Daniel Moody

COUNTERTENOR

Reviews

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.”

OPERA NEWS "...wildly imaginative, musically powerful and technically courageous."

 

Voix-des-arts.com
(Review of Orlando at Staunton Festival 2023 , by Joseph Newsome)

“The rôles written by Händel for Senesino pose a number of problems to modern singers of any gender. Most troublesome for some countertenor exponents of parts like Orlando are the strength and agility at the bottom of the range required by the music. One of the most noteworthy aspects of countertenor Daniel Moody’s performance as Orlando for SMF was the evenness of his voice across tbe part’s full range, no weakness compromising the lowest reaches of the compass. The ethereal sheen of his timbre immediately intimated an aura of mental vulnerability in the arioso ‘Stimolato dalla gloria’ in Act One. The accompagnato ‘Immagini funeste’ was acted as scintillatingly as it was sung, and ‘Non fu già men forte Alcide’ received a performance of engrossing theatricality. The famed aria ‘Fammi combattere’—its da capo observed, permitting Moody to venture demanding but tasteful ornamentation—was rightly a bravura tour de force, the fiorature sung with verve and virility. In the opera’s second act, the aria ‘Cielo! Se tu il consenti’ was voiced with élan, the words sensitively enunciated, and desolation echoed in ‘Dove, dove guidate, o Furie.’

The depiction of Orlando’s descent into madness that ends Act Two—and closed the first half of SMF’s two-part arrangement of the opera—is one of Händel’s most unique scenes, and Moody’s performance realized the music’s full expressive potential. Voicing the accompagnato ‘Ah stigie larve! Ah scellerati spettri’ with vehemence, his navigation of the alternating recitative and repetitions of ‘Vaghe pupille, non piangete, no’ manifesting the wanderings of Orlando’s mind with graphic realism. The warrior’s delirium persisted in Act Three, ‘Unisca amor in noi’ in the duetto with Dorinda and the aria ‘Già lo stringo, già l’abbraccio’ voiced with abandon. In the duetto with Angelica, Moody uttered ‘Sol ha sete di sangue il mio cor’ with anguished confusion.

Disbelief and self-recrimination surfaced in the accompagnato ‘Già per la man d’Orlando,’ and the magnificent aria ‘Già l'ebbro mio ciglio’ was sung with stunningly beautiful tone and touching introspection. ‘Per far, mia diletta’ and ‘Vinse incanti, battaglie, e fieri mostri’ traced the course of Orlando’s return to sanity, their texts accented with gradual awareness of the events that had transpired. Launching the opera’s closing ensemble, Moody sang ‘Trionfa oggi ’l mio cor’ jubilantly. Though the truncation of Hândel’s score was lamentable, Moody and his colleagues demonstrated that Orlando’s musical sophistication and dramatic cohesiveness rely not upon lavish staging but upon the earnest efforts of gifted singers and musicians who understand, respect, and dedicate themselves to serving the music.”

New York Classical Review
(Brooklyn Art Song Society, New Voices Festival, Wordliness I concert, April 2023)
“Equally literary—but less personal and perhaps then with broader appeal—was Reimann’s complex and involving Sinnig zwischen beyden Welten, sung in its American premiere by Moody, again with Stier and with violist Chieh Fan Yiu… Moody sang this exquisitely crafted music with vehemence, his voice powerful and insistent. Yiu’s playing was just as vehement, his antiphonal lines carving through space. One was gripped by the piece, and the playing, even as one felt that there was too much depth and complexity in the music to take in one sitting.”

Cincinnati Business Courier
(Cincinnati Symphony and May Festival Chorus, Handel’s Te Deum, April 2023)
”Countertenor Moody, an alumnus of the May Festival Chorus and the Youth Chorus, and tenor Ahrens made refined contributions and performed well in ensemble.”

New York Classical Review
(American Classical Orchestra concert, "Healing Bach” March 2023)
“Countertenor Daniel Moody captured the drama inherent in the former [aria]…His ornamentation of the melody in the final section of the da capo aria was executed with particular grace.”

Stir Arts & Culture Vancouver
(Midsummer Night’s Dream, Vancouver Opera 2023)
“The piece is a great showcase for young talents, including countertenor Daniel Moody as Oberon, who sounds assured and otherworldly riding the strange and near-hallucinatory notes of “I know a bank”, and brings a delicate, diaphonous quality to his duet with a charismatic Magali Simard-Galdes’s Tytania.”

San Francisco Classical Voice
(Arkhipov in concert, Oct. 2022)
“One of the most fascinating elements that Knell and Fleischmann introduce is the character of the Special Weapons Officer (sung with complex emotionality by countertenor Daniel Moody). Both his presence on the ship as a civilian and his unique vocal range set him apart from the crew. They verbally attack and haze him for his apparent homosexuality, lack of seamanship, and constant isolation spent guarding the ship’s ultrasecret “Special Weapon” —a torpedo tipped with a 10-kiloton nuclear warhead, roughly equivalent to the bomb dropped on Hiroshima. This strange (almost sexual) relationship between the Weapons Officer and his weapon provides a most intriguing dramatic element.”
Musical America Worldwide
(Arkhipov in concert, Oct. 2022)
”The role of the nameless Special Weapons Officer, whose status as outsider prompted some homophobic bullying by the Russian crew, was given to a countertenor and sung beautifully by Daniel Moody.”

Schmopera
(Cosmic Cowboy, Sept. 2022)
“Daniel Moody was every bit her match as Quingu in the first half and then Cooper in the second half: his countertenor was smartly mechanical in some ways, but could switch to tender on a dime, which was no small feat considering how difficult his parts were. Lastly of major note was Tyler Putnam’s Marduk. He imbued the character with the right amount of moral ambiguity for the role, while also doing excellently at presenting someone authoritative and strong enough.”
Boston Classical Review
(Cosmic Cowboy, Sept. 2022)
“Countertenor Daniel Moody’s portrayals of Qingu and Cooper, though, were thrillingly done, the blend of his instrument with Hilaire’s conjuring up some winsomely eerie sonorities in their Act 3 duet.”


TheaterMania
(Hamlet, Met Opera, May 2022)
"There are other standout performances…In the opera's one bit of levity, Daniel Moody and Eric Jurenas make memorable Met debuts as the smarmy Rosencrantz and Guildenstern, both voiced in falsetto. And Brenda Rae delivers an unsettlingly raw Ophelia…”
Bachtrack
(Hamlet, Met Opera, May 2022)
"Also worthy of mention are tenor William Burden as Polonius and mezzo-soprano Eve Gigliotti, substituting for Sarah Connolly as Gertrude, both in fine voice and finding unexpected pathos in their roles. Countertenors Daniel Moody and Eric Jurenas, making their Met debuts as Rosencrantz and Guildenstern, were a delightful presence, although they were sometimes covered by the orchestra in their lower registers. And a tip of the hat to onstage accordionist Veli Kujala for a standout cameo in Hamlet’s scene with the Players."
The Hangover Report
(Hamlet, Met Opera, May 2022)
“the Met’s deep bench saved the day, giving the opportunity for a number of singers to valiantly and seamlessly step in (at the performance I attended, Eve Gigliotti played Gertrude, David Adam Moore played Horatio, Daniel Moody played Rosencrantz, and Eric Jurenas played Guildenstern – all admirably).”
Woman Around Town
(Hamlet, Met Opera, May 2022)
“the roles of Rosencrantz and Guildenstern offered the audience two Met debuts: countertenors Daniel Moody (Rosencrantz) and Eric Jurenas (Guildenstern) who deftly produced the twittering, ingratiating, parroting vocal expressions of the two, providing, along with Hamlet’s antics, some comic relief throughout.”

Seen and Heard International
(Early Music New York, March 2022)
“The voice too has changed across the centuries. To hear Baroque works sung by a countertenor is like tasting the castle cellar’s rarest wine, just opened to the world with a burst of brilliance. Daniel Moody performed Lamento ‘Ach, dass ich Wassers g’nug hätte’ by Johann Christoph and Johann Sebastian’s Cantata BWV54 with a gripping, hypnotic voice. It was impossible to look away from his enrapturing presence and not cling to the otherworldly timbre of his voice – a sound neither mimicking a female vocal range nor stretching the male’s but creating a new aural space: silky, smooth and innocently mysterious. Moody’s blend of theatrical, expressive and steadfast style paired with the ensemble’s astute accompaniment made a graceful combination.”

Broadway World
(Apollo’s Fire, Israel in Egypt Feb. 2022)
“Daniel Moody captured the audience with his compelling countertenor tones. Moody's range, the highest male adult singing voice, was impressive in its pure tone.”
Cleveland Classical
(Apollo’s Fire, Israel in Egypt Feb. 2022)
“Countertenor Daniel Moody played up the humor of his plagues aria in appropriately unsubtle fashion.”


OperaWire
(Renee Fleming’s SongStudio at Carnegie’s Zankel Hall, Jan. 2022)
“It’s fairly safe to assume that the countertenor of the group, Daniel Moody, worked with one of the best in the business—Anthony Roth Costanzo. Moody, and his collaborator, Gracie Francis, performed Purcell’s “Music for a while,” from “Oedipus, King of Thebes;” and Schubert’s “Am Tage aller Seelen, Litanei auf das Fest aller Seelen (On All Souls Day, Litany for the Feast of All Souls).”

I enjoyed how Moody and Francis opened their portion of the program not with Baroque countertenor fireworks, but with the relatively slow Purcell composition. Moody’s voice was calming and peaceful, but with the hymn-like Schubert piece, he possessed a crystalline sparkle, while his overall presence displayed utter confidence. At the piano, Francis showed herself to be a strong partner, as piano and voice meshed seamlessly.”


Cleveland Classical
(Apollo’s Fire, Messiah Dec. 2021, Nicholas McGegan conducting)
“Also adept at highlighting contrasts was Daniel Moody, whose wonderfully light countertenor harbored an impressive flexibility. Underneath the angelic quality he brought to selections like “O Thou that tellest” lay a more forceful presence — he emphasized the trials wrought by the “refiner’s fire” and pointedly enunciated every syllable of “des-pis-ed.” ”
Seen and Heard International
(Apollo’s Fire, Messiah Dec. 2021, Nicholas McGegan conducting)
“Daniel Moody, a frequent Apollo’s Fire guest, sent his countertenor soaring, infused with energy.”


Arts ATL
(Atlanta Opera, Giulio Cesare Nov. 2021)
“Daniel Moody, in his Atlanta Opera debut as Tolomeo, is effective and ebullient, though there’s a distinct Disney villain vibe in his portrayal.” 
NewOutPost
(Atlanta Opera, Giulio Cesare Nov. 2021)
“Few modern mountings of Giulio Cesare would be complete without the participation of the inescapable countertenor, and in his Atlanta Opera debut as Tolomeo, Daniel Moody represented his fach admirably. Often restricted by the size of their instrument and a niche repertoire, the countertenor life can often be marred by limited artistic opportunities. Mr. Moody carefully produced voice, however, did not call out these frequent concerns. Moreover, he relished his interpretation by raising the larynx and indulging in flashes of straight tone to project a variety of effects, providing a window into another realm of acoustic possibilities within the context of a Handelian score. His iconic Dragula-inspired death scene gave me life.”

International Seen and Heard
(Apollo’s Fire “Jewish Ghetto’s of Baroque Italy” program March 2021)
“Benedetto Marcello was a gentile composer who did not hesitate to explore and evoke Hebraic culture, and the concert included excerpts from two of his Psalm settings which make use of traditional Hebrew chant. The first excerpt, from his setting of Psalm 15, gloriously contrasted countertenor Daniel Moody’s arching phrases with Rene Schiffer’s darkly expressive playing of the violoncello piccolo. “ 
Cleveland Classical
(Apollo’s Fire “Jewish Ghetto’s of Baroque Italy” program March 2021)
“Countertenor Daniel Moody and baritone Jeffrey Strauss adroitly inhabited their roles as Jew and Christian at several points in selections from Marcello’s Psalms 15 and 18.”

Opera News
(White Snake Project’s Alice in the Pandemic, Oct. 2020)
"...wildly imaginative, musically powerful and technically courageous."
"Although Alice was always herself, the other characters were represented by digitized avatars, with their interpreters visible in a box in the corner. This made it possible to enjoy the carnival barker antics of the CGI White Rabbit while watching countertenor Daniel Moody’s subtly suggestive facial expressions. Moody sang with a clean, controlled sound and perfectly captured the mischievous whimsy of the famously late leporid."
Wall Street Journal
(White Snake Project’s Alice in the Pandemic, Oct. 2020)
“Three excellent singers”
“Her guide is the White Rabbit (countertenor Daniel Moody), alternately comical (he dances Charleston steps) and menacing.”
Broadway World
(White Snake Project’s Alice in the Pandemic, Oct. 2020)
"Countertenor Daniel Moody is appropriately austere as the anthropomorphic White Rabbit, a character synonymous with punctuality. In this adaptation, his repeated belief that "time is elastic" is anything but cavalier and this epitomized, personified tension between urgency and disregard for the linear construction of time seems threateningly piercing when intoned in his disconsolately wistful timbre."


Cleveland Classical
(Apollo’s Fire Bach Christmas Oratorio Dec. 2019)
“Moody, too, sang with uncommon warmth and softness, utterly avoiding all harshness,”
Seen and Heard International
(Apollo’s Fire Bach Christmas Oratorio Dec. 2019)
“One who didn’t particularly need the pulpit was countertenor Daniel Moody, whose clear and imperious tone rang out dramatically in his solos, particularly in the call-and-response between chorus and soloist in ‘Wo ist der neugeborne König’"

OperaGene
(Opera Lafayette’s Venus and Adonis, Nov. 2019)
“I will single out Daniel Moody a bit more.  I always feel that the countertenor is the singer that distinguishes baroque opera, and Mr. Moody’s clarion countertenor provided a strong beacon for this opera.”  
Washington Post
(Opera Lafayette’s Venus and Adonis, Nov. 2019)
“Dunford, cellist Loretta O’Sullivan and harpsichordist Violaine Cochard then backed Desandre and Moody in three Purcell airs, establishing the evening’s essential sound — silvery vocal clarity blooming over elaborate instrumental buzz.
Moody, Kilbride and Woody, joined by soprano Véronique Filloux, gave the choruses vocal lilt matching the musicians’ bounce.”
DC Theater Scene
(Opera Lafayette’s Venus and Adonis, Nov. 2019)
“Daniel Moody has a very distinctive attack in his approach to singing countertenor and a vivid stage presence.”
GC News
(Opera Lafayette’s Venus and Adonis, Nov. 2019)
“Countertenor Daniel Moody charmed in the Purcell “Strike the Viol” and performed several small parts in the Blow opera.
“The vocal ensemble was full of striking voices and personalities — besides Moody, Véronique Filloux, Jonathan Woody, and Patrick Kilbride shone in brief solo opportunities.”


Arts-NY
(Review of Hans Christian Andersen: Tales Real and Imagined, May 2019)
“In the hands of such a strong musical ensemble, the music makes a lasting impression and clearly dominates over the rest of the production. Jimmy Ray Bennett presents a likable if sometimes pitiful character while Daniel Moody’s crystal-tone singing is a perfect match to the sensibilities of the script.”
Lighting and Sound America
(Review of Hans Christian Andersen: Tales Real and Imagined, May 2019)
“Edvard is played by one of two countertenors -- at the performance I attended, it was Daniel Moody -- who interrupts the action (such as it is) with song. The entire musical program, which also features two pianos (played, beautifully, by Carlos Avila and Max Barros) and a percussion section (overseen by Shiqi Zhong), includes selections from Samuel Barber, Benjamin Britten, Arvo Pärt, Henry Purcell, and Igor Stravinsky. These are often lovely -- Moody sings his selections with sensitivity and brio -- but their connection to the play is as tenuous as the numbers in any jukebox musical.”
Front Row Center
(Review of Hans Christian Andersen: Tales Real and Imagined, May 2019)
“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.”

ARTS ATL
(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.”
The Word Sanctuary
(Atlanta Symphony, Bernstein’s “Chichester Psalms” April 2019)
“The vocalists acted their pieces as roles. Countertenor Daniel Moody [see photo] seemed blissful as he sang (in Hebrew) "The Lord is my Shepherd," his voice filling the auditorium before diminishing to sustained soft ends of phrases; he seemed regretful while those raging nations trampled all over his lovely melody.”


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.”
San Francisco Classical Voice
(Philharmonia Baroque concerts with Anne Sofie von Otter, March 2019)
“Moody, singing with the purity of a boy soprano, gave the Lord’s Prayer (Vater unser) a self-effacing clarity. Finally, set off only by the shimmer of two violins, Von Otter and Moody sang an aching, heartsick duet (Es sang vor langen Jahren).
Moody did his best solo Handel work in a dark, dusky, and assertive “Furibondo spira il vento” (Furious blows the wind) from Partenope. A listener could almost feel the harsh winds storming through the lines.”
To Sing or not to Sing?
(Philharmonia Baroque concerts with Anne Sofie von Otter, March 2019)
“The great surprise of the evening was the countertenor Daniel Moody.The beauty of his voice, his outstanding musicality and the simplicity of his execution seemed to cut to the very core.”

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
(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
(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
(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
(L'incoronatione di Poppea, July 2018)
"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, 2017)
"Countertenor Daniel Moody used his clarion timbre to operatic effect."
Seen & Heard International
(Concert review for Apollo's Fire, Israel in Egypt, 2017)
"In the following countertenor aria “Their land brought forth frogs," Daniel Moody sang brilliantly with drama and wit."

leSoleil (Québec City)
(Concert review  for Les Violons du Roy, King Arthur, 2017)
“The countertenor Daniel Moody, who joined the choir between his solos, was a refreshing discovery and did his job very well.”

The Plain Dealer 
(Concert review for Apollo's Fire, Sacred Bach: A Spiritual Journey, 2017
"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."

PGH In the Round
(Pittsburgh Festival Opera, Xerxes 2017)
“Daniel Moody, as Arsamene, made a fine showing with the vastly more varied music Händel wrote for his role. His performance was a highlight of the evening, despite costuming…”


The Berkshire Review
(Tanglewood Festival
, Dream of the Song by George Benjamin, 2016)
"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
(Tanglewood Festival, Dream of the Song by George Benjamin, 2016)
"Moody's voice was a wonder, with clear straight tones and perfect vibrato, commanding and thrilling."
The Boston Musical Intelligencer
(Tanglewood Festival, Dream of the Song by George Benjamin, 2016)
"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
(Tanglewood Festival, Dream of the Song by George Benjamin, 2016)
"Daniel Moody...brought vivid poise and character to the difficult part."
The Boston Globe
(Tanglewood Festival, Dream of the Song by George Benjamin, 2016)
"Daniel Moody was the brave and capable countertenor soloist."


San Diego Story
(Rinaldo, Opera NEO, 2015)
"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
(Yale Schola Cantorum, Zelenka Mass, 2014)
"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
(Yale Schola Cantorum, Zelenka Mass, 2014)

"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
(Agrippina, Opera NEO, 2014)

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


Madison Magazine
(Handel Aria Competition, 2014)

"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 Baltimore Sun
(A Midsummer Night’s Dream, Peabody Opera, 2014)
"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
(Curlew River & Dido and Aeneas  at Tanglewood Festival, 2013)
"…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
(Curlew River & Dido and Aeneas  at Tanglewood Festival, 2013)
"Excellent — notably...the countertenor Daniel Moody, whose vocal resonance makes a profoundly startling impression..."
TMI Arts Page
(Curlew River & Dido and Aeneas  at Tanglewood Festival, 2013)
"Countertenor Daniel Moody created the perfect atmosphere with his beautiful, full soprano timbre."
DanceBeat
(Curlew River & Dido and Aeneas  at Tanglewood Festival, 2013)
"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
(
Curlew River & Dido and Aeneas  at Tanglewood Festival, 2013)

"Countertenor Daniel Moody sang the Spirit of the Boy…his reedy voice flowed undulatingly over the stage proceedings."
Times Union
(Curlew River & Dido and Aeneas  at Tanglewood Festival, 2013)
"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"
The Financial Times
(Curlew River & Dido and Aeneas  at Tanglewood Festival, 2013)
"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
(
Giulio Cesare, Peabody Opera, 2012)

"Countertenor Daniel Moody, as Caesar, does impressive work…has obvious potential, and the phrasing is admirably eloquent throughout."


The Washington Post
(
Baltimore Consort, Washington Early Music Festival, 2012)

"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."