Colleen Daly has been hailed as a “dramatically powerful” (The Washington Post) young singer. Ms. Daly’s 2018-2019 season has thus far been comprised of Dvořák’s Stabat Mater with the Vancouver Symphony, Musetta in La bohème for the Fairfax Symphony and Donna Anna in Don Giovanni for Baltimore Concert Opera. Upcoming engagements include Verdi’s Requiem with Santa Barbara Symphony, a debut with Charlottesville Opera singing Musetta in an Encore concert presentation of La bohème, and she will commence the 2019-2020 season by singing Micaëla in Carmen with Tulsa Opera.
Ms. Daly’s 2017-2018 season included a variety of repertoire with dates from Boston to Chicago to Ontario. Ms. Daly appeared in the world premiere of Julian 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. VIII. 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; the Countess in Annapolis Opera’s production of Le nozze di Figaro; and the title role of Thaïs at Opera Company of Middlebury. In the winter of 2016, Ms. Daly returned to one of her signature roles, Micaëla in the Maryland Symphony Orchestra’s presentation of Carmen, and was later presented in her role debut as 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 Mozart, Brahms, Fauré, and Rutter Requiem Masses, Mendelssohn’s Elijah, Beethoven’s Symphony No. 9, Händel’s Messiah, Haydn’s Creation, Lord Nelson Mass, and Missa Solemnis, Poulenc’s Gloria, Mozart’s Davide penitente, and Stravinsky’s Les Noces. Colleen has appeared with Opera Delaware, the Columbus Symphony, the Mid-Atlantic Symphony, the Master Chorale of Washington in her Kennedy Center debut, Washington Concert Opera, the Post-Classical Ensemble, the New Dominion Chorale, the Maryland Philharmonic Orchestra, and the Händel Society of Dartmouth, among others. The 2015 season was marked by her professional recital debut performing a program of art song inspired by works in the permanent collection at the Phillips Collection, and reprised a portion of her program at the Kennedy Center, which was streamed live worldwide.