Tenor Daniel Juárez is well known to New England opera audiences, having appeared in recent seasons with Opera Theater of Connecticut, Connecticut Lyric Opera, MassOpera, Western Connecticut State University Opera Studio, and in various recital and concert venues throughout the region. His recent operatic credits include Radames in Verdi’s Aida, Canio in Leoncavallo’s I Pagliacci, Cavaradossi in Tosca, Don José in Bizet’s Carmen, the title role in Gounod’s Faust, Rodolfo in Puccini’s La Bohème, The Italian Singer in Strauss’ Der Rosenkavalier, Pinkerton in Puccini’s Madama Butterfly, Erik in Wagner’s The Flying Dutchman, the title role of Verdi’s Don Carlo, and Florestan in Beethoven's Fidelio.

In the 2023-24 season Daniel was featured in the Connecticut Lyric Opera's 20th Anniversary Gala Concert and will appear as Pinkerton in their May 2024 production of Madama Butterfly

Daniel is regularly featured as the tenor soloist in a number of oratorio and concert performances, including Antonin Dvorak's Requiem, G.F. Handel’s Messiah, W.A. Mozart’s Requiem and Vesperae Solennes de Confessore, various cantatas by J.S. Bach (including Magnificat in D Major, the "Coffee Cantata,"  and BVW 8 - Liebster Gott, wenn werd ich sterben?), Ariel Ramirez’ Misa Criolla, Heinrich Schütz’ Sieben Worte Jesu Christi am Kreuz, and Schubert's Mass in G maj.  

Daniel is a graduate of the Yale University School of Music, a former Minnesota Opera Studio Artist, and one-time finalist in the Southwest Region Metropolitan Opera National Council auditions. He makes his home in New Haven, CT.



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


...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


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


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


“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





Don José—Carmen




CanioI Pagliacci


Jaspar—Amahl and the Night Visitors


Rodolfo—La Bohème


Pinkerton—Madama Butterfly

Calaf—Turandot (in preparation)


Italian Singer—Der Rosenkavalier



Il Duca—Rigoletto

Cassio, Otello—Otello

Macduff—Macbeth (in preparation)

Don Carlo—Don Carlo

Riccardo—Un Ballo in Maschera (in preparation)


Erik—Der fliegende Holländer