Daniela Mack

Mezzo-Soprano

Managers
Nathan Wentworth
Territory
Worldwide
Press Resources
“At the evening's heart is the Rosina of Argentine mezzo-soprano Daniela Mack, who nails Rossini's often vertiginous vocal writing with ease and accuracy.”
Terry Blain, Star Tribune, November 10, 2019 - Rosina in 'Il barbiere di Siviglia' at Minnesota Opera

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 acclaimed 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).

Mack’s 2019-20 season includes three house debuts, three role debuts, and a return to The Metropolitan Opera. The season opens with Mack bringing her Handelian expertise to her role debut as Juno in Semele with Opera Philadelphia. She then brings her “fresh, feisty, flawless” (Opera News) Rosina to house debuts at Minnesota Opera and Palm Beach Opera for productions of Il barbiere di Siviglia. Renowned for her bel canto interpretations, Mack adds another role to her repertoire as Romeo in Bellini’s I Capuleti ed i Montecchi with Opera Omaha, and then returns to The Metropolitan Opera for her highly-anticipated role debut as Varvara in Janáček’s Káťa Kabanová. On the concert stage, Mack makes her debut with the National Symphony Orchestra for Handel’s Messiah under the baton of Sir Andrew Davis, and performs in Verdi’s Requiem with Opera Philadelphia. She closes out the season reprising her role as Rosmira in Partenope with San Francisco Opera, for which the San Francisco Chronicle hailed her “athletic, perfectly tuned coloratura.”

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. 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 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, 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.

“Matching her note for note in intensity and artistry is the sublime mezzo Daniela Mack, who has never been heard to better advantage as she doubled the disparate roles of Ino and Juno. As the former, she imbues her rich tone with a plangent world weariness that is melting, and heartrending in its ravishing effect. As the imperious Juno, Ms. Mack crackles with self-satisfied pomposity, her evenly produced vocalizing zinging out and dominating all within earshot. Her commanding, take-no-prisoners rendition of Iris, Hence Away was one of the evening’s several showstoppers, justifiably greeted with sustained roars of approval.”
James Sohre, Opera Today, September 21, 2019 - Ino/Juno in 'Semele' at Opera Philadelphia
“Her voice has extraordinary agility and range, and she has an impressively fearsome-sounding chest register, reminiscent of Marilyn Horne, which she used to comic effect.”
Alexander Campbell, Classical Source - Rosina in 'Il barbiere di Siviglia' at Royal Opera House - Covent Garden
“Daniela Mack delivers a fiery Rosina in a punchy, vibrant mezzo that's deeply satisfying.”
Mark Doucet, The Times - Rosina in 'Il barbiere di Siviglia' at Royal Opera House - Covent Garden