Bartolo, Il Barbiere di Siviglia, LoftOpera, Brooklyn NY
Daniel Klein made for an unusually dark, steely Bartolo..
Mustafa, L'italaina in Algeri, Opera Company of Middlebury, VT
Daniel Klein, a bit too young and good looking for the traditional Mustafa, overcomes that handicap with his complete commitment to being an idiot and his astonishing bass-baritone sets the bar for an evening of musical excellence.
June 2014, Nancy Maxwell, Addison Independent
Another big presence was bass Daniel Klein as Mustafa, both in the impressive size of voice and its delivery. And he was also a kingly buffoon, particularly when being initiated into the comic Italian fraternal society.
June 2014, Jim Lowe, Rutland Herald
Emile de Becque, South Pacific, Summer Theatre of New Canaan
Klein, an opera singer, has a smooth voice smooth and smooth movements that are perfect for musical theatre.
Daniel Klein as Emile De Becque got thunderous applause after his first solo. He has one of those voices that makes you sit up and say “Wow, what a voice!” Not surprisingly, he made the vocal jump from opera to musical theater with this production, though he is scheduled to perform in a Puccini opera come August. One can only hope that he keeps jumping.
As Emile, Daniel Klein's voice rings with conviction, his acting filled with sincerity.
Monterone, Rigoletto, Annapolis Opera
The lower-voiced male contingent was well served by Daniel Klein's Monterone...
May 2013, Mark Thomas Ketterson, Opera News
Worthy of mention in this stellar company were ...and the Monterone of baritone Daniel Klein...Since it is Monterone’s curse that precipitates Rigoletto’s impending sense of tragedy, it must be sung with devastating power and real menace; and Klein delivered on both those scores. Had he failed to project this sense of bitter and inevitable doom, the opera falls flat from that point on: There is nothing to motivate Rigoletto’s frequent bouts of fear and introspection, his suspicions, and vengefulness. As Klein intoned his curse, his terrifying words were duly amplified by Gretz’s orchestral accompaniment, and this created the essential effect — a harrowing moment upon which the plot of the eventual calamity turned
Baritone Daniel Klein forcefully sang the pivotal role of Count Monterone, conveying a father's outrage and delivering his famous curse with intensity.
Il Podestà Gottardo, La Gazza Ladra, Bronx Opera
… the Scarpia like machinations of the Mayor. Baritone Daniel Klein brought loads of personality and good sound to this key role.
May 2013, David Shengold, Opera News
But, for me the stand-out caricature performance came from Daniel Klein as the Mayor, who was as fun to watch as to hear…and I must say the audience agreed with me without a doubt.
January 25, 2013, Christopher Sirota, outerstage.com
The role of Gottardo, the podesta, is a peculiar one in dramatic terms: he lusts after the soprano, but accepts his rebuff without becoming violent; in accusing her of theft, he sees a welcome opportunity to be revenged for his humiliation, but expresses remorse when it becomes apparent that she was in fact guiltless. Daniel Klein worked to resolve these incongruities by a dramatic turn reminiscent of the charmingly villainous Vincent Price. He sang with sensitive phrasing and impressive agility, as well as power, and admirable vocal consistency.
Lucy Barnhouse, operaobsession.com, January 2013
…the greatest standout performance of them all was undoubtedly that of the lecherous and downright oily mayor, Gottardo. Daniel Klein does a superb job of giving the mayor an almost cartoonish level of villainous ire, which I imagine would be required for any character that hands out the death penalty for petty theft.
Joseph Conway, drama-queens.net, January 2013
I have seen four different productions of this opera over the years, all of the others in Italy. In the first, Samuel Ramey portrayed a particularly evil and overbearing Podestà, but in others the Podestà has been more of a buffo, a blusterer. This Podestà was a self-important prick and struck a nice balance between the comic and the serious, something any successful production of this opera must do throughout, and it is a balance easier to talk about than to achieve.
Charles Jernigan, operapronto.info, October 2011
Nabucco, Nabucco, Taconic Opera
In the title role, Dan Klein was initially tentative, but his attractive baritone quickly warmed up and he was soon comfortably inhabiting the role of the megalomaniacal king. I was especially taken by his portrayal of Nabucco’s episodes of madness; his instantaneous descent from power-hungry tyrant into defeated old man was a real theatrical triumph. In his duet with Abigaille, he pulled out all the stops, finishing the final measure with a thrilling, sustained high A-flat. And in the prison scene, the whole audience was in the palm of his hand.
Daniel Foley, musicalcriticism.com, October 2011
Scarpia, Tosca, North Shore Music Festival
The charismatic Scarpia of Daniel Klein was the vocal standout of the evening. This Scarpia was indeed dangerous, but played more to the complex character’s suavity and sensualism than the brutality beneath the hypocritical surface. The sadistic pleasure Scarpia derives from his machinations was disturbingly clear. Klein sang with fine legato phrasing; Scarpia threatened with a purr rather than a snarl of menace. I felt that the corrupt baron’s erotic attraction to Tosca was more visible than her Voltairean lover’s.
Lucy Barnehouse, operaobsession.com, July 2011
Pirate King, Pirates of Penzance, Fresno Grand Opera
When the Pirate King, played with appealing swagger and a rousing voice by an impressive Daniel Klein, ends his big number, he fends off all his fellow pirates with a clever blade placed behind his back.
Daniel Munro, The Fresno Bee, January 2011
Gifts from Grand Opera, Annapolis Opera
Klein not only gave a robust account of the Toreador song – otherwise known as the ‘I have too much testosterone song’ – but a refined and sensitive one of a heart-tugger from Verdi’s ‘Don Carlo’ “Per me giunto e il di supremo”…
Gerald Fishman, Hometown Annapolis, December 2010
Don Basilio, Barber of Seville, Skylight Opera
Daniel Klein’s Basilio was the most original performance. Usually played as a prissy busybody, Klein gave the role some wacky masculine menace, costumed with dark Spanish garb and carrying mysterious baggage.
Sheperd Express, Rick Walters, September 2009
... Daniel Klein’s oily, serpentine Basilio, are over-the-top affected in comic ways. The clear contrast in personalities drives the conflict and helps a crazy story make a little sense. Crucially, they all deliver the words, which in this canny translation sound a great deal like Neil Simon dialogue and are funny in a Neil Simon way.
Third Coast Digest, Tom Strini, September 2009
Daniel Klein (Basilio), Kathy Pyeatt (Berta), Bryce Lord (Ambrogio) and Doug Clemens (Fiorello) give thoroughly enjoyable, polished performances.
Milwaukee Journal Sentinal, Elaine Schmidt. September 2009
Marcello, La Boheme, Opera Company of Middlebury
“The third wonderful gift was the Marcello of Daniel Klein, who mastered sitting on stage with his back to the conductor and keeping exact time with him. He had perhaps the richest voice of the evening, and he certainly has all the earmarks of a major career, God and the theater impresarios willing. His was one of the more thoughtful Marcello’s that I’ve ever had the good fortune to see and hear.”
The Tenth Muse, Dan Wolfe, Denton Publications, Aug 2008
“Portrayed by the equally and incredibly talented Daniel Klein, Marcello is a powerhouse of a character: fun loving, passionate and loyal.”
Addison Independent, Nancy Maxwell, Aug 2008
“Baritone Daniel Klein’s Marcello was rich-sounding and convincing as the painter.”
The Times Argus, Jim Lowe, Aug 2008
Dick Deadeye, H.M.S. Pinafore, Lyric Opera of San Diego
“Most of the sailors are dead-on too, especially Dick Deadeye (played to the hilt by Daniel Klein).”
The Califonian, Eileen Sondak, Feb 2008
“Lanky bass-baritone Daniel Klein is aptly sinister (and often comical) as the dastardly Dick Deadeye, who foils the young couple’s elopement plot.”
Curtain Calls, Pat Launer, Feb 2008
“Then there is handsome Daniel Klein (though forfeiting his good looks in the eye-patch role of DICK DEADEYE) [who] scores effectively in the pivotal protagonist role.…”
sdtheatrescene.com, Dale Morris, Feb 2008
John Proctor, The Crucible, International Vocal Arts Institute, Tel Aviv, Israel
“The leading role was sung and acted wonderfully by Daniel Klein.”
Noam Ben Zeev, Haaretz August 2006