Praised by Opera News for her "striking dark timbre" and "expansive, sumptuous" performances, mezzo-soprano Daryl Freedman is a recent graduate of the prestigious Domingo-Cafritz Young Artist Program at the Washington National Opera. In 2018 she makes her Théâtre du Capitole debut as Schwertleite in Die Walküre and returns to Washington National Opera to sing her first performances of Eboli in Don Carlo. Recent debuts include Lapák in Janáček’s The Cunning Little Vixen with the Cleveland Orchestra and Franz Welser-Möst for staged performances in Cleveland, the Musikverein in Vienna, and in Luxembourg. Recent symphonic engagements include her National Symphony debut in Bernstein’s Songfest, a debut with the Boise Philharmonic and a return to the Santa Fe Symphony as the alto soloist in The Messiah.
While a young artist at Washington National Opera, Ms. Freedman sang the role of Jade Boucher in Dead Man Walking, Suzuki in Madame Butterfly, 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.
She returned to Sarasota Opera to sing Amelfa in Rimsky-Korsakov’s Le coq d’or and was an Apprentice Artist at Santa Fe Opera, where she covered the role of Herodias in Salome. She appeared at Carnegie Hall debut singing Handel's Messiah with the Cecilia Chorus of New York and her Wagnerian role debut as Mary in Der fliegende Holländer with Sarasota Opera, where she also covered Azucena in Il trovatore. She was also seen at Santa Fe Opera as a first-year apprentice covering the roles of Fraulein Krone in The Impresario and Death in Le Rossignol.
Recent seasons have included 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. Additional engagements have included Alisa in Lucia di Lamermoor with Sarasota Opera, and covering Ruth in the world premiere production of Nico Muhly’s Dark Sisters at both Gotham Chamber Opera and Opera Company of Philadelphia. She performed Alan Smith's Vignettes: Covered Wagon Woman and covered Baba the Turk in The Rake's Progress with Music Academy of the West, and has sung with Central City Opera and the Caramoor Festival.
Ms. Freedman was a member of the Studio Artist Program at Portland Opera, singing Concepción in L’heure espagnole, Dinah in Trouble in Tahiti, Venere in Monteverdi’s Il ballo delle ingrate, Sandman in Hansel and Gretel, Maman in L’enfant et les sortilèges, and Aglaonice in Philip Glass’ Orphée, the last of which was recorded and released on Orange Mountain Music Records. She holds degrees from Temple University and Manhattan School of Music.