From: Buenos Aires, Argentina. LA Opera: Nancy in Albert Herring (2012, debut); Frida Kahlo in El último sueño de Frida y Diego (2023); Federico García Lorca in Ainadamar (2025).
Mezzo-soprano Daniela Mack leads the vanguard of a new generation of opera singers, infusing her artistry with a mix of intensity, adventurousness, and effortless charisma.
In the 2022/23 season. Ms. Mack returned to Opera Philadelphia as Desdemona in Rossini’s Otello, the San Francisco Opera as Frida Kahlo in El Último Sueño de Frida y Diego, Detroit Opera in Osvaldo Golijov’s Ainadamar, and the Los Angeles Philharmonic in performances of Girls of the Golden West by John Adams.
In recent seasons, Ms. Mack has made several important debuts including the Metropolitan Opera as the Kitchen Boy in Rusalka, Royal Opera House Covent Garden as Rosina in The Barber of Seville, Teatro Real as Rosmira in Partenope, Teatro de la Maestranza in her role debut as Romeo in Bellini’s I Capuleti e i Montecchi, and with the BBC Philharmonic as Béatrice in Béatrice et Bénédict. She also made her Carnegie Hall debut in a performance of Serse with The English Concert.
An alumna of the famed Adler Fellowship Program at San Francisco Opera, Ms. Mack has appeared there as Rosina in The Barber of Seville, Idamante in Idomeneo, Siebel in Faust, and Lucienne in Die tote Stadt for her house debut. She also performed the title role of La Cenerentola as a member of the company’s Merola Opera Program. Other recent opera engagements have included appearances with the Lyric Opera of Chicago, Santa Fe Opera, Washington National Opera, Seattle Opera, Minnesota Opera, Boston Lyric Opera, Lyric Opera of Kansas City, English National Opera, Théâtre du Capitole in Toulouse, Deutsche Oper Berlin, Ópera de Oviedo, Opéra National de Bordeaux, and the Verbier Festival. Her many roles include the title role in Carmen, Charlotte in Werther, Isabella in L’italiana in Algeri, Bradamante in Alcina, Juno in Semele, Dardano in Amadigi di Gaula, Rosmira in Partenope, Sesto in Giulio Cesare, Idamante in Idomeneo, and Dorabella in Cosi fan tutte. She also created roles in the world premieres of Kevin Puts and Mark Campbell’s Elizabeth Cree (title role) at Opera Philadelphia, and in David T. Little and Royce Vavrek’s JFK (Jacqueline Kennedy) at Fort Worth Opera with subsequent performances at Opéra de Montréal.
On the concert stage, Ms. Mack debuted with three orchestras under Charles Dutoit: Orchestra de la Suisse Romande in Ravel’s L’heure espagnole and L’enfant et les sortilèges, Boston Symphony Orchestra in L’heure espagnole, and Chicago Symphony Orchestra in Falla’s Three-Cornered Hat. She also debuted with the Mitteldeutscher Rundfunk in Rossini’s Giovanna d’Arco under James Gaffigan and performed Vivaldi’s Juditha triumphans with Boston Baroque. She debuted with the New York Philharmonic in Beethoven’s Symphony No. 9 under Alan Gilbert and with the Los Angeles Philharmonic in Manuel de Falla’s La vida breve under the baton of Rafael Frühbeck de Burgos. She performed Beethoven’s Symphony No. 9 with the Los Angeles Philharmonic, Beethoven’s Missa solemnis with the Washington Chorus, Handel’s Messiah with the National Symphony Orchestra, Ravel’s Shéhérazade with the Hong Kong Philharmonic, and Canteloube’s Chants d’Auvergne and Falla’s Siete canciones populares españolas with the Sydney Symphony. She also made her Cincinnati May Festival debut in Mozart’s Requiem under James Conlon and in an all-star gala at the Opera Theater of San Antonio.