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)

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)


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)


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)


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)


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”
Tim HughesT, he Oxford Times (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.”
Matthew Williams-Ellis, The Arts Desk (July 2016)

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

“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.
Charlotte Valori , Bachtrack (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.”
Mark Valencia, What’s on Stage (July 2016)


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)


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.”
Rupert Christiansen, The Telegraph (February 2015)


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