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http://www.danielmobbs.com/

American bass-baritone Daniel Mobbs has won praise on both sides of the Atlantic for his “solid, resonant voice and boundless energy…his stage presence virtually ensured that he was the focal point of nearly every scene in which he appeared,” as written in the New York Times.

During the 2016-2017 season, Mr. Mobbs returns to both Opera Philadelphia, as Orbazzano in Tancredi, and Portland Opera, as Don Alfonso in Così fan tutte. He also joins the Lyric Opera of Chicago for its production of Don Quichotte, as well as Opera Delaware and Baltimore Concert Opera as Assur in Semiramide. In concert, he appears with the Tulsa Symphony Orchestra for the Brahms Requiem, and sings Handel’s Messiah with the Jacksonville Symphony.

Last season, Mr. Mobbs appeared with Opera Santa Barbara as Leporello in Don Giovanni, Opera Philadelphia, as the Baron Douphol in La traviata, Opera Memphis, as Escamillo in Peter Brooks’ La tragédie de Carmen, and returned to the Metropolitan Opera for their production of La donna del lago.

During the  2014-2015 season, Mr. Mobbs made an anticipated return to the Metropolitan Opera for its new production of The Merry Widow as Kromow, where he also participated in the company’s production of La donna del Lago. Additionally, he made his debut with Los Angeles Opera as Baron Douphol in Marta Domingo’s production of La traviata, conducted by James Conlon. He closed the season in a return to Caramoor as Balthasar in La Favorite and the Marquis de la Force in Poulenc’s Dialogues des Carmélites. The 2013-2014 season bought performances as Andrew Borden in Lizzie Borden with Boston Lyric Opera and also the Tanglewood Festival, and he joined the Metropolitan Opera for its productions of Così fan tutte and I Puritani.

In the 2012-13 season, Daniel Mobbs was a member of the vocal faculty of the San Francisco Conservatory of Music, sang Handel’s Messiah with the Rochester Chamber Orchestra, and returned to Pittsburgh Opera as Dandini in La Cenerentola, conducted by Antony Walker. In the 2011-2012 season, Mr. Mobbs returned to Portland Opera, for Figaro in Le nozze di Figaro; Minnesota Opera, for Don Alfonso in Così fan tutte; and Opera Philadelphia, as Geronte in Manon Lescaut. Additionally, he made his debut with Lyric Opera Baltimore, as Mozart’s Figaro, joined the Cincinnati Symphony Orchestra for Handel’s Messiah, and sang Mozart’s Requiem with the Oklahoma Mozart Festival, conducted by James Bagwell.

Daniel Mobbs began the 2010-2011 season with his role debut as Alidoro in La Cenerentola with Minnesota Opera. He later sang Capulet in a new production of Roméo et Juliette at the Opera Philadelphia, directed by Manfred Schweigkofler. Following this appearance, Mr. Mobbs returned to Opera Orchestra of New York for Don Pedro in Meyerbeer’s L’Africaine, sang Giorgio in I Puritani with Knoxville Opera, and returned to Opera Philadelphia for Angelotti in Tosca. The summer of 2011 brought his highly acclaimed portrayal of the title role in Rossini’s Guillaume Tell with the Caramoor International Music Festival.

In the summer of 2009, Mr. Mobbs bowed as Assur in Semiramide at Caramoor International Music Festival. At the Bard SummerScape Festival, he participated in a concert of Wagner arias with the American Symphony Orchestra, under the direction of Leon Botstein. In the fall of 2009, Mr. Mobbs joined Boston Lyric Opera, adding the role of Escamillo in Carmen to his vast repertoire, followed by a Gala Concert with the Collegiate Chorale to celebrate the appointment of new Music Director James Bagwell. The spring found him as Leporello in Don Giovanni withVirginia Opera, Ormonte in Partenope at New York City Opera, and Dandini in La Cenerentola with Washington Concert Opera. He later collaborated with the New York Choral Society for Mozart’s Requiem and James DeMars’ Tito’s Say. In the summer of 2010, Mr. Mobbs appeared for his 11th consecutive season with the Caramoor International Music Festival, this time in the role of Oroveso in Bellini’s Norma.

In the summer of 2008, Mr. Mobbs sang Figaro in Il barbiere di Siviglia with Caramoor International Music Festival. In the 2008-2009 season, he bowed as the title role of Le nozze di Figaro with Palm Beach Opera and Leporello in Don Giovanni with New Orleans Opera.

The 2007 – 2008 season brought a wealth of interesting and challenging roles to Daniel Mobbs, including Baritone #1 (the Cold Genius of Winter) in Purcell’s King Arthur at New York City Opera, an appearance at the Opera Orchestra of New York’s Gala 100th Performance Concert at Carnegie Hall, Mercutio in Roméo et Juliette at Baltimore Opera, Capellio in Bianca e Falliero at Washington Concert Opera, the tile role in Guillaume Tell at the National Opera (Warsaw), and a soloist in Brahms’ Requiem at Carnegie Hall.

Mr. Mobbs has also enjoyed a long relationship with the Caramoor International Music Festival. In recent seasons he has been seen as Lycomedes in Handel’s Deidamia, in the American premiere of Donizetti’s Elisabetta, Ernesto in Il Pirata, Elmiro in Rossini’s Otello, Lodovico in Verdi’sOtello and recitals entitled Shakespeare’s Songs and Love, Death, Heaven and Hell.

Past performances include: his Metropolitan Opera debut in the 2003-04 season as Cascada in performances of The Merry Widow followed by Yamadori in Madama ButterflyLakmé with Baltimore Opera and Finzi’s In terra pax with the New York Choral Society; Figaro in Il Barbiere di Siviglia with New York City OperaKentucky OperaArizona Opera, the Spier Festival in South Africa and Baltimore Opera, where he has also sung Dandini in La Cenerentola. He has also bowed in Turandot with the Washington National Opera and Pittsburgh Opera. Other credits include Taddeo in L’italiana in Algeri, Papageno in Die Zauberflöte, and Ping in Turandot with New York City Opera; Papageno with Washington National Opera; Dominik in Arabella with Santa Fe Opera; Valentin in Faust with Grand Rapids; Danilo in The Merry Widow with Shreveport Opera; Belcore in L’Elisir d’Amore with Kentucky Opera; and Sid in Albert Herring with both Cleveland Opera and Kentucky Opera. Orchestral credits include the Fauré Requiem with the Pacific SymphonyCarmina Burana with the symphonies of KalamazooNashvilleKnoxville and Grand RapidsThe Messiah with Chattanooga Symphony, and Brahms’ Ein Deutsches Requiem with the Nashville Symphony.

A native of Louisville, Kentucky, his awards include first place in both the College Division of the MacAllister Awards and the Mario Lanza Scholarship. He is a winner of the Sullivan Foundation Award and also a recipient of a grant from the Puccini Foundation. In 2008, New York City Opera awarded him the Kolozsvar Award, recognizing his “memorable performance of multiple roles in Purcell’s King Arthur.” He is a graduate of the Academy of Vocal Arts in Philadelphia.

Opera Philadelphia – Tancredi

…Daniel Mobbs required no warm-up: He’s one of the few singers out there whose physical and vocal gestures are all of a piece.”

David Patrick Stearns, The Philadelphia Inquirer

For volume and tonal density (also clarity of text), bass-baritone Daniel Mobbs, playing the villainous Orbazzano, was nearly Blythe’s equal. Both of them felt connected to an earlier tradition of Rossini singing, where vocal amplitude was as important as the decorative writing (though there was no shirking in that department, either)…In all, a very fine and often memorable showing by Opera Philadelphia. Tancredi had pomp, circumstance, and a whole lot of voice — a lovely reminder of what brought many of us to opera in the first place.”
David Fox, Philadelphia Magazine

Opera Philadelphia – La Traviata

Daniel Mobbs made a suave, never overplayed Baron.”

David Shengold, Opera News

Caramoor Festival – La favorite

Crutchfield’s other stylistic pillar was Daniel Mobbs, notably grown in bass resonance and fully inhabiting every word and stance of his character, the fulminating Balthazar.”
David Shengold, Opera News

Daniel Mobbs, a pillar of the Caramoor program, seems to have developed a still more resonant and cavernous excellence in the bass-baritone depths. Prior Balthasar is a role that calls for strength and atmosphere, not individuality, and Mobbs was grandly archetypal.”
John Yohalem, Musical America

Boston Lyric Opera – Lizzie Borden

Daniel Mobbs was appropriately tyrannical as Andrew Borden.
Kalen Ratzlaff, Opera News

Opera Philadelphia – Manon Lescaut

Daniel Mobbs lent his insouciant bass-baritone and easy movements to Geronte, Manon’s sugar daddy, to very good effect.
Craig Smith, SantaFe.com

Lyric Opera Baltimore – Le nozze di Figaro

Daniel Mobbs animated the title role engagingly…the bass-baritone’s warm voice filled out the music nicely, with telling nuances of phrase at every turn. He revealed fine comic skills as well.
Tim Smith, Opera

Cincinnati Symphony – Messiah

Louisville native Daniel Mobbs, a bass-baritone, made an impressive debut. He took command in the pictorial texts of recitatives, such as ‘I will shake the heav’ns and the earth,’ and projected firmly and clearly, even in the lowest depths of his range. His air, ‘Why do the nations so furiously rage’ was gripping for its drama and effortless artistry. Mobb’s concluding air, ‘The trumpet shall sound,’ in tandem with the CSO’s principal trumpet Robert Sullivan, will be remembered for the singer’s exuberant expression as much as for Sullivan’s silvery embellishments.”
Janelle Gelfand, The Cincinnati Enquirer

Portland Opera – Le nozze di Figaro

Daniel Mobbs and Jennifer Aylmer led a well-matched cast as the central couple, the valet (and former barber of Seville) Figaro and the maid Susanna. Both sang in strong, nimble voices, and they had great chemistry and expressive presences — wily, determined and vulnerable in turn.”
James McQuillen, The Oregonian

In the title role, Daniel Mobbs displayed a brilliant combination of physical and vocal athleticism. He tumbled to the floor, crawled over and under the bed, got slapped in the face, and used a vast palate of facial expressions and gestures to make Figaro a man of the people.”
James Bash, Oregon Music News

Minnesota Opera – Così Fan Tutte

Bass Daniel Mobbs does fine things with the philosopher who orchestrates the trickery…”
Rob Hubbard, The Pioneer Press

And, happily, Rothstein’s cast is mostly terrific…Daniel Mobbs as the Don, a smooth, chilly trickster with a dark, weighty baritone.”
Michael Anthony, MinnPost

Daniel Mobbs’ egoistic yet enigmatic Alfonso — [was] similarly strong.”
Larry Fuchsberg, Minneapolis Star Tribune

Caramoor International Music Festival – Guillaume Tell

In the title role Daniel Mobbs offered warm, beautiful tone. He and Crutchfield conspired for a ‘Sois immobile’ that was urgent and active, not a detached showpiece.”
William R. Braun, Opera News

The bass-baritone Daniel Mobbs, playing Tell, set the bar high throughout the evening, his combination of potency and assurance unassailable.”
Steve Smith, The New York Times

As the title character, bass-baritone Daniel Mobbs brought a firm, resonant sound and dignified bearing to a role that offers few opportunities for fireworks — except in his exhortation to his son before he must shoot the apple off his head.”
Mike Silverman, The Associated Press

Under his baton, the singers fare brilliantly, beginning with bass-baritone Daniel Mobbs as a compassionate, stalwart Tell.”
David A. Rosenberg, The Stamford Times

At Caramoor, Daniel Mobbs made a fine William Tell, a man with the fire and inspiration of a patriot but also the tenderness of a father (who had the unenviable albeit famous task of shooting an arrow at an apple balanced on the head of his son, Jemmy). Mobbs sang with a dark, resonant voice and good stage presence.”
Arlene Judith Klotzko, ConcertoNet.com

Daniel Mobbs was Tell, heroic and noble, especially in the crucial, moving aria in which he tells his son to be still as he is about to shoot an arrow into the apple placed on his head—a fiendish requirement of the evil Austrian occupier.”
Richard Traubner, MusicalCriticism.com

Knoxville Opera – I Puritani

Equally impressive was bass Daniel Mobbs, singing an outstanding performance as Giorgio, Elvira’s uncle. Mobbs’ voice has a strong, rich warmth at the low end, yet is marvelously focused and clean. This supported his elegant dramatic portrayal of the solemn Puritan that was, nonetheless, sympathetic and complex.”
Alan Sherrod, Metro Pulse

Opera Orchestra of New York – L’Africaine

The rest of the cast, particularly…the bass-baritone Daniel Mobbs, sang with style and energy.”
Zachary Woolfe, The New York Times

Daniel Mobbs was solid in the role of Don Pedro, de Gama’s rival both for nautical fame and the hand of Inez.”
Mike Silverman, Associated Press

Daniel Mobbs, ever reliable and elegant, sang selfish Don Pedro suavely.”
John Yohalem, Opera Today

Opera Philadelphia – Roméo et Juliette

The rest of the youthful cast give good support…especially [bass-]baritone Daniel Mobbs as Juliet’s father, Capulet.”
Mike Silverman, Associated Press

Secondary cast members seemed alternately defeated and defiant…In the latter category: Daniel Mobbs as Capulet, whose fine, fast-vibrato baritone was part of an emphatic presence suggesting he wasn’t going to let anybody’s concept get him down.”
David Patrick Stearns, Philadelphia Inquirer

Caramoor International Music Festival – Norma

The bass-baritone Daniel Mobbs brought a stentorian bass-baritone voice to his sympathetic portrayal of Norma’s father, Oroveso, the conflicted chief of the druids, restless to defend his people.”
Anthony Tommasini, New York Times

The bass Daniel Mobbs sang imposingly as Norma’s father, Oroveso.”
George Loomis, Financial Times

As Norma’s father, the high priest Oroveso, Daniel Mobbs spun out a polished bass-baritone…”
James Jorden, New York Post

Bass-baritone Daniel Mobbs capably took on the small role of Oroveso, and added weight to the ensembles.”
Heidi Waleson, Wall Street Journal

Bass-baritone Daniel Mobbs excelled in his few moments in the undernourished role of Oroveso, Norma’s stern father.”
Mike Silverman, Associated Press

Washington Concert Opera – La cenerentola

As Dandini, Daniel Mobbs turned out to be another stylish scene-stealer, with his supple, deftly nuanced singing and vibrant acting.”
Tim Smith, Baltimore Sun

New York City Opera – Partenope

And bass Daniel Mobbs’s handsome singing made one wish that Ormonte had more than one aria.”
George Loomis, MusicalAmerica.com

Completing the cast were Daniel Mobbs, dignified and warm as the mentor Ormonte…”
James Jorden, The New York Post

Bass baritone Daniel Mobbs, a City Opera stalwart, was a wonderful familiar cabernet sauvignon.”
Olivia Giovetti, Time Out New York

Daniel Mobbs, dressed as a priestly figure, conveyed the sage dignity of Ormonte, the queen’s tutor.”
Vivian Schweitzer, New York Times

Virginia Opera – Don Giovanni

Daniel Mobbs, a strong, vibrant bass-baritone, consistently maintained Leporello’s ridiculous stance.”
Cecilia Porter, The Washington Post

As his hapless foil, Mr. Mobbs unveiled an instrument that was notably supple and bell-clear even in its lower range. His comic chops were also impressive.”
Terry Ponick, The Washington Times

Mozart’s cultural balance of lower-class characters worked particularly well, thanks to strong casting. Leporello, Giovanni’s servant, was a real opera buffa type of character, as played by bass-baritone Daniel Mobbs. His singing was as agile as his movement, but he could also draw out a long, beautiful line.”
Lee Teply, The Virginian-Pilot

But the singers, led by Matthew Worth in the title role, were glorious. Other standouts included Cristina Nassif as Donna Elvira and Daniel Mobbs as Leporello…”
David Nicholson, Daily Press

Boston Lyric Opera – Carmen

Daniel Mobbs made a particularly strong impression as Escamillo, managing to convey the required virility and flair in his first entrance while at the same time nursing an abdominal wound.”
Jeremy Eichler, Boston Globe

Daniel Mobbs looked, acted, and sang a jaunty, self-confident Escamillo, the character that adds so much dramatic tension to this opera.”
Bettina A. Norton, Boston Musical Intelligencer

Caramoor – Semiramide

Daniel Mobbs, who has been a regular with Crutchfield’s Bel Canto productions, has developed sinew and strength in his rich, focused bass-baritone voice, and his recitative singing was especially expressive. He made the most of Assur’s duet with Semiramide, “Se la vita ancor.” Throughout the night, his low notes were remarkably firm and free.”
Judith Malafronte, Opera News Online

With a rich, mellifluous voice, Daniel Mobbs was suitably chilling as Assur, both menacing and plaintive in his mad scene.”
Vivien Schweitzer, The New York Times

The villain of the evening, Assur, is sometimes taken by basses, sometimes baritones…Daniel Mobbs was clear, intense and suitably evil. The Mad Scene (which once was eliminated for being too difficult) was here sung with great power and greater conviction.”
Harry Rolnick, Concertonet.com

Palm Beach Opera – Le nozze di Figaro

The American bass-baritone Daniel Mobbs was everything a good Figaro should be. He has a strong, untiring, attractive voice, and he is a fine actor, skills that turned each of his appearances on stage into a sparkling occasion. The bass colorings of his instrument added weight and power to the ensembles and to Se vuol ballare and Non piu andrai; in the latter aria, his first-rate diction made it crackle.”
Greg Stepanich, Palm Beach ArtsPaper

The evening’s Figaro was sung by [bass-] baritone Daniel Mobbs. His clean, clear [bass-] baritone was a virile delight. A keen phrasing sense and excellent diction mark him as at the top of his game. His first act Se vuol ballare was packed with wit and determination. His foray into the orchestra seats was an unexpected plus. Animated and impish, his portrayal of the crafty Figaro hit the target.”
R. Spencer Butler, Palm Beach Daily News

In one of the better crafted moments, Figaro leaves the stage to sing an aria from the audience. Of course, it helps to have a cast with the dramatic and musical tools to match that directorial vision. The Palm Beach Opera provides exactly that — at least judging by its primary ensemble, which was featured on Friday night. Daniel Mobbs is a wonderfully engaging Figaro with a solid baritone that he uses to smart effect, singing in almost a speech-like manner.”
Charles Passy, Palm Beach Post

New Orleans Opera – Don Giovanni

In the scene-stealing role of Leporello, the Don’s servant, [bass-] baritone Daniel Mobbs did just that. He played the role balancing the clown with the character’s own wicked scheming perfectly. Mobbs has a rich, strong voice that was particularly showcased in the famous ‘Catalogue Aria’, in which he details his employer’s multiple sexual conquests across the continent.”
Chris Waddington and Theodore P. Mahne, The Times-Picayune

Caramoor – Il barbiere di Siviglia

Daniel Mobbs was a surprise as Figaro, showing wit and charm, along with thrilling vocalism, that he is rarely able to exhibit in his customary paternal roles. From his entrance aria (a bracingly effective romp even without high Gs) to the end of the long evening, Mobbs’s lightning-quick presence and bright, clean sound were delightful.”
Judith Malafronte, Opera News

The [bass-] baritone Daniel Mobbs was a robust, sassy Figaro.”
Anthony Tommasini, New York Times

Baltimore Opera – Roméo et Juliette

Also a convincing teen was Daniel Mobbs, singing Mercutio with a firm baritone that made one sit up and take notice…He certainly enjoyed leaping around the stage in his tights.”
Anne Midgette, Washington Post

New York City Opera – King Arthur

How could you not rejoice in the sight of bass-baritone Daniel Mobbs crammed into a refrigerator, his words jolting out, while soprano Mhairi Lawson struts about as Cupid, telling him love’s a blessing, not something to freeze up over?”
Deborah Jowitt, The Village Voice

…soprano Mhairi Lawson was a bright-voiced, mischievous Cupid; she easily awakened bass-baritone Daniel Mobbs, who sang the shivers of the Cold Genius wonderfully, from his sleep in a refrigerator, and set off the hesitant, stomping movements of the blanket- shrouded Cold People.”
Heidi Waleson, Wall Street Journal

Bass-baritone Daniel Mobbs unfurls elegant, cavernous tones, and is amusing as the ship’s captain and as the Cold Genius of Winter, trapped in a refrigerator before being freed by Cupid.”
Eric Myers, Variety.com

Here we see the sturdy and excellent Daniel Mobbs, trapped inside a clunky old refrigerator, as snowflakes rain down on a group of dancers bundled up in flannel blankets.”
Anthony Tommasini, New York Times

Caramoor – Il trovatore

Daniel Mobbs got (and deserved) a rousing hand after the opening scene: firm bass- baritone tone, all the gruppetti absolutely in place and the aria sung like a true narrative, with excellent diction and pointed phrasing.”
David Shengold, Opera

COMPOSER ROLE OPERA
Bellini Ernesto Il pirata
Bellini Giorgio I Puritani
Bellini Count Rodolfo La sonnambula
Bizet Escamillo Carmen
Delibes Nilakantha Lakmé
Gounod Capulet Roméo et Juliette
Mozart Guglielmo, Don Alfonso Così fan tutte
Mozart Papageno Die Zauberflöte
Mozart Leporello Don Giovanni
Mozart Figaro, Count Le nozze di Figaro
Puccini Schaunard, Colline La bohème
Puccini Jake Wallace La fanciulla del West
Puccini Sharpless Madama Butterfly
Rossini Guillaume Tell Guillaume Tell
Rossini Don Basilio Il barbiere di Siviglia
Rossini Dandini, Alidoro La cenerentola
Rossini Douglas La donna del lago
Rossini Taddeo, Haly L’italiana in Algeri
Rossini Elmiro Otello
Rossini Assur Semiramide
Rossini Orbazzano Tancredi
Rossini Lord Sidney Il viaggo a Reims
Verdi Lodovico Otello
Verdi Ferrando Il trovatore
Bach Magnificat
Bach Christmas Oratorio
Brahms Ein Deutsches Requiem
Faure Requiem
Haydn The Seasons
Handel Messiah
Handel Judas Maccabaeus
Mozart Coronation Mass
Mozart Requiem
Mozart Mass in C
Mendelssohn Elijah