"No solo number was more affecting than Charles Daniels’ performance of the final motet, Audi Coelum. Each verse of this hymn to Mary was garlanded with Monteverdi’s most elaborate ornamentation, creating a transcendent vocal virtuosity.”
Representation: General Management
Photo: Annelies van der Vegt
Charles studied at King’s College, Cambridge, and at the Royal College of Music in London. He has a prolific recording legacy having made over ninety recordings ranging from the earliest renaissance music through to the contemporary repertoire. Charles performs frequently with Netherlands Baroque Society (Jos van Veldhoven) and makes regular appearances throughout Canada where he works with Les Voix Baroques, Les Voix Humaines, Toronto Consort, Tafelmusik and with Early Music Vancouver and at the Montreal Baroque Festival.
Charles Daniels’ repertoire extends 1150 years from the ninth century to the present day. Born in Salisbury, he received his musical training at King’s College, Cambridge, and the Royal College of Music in London where he studied under Edward Brooks.
Charles has made over ninety recordings as a soloist, the most recent Western Wind with the Taverner Choir & Players (Andrew Parrott) on Avie, winning the 2016 Gramophone Award for Early Music – further recordings include Evangelist St John Passion with Portland Baroque, Handel’s Messiah with the Gabrieli Consort for Deutsche Grammophon, Dowland Songs for EMI, Handel’s Alexander Balus with The King’s Consort for Hyperion, The Beggar’s Opera for Hyperion, Schütz’ Christmas Story for Deutsche Grammophon, Haydn’s St Cecilia Mass with the Gulbenkian Choir and Orchestra, Bach’s Easter Oratorio with the Taverner Consort for EMI, Airs de Cour with Catherine King and Jacob Heringman, Handel Occasional Songs with Emma Kirkby for SOMM records and more than twenty discs of Purcell’s music, mostly with The King’s Consort.
Operatic roles have included Le Dieu de Sommeil in Lully’s Atys for the Opéra de Paris and Purcell’s Fairy Queen in the Aix-en-Provence Festival. Concert engagements have included regular appearances at the BBC Proms, the Edinburgh International Festival, London Handel Festival, Spitalfields Festival and appearances with The Sixteen, Academy of Ancient Music, The King’s Consort, English Concert and Gabrieli Consort. Engagements outside the UK include regular appearances throughout Canada where he works with Les Voix Baroques, Les Voix Humaines, Toronto Consort and Tafelmusik, and appears regularly with Early Music Vancouver and at the Montreal Baroque Festival. Charles also works regularly with De Nederlandse Bach Vereniging (Netherlands Bach Society) and has made guest appearances with Instant Pluriel (Bach Profane Cantatas), Symphonieorchester des Bayerischen Rundfunks (Mass in B Minor), Netherlands Philharmonic with Sir Colin Davis (St Matthew Passion), Il Complesso Barocco (Dido & Aeneas, Guilty Night), Collegium Musicum Bergen (Messiah) and Warsaw Philharmonic (Wojciech Kilar’s Missa Pro Pace). Recent engagements include King Arthur with Tafelmusik in Toronto, Athalia with Kammerorchester Basel, L’Allegro, Il Penseroso ed il Moderato in St Gallen with Rudolf Lutz, a recording of St Matthew Passion with Choir & Orchester of the J.S. Bach Foundation, St John Passion in Wroclaw, Purcell concerts with Gabrieli Consort, Gli Amori d’Apollo e di Dafne for Toronto Consort, Biber Requiem with RIAS Kammerchor, Dido & Aeneas with The King’s Consort and a series of Bach concerts in The Netherlands with Musica Amphion. Recent engagements include Messiah in Japan with Bach Collegium Japan and St John Passion with Tafelmusik, Canada.
Career highlights have included Luigi Nono’s Canti di Vita e Amore (Edinburgh International Festival), Handel’s Esther (sung in Hebrew) in New York, Monteverdi Vespers with the Gabrieli Consort in Venice with Paul McCreesh, Handel’s Belshazzar at the Théâtre de Champs Elysées in Paris and Messiah at the Musikverein, Vienna with Harnoncourt. Further engagements have included Dream of Gerontius in Wroclaw, a tour of L’Allegro, Il Penseroso ed il Moderato (J.S. Bach Stiftung) with Rudolf Lutz, Purcell at the Wigmore Hall (The King’s Consort), Vespers in Vancouver & Seattle, a series of Bach Christmas Concerts with NBV, Bach Secular Cantatas with Bach Collegium Japan, St Matthew Passion with NBV, Vespers with Toronto Consort, Schütz with Dresdner Kammerchor, Vespers with The King’s Consort at the Rheingau Festival, a semi-staged Fairy Queen with the AAM at the Barbican Hall, Mass in B Minor with the BBC Singers, Messiah in Australia with Melbourne Symphony and Queensland Symphony Orchestras, Bach Cantatas in St Gallen and a series of concerts at Oregon Bach Festival.
Recent engagements have included King Arthur with the Academy of Ancient Music, Die gesungene Kunst der Fuge with Holland Baroque Society, Vivaldi concerts in Venice with la Serenissima, Bach Cantatas in Trondheim, Messiah in Vancouver, Christmas Oratorio with Oxford Philharmonic, St Matthew Passion with Phiharmonie Zuidnederland, Mass in B Minor with Tafelmusik in Toronto, Bij Bach thuis with the Nederlandse Bachvereniging and Monteverdi’s Orfeo with Toronto Consort.
Engagements in 2019/2020 include On Wenlock Edge with the Bride Quartet, Messiah with Bath Choral Society and later in Belgium, Christmas Oratorio at Kings Place, Bach Concerts in Montreal, St John Passion with Tafelmusik in Toronto, The Fairy Queen with the Gabrieli Consort, Bach Cantatas in St Gallen and St Matthew Passion with Tilford Bach Society.
Promoters please note: if you wish to include this biography in a concert programme etc, please contact Hazard Chase to ensure that you receive the most up to date version. Email: Elin Jones
“…no solo number was more affecting than Charles Daniels’ performance of the final motet, Audi Coelum. Each verse of this hymn to Mary was garlanded with Monteverdi’s most elaborate ornamentation, creating a transcendent vocal virtuosity.” The Guardian, Tom Service
MONTEVERDI: The Sacred Music Volume 4 (Hyperion), The King’s Consort – Robert King
“…a declamatory Salve Regina for solo tenor, to whose passionate supplication Charles Daniels brings an almost amorous intensity coupled with some beautifully precise and delicate ornamentation.” The Daily Telegraph, Elizabeth Roche
BUXTEHUDE: Sacred Cantatas Volume 2 (Hyperion), The King’s Consort – Robert King
“Charles Daniels enters fully into the exultant spirit of Lobe den Herrn, especially in its exuberant final alleluia, and the three male voices bring an almost Italianate sweetness toe Jesu dulcis memoria…” The Daily Telegraph, Elizabeth Roche
LUDWIG SENFL: Im Maien (Harmonia Mundi), Charles Daniels with Fretwork
“Charles Daniels captures this individuality to perfection, and his characterful and excellently projected singing is complemented by Fretwork’s clear-textured and rhythmically purposeful viol playing.” The Daily Telegraph, Elizabeth Roche
MONTEVERDI: Vespers, BBC Proms, Royal Albert Hall, The King’s Consort – Robert King
“Charles Daniels’ exquisite shaping of clambant, clambant, clambant in Duo Seraphim”
KILAR: Missa pro pace, Lutoslawski Philharmonic Orchestra – Marek Pijarowski
“Charles Daniels contributes burning passion and utter conviction” Gramophone, Marc Rochester
VIVALDI: Sacred Cantatas Volume 3
“Charles Daniels, delivers the virtuoso Peccator videbit with articulate lightness and comfortable agility.” Gramophone, Nicholas Anderson
“a wonderful tenor solo executed with dramatic flair by Charles Daniels.” Classic CD, Joe Staines
MONTEVERDI: Mass of Thanksgiving, Gabrieli Consort, York Early Music Festival
“Daniels was in a class of his own, effortlessly shading the music with a comprehensive range of dynamic and textual control.” Andante, David Vickers
PURCELL: Odes, The King’s Consort, Wigmore Hall
“…Charles Daniels’s tenor, entwined by two recorders and viola, became an eloquent peacemaker.” The Times, Hilary Finch
London Handel Orchestra led by Adrian Butterfield with Grace Davidson (soprano), Charles Daniels (tenor), Edward Grint (bass-baritone)
This CD commemorates and celebrates the talents of a golden generation of English lyricists through the voices of the greatest song-writer composers of the era. The lives of two of these, George Butterworth and Ivor Gurney, remain inextricably linked to the catastrophic 1914-18 conflict played out over the fields of Flanders. The poignancy of their songs, selected and performed by tenor Charles Daniels, pianist Michael Dussek and The Bridge Quartet, comprise an intimate journal, encapsulating moods of innocence and naivety, transience and despair epitomised by the poetry of Housman and Gurney’s 1919 song cycle ‘Ludlow and Teme’.
EM Records (2018)
Mass by John Taverner & Court Music for Henry VIII – Andrew Parrott conducts the Taverner Choir & Players with Emily van Evera (soprano) and Charles Daniels (tenor). Winner of the Gramophone Award for Early Music in 2016
A collection of Lute Songs by, amongst others, Campion, Morley and Pilkington with Charles Daniels (tenor) and Nigel North (Lute)