"The vocal soloists were quite fine, with standout performances by bass David McFerrin and countertenor Daniel Moody....Moody was especially vivid in his tone, and operatic in his approach."
Daniel Moody, countertenor, sang a difficult, very difficult piece, Dream of the Song by George Benjamin, with exceptional diction and a voice which had many colors, not often heard in a countertenor. He had poise; he told you what it meant – it was just terrific.
Moody's voice was a wonder, with clear straight tones and perfect vibrato, commanding and thrilling.
Daniel Moody was the very state-of-the-art in modern countertenor-ship, making a clear, confident, plangent sound that was still a touch otherworldly, but which never called attention to itself.
Daniel Moody...brought vivid poise and character to the difficult part.
Daniel Moody was the brave and capable countertenor soloist.
Countertenor Daniel Moody...gave a heroic vocal edge to Rinaldo that compensated for the plot twists that make the knight appear less than heroic. Unlike many countertenors, Moody's voice grows stronger and brighter as it ascends. He may help to create a new operatic vocal category: Helden Countertenor.
The vocal soloists were talented, particularly the countertenor Daniel Moody, his upper register as plangent as a clarinet’s in his Agnus Dei aria.
Daniel Moody’s vivid, powerful countertenor pierced hearts but not ears, utterly silencing the room in breathless anticipation of his Agnus Dei da capo, which was superb.
Countertenor Daniel Moody as Narciso, Agrippina's young suitor...consistently filled his vocal lines with energetic drive appropriate to the style.
Daniel Moody was the only countertenor among the finalists [of the Madison Early Music Festival Handel Aria Competition], and gave evidence that an exciting career may be just around the corner. In a recitative and aria from Rodelinda, Moody delivered a sustained note that was all but mesmerizing in its intensity and changing colors as he shaped it, and the stand alone aria “Se piu non t’amo” was full bodied and assertive.
Morris inspired absorbing performances from young Fellows of the Tanglewood Music Center, including…the voice of Daniel Moody, a countertenor, [which] soared at the riveting moment when the dead boy’s voice is miraculously heard.
Onstage, the strengths started with countertenor Daniel Moody as Oberon. The combination of his evenly projected tone, nuanced phrasing and excellent diction yielded consistent pleasure.
…countertenor Daniel Moody, singing the part of the Spirit of the Boy from the second balcony, had an impressive voice that was almost too big to suggest a disembodied spirit.
Excellent — notably...the countertenor Daniel Moody, whose vocal resonance makes a profoundly startling impression...
Countertenor Daniel Moody created the perfect atmosphere with his beautiful, full soprano timbre.
Countertenor Daniel Moody sang with a sweet, melancholy sound in Jehan Chardavoine’s setting of Ronsard’s Ode à Cassandre, a celebrated version of the ‘Carpe diem’ poetic theme going back at least to ancient Rome.
Countertenor Daniel Moody, as Caesar, does impressive work…has obvious potential, and the phrasing is admirably eloquent throughout.
The performers are all fine—singing wonderfully and acting with eloquence and restraint. They include…Daniel Moody, as the dead child’s unseen spirit, whose high countertenor floats with piercing beauty above the voices of the Chorus.
Countertenor Daniel Moody sang the Spirit of the Boy…his reedy voice flowed undulatingly over the stage proceedings.
A high point came near the end with…the piercing voice of Daniel Moody singing the high soprano voice of the dead child over the other singers