Celebrated for his “richly shaded” (Operawire), “booming voice, and full range” (Houston Press), baritone Daniel Scofield is quickly garnering attention as a dramatic baritone on the rise who performs leading roles regularly in the United States and Internationally.
Recent debuts include the GLYNDEBOURNE FESTIVAL OPERA, PRAGUE STATE OPERA, DEUTSCHES SYMPHONIE-ORCHESTER, FORT WORTH OPERA, with additional engagements with the TEATRO SAN CARLO, LYRIC OPERA CHICAGO, HOUSTON SYMPHONY and more.
A notable interpreter of Verdi, he has already sung the leading roles in I VESPRI SICILIANI, RIGOLETTO, LA TRAVIATA, and been engaged for MACBETH, DON CARLOS, and AIDA. Daniel has also triumphed as Jack Rance in LA FANCIULLA DEL WEST, Scarpia in TOSCA, Tonio in PAGLIACCI, and Alfio in CAVALLERIA RUSTICANA. Praised for his nuanced characterizations, Daniel has begun earning recognition for his lyrical vocal technique, expressive musicality, dramatic range, and stylistic integrity.
His is a pro's performance,
and in an artist making his way
through the opera jungle,
it's thrilling to witness.”
Houston Press
In 2024/25 Daniel will travel to Germany, where he creates a new production of Pagliacci with Staatstheater Hannover. In the spring he makes a double debut, as he joins Opera Carolina as Escamillo in Carmen. Further engagements include a return to the State Opera Prague in Cavalleria Rusticana/Pagliacci, where he will make his debut in May as the titular character in Der Fliegende Holländer.
He began the 2023/24 season with a return to the Prague State Opera for Pagliacci/Cavalleria Rusticana (Tonio/Alfio) in a revival of last season's critically acclaimed new production by Ondrej Havelka. Additional season engagements include returns to Opera Orlando for Tosca (Scarpia), Opera Baltimore for Eugene Onegin in the title role and debuts with Fort Worth Opera La bohème (Marcello), and his Houston Symphony debut in Salome
The 2022-2023 season saw Daniel making several important debuts and premieres. In September he traveled to Berlin to perform Dame Ethel Smyth's Les Naufrageurs for the radio in the original French with the Deutsches Symphonie-Orchester under Maestro Robin Ticciati before returning to the Lyric Opera of Chicago in Sir David McVicar's production of Don Carlos. He also joined the Teatro di San Carlo in Naples in their production of Die Walküre and returned to the Prague State Opera in their double bill of Cavalleria Rusticana and Pagliacci, in a new production by Ondřej Havelka.
Previously he made his Glyndebourne Opera debut as Marcello in La bohéme, his Prague State Opera debut as the Count in Der ferne Klang, and joined the Lyric Opera of Chicago for their production of Macbeth. Recent engagements include Marcello in La bohéme with Charlottesville Opera, Montforte in I vespri siciliani with New Amsterdam Opera, and Cavalleria rusticana/Pagliacci with Lyric Opera of Chicago, which was among the cancellations of 2020.
Daniel Scofield is a two-time regional finalist of the Metropolitan Opera Eric and Dominique Laffont Competition and a recipient of the Olga Forrai Foundation grant for dramatic voices in opera. Apart from his opera performances, Mr. Scofield is also highly regarded as a concert performer. He has showcased his talents with orchestras across the country, including the Plano Symphony, Fort Wayne Philharmonic, and Indiana University Orchestra, among others. His concert repertoire includes works by Haydn, Handel, Britten, Stravinsky, and Mahler.
"The audience’s laughter may have been a testament to Daniel Scofield’s electrifying Rigoletto. His is not a sputtering, old, deformed jester. He might be a clown, but of the kind that gives little children nightmares. He is disturbing in part because of the subtle portrayal of Rigoletto’s deformity. There is only a gesture of a hump and a slightly more prominent limp. Aside from this, Rigoletto often seemed robust and even young. Scofield makes it seem as though being on the edge of normalcy makes him far more conscious of himself as an outsider and that much more intent on preserving his honor.... His voice is richly shaded. In its darker moments, it reminded me of Renato Bruson. He stretched some phrases slowly and thickly, like pulling apart tar."
Opera Wire
