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Jonathan Willcocks’ A Great and Glorious Victory

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“The Ride of Tarquinius”, Britten’s The Rape of Lucretia


Jonathan Willcocks’ A Great and Glorious Victory


“The Ride of Tarquinius”, Britten’s The Rape of Lucretia

VIDEO SAMPLES

 


BACK TO  SINGERS I OUR ARTISTS

Daniel Shirley

Tenor

Championing a diverse and challenging repertoire which spans from the early Baroque to the avant-garde, tenor Daniel Shirley is emerging as an audience favorite on opera and concert stages.  Of a recent performance as Prunier in Puccini’s La rondine critics hailed: “When Shirley was onstage it was hard to take one’s eyes off him. He seemed to be constantly moving and the voice is so pure that even in the softer passages he makes a very memorable impression.” Mr. Shirley is a rising star on concert and recital stages throughout the United States with recent engagements including Jonathan Willcocks’ A Great and Glorious Victory in his Carnegie Hall début, the tenor soloist in Israel in Egypt and Mozart’s Coronation Mass with Chicago’s Music of the Baroque,  the tenor solo in Carmina Burana with the Seattle Symphony, Eurimaco in Il ritorno d’Ulisse in patria with Boston Baroque, and the tenor solo in Händel’s Messiah with Pacific Symphony.

 

Sep
2014

Sep-27
to
Sep-28
Overture Anniversary Concert
Tenor Soloist
Madison Opera
Madison, WI
Dec
2014

Dec-14
Bach’s Magnificat
Tenor Soloist
Choral Society of Durham
Raleigh Durham, NC
Feb
2015

Feb-06
to
Feb-08
Sweeney Todd
Anthony
Madison Opera
Madison, WI
Apr
2015

Apr-10
to
Apr-11
Carmina Burana
Tenor Soloist
Alabama Symphony
Birmingham, AL
Please click below to see full quote

…sang lyrically and full-voice…
 Carmina Burana - “Tenor Daniel Shirley — who lurched on and off the stage to illustrate the unfortunate fate of the “roasted swan” he portrayed — sang lyrically and full-voice the extremely high lines that are more usually rendered in falsetto.” – Seattle Times 
…seems to walk off with the whole show…
 Il ritorno d’Ulisse in patria - “…tenor Daniel Shirley, in the minor role of Eurimaco, gave one of those whole-hearted, full-throated performances that for a moment seems to walk off with the whole show.” – The Hub Review 
…articulate delivery…
 Israel in Egypt - “Tenor Daniel Shirley’s articulate delivery was to the Handelian manner born.” – Chicago Tribune 
…pure and solid tone…
Romeo et Juliette - Daniel Shirley made Tybalt very threatening, and his pure and solid tone indicated that he might have had the equipment to be…effective in the title role.” – concertonet.com
…on-target performance…
Romeo et Juliette - “As Tybalt, the tenor Daniel Shirley gave a hot-headed, on-target performance.”– South Florida Classical Review 
…a very memorable impression…
La rondine - Daniel Shirley was the greatest surprise of the evening.  Prunier might not seem to be [a] terribly interesting fellow, but when Shirley was onstage it was hard to take one’s eyes off him. He seemed to be constantly moving and the voice is so pure that even in the softer passages he makes a very memorable impression.”concertonet.com
Composer Opera Role
Bernstein Candide Candide
West Side Story Tony
Britten Albert Herring Title role
A Midsummer Night’s Dream Lysander
The Turn of the Screw Peter Quint/Prologue
Donizetti L’elisir d’amore Nemorino
Don Pasquale Ernesto
Floyd Susannah Little Bat
Gilbert & Sullivan H.M.S. Pinafore Ralph Rackstraw
The Mikado Nanki-Poo
The Pirates of Penzance Frederic
Gluck Alceste Admeto
Iphigénie en Tauride Pylade
Orphée Title role
Gounod Roméo et Juliette Tybalt
Händel Acis and Galatea Acis
Alcina Oronte
Ariodante Lurciano
Semele Jupiter
Rodelinda Grimoaldo
Lehár The Merry Widow Camille
Monteverdi L’Orfeo Title role
Il ritorno d’Ulisse in patria Telemaco, Eurimaco
Mozart La clemenza di Tito Title role
Così fan tutte Ferrando
Don Giovanni Don Ottavio
Die Entführung aus dem Serail Belmonte
Idomeneo Title role, Idamante
Die Zauberflöte Tamino
Puccini Gianni Schicchi Rinuccio
La rondine Prunier
Rossini Il barbiere di Siviglia Count Almaviva
Sondheim A Little Night Music Henrik
Sweeney Todd Anthony, Beadle, Pirelli
Strauss, J. Die Fledermaus Alfred
Stravinsky The Rake’s Progress Tom Rakewell
Vivaldi Griselda Gualtiero
Weill Street Scene Sam Kaplan
Composer Work  
Bach Mass in B minor
St. John Passion
St. Matthew Passion
Beethoven Missa Solemnis
Ninth Symphony
Britten St. Nicholas Cantata
Serenade for Tenor, Horn, and Strings
War Requiem
Händel Israel in Egypt
Messiah
Haydn Creation
Lord Nelson Mass
Missa in tempore belli
Missa sancti Nicolai
The Seasons
Mendelssohn Elijah
Monteverdi Vespers
Mozart Coronation Mass
Mass in C Minor
Requiem
Orff Carmina Burana

 

Championing a diverse and challenging repertoire which spans from the early Baroque to the avant-garde, tenor Daniel Shirley is emerging as an audience favorite on opera and concert stages.  Of a recent performance as Prunier in Puccini’s La rondine critics hailed: “When Shirley was onstage it was hard to take one’s eyes off him. He seemed to be constantly moving and the voice is so pure that even in the softer passages he makes a very memorable impression.” In coming seasons, Mr. Shirley will appear in the Madison Opera Overture Anniversary concert, performs the role of Anthony Hope in Sondheim’s Sweeney Todd, also with Madison Opera, sings the tenor solo in Orff’s dramatic cantata Carmina Burana at Alabama Symphony, and performs C.P.E Bach’s Magnificat with the Choral Society of Durham.

Mr. Shirley is a rising star on concert and recital stages throughout the United States. Recent concert engagements include Jonathan Willcocks’ A Great and Glorious Victory in his Carnegie Hall début, tenor soloist in Israel in Egypt and Mozart’s Coronation Mass with Chicago’s Music of the Baroque, the tenor solo in Carmina Burana with the Seattle Symphony, Eurimaco in Il ritorno d’Ulisse in patria with Boston Baroque, and the tenor solo in Händel’s Messiah with Pacific Symphony.

Also in demand on opera stages, Mr. Shirley made his début with New York City Opera covering The Prologue/Peter Quint in The Turn of the Screw, sang Steuermann in Der fliegende Holländer with Michigan Opera Theatre, Acis in Acis and Galatea with Madison Opera, Will Tweedy in Carlisle Floyd’s Cold Sassy Tree with Sugar Creek Symphony and Song, and Nanki-Poo in The Mikado with Opera Memphis. Other roles in Shirley’s repertoire include Count Almaviva in Il barbiere di Siviglia, Lysander in A Midsummer Night’s Dream,Tamino in Die Zauberflöte, Fenton in Falstaff, Ferrando in Così fan tutte, and the title role in Candide.

As a young artist with Florida Grand Opera he performed Prunier in La rondine, Tybalt in Roméo et Juliette, and covered Don Ottavio in Don Giovanni.  Of  his recent performance as Tybalt, it was said that “his pure and solid tone indicated that he might have had the equipment to be effective in the title role.” As an apprentice artist with Santa Fe Opera, he was engaged for a production of Griselda.

Mr. Shirley was recently invited by Maestro Frédéric Chaslin to record the role of Edgar in his new opera Wuthering Heights with the orchestra of the Palau de les Arts Reina Sofia in València, Spain.Additional performances have included Edgardo in Lucia di Lammermoor with Arbor Opera Theater; Sam Polk in Susannah and Larry/Matt in The Face on the Barroom Floor at Central City Opera, where he served as a 2008 Bonfils-Stanton Foundation Apprentice Artist; plus various engagements with Mississippi Opera and Opera Memphis as an Artist-in-Residence.

A passionate concert artist, Mr. Shirley has been lauded for his interpretations of the major works of the sacred canon.  He débuted with the Indianapolis Symphony Orchestra as soloist in Haydn’s St. Nicholas MassHe has performed Händel’s Messiah with the Evansville Philharmonic Orchestra and with choral and symphonic organizations throughout the Midwest; Mendelssohn’s Elijah with the Lafayette Bach Singers; Bach’s Matthäus-Passion and Mozart’s Mass in C Minorwith the Bloomington Chamber Singers; Bach’s Mass in B Minor with the Columbus Indiana Philharmonic; and Haydn’s Creation as a guest artist of St. Joseph College in Indiana. He also joined oboist Elizabeth Robertson for Vaughan Williams’ Ten Blake Songs on her album Oboe Serenade.

In addition to the Sullivan and London Foundations, Shirley is the recipient of awards from the Anna Sosenko Trust, the National Society of Arts and Letters, Central City Opera, The Orpheus National Vocal Competition, Chautauqua Opera, and Dayton Opera Guild. His voice instructors have included tenor Jason Ferrante and mezzo-soprano Patricia Stiles of Indiana University’s Jacobs School of Music, where he earned a Master of Music degree in Voice.  While there, he performed a variety of roles including two significant premières: Dino in the collegiate première of William Bolcom’s A Wedding, and Joe Crowell in the world première of Ned Rorem’s Our Town. With the university’s Pro Arte ensemble, he was honored to sing in the world première of John Harbison’s A Clear Midnight.  He holds a Bachelor of Music from Vanderbilt University’s Blair School of Music, where he appeared as the Lover in Menotti’s Amelia Goes to the Ball.

 

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