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John Daszak

  • Tenor

Reviews

John Daszak Reviews
Das Rheingold - Valencia, 2007 - DVD

If there is another "star" part in this most ensemble of ensemble operas it is Loge, here the subtle, ironic, wily, John Daszak, almost always weaving his way around the stage in his standing moto, a lyrical, musical, dramatic presence with a voice the timbre of which reminded me of the late great Gerhard Stolze without the mannerisms.

I. Martinez-Ybor, Miami, FLorida, USA, 4th February, 2010

 

DVD: Wagner; Das Rheingold (recorded at Palau de les Arts Reina Sofia, Valencia 2007)

"John Daszak’s Loge is bright, quirky and clear and he has a marvellous way with the words."

Simon Thompson, Music Web International, January 2010

"Promising young talents...include John Daszak."

Presto Classical, January 2010

Doctor Faust, Bayerische Staatsoper, Munich 2008

"John Daszak as Mephistopheles slides easily and eerily into this world of manipulated human forms"

Katherine Syer, Opera, December 2008

Doctor Faust, Bavarian State Opera, Munich July 2008.

“John Daszak is magnetic as Mephistopheles.”

Shirley Apthorp, Financial Times, 7th July 2008

World premiere of Kenneth Hesketh's Like the Sea, Like Time, RLPO/Harry Bicket, January 2008

"Tenor John Daszak was a fine lyrical soloist, singing lines often reminiscent of Tippett opera."

Glyn Mon Hughes, Liverpool Daily Post, 21st January 2008

Das Rheingold, Palau de les Arts, Valencia, May 2007

"John Daszak is charismatic and persuasive as Loge."

Financial Times, 7th May 2007

Khovanshchina, Bavarian State Opera, Munich, March 2007

"John Daszak is technically faultless, even at the top, and with dramatic 'drive'."

Frankfurter Allgemeine, 21st March 2007

"John Daszak has a flexible, beautiful voice combined with most intelligent, effortless characterisation."

Markus Thiel, Münchner Merker, 20th March 2007

"John Daszak is a powerful and bright tenor."

Jörn Florian Fuchs, Opernberichte, 21st March 2007

Moses und Aron, Bavarian State Opera, Munich, July 2006

"Daszak brings insidious lyrical charm to Aron's expediency."

Andrew Clements, The Guardian, 3rd July 2006

"A strong performance from....John Daszak, whose achievement was to bring such a sense of line to this fascinating music."

John Allison, The Sunday Telegraph, 9th July 2006 and in Opera Magazine, September 2006

Thyeste, Theatre de la Monnaie, November 2005

"The part of Atreus was strongly sung by John Daszak."

John McCann, Opera, February 2006

Billy Budd, Bavarian State Opera, Munich, January 2005

“The cast was splendid. John Daszak, a tenor with a bright timbre, was the broken Captain Vere, hesitant and self-accusatory.”

Beate Kayser, Opera

Janacek’s The Eternal Gospel, BBC Proms/BBC Scottish Symphony Orchestra/Volkov, 2004

“The tenor John Daszak was eloquent as de Fiore.”

Bayan Northcott, Independant

“John Daszak sounded rich, smooth and mellifluous.”

Birtwistle’s The Second Mrs. Kong, Royal Festival Hall, London, November 2004:

“John Daszak’s superbly sung Kong.”

Andrew Clements The Guardian

Euryanthe, Glyndebourne Festival Opera, June-August 2002

“As the hero Adolar, John Daszak made the right decision to sing as though he were Mozart’s Tamino, not Wagner’s Tannhauser, never strained, but concentrating on flowing, lyrical musical lines.”

Rodney Milnes, The Times

“John Daszak sang ardently as the hapless hero Adolar.”

Geoffrey Norris, Daily Telegraph

Un Ballo in Maschera, English National Opera, February 2002

“John Daszak’s performance as Gustavus is untiring and utterly committed.”

Andrew Clements, The Guardian

Der Freischütz, English National Opera, September 1999

“John Daszak’s Max is superbly wrought, lyrical and committed and tellingly counterpointed to Gidon Sachs’s Caspar.”

Andrew Clements, The Guardian

War and Peace, English National Opera, October 2001

“Perhaps the greatest triumph is John Daszak as Pierre, a role that can seem underwritten, but not when sung and acted with such fervour and insight.”

Rodney Milnes, The Times.

“…perhaps the best is John Daszak’s introspective Pierre, well characterised and finely acted.”

Duncan Hadfield, What’s On

From Morning to Midnight, English National Opera, April 2001

There is too little space to praise enough Martyn Brabbin’s conducting, or a memorable performance of the protagonist by John Daszak, who reveals himself to be a brilliant comedian as well as a fine singer. His shy, Alec-Guiness, Lavender Hill Mob smile is just perfect.“

The Times, Rodney Milnes, 30 April 2001

“The cast was excellent. John Daszak sings the role of the bank clerk with total commitment."

The Telegraph, Rupert Christiansen, 30 April 2001

“John Daszak as the Cashier works hard to make his character into a flesh-and-blood human being."

The Guardian, Andrew Clements, 28 April 2001

“John Daszak as the Cashier gives a tour de force of a performance – he’s in every scene.”

What’s On, Michael Darvell , 2 May 2001

“John Daszak’s cashier, if never quite Kaiser’s inarticulate “little” man, delivered a glorious, vocally robust performance”.

The Independent, Roderic Dunnett, 1 May 2001

“The scene where John Daszak’s brilliantly drawn cashier wakes up to what he’s done (on a bleak snowy landscape beside a fallen tree trunk) is memorable and masterly."

Evening Standard, Tom Sutcliffe, 30 April 2001