Talamantes_headshot

ARTIST WEBSITE

CANCIONES ESPANOLAS

HEAVEN AND EARTH: A DUKE ELLINGTON SONGBOOK

DOWNLOAD ELECTRONIC PRESS KIT

AUDIO SAMPLES
[audio:http://www.uzanartists.com/wp-content/uploads/2017/08/Talamantes.D.Aint-It-a-Pretty-Night.Susannah.Roanoake.mp3]

“Ain’t It a Pretty Night,” Floyd’s Susannah

[audio:http://www.uzanartists.com/wp-content/uploads/2017/08/Talamantes.D.JewelSong.Faust_.mp3]

“Jewel Song,” Gounod’s Faust

[audio:http://www.uzanartists.com/wp-content/uploads/2017/08/Talamantes.D.ComeScoglio.CosifanTutte.mp3]

“Come Scoglio,” Mozart’s Così fan tutte

[audio:http://www.uzanartists.com/wp-content/uploads/2016/08/Talamantes.D.Et-incarnatus-est.mp3]

“Et incarnatus est,” Mozart’s Mass in C Minor 


“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 

BACK TO  SINGERS I OUR ARTISTS

Danielle Talamantes

Soprano

“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.

Oct
2017

Oct-15
Mozart’s Requiem
Soloist
Washington National Cathedral
WASHINGTON, DC
Oct-26
to
Nov-21
The Exterminating Angel
The Metropolitan Opera
New York, NY
Nov
2017

Nov-11
Bach And Bachianas
Soloist
The National Philharmonic Strathmore
North Bethesda, MD
Dec
2017

Dec-02
to
Dec-03
Messiah
Soloist
United States Naval Academy
Annapolis, MD
Dec-12
Messiah
Soloist
Austin Symphony
Austin, TX
Dec-16
Messiah
Soloist
Chorus Austin
Austin, TX
Jan
2018

Jan-17
Fanfare for the Uncommon Woman!
Soloist
Scottsdale Center for the Performing Arts
Scottsdale, AZ
Feb
2018

Feb-14
Masterclass
Catawba College
Salisbury, NC
Feb-15
Recital
Soloist
Catawba College
Salisbury, NC
Feb-16
to
Feb-17
NATS Masterclass
North Carolina NATS Conference
Winston-Salem, NC
Feb-23
Recital/Masterclass
El Paso Pro-Musica
El Paso, TX
Apr
2018

Apr-14
Cosi Fan Tutte
Fiordiligi
The National Philharmonic Strathmore
North Bethesda, MD
Apr-22
Handel’s Laudate pueri dominum and Charpentier’s Te Deum
Soloist
The City Choir of Washington
Washington, DC
Apr-26
Poulenc’s Gloria
Soloist
Arizona State University Symphony Orchestra
Tempe, AZ
May
2018

May-05
La Bohème Concert
Mimi
Symphony of Northwest Arkansas
Fayetteville, AR
May-12
60th Anniversary Gala Concert
Soloist
Fairfax Syphony Orchestra
Fairfax, VA
Please click below to see full quote

…handled the coloratura cleanly…
 Haydn’s Lord Nelson Mass – “Soprano Danielle Talamantes did most of the heavy lifting in the Haydn and, even with a huge voice that carried easily over the chorus and orchestra, handled the coloratura cleanly.” – Washington Post
…sang exquisitely…
Elijah “Among the soloists, soprano Danielle Talamantes sang exquisitely, savoring the elegant curve of Mendelssohn’s melodic lines.”Baltimore Sun
…emotionally powerful performances…
 Chilcott’s Requiem  “Soprano Danielle Talamantes and tenor Christian Reinert were revelations as well in their refined and emotionally powerful performances. The last measures of the Lux aeterna, featuring a soft ascending figure in the upper register, were sung by soprano Danielle Talamantes with a perfect diminuendo al niente, or to complete silence, and a child-like innocence that was exquisitely controlled and crystalline in its clarity. It was as if an angel were ascending into the heavens – a simple, but stunning effect.” – New York Concert Review 
…completely commanded the stage…
La traviata – “From her strong opening notes to a final dying outburst, she completely commanded the stage, with body language, facial expressions, and the tiniest hand gestures to complement her virtuoso vocal character portrayal. Never overly histrionic like some famous divas, she conveyed her feeling with exquisite restraint but great visceral impact. It’s a rare quality, and will assuredly earn her international acclaim.”The Independent
…warm, consoling presence…
Brahms’ Requiem“Soprano Danielle Talamantes was the highlight of the Brahms, a warm, consoling presence in the fifth movement”  The Washington Post 
“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.

Share this