Press

Murder She Wrote: Elizabeth Cree launch Opera Philadelphia’s Fall Festival

Bachtrack
September 15, 2017

“Daniela Mack was a dazzlingly vibrant Elizabeth, her angry mezzo-soprano coloratura indicating her character’s imbalance from the first. Her voice dominated the theatre with ease, just as her persona dominated the action, inveigling her way into the musical hall, into ‘respectable’ marriage complete with trailing purple bustle, into murder.”

Elizabeth Cree PHILADELPHIA

Opera News
September 14, 2017

“In the title role, Daniela Mack shone wonderfully, her rich yet agile mezzo coping masterfully with rangy writing that incorporated aspects of her Handel and Rossini-honed technique. Her clear, expressive diction lent poignance to Elizabeth’s plight.”

O Festival Diary—Day I: Elizabeth Cree

Philadelphia Magazine
September 14, 2017

“Elizabeth Cree demands to be seen—and there’s much more. Superb performances, for one. Daniela Mack brings brunette glamour and a cool but smoldering temperament to the title role…and her burnished mezzo easily rises to the challenges, including some jagged “modern” vocal writing as well as considerable coloratura.”

“Leading Lady” Opera News Interview Feature

Opera News
August 3, 2017

“Daniela Mack…has already established herself as a star in houses around the country—including, next month, at Opera Philadelphia, where she originates the title role in Kevin Puts and Mark Campbell’s new chamber opera Elizabeth Cree, based on a novel by Peter Ackroyd.”

The Crypt Sessions Preview: “Elizabeth Cree” at the Church of the Intercession

Feast of Music
June 6, 2017

“Here, Mack’s penetrating mezzo boomed through the crypt as if there were a Marshall Stack hidden behind the piano. Mack, whose spring highlights included her Met Opera debut in Rusalka and Beethoven’s 9th with the NY Phil, sang with a poise and composure well beyond her years.”

BWW Preview: ELIZABETH CREE is a Tale from a New York Crypt Headed for Philadelphia Opera Festival

BroadwayWorld
June 5, 2017

“The fascinating excerpts of Puts’ score (Pulitzer winner with Campbell for SILENT NIGHT in 2012), with its chromatic weaving, found a perfect conduit in the velvet authority of flexible mezzo Daniela Mack.”

Kevin Puts Opera Preview at The Crypt

Berkshire Fine Arts
June 1, 2017

“The Argentinean mezzo, who sounds like a contralto, has a lush rumbling of her lower chest which few singers can draw upon.”

I Went to a Concert With a Basement Full of Dead People and Loved It

The Vulture
June 1, 2017

“She intensified its luscious love of death with the dark radiance of her voice, then sent her small but grateful audience back above ground.”

Quote, Review

JFK Fort Worth Opera Review

Henry Stewart, Opera News
April 23, 2016

“The greatest of these went to Jackie, sung by the devastating and magnificent Daniela Mack, the evening’s MVP. She has a voice like polished onyx: strong, dark, deep and gleaming. She stripped the first lady of her typical grace and glamour, wearing just a slip, sticking a needle in her leg; she was anxious, exhausted and melancholy. Her moving duet with her older self (a stunningly costumed Katharine Goeldner)—which becomes a trio, with Clara—includes Vavrek’s most piercing dialogue: Mrs. Kennedy, on the morning of November 22, 1963, asking Mrs. Onassis if her husband will love her everyday for the rest of his life.”

Quote, Review

A Siren to Fire Partenope at S.F Opera

Robert Commanday, San Francisco Classical Voice
October 16, 2014

“Mack’s arias were strong and also virtuosic, befitting the trouser-role character. She has the opera’s single stop-time contemplative piece, an exquisite accompanied recitative that she sang lovingly.”