Daniel Norman

Daniel Norman

“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.


Full Biography

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, 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 Our Time 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.

Further roles include Arne’s Alfred at the Covent Garden Festival with Early Opera Company, 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. Further 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). Recent highlights 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.

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 2016/2017 include Laca Jenufa at the Longborough Festival, Red Whiskers Billy Budd for Opera North, Beethoven 9th Symphony with Tonkünstler Orchester in Austria, Judas The Last Supper with BBC Scottish Symphony (Brabbins) and Philip Glass The Trial with Scottish Opera, as well as appearances at the Oxford Lieder 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: Aisling O’Carroll



Oxford Lieder Festival 2016

October 13th, 2016

Sholto Kynoch curates ‘The Schumann Project’

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Role debut for Daniel Norman

July 12th, 2016

Daniel Norman sings his first Laca JENUFA at Longborough Festival

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A Summer of Opera

May 5th, 2016

Hazard Chase singers in UK’s top summer opera festivals

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Peter Maxwell Davies “Taverner”

April 12th, 2016

As a tribute to Sir Peter Maxwell Davies who died last month, another chance to hear his iconic morality opera broadcast on BBC iPlayer

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Daniel Norman to sing Steva

November 9th, 2015

Opera North’s JENUFA out on tour

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Birtwistle THE LAST SUPPER – BBC Scottish Symphony (Brabbins)

“I was deeply moved by Daniel Norman’s diffident and remorseful portrayal (Judas)”
The Guardian. Kate Molleson (15th January 2017)

Bach CHRISTMAS ORATORIO – Oxford Bach Soloists

“Tenor Daniel Norman – a former Choral Scholar at this very place – is possessed of a voice so magisterial, and a delivery so crisp, it stirs the heart and tingles the spine”
The Oxford Times, Tim Hughes (5th January 2017)

Janacek JENUFA- Longborough Festival Opera

“…as soon as the drama closes in on Jenůfa  her worthless lover, Števa and Števa’s more complex half-brother, Laca, things improve to the point that the final scene, in which Laca refuses to abandon the disgraced and self-immolating Jenufa, is even more unbearably moving than usual…Daniel Norman provides a brilliant study of Laca, slightly older than one imagines him, balding and bearded, a loser in the making but turned into a winner by circumstance and moral opportunism.”
The Arts Desk, Matthew Williams-Ellis (18th July 2016)

“Only Daniel Norman’s Laca strikes the right balance, as nuanced in his acting as he is in his singing”
Financial Times, Hannah Nepil (19th July 2016)

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“Daniel Norman’s brilliantly clear and pathos-driven Laca invites us onto Laca’s own journey through love, a painfully open and honest character who miraculously chooses his passion for Jenůfa over social stigma, but too late. The irony that Laca is the only man to physically injure Jenůfa, despite his adoration of her, becomes more and more pointed: even with his knife, Laca cannot hurt Jenůfa as much as her professed lover does.
Bachtrack, Charlotte Valori (21st July 2016)

“Fellow tenor Daniel Norman, meanwhile, impressively traces Laca’s tortuous journey from cruelty to hope to redemption.  Norman it is, with his taut, ringing, masculine timbre, who delivers one of those two world-class performances. There is never a moment when this singing actor takes refuge in gesture: he inhabits his character absolutely.”
What’s on Stage, Mark Valencia (20th July 2016)

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Giordano – ANDREA CHENIER (Opera North)

“Outstanding among a uniformly excellent cast are two pre- and post-Revolution doubles – Fiona Kimm as the imperious Countless and the heartbreakingly patriotic old woman giving up her last remaining grandson for her country and Daniel Norman as the oily self-serving priest and the smoothly amoral revolutionary informer.”
The Examiner, Gavin Castle (January 2016)

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de Falla – LA VIDA BREVE & Puccini GIANNI SCHICCHI (Opera North)

“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)

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Schubert – SCHWANENGESANG (Oxford Lieder Festival, October 2011)

“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. With his full-bodied tenor voice and operatic theatricality, Norman could breathe life into a shopping list; in his hands, Schubert’s soul-searching songs became miniature works of art, each seized upon with relish, and delivered with exceptional eloquence and dramatic sensibility. Every emotion was vividly portrayed, from tenderness, yearning and despair to anguish and a passion that was almost ferocious in its intensity. This was a captivating and mesmerising performance.”
The Oxford Times, Nicola Lisle (20 October 2011)

Vaughan-Williams – HUGH THE DROVER (New Sussex Opera)

“Daniel Norman brought a tenor voice of individual quality to the title role, colouring both his words and his music expressively, and his volatile presence infused the drover with a lively personality”
Opera Magazine, Margaret Davies (Feb 2011)

“a sterling performance by Daniel Norman in the title-role”
The Telegraph, Rupert Christiansen (Nov 2010)

“Daniel Norman may have looked more of a poet than a drover but he captured the character’s mystique and sang sweetly.”
The Financial Times, Andrew Clark (Nov 2010)

Vaughan-Williams – ON WENLOCK EDGE (Holywell Music Room, Oxford)

“Taking time out from the current Garsington season, where he is appearing as Basilio in The Marriage of Figaro, Norman proved that his dramatic flair extends beyond the operatic stage; here, he poured his heart and soul into the six Housman texts that make up the song cycle, holding the audience spellbound throughout. His voice is a powerful instrument, but one capable of great warmth and tenderness, and he used it to fine effect in conveying the various emotions of the poems. This was an utterly enthralling performance that, for me, was the highlight of the evening.”
The Oxford Times, Nicola Lisle (30 June 2010)

Martinu – MIRANDOLINA (Garsington Opera)

“The ironic little scene in which Fabrizio and Mirandolina finally engage at a deeper level was pure joy, with Daniel Norman pulling off a kind of Simon Callow display of comic reactions and revealing a versatility beyond that with which one usually associates this beautifully articulate and melifluous Baroque-to-Britten singer”
Music & Vision, Roderic Dunnett, June 2009

“Daniel Norman makes a hugely sympathetic Fabrizio”
The Financial Times, Andrew Clark, 21 June 2009

Britten – WHO ARE THESE CHILDREN? (inc. Winter Words & Four Burns Songs) BIS CD 1510

“His clear, precisely focused tenor can soften, even sweeten.  He is sensitive to musical and verbal implications, both bold and delicate in narrative, enters in the fun of a song and is good at his Scots”
Gramophone Magazine, John Steane, October Edition 2008

“Norman’s light, incisive tenor grips the listener in Britten’s cycle of Thomas Hardy poems. He is especially vivid in Midnight on the Great Western, his sombre tone, clear diction and mournful legato depicting the boy traveller’s loneliness and innocence in a wicked adult world.”
The Times, Rick Jones, August 16 2008

“Norman’s flinty, subtly coloured voice and Gould’s finely shaded playing create a stunning impact.”
Classical Music Magazine: “Recording of the Fortnight”, Phillip Sommerich, August 16 2008

RECITAL – BEACONSFIELD CONCERTS with Paul Plummer – February 2008

“Dan Norman had the ideal voice: a clear, pure sound, equally compelling at whispher level as at full fortissimo.  Equally impressive was his impeccable diction where every word could be clearly understood even at the back of the hall.”
Buckinghamshire Advertiser, Julie Voyce, February 22 2008


“He was fully immersed in the character of the poet, offering power and intensity at each refrain …”
www.classicalsource.com, Richard Nicholson, January 2008

“Daniel Norman’s readings of ‘Herr Lenz’ and ‘Das Lied des Steinklopfers’ were captivating”
Independent on Sunday, Anna Picard, January 13 2008

TURN OF THE SCREW – Glyndebourne – October 2006

“Daniel Norman switches beautifully between the “conversational” style of the Prologue’s “unknown man” and Peter Quint’s ravings, leaving us in no doubt that they are essentially one and the same – the object of the Governess’s desire.”
The Independent, Edward Seckerson, October 27 2006

“Daniel Norman sings beguilingly and seductively. At the beginning of Act II the sheer beauty of his calling out to Miles, ululating bel-canto melismas from the shadows, convinces that he could cast a spell over the boy.”
www.musicohm.com, Johnny Johnson

“Daniel Norman’s Quint treads a confident line between virility and otherworldiness.”
The Times, 24th October 24 2006

“Daniel Norman sang Quint most beautifully (and accurately) on light, properly seductive tone.”
Opera Magazine, Rodney Milnes, December 2006

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Discography & Repertoire


Cast includes Daniel Norman (Rimenes), Christopher Ainslie, Elizabeth Watts, Caitlin Hulcup, Rebecca Bottone and Andrew Staples.  Conducted by Ian Page with the Classical Opera Company


Schubert – Year by Year

A cross section of Schubert songs with one song from every year of his life with Daniel Norman, Mary Bevan, James Gilchrist etc. with Sholto Kynoch (piano)


Solo recital disc with Daniel Norman (tenor) and Christopher Gould (piano)

BIS (2008)


Artist Manager

John McHugh (Cambridge)
01223 706024

Assistant Artist Manager

Aisling O’Carroll (Cambridge)
01223 706026