Mezzo-soprano Daryl Freedman is praised by Opera News for her “striking dark timbre” and “expansive, sumptuous” performances. In the 24/25 season, Daryl will make her debut with Opéra national de Paris for Suor Angelica (Suor Dolcina) and return to The Metropolitan Opera for The Magic Flute (3rd Lady). On the concert stage, she makes debuts with Canterbury Choral Society and Austin Opera as the mezzo-soprano soloist in Verdi’s Messa da Requiem and returns to the Fargo-Moorhead Symphony Orchestra as the title role in the final scene of Carmen as a part of their first Masterworks Series concerts entitled, Passion.
Last season, Daryl made returns to The Metropolitan Opera for The Magic Flute (3rd Lady) and Un ballo in maschera (Ulrica cover), The Cleveland Orchestra for fully staged performances of Die Zauberflöte (Dritte Dame), and Lyric Opera of Chicago to cover in Aida (Amneris). In 22/23, Daryl started with a role debut in Un ballo in maschera (Ulrica) at Maryland Lyric Opera followed by returns to The Cleveland Orchestra for Schubert Mass No. 6 with performances at Severance Hall and Carnegie Hall, Santa Fe Symphony for Messiah, and a return to The Metropolitan Opera to cover in Aida (Amneris).
Past highlights include debuts at The Atlanta Opera in the title role of Julius Caesar, Virginia Opera for Das Rheingold (Fricka), Théâtre du Capitole de Toulouse for Die Walküre (Schwertleite), and Salzburger Festspiele in a new Christoph Loy production of Suor Angelica (Suor Dolcina) conducted by Franz Welser-Möst. Daryl has returned to The Metropolitan Opera for The Magic Flute (Third Lady), Washington National Opera for the world premiere of Sankaram’s Rise (Powerful Woman/Adelaide Johnson), and The Cleveland Orchestra for staged performances of Ariadne auf Naxos (Dryad). On the concert stage she debuted with the National Symphony Orchestra in Bernstein's Songfest and returned to the Santa Fe Symphony and Boise Philharmonic for Handel’s Messiah.
Photo credit: Arielle Doneson