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 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 engagements include a role/house debut at Virginia Opera in Das Rheingold (Fricka), a role/house debut at The Atlanta Opera in the title role of Julius Caesar, a return to The Metropolitan Opera for The Magic Flute (Third Lady) and rehearsal cover in the new McVicar production of Don Carlos (Princess Eboli), and a return to Washington National Opera for the world premiere of Sankaram’s Rise (Powerful Woman/Adelaide Johnson). In the summer of 2022, she debuted at the Salzburger Festspiele in a new Christoph Loy production of Suor Angelica (Suor Dolcina) conducted by Franz Welser-Möst. On the concert stage she debuted with the Erie Philharmonic in Mahler Symphony No. 2, and returned to the Fairfax Symphony for Beethoven Symphony No. 9.
Past performances include a debut with Fargo-Moorhead Symphony Orchestra for Das Lied von der Erde, Cavalleria Rusticana (Santuzza cover) in a new Robert Carsen production at the Dutch National Opera, and a role/house debut at Opera San José in Il trovatore (Azucena). Additional contracted productions of Il trovatore at Madison Opera and Portland Opera were postponed due to the pandemic, as well as engagements with the Cleveland Orchestra, Lyric Opera of Chicago, and Malmö Live Konserthus. She debuted with The Metropolitan Opera in Die Walküre (Schwertleite), returned to The Cleveland Orchestra for staged performances of Ariadne auf Naxos (Dryad), covered in Cavalleria Rusticana (Santuzza) at San Francisco Opera, debuted in Die Walküre (Schwertleite) at the Théâtre du Capitole de Toulouse, and debuted in Aida (Amneris) with Opera Idaho. On the concert stage she debuted with the National Symphony Orchestra in Bernstein’s Songfest, Quad City Symphony Orchestra and Fairfax Symphony in Verdi Requiem, and returned to the Santa Fe Symphony and Boise Philharmonic for Handel’s Messiah. She made her Wagnerian role debut in Der fliegende Holländer (Mary) with Sarasota Opera, where she returned in Rimsky-Korsakov’s Le coq d’or (Amelfa), and Lucia di Lammermoor (Alisa).
Ms. Freedman is a graduate of the Cafritz Young Artist Program at Washington National Opera where she was seen in Don Carlo (Princess Eboli), Hansel and Gretel (Gertrude), Better Gods (Lili’uokalani), Der Ring des Nibelungen (Rossweisse), Dead Man Walking (Jade Boucher), and Le nozze di Figaro (Marcellina).
AUGUST 2024
