“The highlight of the weekend for me was Daniel Norman’s breathtakingly powerful Schwanengesang — if you were looking for the ‘wow factor’, here it was"
The Oxford Times
Representation: General Management
Having studied as a choral scholar at New College Oxford, Daniel went on to study in the US and Canada and at the Royal Academy of Music and has since established himself as a highly adaptable singer/actor able to encompass the most dramatic interpretations of the most demanding contemporary works currently in performance, such as Ades, Birtwistle and Ligeti. Equally comfortable in the standard operatic and concert repertoire, Daniel sings regularly at the Oxford Lieder and Aldeburgh Festivals alongside regular appearances with ENO, Opera North and Glyndebourne Festival as well as with the major European orchestras.
Daniel Norman was a choral scholar at New College Oxford, where he read Engineering. He went on to study in the US and Canada and at the Royal Academy of Music. In his first year out of college he made his debuts at the Queen Elizabeth Hall with Trevor Pinnock, the Royal Festival Hall with David Atherton, the Wigmore Hall with Graham Johnson, Almeida Opera and the Aldeburgh Festival with David Parry and at the Barbican with Richard Hickox.
Concert performances have included Wozzeck with Daniel Harding and the Mahler Chamber Orchestra, Evangelist in Bach St John Passion at the Festival Hall, Tippett A Child of OurTime with the CBSO and the Northern Sinfonia, Britten Les Illuminations and Mozart Requiem with Noseda and the BBC Philharmonic, Britten Nocturne with Edward Gardner, Britten Serenade in Tel Aviv, Britten St Nicolas at the Gulbenkian in Porto and for the BBC Concert Orchestra, Stravinsky Les Noces with Martha Argerich, Bach St Matthew Passion at the Concertgebouw and for the Sønderjyllands Symfonieorkester in Denmark, Beethoven 9th Symphony for Minnesota Orchestra and with Het Gelders Orkest, Holst Savitri with London Sinfonietta, Sam Kaplan in Weill’s Street Scene at the BBC Proms, St John Passion for The King’s Consort (Matthew Halls), Judas in Birtwistle’s The Last Supper for London Sinfonietta in Italy, Argento’s Jonah & the Whale in Boston, Messiah at the Royal Festival Hall, Delius Mass of Life with the BBC Philharmonic, Haydn Stabat Mater with Europa Galante and Fabio Biondi, Stravinsky’s In Memoriam Dylan Thomas with the CBSO, Renard (Helsinki, Paris & South Bank), Britten War Requiem for Southbank Sinfonia and for Philharmonia Taiwan, Kodaly Psalmus Hungaricus with Oslo Domkor, St John Passion in Milan and Yan Tan Tethera with Britten Sinfonia, Dream of Gerontius at Ely Cathedral (Cambridge Philharmonic Society) and recitals at Wigmore Hall, Kings Place and for Oxford Lieder.
Opera credits include Mime Das Rheingold for Oviedo Opera, Peter Quint The Turn of the Screw and Dr Blind Die Fledermaus for Glyndebourne on Tour, Borsa Rigoletto (Covent Garden debut), Flavio Norma, Goro Madama Butterfly, Tchekalinsky Queen of Spades and title role Joshua with Opera North, Tanzmeister in concert performances of Ariadne auf Naxos with Sir Simon Rattle and the LSO, Mao in Nixon in China for Opera Boston and at the Teatro Filharmonico for Fondazione di Arena di Verona, Scaramuccio in Ariadne auf Naxos for L’Opéra National de Paris and Elemer in Arabella and Basilio Le Nozze di Figaro at Garsington, and the Electrician in the Channel 4 film of Adès’s Powder Her Face (Almeida/Aldeburgh), as well as in its Vienna and Boston premieres, and at the Mariinsky Theatre in St Petersburg. With the Early Opera Company he played the title role in Arne’s Alfred at the Covent Garden Festival. He sung Fenney/Hugo Mines of Sulphur at the Wexford Festival, Bob Boles Peter Grimes at the Endellion Festival, Basilio Le Nozze di Figaro for Opera Zuid and for Glyndebourne on Tour, Hermes in Tippett’s King Priam with the Nederlandse Reisopera, Eurimaco in Il Ritorno d’Ulisse in Patria and Valetto in L’Incoronazione di Poppea for the Bayerische Staatsoper, Munich and New Israeli Opera and, to critical acclaim, performed the first official staging of all five Britten Canticles in Westminster Abbey. Daniel also appeared in Corte Real’s The Bronze Boy, in Porto and Lisbon and as White Minister Le Grand Macabre and Squeak Billy Budd for English National Opera, Maxwell Davies Taverner with BBC Scottish Symphony, Messiah for the Minnesota Orchestra and Carmina Burana for the Orquesta Sinfonica Nacional de Columbia. Further engagements include Donald Crockett’s The Face for The Firebird Ensemble (US), Red Whiskers Billy Budd for Glyndebourne in New York, a double bill commission The Commission and Café Kafka in an Opera North/Aldeburgh/ROH Linbury collaboration directed by Annabel Arden and Orlando Gough’s Imago for Glyndebourne. Recent engagements include Liberto/Soldier L’Incoronazione di Poppea, Gastone La Traviata, Gheraldo Gianni Schicchi and Offstage Voice La Vida Breve all for Opera North and Powder Her Face for Opera Odyssey, Boston (USA).
Recordings include four volumes of the Hyperion Schubert Edition with Graham Johnson, the Grammy nominated Beethoven 9th Symphony (Vänsä/Minnesota Orchestra), Maintop in Billy Budd (Hickox/LSO), Adès Powder Her Face on DVD, Slender in Sir John in Love (Hickox/Northern Sinfonia), Janacek Sedmdesat Tisic with the New London Chamber Choir, Orff’s Carmina Burana (Meridian), Brett Dean’s Winter Songs with the Berlin Philharmonic Wind Quintet (BIS), Hugh Wood’s Comus (BBCSO/A. Davis) and Rimenes in Arne’s Artaxerxes with the Classical Opera Company (Linn). Daniel has also released his debut solo CD: Britten Winter Words and Who Are These Children? with Christopher Gould (BIS).
Engagements in 2015/2016 include Steva Jenufa and L’Abate/Incroyable Andrea Chenier for Opera North, recitals at the Oxford Lieder Festival, Messiah with Oxford Philomusica, St John Passion with the Ulster Orchestra and Moser Die Meistersinger for Glyndebourne Festival.
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: Agnieszka Mikus
de Falla – LA VIDA BREVE & Puccini GIANNI SCHICCHI (Opera North, February 2015)
“In this revival of his 2004 production, Alden’s masterstroke is to change the picture-postcard setting into that of a modern sweatshop where the central figure of Salud is one of many proletarian drones sewing wedding dresses. A pathetic transvestite (brilliantly played by Daniel Norman) is mocked and kicked.
Having been sexually assaulted in public and then abandoned by the loutish Paco and his cocaine-snorting chums, Salud ritually self-harms, urged on by her co-workers, to the point of suicide.” The Telegraph, Rupert Christiansen (19 Feb 2015)