Daniel JUÁREZ
TENOR
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about
about
Tenor Daniel Juárez is an established and admired presence on opera and concert stages throughout New England. He has performed with Opera Theater of Connecticut, Connecticut Lyric Opera, The Connecticut Virtuosi, Opera Connecticut, MassOpera, Coffee Milk Opera, and Modern Vintage Opera. A frequent recitalist and concert soloist, he is also regularly heard in performances throughout the region.
Based in Connecticut, Juárez has appeared in fully staged opera productions in the United States and abroad, including performances at the Greve Opera Festival in Tuscany, Italy, and with the Mid-Ohio Civic Opera.
His operatic repertoire encompasses many of the tenor canon’s most celebrated and demanding roles, including Radamès in Aida, Canio in Pagliacci, Turiddu in Cavalleria rusticana, Florestan in Fidelio, Cavaradossi in Tosca, Don José in Carmen, Rodolfo in La bohème, the Italian Singer in Der Rosenkavalier, Pinkerton in Madama Butterfly, Erik in The Flying Dutchman, and Calaf in Turandot. His repertoire also includes the title roles in Faust and Don Carlo.
Recent seasons have featured significant role debuts and returns to signature roles. In 2024, Juárez performed as Pinkerton in Madama Butterfly with Connecticut Lyric Opera, made his role debut as Calaf in a concert performance of Turandot with Coffee Milk Opera, and returned as Rodolfo in La bohème with The Connecticut Virtuosi Chamber Orchestra in collaboration with Teatro Lirico d’Europa. In June 2025, he made his role debut as Turiddu in Cavalleria rusticana with Modern Vintage Opera. In August 2026, he reprised the role of Cavaradossi in Tosca with Opera Theater of Connecticut. He will return to Opera Theater of Connecticut in August 2027 as Canio in I Pagliacci.
As a concert artist, Juárez performs an extensive repertoire of oratorio and sacred music. His solo credits include Dvořák’s Requiem, Handel’s Messiah, Mozart’s Requiem and Vesperae solennes de confessore, Schubert’s Mass in G Major, Schütz’s Seven Last Words of Christ, and Ariel Ramírez’s Misa Criolla. His Bach repertoire includes the Magnificat in D, the Coffee Cantata, and Liebster Gott, wenn werd ich sterben? (BWV 8). In April 2027, he will appear as tenor soloist in the Middletown Chorale’s performance of Verdi’s Requiem.
A graduate of the Yale School of Music, Juárez is a former Studio Artist with Minnesota Opera and a former regional finalist in the Metropolitan Opera National Council Auditions (Southwest Region). He lives in New Haven, Connecticut.
reviews
reviews
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
repertoire
repertoire
BEETHOVEN
Florestan—Fidelio (in concert)
BELLINI
Pollione—Norma (in preparation)
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 concert)
STRAUSS
Italian Singer—Der Rosenkavalier
VERDI
Radames—Aïda
Il Duca di Mantova—Rigoletto
Cassio, Otello
Otello - Otello (in preparation)
Don Carlo—Don Carlo
WAGNER
Erik—Der fliegende Holländer
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