Daniel Mobbs | Press

Opera Theater Oregon – soloist in This Land Sings: Songs of Wandering, Love and Protest

Meaning and quality on a shoestring: Opera Theater Oregon's tribute to Guthrie and Hill features expressive performances and timely message
"...the scene stealer, however, was bass-baritone Daniel Mobbs, who performed a number of songs as a kind of Woody Guthrie stand-in, including the poignant closing song "Wayfaring Stranger" as well as "Graceland," "Hot Air," "Don't Sing Me a Love Song" (with Neher), "Perpetual Motion" and "Ballad of Joe Hill." Aside from his disarming stage presence, he has a bold voice that could carry in the Coliseum."
Angela Allen, Oregon Artswatch

OperaDelaware – as Assur in Semiramide

"Relishing his character's wickedness, Daniel Mobbs' fine, fierce Assur — honed at Caramoor, 2009 — proved totally at ease in Rossini's roulades and trills but also impressed with his mastery of legato and — rare in this role — soft dynamics in the proto-Verdian mad scene. His and Ohse's psychologically deep Act II face-off won sustained audience cheers."
David Shengold, Opera News

"As the production's nemesis, [Daniel] Mobbs has finely sung fiery duets with both Ohse and Romano that cement his character's villainy and lust for power."
Gail Obenreder, Special to The News Journal

"Though Daniel Mobbs has given fine performances in supporting roles for Opera Philadelphia, as the evil Assur, he revealed star quality, with warm, rich tones and a command of florid singing. His solidly projected voice filled the intimate Wilmington Grand Opera House..."
Steve Cohen, broadstreetreview.com

"Daniel Mobbs was perfect as Semiramide's paramour and co-conspirator Assur. His powerful and nimble bass-baritone met the technical demands with ease and consistency. He really came into his own in Assur's final scene in which the character's nightmarish visions approach a mad scene that points the way to future developments in Italian opera."
Christine Facciolo, newsworks.com

"Bass-baritone Daniel Mobbs, who we already encountered in the Philadelphia Tancredi, was an audience favorite...due to enthusiastic integration of music and drama."
Andrew Moravcsik, OperaToday.com

Opera Philadelphia – as Orbazzanno in Tancredi

"Mobbs manifested keen stylistic grasp and a perfect balance of clean, musically produced tone and sharply uttered words."
Opera News

"Baritone Daniel Mobbs integrated acting and singing into a solid musical-dramatic portrayal of the warring clan leader Orbazzano — particularly strong when singing ensembles."
Andrew Moravcsik, OperaToday.com

"We live in times of abundance. These days you don't have to travel far to experience highest quality Rossini opera. Abundance of riches came over the past two weeks to Philadelphia where Opera Philadelphia presented a staged production of Tancredi in its Ferrara ending...Daniel Mobbs' voice is anything but small. His baritone was at ease in the role of Orbazzano, and he seemed to enjoy playing the villain. He even seemed delighted to get a handful of boos at the curtain call, the obligatory show of engagement of the audience nowadays for the malevolent characters. The audience though loved him, and cheers erupted wholeheartedly."
Dana Pentia, RossiniAmerica.org

"...a cast full of fine singers...Baritone Daniel Mobbs required no warm-up: [his] physical and vocal gestures are all of a piece...The super-quiet Friday audience seemed mesmerized — a quiet triumph, indeed."
David Patrick Stearns, Philadelphia Inquirer

"Rossini's vocal score is still powerful, dramatic and full of his trademark roulades, trills and tremolos all sung with fine technical artistry by Blythe, soprano Brenda Rae, tenor Michele Angelini, baritone Daniel Mobbs, mezzo Anastasha Sidorova and Allegra De Vita, all performing these roles for the first time...Daniel Mobbs' Orbazzano is the jilted one-note brute officer, and Mobbs' steely performance is flawless."
Lew J. Whittington, HuffingtonPost.com

"Bravo! Opera Philadelphia, for presenting [Rossini's Tancredi] and presenting it with style and commitment...Daniel Mobbs was Orbazzo, the opera's villain, who cut a handsome visual as well as aural figure."
Ralph Malachowski, Philly Gay Calendar

"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

Caramoor – as Balthazar in 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 Balthazar is a role that calls for strength and atmosphere, not individuality, and Mobbs was grandly archetypal."
John Yohalem, Musical America

"...Daniel Mobbs was a stentorian, sonorous Balthazar."
Corinna da Fonseca-Wollheim, The New York Times

"...Daniel Mobbs was the reliable, resonant, musically sensitive singer we've come to know and love as Balthazar, the Prior of Fernand's monastery."

"La Favorite at Caramoor...provides another indispensable bel canto rarity. ...the nuncio Balthazar (ably sung by bass-baritone Daniel Mobbs)...commanding the stage whenever he appeared. So did the stentorian singing and stage presence of bass-baritone Mobbs as the "heavy" of the piece, the stand-in for the Pope."
Richard Sasanow, BroadwayWorld.com

"Caramoor stalwart Daniel Mobbs finessed his light bass-baritone expertly in rolling out the thundering phrases of Fernand's spiritual mentor Balthazar."
James Jorden, New York Observer

"Two Caramoor veterans returned for Favorite including bass-baritone Daniel Mobbs who, as the monastery superior Balthazar, gave one of his most impressive recent performances. While warning the impetuous Fernand of the dangers of worldly love or denouncing his king for adultery armed with a Papal Bull, Mobbs's monk was a gravely implacable presence firmly in vocal command."
Christopher Corwin

Caramoor production of La Favorite – photo by Gabe Palacio

Boston Lyric Opera – as Andrew Borden in Lizzie Borden

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

"Daniel Mobbs was downright scary as the self satisfied, cruel, poor hating banker — a familiar type just now — and he and Caroline Worra had a field-day dramatically."
Opera (UK)

"The BLO's production featured a brilliant cast of singers, all of whom sounded genuinely comfortable with Beeson's musical language. Daniel Mobbs' Andrew Borden is equal parts tyrant and petty patriarch, his handsome bass-baritone suited both for barking out reprimands and lusting after his new wife."
Angelo Mao, Boston Classical Review

"Daniel Mobbs was strong as Lizzie's censorious father."
Jeremy Eichler, The Boston Globe

"Mobbs succeeds in bringing a range of colors to a character that might almost have been intended to be colorless."
Brian Schuth, The Boston Music Intelligencer

Pittsburgh Opera – as Dandini in La Cenerentola

Pittsburgh Opera's Cinderella hilarious, well done
"Ramiro's valet, Dandini (Daniel Mobbs) is a part of this, but in this production he was especially flamboyant, pretending to be his boss as part of a ruse to find out more about the daughters. The bass-baritone appeared in a bright-red overcoat and cane and channeled "Cabaret" with a polished voice and smirk."
Andrew Druckenbrod, Pittsburgh Post-Gazette

"In the pivotal role of footman-turned-prince Dandini, baritone Daniel Mobbs complimented the soaring abilities of Ms. Genaux and Mr. Espiritu, and acted with grace and comfort. The highlight for me was Dandini's initial entrance, while he is masquerading as the prince, dressed in a ridiculous red frock coat and top hat, flanked by a detachment of men in tails, head cocked to the side and teeth sparkling. I admit it squeezed out of me a rather embarrassing and uncontrolled guffaw."
Christian Kriegeskotte, Operapulse.com

"Daniel Mobbs also gave an exceptionally well characterized performance as Dandini, Don Ramoro's servant. The bass-baritone captured the servant playing master with perfect moments of misplaced accents and slight awkwardness to balance the assumed grand manner."
Mark Kanny, Pittsburgh Tribune-Review / Triblive.com

Opera Company of Philadelphia – as Geronte de Ravoir in Manon Lescaut

"The two baritones were excellent...especially Daniel Mobbs as [Manon Lescaut's] sugar daddy, who told you all you needed to know just by the way he moved."
David Patrick Stearns, The Philadelphia Inquirer

"Daniel Mobbs continued his strong work for Philadelphia, seeming to inhabit to the character of Manon's rich seducer and patron Geronte de Ravoir."
Andrew Moravcsik, Opera Today

"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 – as Figaro in The Marriage of 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

"From the first bars of his opening cavatina "Se vuol ballare, signor contino," Daniel Mobbs' brilliant Figaro won the audience over with his charisma."

"Daniel Mobbs proved a very genial fellow. He offered a voice that was evenly produced throughout the registers and capable of considerable tonal warmth. The bass-baritone also demonstrated an ability to shape and inflect the music most tellingly."
Tim Smith, Baltimore Sun Blog, 'Clef Notes & Drama Queens'

"We are pleased to announce that opera has returned with the Lyric Opera of Baltimore, which will be presenting Mozart's Le Nozze di Figaro with barihunks Daniel Mobbs as Figaro and Marian Pop as the Count...In related news, opera students on the West Coast were thrilled to learn that Daniel Mobbs will be joining the voice faculty staff at the San Francisco Conservatory of Music in the fall of 2012." barihunks.blogspot.com/2012/03/opera-returns-to-baltimore-with.html
Barihunks Blog

Cincinnati Symphony Orchestra – as soloist in The 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. Mobbs' 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, Cincinnati.com

Portland Opera – as Figaro in The Marriage of 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, Special to The Oregonian, Oregonlive.com

"Portland Opera's presentation of The Marriage of Figaro, which opened on Friday evening (November 3rd) at Keller Auditorium, relied on skillful singing and acting by a well-matched cast to make a highly entertaining evening...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

"American barihunk Daniel Mobbs decided to take his role in The Marriage of Figaro quite literally. Before heading to the Portland Opera for his appearance as Figaro in Mozart's opera, he tied the knot with his partner Vince Barone in New York City on October 7th." barihunks.blogspot.com/2011/10/daniel-mobbs-marriage-of-figaro-onstage.html
Barihunks Blog

Minnesota Opera – as Don Alfonso in Cosí fan tutte

"...Rothstein's cast is mostly terrific: five attractive young people, all fine actors and singers, plus Daniel Mobbs as the Don, a smooth, chilly trickster with a dark, weighty baritone."
Michael Anthony, Minnesota Post

"Witty and wise Cosi is in good hands at Minnesota Opera: ...Rothstein's cast is mostly terrific: five attractive young people, all fine actors and singers, plus Daniel Mobbs as the Don, a smooth, chilly trickster with a dark, weighty baritone."
Michael Anthony, Minnpost.com

"Levity lifts Così fan tutte to exhilarating heights: ...But while the two couples remain the focus of the work, a pair of secondary roles nearly steals the show. As Don Alfonso, bass-baritone Daniel Mobbs projects a self-assured air of worldly wisdom. Mobbs portrays the Don as a consummate philosopher/manipulator, asserting a libertine leniency with vocal authority. (Read the entire article)
Brad Richason, Twin Cities Performance - Examiner.com

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

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

Caramoor – as Tell in Guillaume Tell

"The cast couldn't have been bettered. 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 cast was in excellent form. Bass-baritone Daniel Mobbs, who sang the role of Tell, gave a thrilling dynamic portrayal. He managed to cover all facets of the character from revolutionary leader to husband and father while singing with style and spell-binding tone."
Opera Today

"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 for The Associated Press, ABC News

"Daniel Mobbs sang the title role. He caught our attention earlier this year in L'Africaine...Daniel Mobbs was a knock out as Tell, bringing consummate acting talent along with a clear, detailed interpretation....Talise Trevigne was exciting as Tell's son. Not only does she have a lovely voice, but she and her father Mobbs interacted with full feeling. "
Susan Hall, Berkshire Fine Arts

"Daniel Mobbs, as Tell, sang with a handsome timbre, which balanced the dark lower register and the highlights of his voice, and a fine attention to the shape of his melodic lines...Tell is a simple figure: determined, brave, profoundly imbued with the identity of husband, father, and Swiss nationality. His spirit is tempered by caution and self-control. The devotion of the people to Tell was fully understandable, but he was rather imposing as well. One would not want to incur his wrath."
Michael Miller, newyorkarts.net

"At Caramoor, the estimable Orchestra of St. Luke's is conducted with conviction and a shrewd balancing of vocal and instrumental elements by Will Crutchfield. 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."
Concertonet.com – The Classical Music Network

"Caramoor regular Daniel Mobbs sang the title role. Tell is properly a baritone and Mobbs leans more towards bass. He always knows what he's doing and does it suavely, and possesses the bel canto chops for Assur in Semiramide as well as the forceful declamation for Tell's heroics. Too, he knows how to enliven unstaged opera with pointed double-takes and aggressive poses (his profile is no detraction). I always enjoy his dark, well-grounded attractive sound..."
John Yohalem, Parterre.com

"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 Klotzkom 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 – as Giorgio in 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, Metropulse.com

Opera Orchestra of New York – as Don Pedro in 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, ever reliable and elegant, sang selfish Don Pedro suavely."
John Yohalem, Opera Today

"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

Opera Philadelphia – as Capulet in 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 – as Oroveso in 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, The New York Times

"Daniel Mobbs...brought a true basso cantate approach to Oroveso, singing the role rather than thundering it."
Fred Cohn, Opera News

"As Oroveso, Norma's father, bass-baritone Daniel Mobbs sang with a ringing, steely tone, good command of the language and a fine legato feeling."
Gilbert Mott, Connecticut Post

"The bass Daniel Mobbs sang imposingly as Norma's father, Oroveso."
George Loomis, The Financial Times / FT.com

"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 – as Dandini in La Cenerentola

"Bass-baritone Daniel Mobbs couldn't have handled the transitions better. His voice was clear and supple, his diction distinctly royal. Yet he bumbled a bit when it came to royal details, making him human and entirely believable in the role, which gets some of the opera's best vocals."
Terry Ponick, The Washington Times / Curtain Up!

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

New York City Opera – as Ormonte in 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, The New York Times

Virginia Opera – as Leporello in Don Giovanni

"...one of their strongest casts ever in this production. They work as a team to make this "Giovanni" a memorable one...Leporello [was] imaginatively sung by bass-baritone Daniel Mobbs...Mr. Mobbs unveiled an instrument that was notably supple and bell-clear even in its lower range. His comic chops were also impressive."

Photo of Daniel Mobbs as Leporello and Cristina Nassif as Elvira
Terry Ponick, The Washington Times – Curtain Up!

"Don Giovanni, the 18th-century antihero around whom Virginia Opera's thrilling production of Don Giovanni swirls at the Carpenter Theatre, needs sex-addiction therapy far more than you...And, let's face it, Don Giovanni's catalog of seductions, as enumerated by his long-suffering servant Leporello to hilarious effect by robustly expressive bass baritone Daniel Mobbs, is awesome: 640 in Italy, 231 in Germany, 100 in France, 91 in Turkey, 1,003 in Spain."
Roy Proctor, Richmond Times-Dispatch

"Daniel Mobbs, a strong, vibrant bass-baritone, consistently maintained Leporello's ridiculous stance."
Cecelia Porter, The Washington Post

"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 Virginia-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

Caramoor – as Assur in Semiramide

"This year's Semiramide, a four-hour affair featuring an extra chorus of croaking frogs, along with this summer's ubiquitous rain and mud, was a feast of style, expression, virtuoso singing and first-rate vocal acting...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

"With a rich, mellifluous voice, Daniel Mobbs was suitably chilling as Assur, both menacing and plaintive in his mad scene...Enthusiastic audience members, who tramped through the soggy grounds of the rain-soaked estate, cheered lustily throughout, with a particularly clap-happy contingent showing their appreciation well before each aria had ended."
Vivien Schweitzer, The New York Times

"Semiramide is a great opera, and it was a brilliant idea to present it in concert with minimal dramatic action...with a stellar cast of some of the most promising younger singers, including Vivica Genaux, Angela Meade, Lawrence Brownlee, and Daniel Mobbs. The results were quite thrilling, and it was a joy to see Rossini's masterpiece in working order again.

"Bass-baritone Daniel Mobbs' gifts give him a masterful control of both the dramatic and the lyrical aspects of his important role, that of Assur, the villainous prince. He can spin elegant, glowing resonances over a dark, weighty foundation. Hence his Assur has a certain smoothness, as well as a respectable capacity for wrath and vindictiveness. Mobbs also handled the florid sections inflicted on him by Rossini far more effectively than most singers in his range. We can look forward to hearing Mr. Mobbs quite a bit in the Northeast in the near future."

Michael Miller, The Berkshire Review for the Arts

"As Assur, Daniel Mobbs...[is] a fluent, ever-stylish performer with a wide range, remarkable agility, and finely crafted diction."
David Shengold, Gay City News

"Rossini's Semiramide is such a monumental work that many an opera house would rather not bother to stage it. Of course, the libretto requires grandiose sets, but the real challenge is to cast four exceptional singers with absolute technical finish...Assur used to be Samuel Ramey's signature part and his many recordings have set a performance standard for this role. Daniel Mobbs...is probably the singer who has come [closest] to it. His forceful bass is extremely flexible, well-focused, dark, generous in its lower reaches and firm in its top notes. The sound is a bit noble for this villain role, but that is something one could say of Ramey too." ihearvoices.wordpress.com
"I Hear Voices" blog

"Crutchfield leads superb Semiramide...Baritone Daniel Mobbs as the villainous Assur was excellent when sneering or cowering — his last act mad scene was a showstopper."
Robert Levine, Classics Today

"The villain of the evening, Assur, is sometimes taken by basses, sometimes baritones. Few can reach the depths of Samuel Ramey, but 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

Boston Lyric Opera – as Escamillo in 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, The 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 Music Intelligencer

Palm Beach Opera – as Figaro in 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 baritone Daniel Mobbs. His clean, clear 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 – as Leporello in Don Giovanni

"In the scene-stealing role of Leporello, the Don's servant, 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 (New Orleans)

Daniel Mobbs appears on ABC's The View in a comedy sketch

"Daniel Mobbs lent his operatic talents to friend Sherri Shepherd and the ladies of The View for a comedic sketch involving Shepherd, which aired on October 20th on ABC television. Mobbs recorded arias from Le nozze di Figaro, Carmen, and Don Giovanni for the episode."

Caramoor – as Figaro in 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

"A Memorable Barber: Will Crutchfield and the Caramoor Festival tried out this new critical edition in concert format on July 12. Revelations abounded...The performance was semi-staged and performed by a lively cast that took the musicological approach as a means toward vivid, active, detailed theater. The level of polish was impressive...Bruno Taddia canceled as Figaro, so bass-baritone Daniel Mobbs was moved from Basilio up to Figaro. Matthew Trevino replaced Mobbs as Basilio and the remainder of the cast was as announced.

"MacPherson, Mobbs and Bombay-born mezzo Priti Gandhi as Rosina obviously have all have done their parts onstage; they offered lots of detailed acting and sharp byplay. Mobbs had a big, witty personality as Figaro, proving a scene-stealer with vivid use of the Italian text."
Eli Jacobson, Gay City News

"In order to be funny, even a good joke has to be told just right. This general principle applies to comic opera as well. And for musical felicities, comic vitality and sheer entertainment, Rossini's Barbiere di Siviglia may be the funniest opera ever written...conductor and vocal coach Will Crutchfield led an appealing cast and members of the Orchestra of St. Luke's in a semistaged performance of Il Barbiere using a new critical edition of the score, supervised by Philip Gossett.

"The freshest takes concerned the ornamentations of the vocal lines. Singers of Rossini's day were given enormous liberty to embellish melodic lines. Mr. Crutchfield has studied this aspect of the genre thoroughly, and the sometimes surprising embellishments his cast employed found a pleasing balance between long-spun lyricism and dazzling gymnastics... The baritone Daniel Mobbs was a robust, sassy Figaro...Mr. Crutchfield was able to make the score's many delicate passages come through with uncommon transparency."
Anthony Tommasini, The New York Times

Baltimore Opera – as Mercutio in 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, The Washington Post

New York City Opera – as the Cold Genius of Winter in 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?...I need to see-hear King Arthur again right this minute."
Deborah Jowitt, The Village Voice

"Mark Morris, the director/choreographer, jettisoned Dryden's spoken text entirely, and the plot along with it, leaving an entertainment of singing and dancing that Mr. Morris calls "a vaudeville." And very entertaining it is...In the Frost Scene, 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, The Wall Street Journal

"Standouts include two singers rapidly becoming local favorites. 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

"There is a deservedly acclaimed scene in which the magician Osmond shows off his powers in a vision, a "Prospect of Winter in Frozen Countries." Here we see the sturdy and excellent baritone Daniel Mobbs, trapped inside a clunky old refrigerator, as snowflakes rain down on a group of dancers bundled up in flannel blankets."
Anthony Tommasini, The New York Times

"...the excellent baritone Daniel Mobbs not only crouches within that refrigerator, but in another section, sings clad only in a pair of white boxer shorts."
Eric Myers, Theatermania.com

Caramoor – as Ferrando in 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 (UK)

"Since its founding in 1997, the primary function of the Bel Canto at Caramoor program at the Caramoor International Music Festival, directed by the conductor and music scholar Will Crutchfield, has been to resuscitate works from Italian opera's bel canto period...Through Mr. Crutchfield's scrupulous detective work, a Trovatore has emerged that could be viewed as the apex of bel canto, with unusual cadenzas and ornamentation adopted from scores used by performers of Verdi's day...The bass-baritone Daniel Mobbs, an exceptional character actor, was potent as Ferrando, the count's henchman."
Steve Smith, The New York Times

"Opera fans familiar with the standard performing edition of Il Trovatore were treated to a change of pace on Saturday night, when Caramoor Festival's resident bel canto expert, Will Crutchfield, led a concert performance of Verdi's warhorse, steeped in the traditions of the composer's era. Lively conducting and a generally strong cast gave the work the kind of freshness that sweeps away a lot of accumulated cobwebs...Daniel Mobbs used his firm bass-baritone and appealing stage presence to make much of the thankless part of Ferrando."
Eric Myers, Variety.com

Florida Grand Opera – as Don Alfonso in Cosí fan tutte

"For most folks, the key to getting right a comic opera such as Mozart's Cosí fan tutte lies between the winks in the composer's colorful score. David Gately, however, was equally if not more concerned with the twinkles in Lorenzo Da Ponte's improbable story about two guys who make the mistake off getting what they wish for, setting women's liberation in motion 150 years before Betty Friedan's The Femininue Mystique...Gately directs the Florida Grand Opera's season opening production of "Cosi fan tutte," a smartly packaged comedy with an appealing vocal sextet...The driving comical forces — and in some respects the vocal gemstones — of the Florida Grand production are bass-bartiton Daniel Mobbs' youngish mischief-maker Don Alfonso and Suzanne Mentzer's impish maid Despina."
Jack Zink, South Florida Sun-Sentinel

New York City Opera – as Leporello in Don Giovanni

"High points in the month's NYCO revivals included — in a generally enjoyable Don Giovanni — a remarkably complete assumption, vocally and verbally, of Leporello by Daniel Mobbs (a handsome, polished vocalist deserving a run as Giovanni himself)..."
David Shengold, Gay City News

"There are operas, and there are works of art, and then there's Don Giovanni. With an energetic young cast, an enthusiastic conductor facing a fine-toned orchestra, and Broadway-style razzmatazz direction, this production of Don Giovanni is a healthy reminder of why opera was once the pop music of its day...thanks to some great, physically deft singers (especially Daniel Mobbs' Leporello), we get a real sense of action... The singing was, for the most part, outstanding. As mentioned above, Daniel Mobbs is a deft Leporello. Even more, his voice has a nice timbre, and he seems especially suited to a comic role. ...this production is as good an introduction to the joys of Mozart as any you will find. Even the most hardened opera queen will take to this supple production of an opera by the composer who, more than any other, embodies the form. "
At right: Daniel Mobbs as Leporello in New York City Opera's "Don Giovanni"
Edge New York

A Taste of City Opera's Season
"High priced galas and opera opening nights go hand in glove, but for the last three years, the New York City Opera has turned its back on conventional economic wisdom by inaugurating its fall season with Opera-for-All, a mini-festival...Hal Prince's 1989 production of Don Giovanni returned to the stage on Saturday night. Musically, the performance had its rewards. Aaron St. Clair Nicholson, in his company debut, brought a flexible baritone and stylish manner to the title role...He was well partnered by the lively Leporello of Daniel Mobbs, who gave an arresting account of the catalog aria."
George Loomis, The New York Sun

Metropolitan Opera – as Marcello in La Bohème

"The baritone Daniel Mobbs performed Marcello with a 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."
Steve Smith, The New York Times

Opera Orchestra of New York – as Elmiro in Rossini's Otello

"On Wednesday night at Carnegie Hall, New York had the opportunity to hear 'the other Othello' — the one that Rossini wrote in 1816. This was 70 years before Verdi tackled that same play. Presenting the Rossini was Opera Orchestra of New York, under its founder-conductor, Eve Queler. We had a satisfying evening, thanks to both Rossini and OONY. This was a concert performance, of course, as OONY's always are. According to a company press release, Rossini's Otello was last staged in this town in 1968, when the Rome Opera brought it to the Met. Otello is true Rossini, showing his astounding skill. And it is a tenorfest... Was there a bass or baritone around? Yes, the American baritone Daniel Mobbs, portraying Desdemona's awful father, Elmiro. He has a rich and velvety sound, and he sang with security."
Jay Nordlinger, The New York Sun

"When Eve Queler and her Opera Orchestra of New York revived Otello (with substantial cuts) for a Carnegie Hall concert performance on January 17, they faced the problem of finding three tenor principals, plus a baritone, all capable of tossing off cascades of coloratura — a vocal style three-quarters of a century removed from Verdi's more familiar setting of Otello. Fortunately, such singers exist again today...As Elmiro, Desdemona's father, Daniel Mobbs showed a grasp of baritone coloratura and created an authoritative if too sympathetic presence..."
John W. Freeman, Opera News

"...bass Daniel Mobbs impressed as Elmiro, Desdemona's father."
Robert Levine, Classics Today

"Those familiar with Verdi's monumental operahouse staple Otello got a rare chance Wednesday at Carnegie Hall to hear the version composed 71 years earlier by Gioachino Rossini...it's a worthy work, brimming with melody and opportunities for masterful singing. Opera Orchestra of New York's maestra Eve Queler assembled a fine cast for the occasion...The cast's lone bass-baritone, Daniel Mobbs, brought elegant phrasing and full, opulent low notes to the part of Desdemona's father, Elmiro."
Eric Myers, Variety.com

"...Tarver, Donose and, as Elmiro, light-voiced bass-baritone Daniel Mobbs sang the florid opening of their trio, "Nel cor d'un padre amante," with coloratura proficiency and its contemplative section, "Ti parli l'amore," with lyricism."
Bruce-Michael Gelbert, Q On Stage

Opera Orchestra of New York – as Lodovico in Verdi's Otello

"The presentation of both Otellos at Caramoor in July marks the first time they have been available hereabouts (other than on records) for direct comparison...Baritone [Daniel] Mobbs, the only soloist common to both the Rossini and Verdi casts, put forth an authoritative Lodovico."
John Freeman, Opera News

Caramoor – as Giorgio in I Puritani

"Always a thorough, proper artist, Daniel Mobbs has often struck me as rather unmemorable vocally, so I was pleasantly impressed with his distinguished performance as Giorgio. With fine vocal color and true Italianate style, he grew in vocal stature as the evening progressed. Weston Hurt, the Riccardo, showed vocal promise with ample range and flexibility, but as yet there is no true legato, and his Italian needs work. His finest singing came in the duet "Suoni la tromba," which Mobbs tore into with abandon, challenging Hurt to follow suit; letting their voices ring out boldly, the artists provided a vigorous, rollicking close to Act II."
Judith Malafronte, Opera News Online

New York City Opera – soloist in the 62nd Anniversary Gala Concert

"With all the hoopla over Peter Gelb's first season at the Metropolitan Opera, the New York City Opera is more than ever in the shadow of its larger rival, at least as far as new-season publicity is concerned. On Tuesday evening the smaller company did manage to call attention to itself, however, with a gala concert in the New York State Theater celebrating its 62-year history...Two duets for male voices found tenor James Valenti and baritone Brian Mulligan in "Au fond du temple saint," from Bizet's "Les pêcheurs de perles," and baritones Daniel Mobbs and Stephen Powell in "Suoni la tromba" from Bellini's "I puritani," both heard in enjoyable performances."
George Loomis, Musical America

"Tuesday was the night for the New York State Theater crowd to put on the dog, as City Opera fashioned their black tie event a little differently this season. Instead of an opening night performance of a new production, the company mounted a gala concert featuring much of their current young talent and a few battle-hardened alumni...The company's present crop of talented neophytes gave this affair a booster shot of adrenaline. Yet another Bohème cast member, Daniel Mobbs, joined Stephen Powell for an exciting bel canto turn as the two sang "Suoni la tromba" from I Puritani."
Fred Kirshnit, The New York Sun

Opera Francais de New York – as Vertigo in Les Pèlerins de la Mecque

"L'Opéra Français de New York...has shown an inclination to vary semi-standards with genuine rarities, and its latest production was in the latter category: Gluck's 1764 opéra comique, Les Pèlerins de la Mecque (The Pilgrims of Mecca), better known under the title of Gluck's politically motivated revision, La Rencontre Imprévue....Daniel Mobbs, a particularly solid, agile baritone for New York City Opera and other theaters, nearly stole the show as Vertigo."
Leighton Kerner, Opera News

Profiles, Interviews & Honors

New York City Opera has awarded Daniel Mobbs the Kolozsvar Award, recognizing his "memorable performance of multiple roles in King Arthur."

Each year, the City Opera honors selected artists who have contributed to its season by awarding a series of prizes. The winners are chosen by George Manahan, John Beeson, Cory Lippiello and Robin Thompson from a list of nominees. The awards themselves will be presented at a luncheon to be held at The Carlyle Hotel, 35 East 76th Street on April 15, 2008.

Established in 1995 by Mr. Marvin Kristein, the Kolozsvar Awards honor one artist from the fall season and one from the spring season who have performed in new or unusual repertory. In the words of Mr. Kristein: "Kolozsvar comes from Hungarian folklore and evokes a magical place — a utopia."

Featured Singer: Daniel Mobbs — "I first saw handsome bass Daniel Mobbs last summer at Caramoor, where he sang Oroveso in the Norma that I liked so much..." Read the entire blog post here.
Taminophile Blog

"Some years ago, when bass-baritone Daniel Mobbs came offstage after singing in the Licia Albanese-Puccini Foundation gala, Thomas Hampson reached out and shook his hand. "You've got a lot of courage," said Hampson. "I'd never have been able to sing with that front row." Mobbs looked out and spotted Robert Merrill and Sherrill Milnes in the audience. "You never know who's going to be there," Mobbs says.

"In the beginning of his career, Mobbs was primarily a high lyric baritone, but now he's moving into heavier bel canto roles. He's definitely a talent to watch... So far, he's taken a few career bumps with good humor: "I did Il Viaggio a Reims [at NYCO] and got the second-to-last bow, and somehow the editor cut me out of the review. I'm starting to learn that that's part of my job as a lower-voiced singer. It's about the sopranos and tenors!"

Still, he remains happy with his choice of a career, and he plans to make it last a long time. "I was thinking about that this year, when Alan Arkin won the Oscar. He hadn't been nominated for thirty-eight years, but he just kept working. Good guys don't always finish last. At least, that's what I'm hoping."
Brian Kellow, Opera News

"One of America's best young singers, Kentucky's underheralded Daniel Mobbs deploys his smooth bass-baritone voice with musical refinement and linguistic precision, and weds it to a fine dramatic presence. At the Met, Mobbs has looked dapper in a Merry Widow cameo and sung seductively as Yamadori, Madama Butterfly's rejected suitor. His City Opera turn as the Byronic Lord Sidney in Rossini's Il viaggio a Reims showcased sensational coloratura runs and flourishes; he returns to the company next March in Rossini's La donna del lago. For Eve Queler's Opera Orchestra of New York, Mobbs has proved outstanding in Weber, Delibes and Puccini; he'll take on more Rossini (Otello) with that company in January.

"But before then, Mobbs anchors Will Crutchfield's "Bel Canto at Caramoor" series, wafting sparkling roulades and finely drawn legato lines across the verdant Westchester estate's lawns. Crutchfield has previously presented Mobbs in works by Handel, Gluck and Verdi. On Saturday 8, Sumi Jo and Barry Banks will trade stratospheric vocal fireworks in Bellini's I puritani, but Mobbs's flowing "Cinta di fiori" may just steal the show. On July 16, Mobbs, Jo and the splendid Maria Zifchak offer Mozart arias and ensembles. And on July 22, Mobbs joins earth-shaking contralto Ewa Podles and soprano Georgia Jarman for more phenomenal Rossinian high-wire dazzle: Tancredi, the composer's first hit. Podles and Crutchfield rang the rafters with this one in Toronto last year; with Mobbs aboard, they'll be aiming for the stars."
David Shengold, Time Out New York

"The 1995 SULLIVAN FOUNDATION grantees are sopranos Mary Dunleavy and Lorraine Ernest, mezzo Eugenie Grunewald, tenors Benjamin Butterfield and Jorge Garza, baritone Daniel Mobbs, bass-baritone Ding Gao, and basses Raymond Aceto, Eric Owens and Daniel Sumegi."
Opera Watch