"...tenor Daniel Curran, 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."
- New York Times
Daniel Curran has gained a reputation for his intensely intelligent performances in opera, theatre, and concert stages throughout the United States and internationally. His flexibility of style allows him to maneuver seamlessly into both crossover and session work and he prides himself in being musically diverse. A graduate of The Juilliard School, Mr. Curran recently completed two world premieres: Martin Hennessy and Stephen Kitsakos’ An Incident in Sutton Square with The Studios of Key West, and Ted Rosenthal's Dear Erich with New York City Opera.
Other notable recent engagements include Bernstein’s Mass at Lincoln Center, Georgia Shreve’s Alice in Wonderland - Images of Dali at Carnegie Hall, and the Jerry Herman Memorial at the Lunt-Fontanne Theater on Broadway. Past performances of note include Ernesto in Donizetti’s Don Pasquale with Zomeropera, Belgium, Victor Frankenstein in Larsen's Franksenstein and Peter Quint in Britten’s The Turn of the Screw with West Edge Opera; Tonio in Donizetti’s La fille du regiment with Pittsburgh Opera; Policeman in the world premier Adamo’s The Gospel of Mary Magdalene with San Francisco Opera; Ferrando in Mozart’s Cosi fan tutte and Electrician in Ades’ Powder Her Face with New York City Opera; Orphée in Charpentier’s La Descente d’Orphée aux Enfers with Gotham Chamber Opera; Ensemble in The Emmy-nominated performance of R&H's Carousel with Live From Lincoln Center, Ensemble in Loesser's Most Happy Fella with Encores! at New York City Center; Soloist in Mozart’s Requiem with the National Chorale at Lincoln Center; Soloist in Mozart’s Coronation Mass at Carnegie Hall with the Masterwork Festival Chorus.
"...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 suggestions of a"tear" to give a line emotional shading, but always kept securely within Baroque styel."
- Opera News
Images: Karli Cadel Photography & Opera on the James