“Ain’t It a Pretty Night,” Floyd’s Susannah
“Jewel Song,” Gounod’s Faust
“Come Scoglio,” Mozart’s Così fan tutte
“Et incarnatus est,” Mozart’s Mass in C Minor
“It’s not often that a fortunate operagoer witnesses the birth of a star!,” critics hailed for Danielle Talamantes’ recent role début as Violetta in La traviata. This season, Talamantes sings Marzelline in Fidelio with the Princeton Festival; a concert entitled “Fanfare for the Uncommon Woman!” with Close Encounters with Music at the Manchester Music Festival and Scottsdale Center for the Performing Arts; “Mozart on a Summer’s Eve” with Spokane Symphony; Mozart’s Requiem at the Washington National Cathedral; Villa-Lobos’s Bachianas brasileiras No. 5, Bach’s Magnificat, and Fiordiligi in Così fan tutte with the National Philharmonic; the world première of Bartoldus’s Magnificat, Handel’s Laudate pueri dominum, and Charpentier’s Te Deum with The City Choir of Washington; Act I of La bohéme with the Symphony of Northwest Arkansas at Walton Arts Center; Händel’s Messiah with United States Naval Academy and Austin Symphony & Chorus Austin; Poulenc’s Gloria with Arizona State University’s Symphony Orchestra; Fairfax Symphony Orchestra’s 60th anniversary gala concert; and recitals and masterclasses with El Paso Pro-Muisca and Catawba College. Additionally, she will return to The Metropolitan Opera for their production of The Exterminating Angel.
Last season, Talamantes performed the title role of Susannah with Opera Roanoke and the role of Anna in Nabucco and Frasquita in Carmen with The Metropolitan Opera; reprised the role of Violetta in La traviata with Finger Lakes Opera; and sang the soprano solo in Händel’s Messiah with National Philarhmonic and The New Choral Society, Brahms’ Requiem with National Philharmonic, Mozart’s Requiem with Phoenix Symphony Orchestra, Verdi’s Requiem with Gloria Musicae, Barber’s Knoxville: Summer of 1915 with Manchester Symphony Orchestra, the soprano solo in an all Bach concert with Gamut Bach Ensemble and Philadelphia Chamber Music Society, two solo performances in Spokane’s Northwest Bach Festival and Series, and the soprano solo in Beethoven’s Symphony No. 9 with Fairfax Symphony.
Ms. Talamantes and Henry Dehlinger perform Heaven and Earth: A Duke Ellington Songbook, a luscious collection of brand-new arrangements of Duke Ellington standards and irreplaceable gems of the American Songbook – written especially for Ms. Talamantes, in recital at multiple venues across the country, with a album available. She and pianist Henry Dehlinger also perform, in recital, a concert of gorgeous Spanish songs featured in their critically-acclaimed MSR Classics album: Canciones españolas. Talamantes and Dehlinger captivate audiences with tales of amorous longing, joy and despair as they bring the lush music and poetry of Spain to life. More information on both of these concerts is available here and here or at UIAPresents’ website.
Recently, Talamantes sang the soprano solo in Haydn’s Creation with Cathedral Choral Society and Eaton Christ Church; Händel’s Messiah at Phoenix Symphony and National Philharmonic; Haydn’s Nelsonmesse, and Duruflé Requiem at the National Philharmonic; Haydn’s Gloria Musicae at Church of the Creation Palms; Vaughan William’s Dona Nobis Pacem at Farifax Choral Society; a Bach and Händel concert with Choralis; Carmina Burana at New Dominion Chorale; Adina in L’elisir d’amore at Gulf Shore Opera; Respighi’s Il Tromonto at Manchester Music Festival; and Mimì in La bohéme at St. Petersburg Opera. In addition, Ms. Talamantes performed a series of recitals at Campbell University, James Madison University, and Pont Loma in San Diego.
Danielle first earned a spot on the Metropolitan Opera roster in the spring of 2011, covering the role of Najade in Ariadne auf Naxos, and was subsequently reengaged to cover the role of the Flower Maiden in Wagner’s Parsifal, the soprano in the quartet of lovers in the Baroque pastiche The Enchanted Island, and in Strauss’ Die Frau ohne Schatten. This rising star made her exciting stage début as Frasquita in Bizet’s Carmen in a return to The Metropolitan Opera. Other recent engagements include a return to the National Philharmonic for both Beethoven’s Symphony No. 9 and Mozart’s Requiem and Exsultate, jubilate, which she also performed with the City Choir of Washington; a turn as Donna Anna in Don Giovanni at Cedar Rapids Opera; a Canciones Españolas concert at The Cosmos Club in Washington, DC; Dvořák’s Stabat Mater at North Carolina Master Chorale; and a début at Spoleto Festival USA as Sergente in Veremonda.
She débuted at Alice Tulley Hall as the soprano soloist in Bob Chilcott’s Requiem, the soprano lead in a world première production of Janice Hamer’s Lost Childhood with the National Philharmonic in Washington D.C., Elijah with the Blacksburg Master Chorale, Mozart’s Mass in C minor with the City Choir of Washington, and a début of the role of Mimì in Puccini’s La bohème with Capital City Symphony.
An accomplished recitalist, Danielle Talamantes was a featured soloist with the Baltimore Symphony Orchestra, National Philharmonic Chorale & Orchestra, United States Army Band, Oratorio Society of Virginia, Nashville Symphony, Choralis, and Baltimore Choral Arts Society. A native of Northern Virginia, Talamantes made her Carnegie Hall début in a sold-out solo recital in 2007, and was the Soprano in Residence for the Summer 2012 at the Marlboro Music Festival in Marlboro, Vermont.
Ms. Talamantes was awarded first-prize in several prestigious opera competitions, including: the Irene Dalis Opera San Jose Competition; Irma M. Cooper Opera Columbus Competition; XII Concurso de Trujillo; International Lotte Lehman Cybersing Competition; NATS Artist Award; and the Vocal Arts Society Discovery Series competition. In addition, she garnered honors and awards in vocal competitions with the National Opera Association, Liederkranz Foundation, Seoul International Music Competition, Licia Albanese-Puccini Foundation, Giulio Gari Foundation, Gerda Lissner Foundation, Plácido Domingo’s Operalia, and Thomas Quasthoff’s Das Lied.