Daniel JUÁREZ

TOSCA

Tenor Juarez as Tosca’s lover Cavaradossi turned in some bravura singing, particularly in his opening love song, “Recondita armonia,” and his final duet with Tosca, which includes the Italian words that translate as “In harmonious flight the soul is redeemed by the ecstasies of love.” Juarez has a supple voice with a fullness not always heard among tenors on the opera stage. - Lee Howard, The Day, New London, CT

FAUST

...tenor Daniel Juarez seems to do his very best work for the CLO in French repertory — a blazing 2012 Don Jose here, concert arias from “Le Cid” — and his first Faust followed suit. His instrument is by nature built for heavier and darker roles (any takers for Samson?), but spintos like Corelli and Domingo have scaled their voices down for this part. So did Juarez, who sang a Faust of both great refinement and passion, and his top notes flowed freely and effortlessly.  - Larry Kellum, The Town Times, Middletown, CT

As the aging philosopher/scholar undergoing the diabolic makeover, tenor Daniel Juarez masterfully handles the role's demands of power, tessitura and sensitivity. - Gerald Moshell, The Day, New London, CT

CARMEN

Saturday's production featured ... a riveting evening of musical drama by tenor Daniel Juárez as Carmen's victim Don José - as strong a performance as any CLO principal to date... Saturday, Juárez made a strong case for Don José as the opera's central character, a man complex and strong, yet vulnerable. His growing vocal ardor, a smooth and powerful tenor well-suited to this French material, and stagecraft through the final two acts as he realizes Carmen has tossed him aside after convincing him to desert his army post, were character development writ large. From the Act 2 aria "La fleur que tu m'avais jetée" through the impassioned duets that followed to the finale, Juárez was the evening's emotional epicenter. - Milton Moore, The Day, New London, CT

…the real revelation of the evening was tenor Daniel Juarez as Don Jose… he flooded the theater with big, burnished, baritonal sounds, a powerful top, and plenty of gut-wrenching passion. - Larry Kellum, The Town Times, Middletown, CT

FLYING DUTCHMAN

Following up on his riveting performance as Don José in last season’s CLO “Carmen,” Juarez almost stole the show Saturday, his full-throated tenor filling the hall with anger and frustration in Act 2 as Senta sings of her sympathy for the Dutchman’s fate, and he rages, “Does my suffering not move you more?” - Milton Moore, The Day, New London, CT

STABAT MATER (ROSSINI)

“The most spectacular of the arias was “Cujus Animam,” which takes the tenor soloist to a stratospheric high d-flat. Dan Juarez made it look easy. He has a full dramatic sound, somewhat dark, but flexible, undaunted by Rossini’s demands that took him all over his range.” - Arden Anderson-Broecking, New Canaan News, New Canaan, CT

BEETHOVEN

Florestan—Fidelio

BIZET

Don José—Carmen

GOUNOD

Faust—Faust

LEONCAVALLO

Canio—I Pagliacci

MENOTTI

Jaspar—Amahl and the Night Visitors

PUCCINI

Rodolfo—La Bohème

Cavaradossi—Tosca

Pinkerton—Madama Butterfly

Calaf—Turandot (in preparation)

STRAUSS

Italian Singer—Der Rosenkavalier

VERDI

Radames—Aïda

Il Duca di Mantova—Rigoletto

Cassio, Otello—Otello

Macduff—Macbeth (in preparation)

Don Carlo—Don Carlo

Riccardo—Un Ballo in Maschera (in preparation)

WAGNER

Erik—Der fliegende Holländer