Acclaimed “multi-talented tenor” Daniel Norman (Financial Times) has been praised for his ability to inhabit complex characters and for his powerful and expressive vocal performances. His career-to-date has covered a versatile range of repertoire, from early and baroque music through to contemporary works.
Daniel Norman has built an impressive operatic career both in the UK and internationally, working with companies including English National Opera, Glyndebourne Festival, Opera Holland Park, Opera North, Longborough Festival Opera, the Royal Opera House Covent Garden, L’Opéra National de Paris, Nederlandse Reisopera, Wexford Festival, the Bayerische Staatsoper, New Israeli Opera, Bergen National Opera, Oviedo Opera, Opera Boston, Central City Opera Colorado, the Fondazione di Arena di Verona, and the Mariinsky Theatre. He appears regularly in contemporary opera and music theatre and is particularly noted for his performances of the music of Benjamin Britten.
Active on the concert platform, Daniel has sung with orchestras including the London Symphony Orchestra, City of Birmingham Symphony Orchestra, BBC Philharmonic, BBC Scottish Symphony, London Sinfonietta, Minnesota Orchestra, Firebird Ensemble (USA), Philharmonia Taiwan, Orquesta Sinfonica Nacional de Columbia, Het Gelders Orkest, Mahler Chamber Orchestra, and the Chamber Orchestra of Belgium; with appearances at the BBC Proms, Three Choirs Festivals, Aldeburgh Festival, and Oxford Lieder Festival.
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Mao, Nixon in China
Staatstheater Hannover
The exceptional ensemble of singers, entrusted with predominantly demanding vocal tasks, is led by Daniel Norman, who portrays the challenging and physically demanding role of Mao Tse-tung with verve and an almost profound delight in the Mephistophelian demeanour of the great leader.
Achim Dombrowski, Opera Online
Much applause also for Daniel Norman as the lasciviously lively Mao...
Henning Queren, Neue Presse
The fact that it works so well is also due to the fabulous singers... Daniel Norman as the fanatical but also funny Mao...
Ute Schalz-Laurenze, Neue Musikzeitung
Daniel Norman as Mao is a fanatical character, but he also possesses almost comical traits. His aria "We no longer need Confucius" has a completely different character compared to Nixon's aria. In this case, someone is loudly proclaiming their clichéd phrases of statecraft, which creates an aggressive tone. Daniel Norman's tenor voice is biting, sharp, and cutting. However, in the third act, he was also able to beautifully showcase his lyrical abilities.
Achim Riehn, Gesellschaft der Freunde des Opernhauses Hannover e.V. (GFO)
...Daniel Norman equips Mao with a beautiful tenor voice...
Dominik Lapp, kulturfeder.de
The tenor Daniel Norman succeeded exceptionally well in showing this aspect of the man alongside an equally vivid representation of him as an infirm, ailing man, dependent on artificial respiration.
Jurgen Gahre, Opera Magazine
Judas, The Last Supper (Harrison Birtwistle)
BBC Scottish Symphony
I was deeply moved by Daniel Norman’s diffident and remorseful portrayal
Kate Molleson, The Guardian
Britten 'Winter Words'
CD for BIS
Daniel Norman’s version has that lovely early-career freshness about the sound particularly when the top of the voice opens out. He combines it with something of Philip Langridge’s sinuous strength
Kate Kennedy, BBC Building a Library
To See the Invisible (Emily Howard chamber opera premiere)
Aldeburgh Festival
Daniel Norman made a memorable cactus fanatic, commanding centre stage with his powerful tenor enthusing over the long Latin name of his favourite plant
Charlotte Valori, Bachtrack
Monostatos, The Magic Flute
English National Opera
even though he is a petty, nasty villain, the other tenor, Daniel Norman, is just as persuasive as Monostatos
Neil Fisher, The Times
Daniel Norman made a funny yet nasty Monastatos, combining physical comedy with a real dramatic sense of threat
Planet Hugill
Captain Vere, Billy Budd
Central City Opera, Colorado
Daniel Norman triumphed as Vere, the troubled captain of the Indomitable; the tenor was riveting in his Prologue and Epilogue and stiff-backed while struggling to right the ship as it faced multiple crises. Norman’s expressive tenor never strayed and never lost power in clarity.
Marc Shulgold, Opera News
Norman masterfully portrayed a still-traumatized Captain Vere’s reliving of his role in the execution of Billy Budd
Willaim’s Reviews, Opera Warhorses
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