Countertenor Daniel Moody has garnered widespread acclaim for his commanding yet expressive vocal timbre and his breathtaking musicianship. Praised as having a “vocal resonance, [which] makes a profoundly startling impression” (The New York Times) and for his “vivid and powerful” voice (The Boston Musical Intelligencer), Mr. Moody is equally known for his “sweet and melancholy sound” (The Washington Post) and ability to “pierce hearts” and “utterly silence a room” (The Boston Musical Intelligencer) with his expressivity and connection with audiences.

Opera appearances include a recent Metropolitan Opera debut in Brett Dean’s Hamlet in the role of Rosenkranz. Other operatic engagements include the title characters in Handel’s Giulio Cesare, Orlando and Rinaldo, Arsamene in Xerxes, Lichas in Hercules, Didymus in Theodora, Tolomeo in Giulio Cesare, and Nerone in Monteverdi’s L’incoronazione di Poppea with Cincinnati Opera, where the American Record Guide remarked on Moody’s performance, “numerous moments of utter beauty… voice blossom[ing] out into something big and round and smooth. [F]loats easily into soprano range…”

Mr. Moody drew attention in the role of Rinaldo from the San Diego Story for his unusually powerful tone: “[Mr. Moody] may help to create a new operatic vocal category: Helden Countertenor.” Moody performed with Mark Morris’ productions of Britten’s Curlew River and Purcell’s Dido and Aeneas at BAM (Howard Gilman Opera House) and at the Tanglewood Music Festival where the Financial Times noted his “inspired and absorbing performances”.

Mr. Moody has garnered praise for his distinctive voice in contemporary roles. Moody gave the American premiere of George Benjamin’s Dream of the Song (Stefan Asbury) at the Festival of Contemporary Music at Tanglewood Festival. Moody has also performed several world premieres including, Alice in the Pandemic by Jorge Sosa LIVE in cyberspace with White Snake Projects and Cosmic Cowboy by Elena Ruhr. Other roles include Man #1 in Hannah Lash’s three person opera, Desire performed with the JACK Quartet at Columbia’s Miller Theater, and Special Weapons Officer in Peter Knell and Stephanie Fleischmann’s Arkhipov conducted by Daniela Candillari.

In the past few seasons, Moody has worked with the following opera companies and festivals: The Metropolitan Opera (The Hours, El Niño, and Hamlet) San Francisco Opera (Partenope), Caramoor & Tanglewood Festivals (Philharmonia Baroque opera tour), Marlboro Festival, Atlanta Opera (Giulio Cesare), Heartbeat Opera (The Golden Cock) and Vancouver Opera (A Midsummer Night’s Dream).

In the concert realm, Mr. Moody has soloed with acclaimed orchestras and conductors across North America including, Atlanta Symphony (Thomas Søndergård conducting), Apollo’s Fire, The Cleveland Baroque Orchestra (Jeannette Sorrell), Boston Symphony Orchestra (cover for Dream of the Song), Cincinnati Symphony & May Festival Chorus (Robert Porco), Les Violons du Roy in Québec City, (Bernard Labadie), Minnesota Orchestra (Nicholas Kraemer) Opera Lafayette with Thomas Dunford, Philharmonia Baroque Orchestra (Nicholas McGegan & Richard Egarr) and Oratorio Society of New York (Kent Tritle) where Moody made his Carnegie Hall Stern Auditorium debut.

Moody has performed a variety of baroque and contemporary repertoire with the following ensembles, festivals and orchestras: Academy of Sacred Drama, Acronym, Anchorage Chamber Music Festival, American Classical Orchestra, Baroque Chamber Orchestra of Colorado, Boston Early Music Festival, Brooklyn Art Song Society, Charleston Symphony (Ken Lam) Concerts at Thornwillow (with Lowell Lieberman), Crescent City Chamber Music Festival, Early Music New York, Early Music Access Project, Festival de Febrero (Mexico) Gamut Bach Ensemble (Koji Otsuki) at Philadelphia’s Chamber Music Society Series, Hong Kong Voices (Ken Lam), Indianapolis Early Music Festival, Illinois Symphony, La Fiocco, Mountainside Baroque, New Haven Symphony (Jeffrey Douma, Alasdair Neale), Portland Baroque Orchestra (Julian Perkins), Saint Thomas 5th Ave Concert Series, San Diego Bach Collegium (Ruben Valenzuela), Staunton Music Festival, Three Notch’d Road-The Virginia Baroque Ensemble, Voices of Ascension (Dennis Keene) Washington Early Music Festival and Winston-Salem Symphony (Robert Moody).

A graduate of the prestigious Yale Voxtet – resident at Yale’s Institute of Sacred Music – he has performed as a soloist with conductors David Hill, Simon Carrington, Masaaki Suzuki, and Matthew Halls and performances have been broadcast live in concert on BBC Radio 3 in the United Kingdom, Boston’s WGBH, Indiana’s WFIU, and WSHU’s Sunday Baroque.

The 2024-25 season included engagements with: Alabama Symphony, Bach Vespers Series at Holy Trinity Lutheran, Edmonton Symphony, Four Nations Baroque Ensemble, InSeries Opera, Les Violons du Roy, Memphis Symphony, Three Notch’d Road, Staunton Music Festival’s BaroqueFest, and a residency at Augustana University’s School of Music.

Mr. Moody holds a BM from Peabody Conservatory, a MM from Yale School of Music/Institute of Sacred Music and has won several awards in prestigious competitions including Metropolitan National Council Auditions (Rocky Mountain Region 2018, Eastern Region 2019 prize winner), George London Competition; George London Award (2018) George London Award & Nicoletta Valetti Award (2017), Handel Aria Competition, Rochester Oratorio Society Classical Idol, Oratorio Society of NY Competition, and winner of the Russell Wonderlic Competition.

For concert events, contact and more visit: www.DanielMoodyCountertenor.com

Handel’s Orlando, “Gia l’ebro mio ciglio”