; his expressive intent sure. At times, he allowed a suggestion of a "tear" to give a line emotional shading, but always kept securely within Baroque style.
Paul's Case - Pittsburgh Opera - Pittsburgh Tribune
Tenor Daniel Curran gave a superb performance of the title role, vocally secure across the nearly two-octave range and dramatically very well attuned to the somewhat mysterious ambiguities of Paul's character.
Peter Quint - The Turn of the Screw
West Edge Opera - San Francisco Chronicle
Tenor Daniel Curran was a wonderfully unnerving Quint, singing Britten's keening, slippery vocal lines with the necessary precision and embodying the character's dark charisma even through the obscuring black-and-white camerawork.
-San Francisco Classical Voice
They also conjure up the ghosts of Peter Quint (gorgeously sung and acted by Daniel Curran in video apparition form)...