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

Photo: Fran Monks


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.

Concert performances have included Wozzeck with Daniel Harding and the Mahler Chamber Orchestra, Evangelist in Bach St John Passion at the Royal Festival Hall, Tippett A Child of Our Time with the City of Birmingham Symphony Orchestra 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, 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.

Opera credits include Laca Jenufa at the Longborough Festival and Red Whiskers Billy Budd for Opera North and at Aldeburgh Festival, Judas The Last Supper with BBC Scottish Symphony Orchestra (Brabbins), Philip Glass The Trial with Scottish Opera, Gerald Barry’s Alice’s Adventures Under Ground in Dublin, 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), 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 London Symphony Orchestra, 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 The Golden Dragon for Music Theatre Wales, 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 Orchestra, 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 (USA), 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, Glagolitic Mass at the Three Choirs Festival, Worcester, Messiah with Oxford Philomusica, St John Passion with the Ulster Orchestra and Dunedin Consort 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).

Recent highlights have included Elijah at the Barbican Hall, Scaramuccio Ariadne auf Naxos for Scottish Opera and for Opera Holland Park, Laurence Osborn’s The Mother for Mahogany Opera, Guard in the première of Emily Howard’s To See the Invisible at Aldeburgh Festival and Mahler 8th Symphony at Ely Cathedral, 1st Jew Salome and Monostatos Die Zauberflöte for English National Opera, The Golden Dragon with the Israel Contemporary Players in Tel Aviv and Hungary, appearances at the Oxford Lieder Festival, War Requiem in Nottingham, Messiah in Oxford and his role debut in the US as Captain Vere Billy Budd for Central City Opera, Colorado.

Engagements in 2019/2020 include Orpheus the Myth in the new production of The Mask of Orpheus for English National Opera, Beethoven 9th Symphony with the Chamber Orchestra of Belgium (Casco Phil) and Dream of Gerontius at Saffron Hall.

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: Evie Parker



Magic, Myths and Mortals

October 9th, 2019

Oxford Lieder Festival: HC artists perform at Sholto Kynoch’s prestigious song festival

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On Wenlock Edge with Stone Records

October 7th, 2019

Daniel Norman, Sholto Kynoch and the Brodsky Quartet join forces for a unique project and recording

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Hazard Chase singers in Orpheus Series

September 27th, 2019

English National Opera’s Autumn 2019 season

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Daniel Norman Makes US Role Debut

July 3rd, 2019

Captain Vere in Billy Budd at Central City Opera

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On Wenlock Edge

April 3rd, 2019

Sholto Kynoch, Daniel Norman & the Brodsky Quartet collaborate on Vaughan Williams project

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Britten BILLY BUDD – Central City Opera, Colorado

“Daniel Norman triumphed as Vere, the troubled captain of the Indomitable; the tenor was riveting in his Prologue and Epilogue and stiff-backed while struggling to right the ship as it faced multiple crises. Norman’s expressive tenor never strayed and never lost power in clarity. ”
Marc Shulgold, Opera News (November 2019)

“Daniel Norman’s superb tenor delivers the part of Captain Vere from the haunting depths of a troubled conscience”
Marlowe’s Musings, David Marlowe (July 2019)

“Tenor Daniel Norman is an equally imposing presence as Captain “Starry” Vere, who imbues the benevolent, beloved, and tormented captain with palpable humanity, especially in the trial scene and in the prologue and epilogue that frame the action.  Vere is really the opera’s central role, requiring the greatest emotional and musical range, and Norman excels at both throughout.”
Kelly Dean Hansen, (July 2019)

“Norman masterfully portrayed a still-traumatized Captain Vere’s reliving of his role in the execution of Billy Budd.”
Willaim’s Reviews, Opera Warhorses (July 2019)

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Vaughan Williams ON WENLOCK EDGE (Oxford Lieder Festival)

“On Wenlock Edge received a fine, dramatic performance. Daniel Norman is very much a lyric tenor, with a forward, bright sound, who brought out the words well.”
Planet Hugill (October 2019)

Mozart THE MAGIC FLUTE – English National Opera

“Monostatos is admirably sung by Daniel Norman”
The Evening Standard, Barry Millington (March 2019)

“...even though he is a petty, nasty villain, the other tenor, Daniel Norman, is just as persuasive as Monostatos”
The Times, Neil Fisher (March 2019)

“Daniel Norman is great as a priapic, increasingly unhygienic Monastatos
Classical Source, Peter Reed (March 2019)

“Daniel Norman made a funny yet nasty Monastatos, combining physical comedy with a real dramatic sense of threat”
Planet Hugil (March 2019)

“Daniel Norman was an appropriately unpleasant Monostatos, giving a skin-crawling account of the role”
Bachtrack, Por Dominic Lowe (March 2019)

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Emily Howard TO SEE THE INVISIBLE – Snape Maltings

“Daniel Norman made a memorable cactus fanatic, commanding centre stage with his powerful tenor enthusing over the long Latin name of his favourite plant.”
Charlotte Valori, Bachtrack (June 2018)


BBC “Building a Library” (BBC Radio 3): Britten “Winter Words”

“Daniel Norman and Christopher Gould’s no-nonsense performance here matches Britten’s unsentimental approach to these pastoral poems”

“Daniel Norman’s version has that lovely early-career freshness about the sound particularly when the top of the voice opens out. He combines it with something of Philip Langridge’s sinuous strength.”

“Norman avoids the temptation to make the phrases here too choppy and disjointed, but rather manages to find the dramatic line that drives through the song. The table’s creaking reminds the singer of the lost love who once owned it. Norman makes us believe the emotion and intention. We understand something of the pain of the memory. It’s a very touching performance.”
BBC Building a Library, Kate Kennedy (May 2018)

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Henze VOICES –  London Sinfonietta

“The performance under Atherton was outstanding, with the Sinfonietta players meeting all the unusual demands of the score… Simmonds and Norman vividly matched that versatility too, whether moving into smoochy, smoky cabaret style, or streetwise American, or providing reminders that first and foremost Henze was a composer in the great German lyric tradition, whose word-setting could also be immensely sensitive and profoundly beautiful”
Andrew Clements, The Guardian (October 2017)

“Daniel Norman was the multi-talented tenor, fielding many styles with panache”
Richard Fairman, The Financial Times (October 2017)

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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)”
Kate Molleson, The Guardian (January 2017)

“Of that cast, Roderick Williams’s cultish Christ, Daniel Norman’s sinister Judas and Susan Bickley’s Ghost shone like beacons.”
Ken Walton, The Scotsman (January 2017)

“There are earthy dances, duets, quartets, octets and laments, the saddest of which belongs to Judas (Daniel Norman), the man without whom the story would sputter out. Led by Grint and Norman, the disciples were skilfully individuated and blended, while Bickley and Williams sang with poise and authority.
Anna Picard ,The Times (January 2017)

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Discography & Repertoire


Daniel Norman with Christopher Gould (piano) perform settings of sonnets by Britten, Liszt, Dankworth & Ellington including 7 Sonnets of Michelangelo, 3 Sonnetti di Petrarca and The Holy Sonnets of John Donne



Britten Canticles and The Heart of the Matter with Daniel Norman, Christopher Gould, Roderick Williams and William Towers



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


Artist Manager

John McHugh (Cambridge)
01223 706024

Associate Artist Manager

Evie Parker (Cambridge)
01223 706414