Opera & concert reviews

Opera & concert reviews and press for Daniel Moody, countertenor.

Front Row Center
(Review of Hans Christian Andersen: Tales Real and Imagined)
“The high note of the performance is countertenor Daniel Moody, who frequently sang at critical dramatic intervals in the performance. While is overall musical presence was commanding, his interpretations of Henry Purcell’s works were particularly impressive. Powerful diction, pathos, artistry, and beauty were presented.”

(Atlanta Symphony, Bernstein’s “Chichester Psalms” April 2019)
“In the second movement, countertenor Daniel Moody offered an appropriately pure tone and assured, long lines as the child-like, innocent angel — Bernstein had preferred a boy treble for this role — who declaims “Psalm 23.” Listeners will enjoy Moody’s emphasis on a sighing, descending motif that suggests a heavenly sense of comfort and abiding grace.

The Atlanta Journal-Constitution
(Atlanta Symphony, Bernstein’s “Chichester Psalms” April 2019)
”The second movement translates the uninhibited energy of the opening inward, with the solemn, introspective choir supporting Daniel Moody’s riveting countertenor. Many of the best recordings of “Chichester Psalms” feature a boy alto in this role, but the depth and resonance of Moody’s voice make a forceful argument for countertenors everywhere.”

San Francisco Chronicle
(Philharmonia Baroque concerts with Anne Sofie von Otter, March 2019)
“Joining von Otter was countertenor Daniel Moody, a gifted young artist who boasts a clarion falsetto sound and the ability to put it to deeply expressive use. In two arias from [Handel’s] Partenope, Moody delivered a combination of tenderness and theatrical verve, and he combined forces with von Otter in an engaging duet from [Handel’s] Solomon.”

The Boston Musical Intelligencer
(Isabella Stewart Gardner Museum with ACRONYM, February 2019)
“In the lead role of Appio Claudio, countertenor Daniel Moody ruled the room, laying waste to any acoustic challenges that may have hampered some of his colleagues. Haughty and stentorian in his pronouncements, Moody’s delivery at times seemed more forceful than necessary, but he cut a potently petulant figure of seething appetites and furies, which made his later remorse all the more poignant. “Del caro mio tesoro” (Of my dear treasure) exhibited his interpretive power most fully, as he swung between tremulous longing and grim determination, alternately choking on and gushing out his desire, and all to a text that reads as any generic lover’s list of the beloved’s beauteous body parts.”

New York Classical Review
(Academy of Sacred Drama, January 2019)
Countertenor Daniel Moody as Moses had the toughest assignment. His starchy character had one believing that the singer himself was uptight, until his voice eased up and blossomed for a rapturous tribute to the Sun as a model of constancy for rulers (“Vera Imago”).”

Seen and Heard International
(Apollo’s Fire, Messiah, 2018)
“Daniel Moody was a show-stopper with his extraordinarily full countertenor, particularly on the dramatically affecting ‘He was Despised’..”

Cleveland Classical
(Apollo’s Fire, Messiah, 2018)
“Countertenor Daniel Moody brought furious fireworks to “But who may abide,” and a mournful pathos to “He was despised.” “Thou art gone up on high” featured his beautiful high register and a delightful violin obbligato from Julie Andrijeski.”

Opera News
(Cincinnati Opera, September Issue, 2018)
“Countertenor Daniel Moody, who sang Nerone in the final performance of the run, appeared in two smaller parts on opening night. His voice is powerful with a strong high range.”

American Record Guide
(Cincinnati Opera’s L'incoronatione di Poppea, July 2018)
“Another thing that has changed a great deal is that we are living in a new golden age of countertenors... Nero himself was a countertenor here--Anthony Roth Costanzo, except in the final performance July 1 (which I attended), where Nero was Daniel Moody.
Daniel Moody grew up around Cincinnati, and I have known him and heard him sing since he was a teenager. He has a very beautiful voice, but it was hard for me to imagine him as Nero: a less Nero-like person I hardly know, and the voice is simply too beautiful to sound imperious. Or so I thought. Over the course of the evening he showed me how wrong I was--or rather how versatile he and his voice have become. And there were still numerous moments of utter beauty (especially in love scenes, naturally), where he would start singing ever so sweetly and then just let his voice blossom out into something big and round and smooth. He floats easily into soprano range, which made for lovely duets with Poppea (Sarah Shafer).” -Don Vroon, ARG, July 2018

CityBeat Article
(Cincinnati Opera’s L'incoronatione di Poppea, July 2018)
“Sunday's final, virtually sold-out Cincinnati Opera performance of the Baroque opera The Coronation of Poppea turned out to have a big surprise — and a delightful one for countertenor Daniel Moody. He took the co-leading role of the infamous Roman Emperor Nero because the originally cast singer, Anthony Roth Costanzo, was called away — to perform with a Kabuki company in Japan.
Moody, who hails from Moscow, Ohio and was a finalist in Cincinnati Opera's first Opera Idol competition in 2009, sang and acted beautifully, the audience consensus was, and shared in the sustained applause for the cast and musicians at the conclusion. This was his first major role in a Cincinnati Opera production — as part of his Cincinnati Opera debut, he had originally been hired to sing The Coronation of Poppea roles of Val and one of the three Familiari (Friends of Seneca). He had done that for the previous performances. He was one of the cast's three countertenors; Costanzo was another."

Oakwood Register
"If you fancy countertenors, this is a banquet of them. Remarkable male altos singing with consummate musicality. Nero, Anthony Roth Costanzo; Ottone, (Otho) Aryeh Nussbaum Cohen, and Daniel Moody [Valletto and Familgliari] filled the hall with these incredible sounds, natural and unstrained. "

The Plain Dealer 
(Concert review for Apollo's Fire, Israel in Egypt)
"Countertenor Daniel Moody used his clarion timbre to operatic effect,"

Seen & Heard International
 "In the following countertenor aria “Their land brought forth frogs," Daniel Moody sang brilliantly with drama and wit."

The Plain Dealer 
(Concert review for Apollo's Fire, Sacred Bach: A Spiritual Journey
"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."

The Berkshire Review
"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."

Albany Times Union
"Moody's voice was a wonder, with clear straight tones and perfect vibrato, commanding and thrilling."

The Boston Musical Intelligencer
"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."

The Berkshire Eagle
"Daniel Moody...brought vivid poise and character to the difficult part."

The Boston Globe
"Daniel Moody was the brave and capable countertenor soloist."

San Diego Story
"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 New York Times
"The vocal soloists were talented, particularly the countertenor Daniel Moody, his upper register as plangent as a clarinet’s in his Agnus Dei aria."

The Boston Musical Intelligencer
"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."

San Diego Story
"Countertenor Daniel Moody as Narciso, Agrippina's young suitor...consistently filled his vocal lines with energetic drive appropriate to the style."

Madison Magazine
"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."

The Financial Times
"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."

The Baltimore Sun
"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."

The Berkshire Review
"…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."

The New York Times
"Excellent — notably...the countertenor Daniel Moody, whose vocal resonance makes a profoundly startling impression..."

TMI Arts Page
"Countertenor Daniel Moody created the perfect atmosphere with his beautiful, full soprano timbre."

The Washington Post
"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."

The Baltimore Sun
"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."

The Boston Musical Intelligencer
"Countertenor Daniel Moody sang the Spirit of the Boy…his reedy voice flowed undulatingly over the stage proceedings."

Times Union
"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"