Sophie Daneman

Sophie Daneman


Representation: General Management

Photo: Sandra Lousada


Sophie Daneman has enjoyed a long and distinguished career on both the opera and concert stage. An accomplished recitalist Sophie has appeared at many of the world’s major venues including the Wigmore Hall and Carnegie Hall, and her extensive discography includes lieder recordings for EMI and many with William Christie and Les Arts Florissants.     Following her staging of the 2013 Le Jardin des voix for Les Arts Florissants,   Sophie’s career has diversified and she recently directed a double bill of Rameau’s La naissance d’Osiris and Daphnis et Églé for Théatre de Caen.


Full Biography

Sophie Daneman studied at the Guildhall School of Music and has established an international reputation in a wide ranging repertoire. Her passion and affinity for the baroque repertoire has led to her collaborating with many of the leading specialists in this field and in particular William Christie and les Arts Florissants. An accomplished recitalist, Sophie Daneman has appeared at many of the world’s major recital venues, including the Wigmore Hall, the Concertgebouw, Amsterdam, the Musikverein Vienna, and Carnegie Hall. In recent years, alongside her singing work, Sophie has also developed a career as a stage director.

Operatic engagements have included the title role Rodelinda (Onafhankelijk Toneel), Arianna, Cleopatra Giulio Cesare and Dalila Samson (Göttingen Handel Festival), and an acclaimed Mélisande for the Opéra Comique. She has sung Servilia La Clemenza di Tito (Barcelona Symphony Orchestra), Euridice L’Anima del Filosofo (Opéra de Lausanne), Euridice L’Orfeo and Dido and Aeneas (Bavarian State Opera), Phèdre Hippolyte et Aricie (Nederlandse Reisopera), title role Theodora with William Christie in New York, Paris and Salzburg, and Bernstein’s Wonderful Town and Susanna Le nozze di Figaro for Grange Park Opera. Sophie also appeared in the staged productions of Tod Machover’s Skellig at Sage Gateshead.

Sophie has toured extensively with William Christie and Les Arts Florissants, as well as performing with Sir Neville Marriner, Gérard Lesne, Jean-Claude Malgoire, Phillippe Herreweghe, Ivor Bolton and Sir John Eliot Gardiner. She has sung Handel’s Apollo e Dafne at the Maggio Musicale, L’Allegro with the Scottish Chamber Orchestra, and has appeared with the Halle Handel Festival, Freiburg Baroque Orchestra, RIAS Kammerchor, and the Berlin Philharmonic Orchestra. Recent concert engagements include Venus in Blow’s Venus and Adonis with Elizabeth Kenny’s Theatre of the Ayre at the MA festival, Bruges, returned to the Oxford Lieder Festival to perform a programme of Gounod with pianist Sholto Kynoch, Hollywood and film inspired programmes alongside pianist Iain Burnside at the Bath Festival, recitals for the BBC and appearances with De Doelen Rotterdam, William Walton’s Façade alongside Ian Bostridge and the Roma Sinfonietta Ensemble, and with Tafelmusik in Toronto, and Schoenberg’s Quartet Op. 10 with the Tokyo String Quartet in Valencia and Madrid. Recent vocal engagements include Handel’s Messiah with the National Symphony Orchestra, Washington and a recording of a new song cycle “The Thought Machine” by composer Cheryl Francis Hoad (Champs Hill).

Her extensive discography includes the title role in Handel’s Rodelinda with Nicholas Kraemer (Virgin Classics), Theodora and Acis and Galatea (Gramophone award, Best Baroque Vocal recording) with William Christie for Erato, Vivaldi’s Ottone in Villa with Richard Hickox (Chandos) and three volumes of Mendelssohn lieder with Nathan Berg and Eugene Asti (Hyperion). For EMI she has recorded Schumann lieder with Julius Drake, and a disc of Noel Coward songs alongside Ian Bostridge. Recordings with Les Arts Florissants, include Rameau Grands Motets (Gramophone award, Best Baroque Vocal recording) and Les Fêtes d’Hébé (Gramophone award, Early Opera). Most recently she recorded Masque of Moments (Linn Records), with Elizabeth Kenny and Theatre of the Ayre.

Sophie recently directed a double bill of Rameau’s La naissance d’Osiris and Daphnis et Églé for Les Arts Florissants, with performances in Caen, Luxembourg, Dijon, London and Paris. Further highlights include, a recital and masterclass for the Oxford Lieder Festival, a recording project of seventeenth-century music entitled Masque of Moments with Theatre of the Ayre for Linn Records, further performances with Le Jardin des Voix and assisting Stephen Langridge on his production of Theodora for Théâtre des Champs Élysées.

Last season directorial engagements included Monteverdi’s L’Orfeo with the baroque orchestra Apollo’s Fire and Jeanette Sorrell at the Cleveland Institute of Music and a tour of California, Acis & Galatea at the Yong Siew Toh Conservatory of Music, and continuing her work with Les Arts Florissants: a semi-stagings of Dido & Aeneas/Actéon for a tour of California, a staging of “An English Garden” for the Jardin des Voix, Les Arts Florissants young artist academy, and a tour to Seoul, South Korea with her production of “Rameau, Maître à Danser”.

Most recently Sophie directed a revival of her production of “Rameau, Maitre à danser” at the Brooklyn Academy of Music in New York and, also for Les Arts Florissants, a new semi staging of La Finta Giardiniera for the 2019 Jardin des Voix. In the autumn and spring of the 2019-20 season Sophie revives this production with Les Arts Florissants for a of tour Europe and Russia.

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



Oxford Lieder Festival 2018

October 5th, 2018

Hazard Chase artists join award winning festival

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Oxford Lieder Festival 2016

October 13th, 2016

Sholto Kynoch curates ‘The Schumann Project’

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HC Singers at the Oxford Lieder Festival

October 16th, 2015

Renowned Festival features seven Hazard Chase singers in a variety of programmes over two weeks

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Katherine Watson and Callum Thorpe star in Theodora

October 9th, 2015

Hazard Chase artists in Stephen Langridge’s new production at the Théâtre des Champs Elysées

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Monteverdi L’ORFEO (Apollo’s Fire)

“Apollo’s Fire’s L’Orfeo is, in short, spell-binding. You should drop everything and go […] Two things stand out about this glorious semi-staged performance of Claudio Monteverdi’s “Favola di musica” in Kulas Hall at the Cleveland Institute of Music on April 13. First is the magnificent production and performance. […] Stage director Sophie Daneman’s cohesive and detailed stage direction gave clear purpose to this opera and kept focus on the story. The effect of having Fittante help Schuller’s La Musica remove her blue cloak to show her strapless white dress at her transformation into Euridice was beautiful in its simplicity and magic.”
David Kulma, Cleveland Classical  (April 2018)

“Sophie Daneman’s stage direction emphasized the personal relationships between the characters, which made their archetypal significance resonant. Movement was lively and involving, with every person on stage engaged in the flow of energy. The hissing approach of the Bacchantes from the back of the theater was a brilliantly effective choice. Neoclassical paintings were projected behind the performers, and evocative lighting closely followed the mood. In short, another triumph for Apollo’s Fire, and one that will hopefully be followed in the future with more semi-staged productions, which prove the power of story enactment, regardless of elaborate sets, costumes, and props.”
Mark S. Jordan, Seen and Heard International (April 2019)

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“With an exceptionally beautiful and well-paced libretto by Alessandro Striggio, L’Orfeo has grandeur and intimacy, joy and tragedy. This production, conducted by Apollo’s Fire artistic director Jeannette Sorrell, directed by Sophie Daneman, and with projections designed by assistant director Camilla Tassi, reflected these aspects of the opera and made considerable dramatic impact with minimal materials.”
Lisa Hirsch, San Francisco Classical Voice (April 2018)

“Sophie Daneman’s stage direction worked nimbly within its physical constraints, using the aisles and balcony approaches to give the evening some physical variety.”
Joshua Kosman, San Francisco Chronicle (April 2018)


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Purcell DIDO AND AENEAS (Les Arts Florissants, Walt Disney Hall)

‘Daneman’s graceful direction contributed to the splendid effects in both entertainments. A world-class soprano and stage director, she moved her singers behind and among the musicians, while understanding what the former are capable of, and the latter are comfortable with.’
Laurence Vittes, Seen and Heard International (8 November 2017)


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Robert Schumann MYRTHEN – Middle Temple Hall, London (July 2014)

“Daneman was the radiant, still centre of the performance”
Telegraph, Ivan Hewett (July 2014)

“Daneman is an intuitive performer, boasting a bell-like tone and a warm, tranquil stage presence”
Financial Times, Hannah Nepil (July 2014)

“a singer who radiates charm and involvement, with a vivacious and engaging platform manner”
The Arts Desk, Sebastian Scotney (July 2014)

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Artist Manager

Sue Nicholls (Cambridge)
01223 706023

Associate Artist Manager

Evie Parker (Cambridge)
01223 706414