Check out Colleen's feature in The Baltimore Sun and Howard County Magazine!

American soprano Colleen Daly has been hailed as a “dramatically powerful” (The Washington Post) young singer, carefully balancing her engagements on the concert and opera stages. Her coming season is highlighted by a season-opening concert of new music for Trinity Wall Street in New York City, Micaëla in Carmen for Tulsa Opera, a role debut of Nedda in I Pagliacci in Maryland Opera's offering of Viva Verismo!, a return to the Kennedy Center and the Washington Chorus's presentation of Mozart's Requiem, a remount of Julian Wachner’s Rev. 23 for the Prototype Festival in New York City, Beethoven’s Symphony No. 9, for the Carmel Symphony, Floyd’s Susannah for the Annapolis Opera, and a role debut of Antonia in Opera Delaware's production of Les Contes d'Hoffmann. Ms. Daly’s exciting 2018-2019 season included Dvořák’s Stabat Mater with the Vancouver Symphony, Musetta in La bohème for the Fairfax Symphony and the Charlottesville Opera, Donna Anna in Don Giovanni for Baltimore Concert Opera, and Verdi’s Requiem with Santa Barbara Symphony.

Ms. Daly’s 2017-2018 season featured a variety of repertoire with dates from Boston to Chicago to Ontario. She appeared in the world premiere of Wachner’s opera Rev.23 with White Snake Projects in Boston, the title role in Floyd’s Susannah with the Baltimore Concert Opera, Martin’s In Terra Pax with the Grant Park Festival, Dvořák’s Te Deum with the Washington Cathedral Choral Society, and Carmina Burana with the Washington Chorus at the Kennedy Center. She joined the Windsor Symphony as Countess Almaviva in a concert version of Le nozze di Figaro and the Annapolis Opera for Violetta in La traviata. She also sang Mahler’s Symphony no. 2 with the Bozeman Symphony, Beethoven’s Symphony no. 9 for the Williamsburg Symphony, and covered the role of Cunégonde in Candide for the Washington National Opera.

Ms. Daly made her international concert debut with the Calgary Philharmonic as Madeline in Philip Glass’ setting of The Fall of the House of Usher, and was immediately reengaged for Mahler’s Symphony no. 8. She returned to the Kennedy Center Concert Hall as a soloist in the Washington Chorus’s presentation of Ralph Vaughan Williams’ A Sea Symphony and first appeared with the Bozeman Symphony in Verdi’s Requiem. Notable roles include Musetta in La bohème with Annapolis Opera, Lyric Opera of Baltimore and Des Moines Metro Opera; Violetta in Opera Delaware’s production of La traviata, which she also covered at New York City Opera; Fiordiligi in Così fan tutte with Intermountain Opera; Micaëla in both La Tragédie de Carmen with Syracuse Opera and in Carmen with Baltimore Concert Opera and the Maryland Symphony Orchestra; the Countess in Annapolis Opera’s production of Le nozze di Figaro; the title role of Thaïs at Opera Company of Middlebury; and Fidelia in Puccini’s rarely heard Edgar with the Baltimore Concert Opera.

Ms. Daly’s work as a concert and recital soloist has been widely recognized in performing such works as Brahms, Fauré, Mozart, Rutter, and Verdi Requiem Masses, Beethoven’s Symphony no. 9 and Missa Solemnis, Händel’s Messiah, Haydn’s Creation, Lord Nelson Mass, and Missa Solemnis, Mahler's 2nd and 8th Symphonies, Mendelssohn’s Elijah, Mozart’s Davide penitente, Orff's Carmina Burana, Poulenc's Gloria, and Stravinsky’s Les Noces. On the recital stage, she presented a program of art song inspired by works in the permanent collection at the Phillips Gallery, and reprised a portion of her program at the Kennedy Center, which was streamed live worldwide.