Daryl Freedman makes her company debut during the 2019-20 season, appearing as Azucena in Verdi’s Il trovatore. Recent engagements for Ms. Freedman include covering Santuzza in a new Robert Carsen production of Mascagni’s Cavalleria rusticana at Dutch National Opera. On the concert stage she debuted with the Quad City Symphony Orchestra in Verdi’s Requiem and returns to Portland Opera for Big Night. Upcoming engagements include a return to The Cleveland Orchestra for Mozart’s Requiem and Schubert’s Mass in E-flat, and a return to Portland Opera for Azucena in Il trovatore.
In the 2018-19 season, Ms. Freedman made her Metropolitan Opera debut as Schwertleite in Die Walküre and joined the roster of the San Francisco Opera covering Santuzza in Cavalleria rusticana. She returned to The Cleveland Orchestra for staged performances of Dryad in Strauss’s Ariadne auf Naxos conducted by Franz Welser-Möst, as well as to the Santa Fe Symphony and Boise Philharmonic for Messiah. She also made her role/house debut as Amneris in Verdi’s Aida with Opera Idaho.
Other performances include a debut with The Cleveland Orchestra and Franz Welser-Möst as Lapák in Janáček’s The Cunning Little Vixen for staged performances in Cleveland, the Musikverein in Vienna, and in Luxembourg. Additionally, she debuted at Théâtre du Capitole as Schwertleite in Die Walküre, returned to Washington National Opera to sing her first performances of Eboli in Verdi’s Don Carlo, and debuted with the National Symphony Orchestra in Bernstein’s Songfest.
As a young artist at Washington National Opera, Ms. Freedman sang the role of Jade Boucher in Dead Man Walking, Marcellina in the Emerging Artists performance of The Marriage of Figaro, Gertrude in Hansel and Gretel, Queen Lili’uokalani in the world premiere of Better Gods, and Rossweisse in Francesca Zambello’s production of Der Ring des Nibelungen.
Her Wagnerian role debut as Mary in Der fliegende Holländer was with Sarasota Opera, where she sang as Amelfa in Rimsky-Korsakov’s Le coq d’or, Alisa in Lucia di Lammermoor, and covered Azucena in Il trovatore. As an Apprentice Artists at Santa Fe Opera, she covered the roles of Herodias in Salome, Fraulein Krone in The Impresario, and Death in Le Rossignol. She also debuted at Carnegie Hall singing Handel’s Messiah with the Cecilia Chorus of New York. Additional engagements include Zotico in Cavalli’s Eliogabalo with Gotham Chamber Opera, Mozart’s Requiem with the Florida Orchestra, Marcellina in Le nozze di Figaro with the Merola Opera Program, Ascalax in Telemann’s Orpheus with New York City Opera, and both Federica in Luisa Miller and Third Lady in The Magic Flute with Chautauqua Opera.
Please visit Ms. Freedman’s website for additional information.