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

Season Opener: Celebrating 10 Years of Musical Innovation, Trinity Wall Street

New York Classical Review, 2019

"For this concert, Wachner selected what he called “user-friendly” excerpts from his own mystical-biblical opera REV. 23, beginning with the potent soprano aria “Blood Rubies,” in an arresting performance by Colleen Daly, whose richly-inflected voice rose easily over the surging orchestra."

Mozart Requiem, Apollo Orchestra

Washington Classical Review, 2019

"Soprano Colleen Daly had a clean, transparent sound in her solos, especially a radiant 'Lux Aeterna'..."

Christina Bianco: Woman of a Thousand Voices, Baltimore Symphony Orchestra

Broadway World, 2019

"... joined Bianco on stage to perform the hilarious "Getting Married Today" from Stephen Sondheim's COMPANY...[t]he... fabulous vocalist...Colleen Daly..."

La Bohème, Fairfax Symphony Orchestra

Washington Classical Review, 2018

"In some respects, Colleen Daly as the opportunistic coquette, Musetta, stole the show. She blew into Act 2 at Café Momus dressed in a skin-tight red sheath slit to her hip and a fuzzy white wrap. Blessed with a soprano voice that is light with surprising reserves of power, she dominated the stage with a delightful sense of comic timing and the exuberance the role needs. She reduced her aging escort, the pitiful dupe Alcindoro (sung by Gene Kaye), to utter confusion, seduced her former lover, Marcello, to frustration and was the most convincing comforter on stage in Mimi’s final moments."

REV. 23, White Snake Projects

La Scena Musicale, 2017

Soprano Colleen Daly played Persephone – the ultimate moll and muse to the opera’s two hellboys, Hades and Lucifer – with beautifully haunted, odylic vocal smolder.

REV. 23, White Snake Projects

Classical Voice North America, 2017

...Persephone (the lustrous soprano Colleen Daly)...had arias best suited to her lyric powers.

REV. 23, White Snake Projects

The Boston Musical Intelligencer, 2017

As Persephone, Colleen Daly’s powerful soprano proved as comfortable with histrionic drama, as with rich, meditative arias.

In Terra Pax, Grant Park Music Festival

The Chicago Tribune, 2017

"Kalmar’s Grant Park performance Saturday at the Jay Pritzker Pavilion brought out the work’s eloquence and power...The soloists — Colleen Daly, Lauren Segal, David Pomeroy, James Westman and Daniel Okulitch — penetrated the French texts conscientiously and well."

In Terra Pax, Grant Park Music Festival

Chicago Classical Review, 2017

Colleen Daly brought a pure and resplendent soprano to her solo opportunities...

Te Deum, Cathedral Choral Society

Anne Midgette, The Washington Post, 2017

Then came the 'Te Deum,' in which both Nyby and the soprano Colleen Daly (who was also featured at the Washington Chorus’s season-ending concert last week) showed vocal muscle as well as vocal beauty.

Carmina Burana, The Washington Chorus

Anne Midgette, The Washington Post, 2017

"The soprano Colleen Daly showed a mezzo-tinted lower register rising to a wonderful warm top."

REV. 23, The Washington Chorus

The Washington Post, 2017

“Organized as a retrospective, the program was best with the most recent works, beginning with a tantalizing excerpt of Wachner’s new opera, ‘Rev. 23,’ to be premiered in Boston this September. Soprano Colleen Daly was a confident, dramatic Persephone in the slow, minor-mode aria ‘Blood Rubies,’ about the pomegranate seeds that keep her soul in the underworld part of the year.”

REV. 23, Boston New Music Festival

The Boston Musical Intelligencer, 2016

“At one end of the spectrum was the deeply moving “Blood Rubies” aria from Rev 23, composed by Julian Wachner for soprano (an impressive Colleen Daly) and chamber orchestra. It was performed with richness and warmth…”

Edgar, Baltimore Concert Opera

The Baltimore Sun, 2016

"Colleen Daly excelled as Fidelia, using her warm, ample soprano and refined musicality (lots of lovely, floated high notes) to bring the character to life. Her radiant account of 'Addio, mio dolce amor' in Act 2 was a particular pleasure."

A Sea Symphony, The Washington Chorus

The Washington Post, 2015

"Soprano Colleen Daly’s voice was ample enough to ride clearly above the chorus and yet remain vibrant."

La Bohème, Annapolis Opera

The Baltimore Sun, 2014

"Annapolis Opera's "La Boheme" was brightened by Baltimore diva and Annapolis Opera favorite Colleen Daly as the flirtatious beauty Musetta, a role she owns. Capable of turning heads, Daly brought delicious fun and warmth to the famous Waltz and dramatic passion to her interplay with baritone Timothy Mix's Marcello. In the final act, Daly delivered a compassionate "intesi dire," describing her finding Mimi ill. Later, her heartfelt prayer for Mimi is incredibly moving."

La Bohème, Annapolis Opera

The Capital, 2014

"...soprano Colleen Daly was imposing enough to make her presence felt from her first entrance. Her first aria, generally known as “Musetta’s Waltz”, was seductively appealing, and her stage business, as she attempts to tantalize Marcello, her former lover, was deliciously droll."

La Tragédie de Carmen, Syracuse Opera

The Daily Orange, 2013

“Daly, a soprano, sings with a heartbreaking purity that fits Micaëla’s innocence. Although the timbre of her voice is absolutely delightful, her dynamic control is what really takes her performance to a memorable level. She sings with the soft desperation one would expect from an innocent woman in love, but in the next line she is filling the Carrier Theater with her rich voice….[Daly’s voice is] classic, clear perfection.”

La Tragédie de Carmen, Syracuse Opera, 2013

“We only hear the role of Micaëla at the beginning and end of the Brook version and that’s a shame, because soprano Colleen Daly’s silky and deeply penetrating soprano provided a treat for the ears I wish did not have to end. Daly’s duet with Don José at the smugglers’ camp was full of expression and nuance, and she projected well throughout the performance, with credible French diction.”

Season Preview Concert, Lyric Opera of Baltimore

The Baltimore Sun, 2013

“…soprano Colleen Daly gave a shimmering account of ‘Depuis le jour’ from Charpentier's Louise.”

La Bohème, Lyric Opera of Baltimore

The Baltimore Sun, 2012

"...the flirtatious Musetta, portrayed here with great warmth by Colleen Daly. Her creamy, radiant tone paid dividends all evening."

La Bohème, Lyric Opera of Baltimore, 2012

"Colleen Daly likewise registered impressively as Musetta, pouring out a consistently warm, creamy sound and revealing the character's flirtatious and caring sides with equal conviction.”

La Bohème, Des Moines Metro Opera

Opera News, 2011

"Colleen Daly tamed Musetta’s potential hard edge with a shimmering soprano and a heartbreaking sincerity in Act IV."

La Bohème, Des Moines Metro Opera

The Des Moines Register, 2011

"The singing and acting are magnificent…from the fast-paced swirl of the crowded Christmas Eve scene to the passionate vocal interplay of Daly the coquette and Mayes the painter…”

Mostly Mahler, The Washington Chorus, 2011

“Standouts were baritone Bryan Jackson…and soprano Colleen Daly, singing with a light, lyric soprano of noticeable beauty."

Glory Denied, Urban Arias

The Washington Post, 2011

“…the four singers in this company are eerily convincing… As the idealized pregnant Alyce of Jim’s imagination, Colleen Daly had the most lyrical assignment and carried it out glowingly.”

Le Nozze di Figaro, Annapolis Opera

The Capitol, 2011

“…our Countess, Colleen Daly, gave a glorious and soaring rendition of her Act III aria, “Dove sono’…”

Le Nozze di Figaro, Annapolis Opera

The Baltimore Sun, 2011

"Annapolis Opera favorite Colleen Daly sang the major role of Countess Almaviva, which requires an aristocratic bearing, an ability to convey a sad disenchantment with her husband, an elegant grandeur and mature forbearance. To these qualities must be added an expressive voice to convey the magnificence of justly famous arias like the sad nostalgic ‘Porgi amor’ and ‘Dove Sono’ recalling their golden love… Daly possessed the needed vocal abilities.”

Dinner in Honour of Senator Dodd's Retirement

The Irish Times, 2010

“As [Vice President] Biden was leaving, Irish-American soprano Colleen Daly sang When Irish Eyes Are Smiling… ‘It brought tears to his eyes – and to a number of other people there,’ the [Irish] Ambassador said.”

Concert of Stars, Annapolis Opera

The Baltimore Sun, 2010

“An Annapolis Opera favorite since her Queen of the Night debut in The Magic Flute of 2006 and the first-prize winner of the 2007 Vocal Competition, Daly shines brighter at each hearing….Other vocal highlights included Daly’s rendition of Liù’s pleading ‘Signore, ascolta’ from Turandot.”

Very Verdi Concert, Annapolis Opera

The Baltimore Sun, 2009

"Also from 'Otello,' Savage joined soprano Colleen Daly to deliver the program's artistic peak in the sublime love duet 'Gia nella notte densa,' which almost defies description in its ardent passion and gorgeous 'Un Bacio' melody. A favorite of Annapolis Opera audiences since her spectacular Queen of the Night in 2006's 'Magic Flute' and 2007 capture of Vocal Competition first prize, soprano Daly consistently delivered ravishing singing throughout this program. She summoned a splendid portrayal of Violetta in her Act 1 'Traviata' duet with Darling, followed by 'E strano, Ah, fors'e lui' and ending with a glittering 'Sempre libera.'"

Lucia di Lammermoor, Academy of Vocal Arts

The Chestnut Hill Local, 2009

“Soprano Colleen Daly was most successful as Lucia… her high notes rang with impressive clarity and exhilarating power.”

Lucia di Lammermoor, Academy of Vocal Arts

The Courier-Post, 2009

“It takes a strong Lucia to stack up against such dominant male leads, and soprano Colleen Daly met the challenge, displaying expert control. Her voice reflected the quicksilver changes in Lucia's outlook, from girlish glee to sadness and dismay. As she rapturously described her first encounter with Edgardo, she conveyed breathlessness without sounding unsupported… The Act 3 ‘mad scene,’ after Lucia has killed her new husband, is the linchpin of the opera, and Daly's rendition was both musically and dramatically satisfying. Rather than appearing frenzied, Daly seemed dazed and overwhelmed as she slid in and out of ecstasy, with a believably spacey lack of awareness. After Lucia claims to hear a ‘celestial harmony,’ much of the mad scene is a duet with a flute soloist, and Daly matched that sound with lightness and clarity at the top of her range. Her madness wasn't raving hysteria, but instead almost-wordless catatonia in the highest passages -- an affecting choice.”

Lucia di Lammermoor, Academy of Vocal Arts

The Philadelphia Inquirer, 2009

“…Colleen Daly's freely imagined 'Mad Scene'… ma[d]e a deep impression. Everything seems a prelude to her final scene. Her dress bloodied, the dagger outstretched, she catalogued her madness while embracing choristers, lying on the floor, emerging from a cave-like space under stairs, and finally collapsing in a corner. It was theatrical, musical and riveting.”

Lucia di Lammermoor, Academy of Vocal Arts, 2009

“To the title role, Colleen Daly brings a keen-edged soprano that gains brilliance the higher it soars. Daly caps the arias and ensembles with thrilling, full-voiced high D and E flat. She sings the florid music forthrightly… she ends her performance with a heartfelt and affecting account of the Mad Scene.”

Dying Divas and Dastardly Dons, Annapolis Opera

The Baltimore Sun, 2008

“Familiar to Annapolis Opera audiences who heard her spectacular Queen of the Night in Mozart's Die Zauberflöte two seasons ago, Colleen Daly sang a moving 'Parigi, o cara' from Verdi's La Traviata. She then impressively delivered Lucia's ‘Mad scene,’ summoning Lucia's every conflicting emotion in this most famous aria while skillfully negotiating every high note. The soprano was the only artist to receive a standing ovation at the end of an aria with her Lucia di Lammermoor scene.”

Brahms Requiem, Dvořák Te Deum, Cathedral Choral Society

The Washington Post, 2008

“[S]oprano Colleen Daly, sang with a jewel's radiant beauty, especially in Dvořák's ‘Te Deum,’ Op. 103, where her voice soared over the layered melodies.”

Pasta, Puccini, Buon Anniversario!, Annapolis Opera

The Baltimore Sun, 2008

"Colleen Daly, a soprano previously introduced to Annapolis Opera audiences, first as grand prize winner of the 2007 Vocal Competition, and later singing the demanding Queen of the Night role in last season's Die Zauberflöte, held her own in this company. Daly proved most adept at the art of bel canto, delivering an exquisite 'Oh Quante Volte' from Bellini's I Capuletti e I Montecchi."

Kát’a Kabanová, Academy of Vocal Arts

Opera Now, 2008

"Soprano Colleen Daly was impressive vocally and dramatically in the title role and had the sympathy of the audience from beginning to end. Her voice had power to spare, but retained its roundness and lovely quality throughout. The scenes between Kát’a and her sister-in-law, Varvara, were especially touching."

Kát’a Kabanová, Academy of Vocal Arts

Philadelphia City Paper, 2008

"The romantic leads — Colleen Daly's Kát'a and Bryan Hymel as her hapless lover, Boris — were particularly expressive. Daly seems in all ways a marvelous find, displaying real stage presence and timing in addition to an attractive, well-handled, clear and affecting soprano, with unusual richness in the bottom register."

Kát’a Kabanová, Academy of Vocal Arts

EDGE Philadelphia, 2008

"And as expected in the title role, Daly provides the evening’s true joy -- from start to finish she’s immaculate, her voice filled with the pathos of conflicting desires. After hearing her control the stage for an entire scene in act three, I longed to hear her tackle similar challenges in Tosca and Lucia."

Alcina, Opera Vivente

The Baltimore Sun, 2007

"Giving the entire venture a huge lift was soprano Colleen Daly in the title role. She served notice of genuine star potential, with a warm, agile voice and a refined sense of phrasing. Her acting showed much promise as well."

Alcina, Opera Vivente, 2007

"…[The] siren-like Alcina (Colleen Daly) [was the] stunning leader…[with] rich tone…"

Die Zauberflöte, Opera New Jersey

The Times of Trenton, 2007

“…the Queen of the Night [is] portrayed by the gorgeous and silver-throated soprano Colleen Daly…Soprano Daly fires the audience with her high-note pyrotechnics…”

Die Zauberflöte, Opera New Jersey

The Philadelphia Inquirer, 2007

"The queen herself, sung with effective accuracy by Colleen Daly, was a bundle of charismatic imperiousness."

Die Zauberflöte, Opera New Jersey

The New Jersey Times, 2007

"...the Queen of the Night [is] portrayed by the gorgeous and silver-throated soprano Colleen Daly... the magic of "Flute" is in the singing... Soprano Daly fires the audience with her high-note pyro technics."

Die Zauberflöte, Opera New Jersey

Princeton Packet, 2007

"[The] strong and pleasurable...outstanding...Colleen Daly, as the Queen of the Night, was the clear audience favorite, especially with her second act aria ('Der Hölle Rache')."

Die Zauberflöte, Opera New Jersey

U.S.1, 2007

"In a context of high-level signing, some vocalists were outstanding. Colleen Daly as... the evil Queen of the Night, brought an icy clarity to her two soaring solo arias. Her accurate musical line made her coloratura voice an almost-instrumental companion to the flute that accompanied her at the top of its range for the second act aria."

Die Zauberflöte, Opera New Jersey

Town Topics, 2007

"Queens of the Night can come in a variety of theatrical forms, and the Queen in this production was revenge personified. Soprano Colleen Daly...was decisive and commanding with both diction and the fiendish coloratura of her second act 'revenge' aria."

The 2007 Annapolis Opera Vocal Competition

The Capitol, 2007

“The highlight of the competition was soprano Colleen Daly's performance of arias by Mozart and Charpentier. With superb vocalism and a gorgeous tone, she not only received the Director/Conductor Award and the DiLeonardo-Musterman Audience Choice Award, but also first prize for the competition. Her rendition of the Queen of the Night's first aria was marvelous: Its fiendishly difficult coloratura runs were beautifully negotiated, and Ms. Daly surely impressed the judges with her abilities.”

The Magic Flute, In Series, 2006

“The InSeries of Washington has reprised last year's Magic Flute… with the luxe addition of Colleen Daly as the Queen, and she is a damn fine queen at that.”

The Magic Flute, In Series, 2006

“For Friday's performance, the show was simply stolen by Colleen Daly, as ‘The Queen,’... Daly managed to combine chillingly ico retro costumes and a searingly angry voice into a performance that left her audience anticipating eagerly the aria in which her voice would need to bounce several times off the ceiling of her soprano range. She got there, and she stayed there.”

Die Zauberflöte, Annapolis Opera

The Capitol, 2006

“In fact, this was one of the strongest singing casts ever presented to audiences by Annapolis Opera. The Queen of the Night of soprano Colleen Daly, sung with great verve and accuracy, is a case in point. Her two arias, “O zittre nicht” and “Der Hölle Rache,” are among the most difficult in the coloratura soprano repertoire, yet she negotiated all of their pitfalls expertly, hitting every one of the high notes of the latter selection’s beautiful florid run with strength and beauty. In fact, this was one of the vocal highlights of the production and a joy to listen to.”

Die Zauberflöte, Annapolis Opera

The Baltimore Sun, 2006

“As the Queen of the Night, Colleen Daly sang the Queen's challenging coloratura arias - including ‘Der Hölle Rache,’ requiring four high F's. Fearless in her attack, Daly delivered every high note with apparent ease, displaying the requisite vocal agility throughout.”

Mozart by Candlelight, Annapolis Opera

The Baltimore Sun, 2005

“Recent Maryland Opera Studio graduate Colleen Daly possesses a lovely, clear soprano voice that easily handled fioritura passages. From the Magic Flute, Daly delivered a compelling ‘Der Hölle Rache’ - the Queen of the Night's extremely difficult-to-sing aria.”

The Music of Gounod, Washington Concert Opera

The Washington Post, 2005

“Colleen Daly's glistening soprano floated agilely through elaborate cadenzas, as in the familiar waltz ‘Ah! Je veux vivre’… capturing much of the operas’ essential drama and their emotive colors, even suggesting the music’s visual aspects."

Der Schauspieldirektor, Clarice Smith Performing Arts Center

The Washington Post, 2005

“Colleen Daly [was] dramatically powerful [as] Mrs. Heart in The Impresario."