Daniel BRENNA  Tenor
 
 
  BIOGRAPHY  

 

‚a Wagner interpreter, the international opera world can really do with‘ Der Neue Merker wrote on DANIEL BRENNA as SIEGFRIED at the Stuttgart State Opera.

Since his debut as SIEGFRIED at the Longborough Festival, Daniel Brenna is internationally one of the most sought-after heldentenors for this very role. Recently, he sang SIEGFRIED in the RING at the San Francisco Opera, the Washington National Opera, at the Theater an der Wien, at the Budapest Wagner Days, at the Ravello Festival and at the Opéra Dijon. He was SIEGFRIED in ‘Siegfried’ at the Stuttgart State Opera and with the Odense Symphony Orchestra and SIEGFRIED in ‘Götterdämmerung ‘ at the Karlsruhe State Theatre and with the Hong Kong Philharmonic Orchestra. In autumn 2018 a CD recording with these concerts was released at Naxos Label.

Daniel’s international career began in 2011 when he portrayed ARON in ‘Moses and Aron’ at the Zürich Opera House. Before, he already enjoyed huge success in this very role with the Budapest Philharmonics at the Miskolc Festival in Hungary and at the Palace of Arts in 2010. In summer 2012 Daniel Brenna made his widely noticed debut as DESPORTES in Alois Zimmermann’s ‘Die Soldaten’ at the Salzburg Festival. In 2014 he made his debut in this role at the Bavarian State Opera in Munich and in 2015 at the Scala di Milano.

In 2015 followed his successful debut as ALWA in ‘Lulu’ at the Metropolitan Opera New York. This production was elected by the New York Times as THE BEST IN CULTURE 2015.: ‘Here was an ingenious staging…., with a superb cast…’. The November 21, 2015 HD performance of Lulu has been nominated for Best Opera Recording for the 60th annual Grammy Awards.

In autumn 2016 he returned as LACA in ‘Jenufa’ to the Metropolitan Opera.

Daniel studied musicology at the Boston University and completed his studies with a „Master of Music and his opera diploma. First engagements brought him to the Tanglewood Festival Orchestra under the musical direction of Seiji Ozawa and Daniel Harding.

Today, he performs with such renowned conductors and directors as Christoph von Dohnányi, Kirill Petrenko, Ingo Metzmacher, Stefan Soltesz, Michael Schonwandt, Alexander Vedernikov, Jaap van Zweden, Lothar Zagrosek, Achim Freyer, Jossi Wieler, Alvis Hermanis, Andreas Baesler, William Kentridge, Peter Konwitschny, Francesca Zambello,…

Guest engagements brought him to the Opera House Leipzig, the Comic Opera Berlin, the Aalto-Theatre Essen, the Festival St. Margarethen and the Munich Radio Symphony Orchestra. His repertoire includes such roles as SIEGMUND, THE FALSE DMITRY in ‘Boris Godunov’, BORIS in ‘Katja Kabanowa’ , PRINCE RADJAMI in ‘Die Bajadere’, BACCHUS in ‘Ariadne’ or EISENSTEIN in ‘Die Fledermaus’. Daniel enjoyed huge successes as JIM MAHONEY on the occasion of the May Festival Wiesbaden . In the seasonal review of the German newspapers “WAZ” and “NRZ” and “Welt am Sonntag” he was voted the best singer for his first interpretation of TANNHÄUSER at the Dortmund Theatre.

His affinity to contemporary music was recently proved in the world premieres of PUSCHKIN in Moscow and in Philipp Hefti’s ‘Anna’s Mask’ (ALOIS OBRIST).

At the Stuttgart State Opera he also was the DRUM MAJOR in ‘Wozzeck’ and AEGISTH in ‘Elektra’ . This very role, he also portrayed at the Edmonton Opera. Besides, he made his debut as ALWA at the Dutch Opera Amsterdam and in 2018 he successfully debuted as HERODES at the Bilbao Opera.

In the season 2018/2019 he is LACA in Jenufa in Dijon and Caen, the DRUM MAJOR at the Helsinki National Opera and SIEGFRIED in ‘Götterdämmerung ‘ in Karlsruhe. He sings EISENSTEIN in ‘Die Fledermaus’ in gala concerts at the BASF Hall and at the German Opera Berlin and the STRANGER in ‘Das Wunder der Heliane’ at the SummerrScape Festival. Future engagements also take the tenor as DRUM MAJOR tot the Opera House Zurich . He makes his debut as PARSIFAL at the Grand Opéra de Genève sings SIEGFRIED in the ring at the Gothenburg Opera House.

 

 
 
 
REPERTOIRE
Berg, Alban Lulu Alwa
  Wozzeck Tambourmajor
Busoni, Ferrucchio Arlecchino Leandro
Janacek, Leos Katja Kabanova Boris
Mascagni, Pietro Cavaleria Rusticana Turridu
Mussorsky, Modest Peter Boris Godunov Grigorij
Schönberg, Arnold Moses und Aron Aron
Smetana, Bedrich Die verkaufte Braut Hans
Strauß, Johann Die Fledermaus Eisenstein
Strauss, Richard Elektra Aegisth
Von Weber, Carl Maria Der Freischütz Max
Wagner, Richard Die Walküre Siegmund
  Der Fliegende Holländer Erik
  Götterdämmerung Siegfried
  Parsifal Parsifal
  Siegfried Siegfried
Webber, Andrew Lloyd Das Phantom der Oper Ubaldo Piagni
Weill Aufstieg und Fall der Stadt Mahagonny Jim Mahoney
Zimmermann Die Soldaten Desportes
     
 
 
REVIEWS
 
Staatstheater Wiesbaden – Jenufa - LACA
A real god’s end concerning the acting intensity was Daniel Brenna, who jumped in as Laca for the indisposed Paul McNamara.
Wiesbadener Kurier
www.wiesbadener-kurier.de
Originally Paul McNamara was intended to sing Laca. As he was indisposed, Daniel Brenna jumped in. Brenna, hwo has already performed the role at the MET gave a respectable performance. Showing presence as an actor and impressing by his extensive singing.
Online Merker
www.onlinemerker.com
Daniel Brenna as Laca Klemen, with his expressive voice jumped in for the indisposed Paul McNamara. Brenna has a huge, heroic voice, which is secure in the high registers and has a perfect ductus. Besides, he was one of the vocal and acting highlights of the evening. Daniel Brenna definitively has the potential to sing more heroic parts in future.
Online Merker
www.onlinemerker.com
Götterdämmerung - CD bei NAXOS – Neuerscheinung
Daniel Brenna holds his own in this cast, impressively singing the impossibly demanding part of Siegfried.
Rafael´s Music Notes
www.rafaelmusicnotes.com
Opéra de Dijon – Jenufa - LACA
In love Laca, the rejected lover, angered, jealous, with a frightening propensity for violence, finds a way to conquer hate in order to become a gentle, comforting being. Laca is portrayed by Daniel Brenna, an overwhelming Wagner tenor, who plays the role with extraordinary power and total dedication. Shortly, he will portray this role once again at the MET.
Classiquenews
www.classiquenews.com
Daniel Brenna in the role of Laca, the unloved. Angered, authoritarian, pitiful in his jealousy, he suffers. He is jealous of Stewa, who is loved by all. Outstanding singer Daniel Brenna ‘s play is touching: impulsively, passionately and proudly, he gives a true, real interpretation of the role. Both in his rebellion, love and tenderness. So it’s hardly surprising that he will also portray this very role at the MET.
Forum Opera
www.forumopera.com
Both male actors are fantastic:…and Daniel Brenna, ex-Siegfried in Laurent Joyeux’ s trilogy, is a marvelous Laca. His suffering is so huge, the Dijon auditorium seems to be too small for such an outburst. His diction is perfectly clear from the fist note til the end. The American tenor sings with a very “Czech” verve, always remaining melodiously.
ResMusica
www.resmusica.com
San Francisco Opera - SIEGFRIED
Though dubbed the “American” Ring there is nothing specifically American about this Siegfried except maybe the Siegfried — Wisconsin born Daniel Brenna, a veteran of the Washington D.C. Ring who has sung Siegfried in Budapest, Karlsruhe and Dijon as well….. ….Of youthful visage and fine young voice tenor Brenna well embodied Wagner’s ideal of pure and indeed powerful nature. This innocence served him well through his almost joyful murders of Fafner and Mime and prepared him for his monumentally guileless encounters with the god Wotan and Wotan's once immortal daughter Brünnhilde.
Opera Today
www.operatoday.com
San Francisco Opera – Götterdämmerung – SIEGFRIED
Tenor Daniel Brenna’s Siegfried perservered through it all to make, finally, his scene with the Rhine maidens one of the memorable moments of the entire
Opera Today
www.operatoday.com
This Siegfried is still a creepy frat boy – chugging blood, embracing the Gibichungs’ misogyny, and lusting after every woman in sight – but at least he adores Brünnhilde. Brenna sang with bright high notes ...His voice flowed most smoothly during his final scene, for his boastful storytelling and soaring death aria
Backtrack
www.bachtrack.com
Oper Bilbao - Salome - HERODES
“...Daniel Brenna’s Herodes, sung with a powerful voice that could be heard even from the back of the stage. Scenically he played an absolutely pschotic Herodes, full of anxiety and cowardice , afraid of any detail that could be considered a bad omen”
Rememberingstars. 22.2.2018
« Fitting perfectly to the soprano’s impeccable performance were the tenor Daniel Brenna in the role of Herodes and the bass baritone Egils Silins as Johanaan, both singing on a very high level. Brenna stands out with his enticing, brilliant voice which has great expressivity, transmitting with transparency the character’s entire complexity.”
Nora Franco Madariaga - Gara, 19.02.2018
Coming back to the vocal part, we must highlight the Herodes by Daniel Brenna, who undertook his histrionic role with audacity, nothing to do with those harsh voices, many already declining, that sometimes are casted for this character, as playing a vicious role should therefore imply as well an equivalent singing. That wasn't the case of Brenna, who knew to understand Strauss' score and translate it in an always clean singing, with power and excellent projection.
Platea Magazine, Javier del Olivo, 18.2.18.
www.plateamagazine.com
Hong Kong Philharmonic Orchestra – Götterdämmerung – SIEGFRIED
American heldentenor Daniel Brenna played Siegfried – a role he has sung in Washington, Vienna, Budapest and Denmark. In 2013, he sang both Siegmund and Siegfried in a shortened Ring cycle for Opéra Dijon, and later this year sings Siegfried in Siegfried and Götterdämmerung for San Francisco Opera. Even in the concert setting for Hong Kong, his performance captured the character’s gung-ho, impulsive, boyish truculence, then his naivety and growing confusion at Hagen’s betrayal, and he sang with clarity and lyricism, his top notes particularly stirring.
Limelight
www.limelightmagazine.com
Theater an der Wien – Ring - SIEGFRIED
Also vocally Daniel Brenna was appealing as boisterous Siegfried.
Opernglas 2/2018 – T. Rauchenwald
Daniel Brenna was an enchantingly naďve young Siegfried, bursting with enthusiasm. The fact that he is “no Heldentenor”, as some Wagnerians niggle, hardly touches me. Windgassen was reproached the same. And yet it is due to him my love to this opera arose, because he was a real Siegfried: naďve but also emotional, charming and beautifully singing – a child of the gods, which to me was crucial. Hans Beirer was a Heldentenor but no Siegfried because vocal power only just isn’t enough. Stephen Gould is a Heldentenor with a fantastic voice and a convincing Siegfried. Daniel Brenna however, with his smaller yet enjoyable voice manages to sing the part and brilliantly play the role : a handsome, lean, agile boy, disgusted by his foster father’s obtrusiveness. Enchantingly, the way he mucks around with his mentor. Yet, he is also visibly touched by his parent’s destiny and in a moving way he befriends the female forest bird, who accompanies him to the “selige Öde”, where Brünnhilde is waiting for him. Even in the smallest gestures or mimic reactions we can see the portrayal of a truly lonely young man, whom the sympathy of the audience is for sure - as it was Wagner’s intention. There can be no doubt the native American ( with an extraordinary biography – see interview!) truly understood every word he sang.
Der Neue Merker (01/2018) - Dr. Sieglinde Pfabigan
Daniel Brenna as Siegfried was also beyond compare. Seldom has one heard the barbarously difficult “Schmiedelieder” sung in such an exuberant and sovereign way. Brenna however sang them with an almost tantalizing nonchalance and still had the power for the final scene "Heil dir, Sonne! Heil dir, Licht".……. one can truly call Brenna a discovery; it would be interesting to see (and hear) them in a big opera house.
Evolver
www.evolver.at
Daniel Brenna as Siegfried is a beguilingly fleet-footed hero… Elegantly and effortlessly he jumps into a rocky landscape made out of plastic, conceived as a burlesque to meet the waiting Brünnhilde.
NMZ
www.nmz.de
Ravello Festival Italien –SIEGFRIED in Siegfried /SIEGMUND in Die Walküre
Da encomio per espressivitŕ, intonazione e potenza č stata la prestazione di Daniel Brenna, un Siegfried da antologia che anche in Siegmund ha saputo porgere una linea di canto legato, ma con incisivitŕ di accento, virtů che sanno coesistere solo in tenori di primissimo ordine."
Corriere della Sera, Luglio 2017
Sankt Gallen Theatre - Annas Maske - ALOYS OBRIST
"One sits up and listens attentively, when Obrist (Daniel Brenna) reaches Puccini-like and almost kitschy cantilenas..."
Musikzeitung
www.musikzeitung.ch
"Also a godsend is her opponent Daniel Brenna as Aloys ­Obrist: his erratically controlled, loud and lachrymose play is so superb, that right from the first tone, one believes he is capable of murder out of jealousy."
Tagesanzeiger
www.tagesanzeiger.ch
"Daniel Brenna as Aloys Obrist inspires by the vocal directness and the amazing stringency, with which he plays Anna's love-crazed admirer.."
Tagblatt
www.tagblatt.ch
"metallicly passionate (Daniel Brenna)"
NZZ
www.nzz.ch
Edmonton Opera - Elektra - AEGISTH
"To have a tenor of the quality of Daniel Brenna in the small role of Aegisth was a bonus."
Edmonton Journal
www.polifonicagrimaldi.it
Metropolitan Opera New York - Jenufa - LACA
"In the role of Laca, Jenufa’s ever patient suitor, Daniel Brenna made good use of his profound tenor. He spent the evening channeling John Vicars, which was thrilling.
www.polifonicagrimaldi.it
"Daniel Brenna (a Laca with a walloping tenor)"
www.newyorker.com
"Daniel Brenna as Laca ist simply impressive,if not exuisite."
www.forumopera.com
"Daniel Brenna had punchy power as his hapless half brother Laca"
mobile.nytimes.com
Daniel Brenna....sang with a youthful rambunctiousness and acted with commitment to the production.
www.huffingtonpost.com
Budapest Wagner Days - SIEGFRIED
With great success Daniel Brenna sung Siegfried at the third evening . It's a pity his Tannhäuser performances in Prague were cencelled (because of illness). He is very young-looking , has an excellent voice quality and a natural sense of acting.
2016 ElegantClassics, Czech republic - All rights reserved.
Chief editor : Miloš Bittner
Washington Opera House - SIEGFRIED
The undoubted star of this production, however, was tenor Daniel Brenna who sang the role of this opera’s eponymous hero. Wagnerian singers generally traverse a long and difficult road to develop the kind of voices that can still retain some lyrical quality even as they must develop extraordinary volume and accuracy in order to soar above this composer’s massive symphonic accompaniments. Not infrequently, such voices don’t achieve that peak power until Wagnerian singers are in their 50s, which makes their portrayal of much-younger characters seem a bit odd in today’s musical theater scene where acting as well as physical appearance and believability hold great importance.
Mr. Brenna is a notable exception to this rule. Though now in his early-to-mid-40s, he possesses great physical vigor; and even better, still possesses the look and the attitude of a cocky late teen or early 20-something, which is absolutely perfect for the role of Siegfried. His brash, almost clueless hero’s swagger, his lack of tolerance for the boredom of normal life and his sudden gob-smacking by the awesome power of an intense first love are all made entirely believable by this still-youthful tenor. None of this would be enough, though, if Mr. Brenna didn’t also possess the enduring vocal power and finesse needed to sing Siegfried effectively and well. But he does.In the opening scenes, we weren’t entirely sure. Siegfried’s vocal lines are short and clipped in the early part of Act I, so we weren’t quite able to ascertain how Mr. Brenna would develop his character later as Siegfried’s vocal lines and emotions lengthened and grew.But, like many an athlete, it’s clear that Mr. Brenna was gathering his vocal forces so that his instrument would peak when it needed to peak, in that grand finale, during his extended dueling duet with Brünnhilde. It was the right answer, leading to a brilliant and fulfilling conclusion to this third installment of what is fast becoming one of the truly defining moments in the history of the Washington National Opera.
Commdiginews
www.commdiginews.com
There are a lot of ways to parse a “Siegfried,” and Francesca Zambello’s production, with Philippe Auguin’s conducting, continues to offer D.C. audien¬ces a particularly rich ride. But one bottom line remains the two leads, and both Foster and Daniel Brenna, the Siegfried, were largely unknown quantities until Wednesday night (although Brenna sang the part of Alwa in the Metropolitan Opera’s “Lulu” last fall). Both proved more than respectable: Brenna, in particular, showed a savvy use of his voice, resisting oversinging in the first act, when he sounded pushed and bland, so that he was doing his best work in the third, unleashing a robust sound that made it clear that this singer is definitely someone to watch.
The Washington Post
www.washingtonpost.com
The scenes presented in Act One, showed the young Siegfried (Daniel Brenna) brooding about his place in the world and questioning his parental upbringing. Mr. Brenna’s lustrous tenor voice vividly matched his character’s myriad moods as he very aptly conveyed his character’s youth, idealism, defiance, and callowness. It was a pleasant casting decision to watch a Siegfried who truly had a boyish, raffish, and endearing air of defiant nonchalance about him (rather than much older singers that have played this part). Brenna’s interpretation of the character was invigorating and refreshing throughout.
DC Metro Theratrearts
www.dcmetrotheaterarts.com
When our hero Siegfried returns, singer Brenna has his voice anchored securely and from here on demonstrates why the Wagner Society and others who have showered prizes upon him have staked their hopes in the “best young Siegfried out there.” Brenna has the Wagnerian vocal chops for sure and is developing the release of his instrument and the dramatic passion to drive even this toughest of roles. He may be a young “freak of nature” now but he is tipping into being darn near sensational.
DC Theatre Scene
www.dctheatrescene.com
Siegfried, the fresh-faced Daniel Brenna, was the epitome of the rebellious adolescent – a post World War II American invention after all, with a touch of James Dean about him. He has anger issues, but was still endearing, and not every production succeeds in making him so. Brenna’s voice wasn’t the biggest imaginable but he communicated energy and passion throughout.
Bachtrack
www.bachtrack.com
Washington National Opera - Götterdämmerung - SIEGFRIED
Daniel Brenna, a young Washington National Opera first-timer, with a rich, brassy tenor is terrific as Siegfried, playing him less as a hero and more a bratty kid.
www.washingtoncitypaper.com
Brash American tenor Daniel Brenna pulled out all the stops as the Ring’s swaggering and occasionally oafish hero, Siegfried, portraying him as an almost recklessly brave fellow to whom heroics are second nature. But, unschooled in subtlety, he can’t ferret out the duplicity of his apparently genial hosts in this final Ring opera, leading to the inadvertent disgrace of his beloved Brünnhilde and ultimately to his own destruction.
Mr. Brenna sang like a swashbuckling hero early on in the opera as he made the acquaintance of the scheming Hagen (Eric Halfvarson), his half-brother Gunther (Ryan McKinny), and Gunther’s lovelorn sister Gutrune (Melissa Citro). But later, as he slowly succumbs to Hagen’s treacherous attack, the truth of it all dawns on his character, Siegfried. The versatile Mr. Brenna responded to the moment with a completely different vocal approach, singing with great tenderness and love as Siegfried remembers, in his dying moments, his magical time with Brünnhilde.
www.commdiginews.com
Daniel Brenna’s Tenor exuded a natural and earthy charm as he sang gloriously of his past victories and conquest to the hunting party. Brenna is simply amazing in every facet of this role.
www.dcmetrotheaterarts.com
Daniel Brenna’s Siegfried represented an important conceptual step forward from the 2011 staging: still raw and brash, but no longer a completely unlikable lout, with a strong voice and an ability to convey his character’s heroism in — especially — his death scene, standing upright for longer than seemed humanly possible, and singing with the same promise he showed in Wednesday’s “Siegfried.”
www.washingtonpost.com
Daniel Brenna meanwhile, is every inch a Siegfried-the bold, heroic but terminally dumb hero of the cycle.
Broadwayworld
www.broadwayworld.com
Daniel Brenna continued his eminently likeable Siegfried - still the boy-man, wearing his mother's sky-blue scarf. From his moving love-scene with Brünnhilde where each outdid each other in protestations of love, to his rustic faux-pas in the sleek Gibichung domain, from the guileless expansiveness of his male camaraderie, to his heartbreaking end, his last gesture an attempt to reach the hand of his 'blood-brother', Brenna captured the character's central magnetism, that is to say the magnetism of his innocence. While others in it for something - some for the Ring itself, some for a bit of status, dreaming of real glory among their leopard-print cushions - only Siegfried is in it, as it were, for the jolly, becaus he happens to be alive. Only he has always been free of the desire for power or wisdom; theonly thing he wanted was to learn fear, and he never quite managed that.
Fullsizerender
Scala di Milano - Die Soldaten - DESPORTES
Daniel Brenna knows how to portray a ambitious and despicable Desportes
Il Corriere Musicale
www.ilcorrieremusicale.it
Daniel Brenna as Desportes is a cynic, a false villain, who doesn't posses the charme of a womanizer, only his despicable dissipation, increased by the rudeness of his behaviour and his morals. The extremely difficult part is brilliantly sung, the high notes sustained by an important and constantly controlled falsetto.
Classical Online
www.classicaonline.blog.tiscali.it
Metropolitan Opera New York - Lulu - ALWA
Especially in the dramatic 2nd part Daniel Brenna definitively improved . He credibly, almost pitiously, conveyed the awkwardness of Dr. Schön's son.
Der neue Merker 01/2016, Susanne Resperger
With his strong tenor voice Daniel Brenna made his successful debut as Alwa.
Orpheus, Hans Bernd Zimmermann, January/February 2016
Daniel Brenna has a gorgeous voice and he brought a wonderful vocal bloom to the lyrical duets with Petersen in Act 2.
Seen and Heard International
www.seenandheard-international.com
As Alwa, the son of Schon, Daniel Brenna initiated his performance with a sense of composure, his singing measured and relaxed. But once his passion for Lulu started to take over, Brenna sang with increasingly unbridled passion, escalating with his eventual demise.
Latin Post
www.latinpost.com
His son Alwa - also one of Lulu's victims - was sung with the necessary helden-tenoral power and a slight baritonal timbre by Daniel Brenna. He also perfectly mastered the lyrical passages of his role, above all the "hymn" on Lulu's body in the second act , which he sang with legato and sustained tones.
Der neue Merker
www.der-neue-merker.eu
Alwa, sung by the American tenor Daniel Brenna in his Met debut is compelling as the pathetic composer, who becomes dependent on her, though he knows she is out of his reach (With his big voice, it's not surprising to read that Brenna will be singing the leading role in SIEGFRIED shortly).
Broadway World
'Daniel Brenna, an American tenor in his Met debut, brings a robust voice to Schön's son, Alwa, an impressionable composer who also yearns for Lulu.'
The New York Times
www.mobile.nytimes.com
'... and Daniel Brenna imprressed with a dark, muscular tenor in his debut as Alwa'
New York Classical
www.newyorkclassicalreview.com
'Daniel Brenna's Alwa was sung with great attention and vivacity.'
Bachtrack

'In his Met debut young American daniel Brenna as Alwa disclosed a healthy, baritonal tenor.'

Parterre
www.parterre.com
'...and the doctor’s son Alwa (the gorgeously fragile Daniel Brenna)...'
Vulture
www.vulture.com
'Daniel Brenna is a puppyish, but vocally hearty Alwa.'
The New Yorker
www.newyorker.com
The Dutch Opera Amsterdam - Lulu - ALWA
'Truely great were also Daniel Brenna (Alwa) and...'
Het Parool
'On stage there were some real top singers (such as Mojca Erdmann, Jennifer Lamore, Johan Reuter and Daniel Brenna), who had not only an eye for the formal aspect of Berg's music. They also knew how to express it's passionate warmth. These singers do not only have impressive vocal qualities, the also act damn well.'
Theaterkrant
'Daniel Brenna is an impassioned, virile Alwa...'
Musicalamerica
'Daniel Brenna brought vocal heft and dramatic intensity to the composer Alwa.'
Bachtrack
Scala di Milano - Die Soldaten - DESPORTES
'Daniel Brenna is an excellent Desportes, not lacking in selfishness or cruelty.'
Opera Online
www.opera-online.com
"Daniel Brenna has the same asset, which enables him to effortlessly change from the high registers into falsetto with an imoressive speed."
Forumopera
www.forumopera.com
'Daniel Brenna portrays a raging, detestable Desportes.'
www.ilcorrieremusicale.it
"Tenor Daniel Brenna depicted Desportes appropriately as a mean villain"
The Opea Critic
http://theoperacritic.com
"Daniel Brenna packed a punch with a steely tenor perfect for the unforgiving Desportes"
Bachtrack
http://bachtrack.com
Munich State Opera - Die Soldaten - DESPORTES
'The male parts were also perfectly casted with Daniel Brenna as Desportes...'
Vlaams Wagnergenootschap
vlaamswagnergenootschap.blogspot.de
‚Even Desportes, a role that is mostly just screamed by some used tenors, was perfectly sung by the tenor Daniel Brenna’.
Opera Magazine
opera-magazine.com
"As Baron Desportes, American tenor Daniel Brenna managed to sail into the extremities without making a musical travesty of the role."
Opera news
www.operanews.com
"The extremely high noted vocal part in toto perfectly suits tenor Daniel Brenna's (Desportes) voice"
Opernglas
'The outstanding principals humanized the stylized approach, especially .... and Daniel Brenna (Desportes), recently announced as the Siegfried in Washington's National Opera's upcoming Rang Cycle. A challenging evening, but what a dramatic and vocal tour de force! As strong as the cast was....'
Classical Voice America
Daniel Brenna [excellent in Salzburg in the same role], ...Daniel Brenna, where have you been 'hiding'?! A superbly talented opera singer/actor!
Classissima
http://www.classissima.com
"...little by little she falls under barone Desportes' (Daniel Brenna) gleaming high peaks ..."
FAZ
http://www.faz.net
'Though optically uniform, Daniel Brenna is unique as the cool seducer Desportes, because of his precise articulation.'
Opernnetz
http://opernnetz.de
'Moreover, the soloists in the play are alltogether vocally and performingly brilliant. Not only the fascinating Hannigan as Marie, but also Michael Nagy (Stolzius), Daniel Brenna (Desportes) and Okka von der Damerau (Charlotte). Even the smallest roles are played outstandingly.These Soldaten truely ensure a rewarding sound impression.'
Bayerische Staatszeitung
http://www.bayerische-staatszeitung.de
"Daniel Brenna, who effortlessly meets the teoral demands of Desportes' part"
Drehpunktkultur
http://www.drehpunktkultur.at
"Daniel Brenna in the role of baron Desportes convincingly sings and plays this brutal psychopath"
Wiener Zeitung
http://www.wienerzeitung.at
"Daniel Brenna portrays the „nobleman“ with a diabolically seductive falsetto over a metallic tenoral core."
NMZ Online
http://www.nmz.de
"Excellent: Marie's men ... Daniel Brenna's Desportes inspired by the Tambourmajor"
Operalounge
http://operalounge.de
"Once again Daniel Brenna gave an impressive portrayal and his German has equally improved since his Salzburg performance."
Capriccio
http://www.capriccio-kulturforum.de
"...and Daniel Brenna (Desportes) cope much better with Zimmermann's extreme vocal demands as his prodecessors in previous performances."
Abendzeitung München
http://www.abendzeitung-muenchen.de
"Her Marie is a musical- artifcial sensation. This also applies for Daniel Brenna as Desportes - he too succeeds in turning the ludicrously exposed shifting between the registers into a fascinating expression of an emotional perversion."

Die deutsche Bühne
http://www.die-deutsche-buehne.de

 

Dortmund Opera House - Tannhäuser - December 2013
'The american tenor Daniel Brenna as Tannhäuser was an excellent choice. Not only did he sing a thoroughly thrilling part, he also convincingly got into the chartacter of the Christ-Tannhäuser, as conceived by Voges.'
Choices
'Daniel Brenna as the title character got better and better in each act, in a remarkable display of stamina. Covered in blood by the final scene, his torment was of the highest intensity when he attached himself to the cross at the news of his redemption.'
Bachtrack
Opéra de Dijon/Auditorium - Der Ring - SIEGMUND and SIEGFRIED - October 2013
‘ The performance has some sensational surprises in store like the tenor Daniel Brenna, who enjoys the luxury of singing both Siegmund and Siegfried. His undisputed qualities as a Wagner singer and actor, combined with his stamina, make it clear that he will soon be dominating the big stages.’
Le Bien Public
‘Daniel Brenna’s Siegmund and Siegfried are marked by a remarkable dynamism and provided with the most various psychologic aspects. Without any difficulties his well balanced voice keeps the vocal line at all times.’
ResMusica
‘With a powerful, beautifully timbred and perfectly placed voice Daniel Brenna first sings a great Siegmund and immedately afterwards Siegfried….’
Forum Opera
Daniel Brenna is a solid Siegfried’
Classique d’aujourd’hui – Bruno Serrou
'But an even more remarkable piece of shape-shifting came from Daniel Brenna. The peerless hero Siegmund of yesterday was turned into the delinquent teenager Siegfried with aplomb, his entire demeanour transformed and his voice lighter and clearer. Very few tenors attempt both roles at all (I have heard one excellent Siegmund declare that he will definitely never sing Siegfried in his career); to pull off both roles in a week-end is extraordinary. The awakening and love scene in which Brenna’s Siegfried rouses Sabine Hogrefe’s sleeping Brünnhilde was sublime, Siegfried’s initial terror and gawkiness giving way to pure beauty in the blending of the two voices.Brenna’s singing was equally fine in the long first act which (in this production) he shares only with Mime, and Florian Simson once more sang a fine Mime. The highlight was the sword forging scheme, which Brenna sang with immense power and which the orchestra played to perfection,
The Bachtrack
‘The young tenor Daniel Brenna’s Siegfried, an equally convincing partner ar Brünnhilde’s side, perfectly fits into the producer’s concept. … the tenor’s singing is exemplary in clarity of diction and of A shining youthfulness. What a difference between the eternal performances, in which, too often, the heaviness of the sword seems to press down everything. The ‘Awakening Scene’, in which Siegfried calls on Brünnhilde to wake up, is one of the most impressing musical achievements we have ever witnessed.’
Classique news
‚An adolescent Siegfried goes through a learning processof anxiety and desire, helplessly surrendered to the euphoria of ‘finding himself’ and ‘loosing himself in his sweetheart’s love’. Rarely, the duet with Brünnhilde touched and moved us in such a way… all the singers live up to the production, especially the young tenor Daniel Brenna, who plays both Siegmund and Siegfried. He portrays both father and son with flying colors.'
Télérama
‘.. Sensational in their light-heartedness and naturalness: Daniel Brenna’s Siegmund and Siegfried.’
Altamusica
‘…and a few very interesting voices… the extremely promising tenor Daniel Brenna as Siegmund and Siegfried.’
Le Figaro
Hessisches Staatsthetaer Wiesbaden - Aufstieg und Fall der Stadt Mahagonny - JIM MAHONEY
"Daniel Brenna's Jim Mahoney sometimes comes close to a Wagner hero, sonorously intoning many a phrasing with great dynamic. This fits quite well with the somewhat naive boy from Alaska, who doesn't quite know what's happening to him in the sophisticated city of Mahagonny"
Opernglas/6 - L.E. Gerth
The Soldiers – DEPORTES – Salzburg Festival– August 2012
„But the highlight of the performance seems to be Daniel Brenna as Desportes. The heldentenoral demands of this part are simply gigantic. But he always souns suggestive, hardly ever forced. Equally interesting: his voice suddenly turning into a well heard falsetto register. His 'love duet' with Laura Aikin in the hay bales is absolutely unbelievable. This estatic duet with its erotic component and extreme contortions is beautiful singing.”
Der neue Merker
„The American tenor Daniel Brenna as the nobleman Desportes handles his insanely difficult part just as well. Impressive: his vividly sung cynism shortly beore his death by poison was incredible.”
Südtirol online
“...and the tenor Daniel Brenna`s bright, penetrating voice served to characterize Desportes.”
New York Times
“Laura Aikin and Daniel Brenna hadle their hair-raisingly demanding solo parts with aplomb and stand out from the uniformly good soloist ensemble.”
Salzburg 24
“Daniel Brenna’s incisively high tenor voice perfectly suits Desportes’ role profile.”
Salzburger Nachrichten
“Also Daniel Brenna as the "nobleman" , who schmoozes and finally destroys Marie, profoundly masters his part.”
Der Standart
“... whereas Daniel Brenna plays a Desportes, whose self-confidence is based upon clear snobbishness..”
Neue Zürcher Zeitung
“Daniel Brenna en Desportes: a smooth talker, secure in the upper registers.”
Wiener Zeitung
Siegfried –SIEGFRIED -Longborough Festival – July 2011
"Where the cast was concerned, there was not a weakness. Truly exciting was the Siegfried of the American tenor Daniel Brenna. A stocky figure, he perfectly characterized the callow youth who bullies Mime (the excellent Colin Judson), sang with such tenderness of the mother he has never known, and was ardent in the final duet. I could not believe that he would maintain the volume and intensity of his tone in Act 1 right through to the end of Act 3, but he did (and it is not often that he would be expected to sing the role four times in eight days). Would he sound as impressive in a larger theater? Yes, I believe he would. In engaging him Longborough has made a thrilling find ... ."
Opera
“…by the fearless Siegfried (an impressive debut in the role by American tenor Daniel Brenna). The glorious, ecstatic duet, during which their mutual love is acknowledged and their union sealed with the Ring, was superbly handled”
The Oxford Times
„But the real surprise was the young American tenor Daniel Brenna, whose Siegfried was among the best I have ever witnessed. Presenting the boy as a hefty, amiable, brainless jock, he sang firmly and cleanly in tune throughout. One never knows how long these things will last, but on his Longborough showing, Brenna is a contender.”
The Telegraph
“In Daniel Brenna, Longborough has a young Siegfried of irrepressible physical and vocal energy. Tall and impetuous, his journey from petulant youth towards manhood and love was wholly confident.”
The Guardian
„Vocally, too, this is a remarkable evening. The young American tenor Daniel Brenna looks and acts the callow hero impressively and his tone remains convincing to the close."
The Stage
„At its head is a young American Siegfried, Daniel Brenna who as far as I know is completely new to the British stage. From his first “Hoi-ho” it’s instantly apparent that he’s a Wagner tenor of outstanding promise, a natural with a brilliant, easy top to the voice that half-recalls Melchior, strong projection throughout the range, excellent German and a completely unforced stage presence. His acting is still raw, and he needs more disciplined direction than he gets here. But it’s great to hear this difficult, taxing music sung so uninhibitedly, and without a trace of exhaustion to the very last phrase of his final-act duet with Alwyn Mellor, who herself sings Brünnhilde with radiant tone and vivid dramatic intensity.”
The Arts Desk
“The casting of the central role in Siegfried, a headache for any opera company these days, is a considerable challenge for a small house like the Cotswolds-based Longborough Festival Opera. What a coup if they could not only cast it but unearth a new tenor who will go on to shine in the role around the world. They might just have done that….The paradox of the role is that the voice needs maturity, which Brenna’s bright, sweet sound will gain over time but, in the meantime, how refreshing to have a Siegfried who actually looks as though he could be Brünnhilde’s nephew rather than her father….a new, genuinely youthful Siegfried has arrived and it’s something to be celebrated.”
What's on Stage
“ The American tenor Daniel Brenna, making his debut in this role, looks the part, brims over with youthful impetuosity, and sings superbly…. Moreover, Daniel Brenna's true-to-life portrayal of a mixed-up youth progressing to manhood suggests that a new Wagnerian star has been born.”
This is Gloustershire
“Daniel Brenna is American, and must be one of the youngest and most convincing Siegfrieds around. He´s the very epitome of the naive and puppy-ish young lad who knows no fear, and has only the creatures of the forest for his friends. Brenna´s steady heroic tenor seems for most the the evening effortless, indefatigable. And his embodiment of the tantrum-prone youth, his body movements resembling those of his ursine friends, is irresistible.”
The Times- Hilary Finch
“The first act of this opera is long, and can sometimes drag with a middle-aged Siegfried mocking his guardian Mime before finally re-forging the mighty sword. One can yearn for Act II where Alberich and Fafner reappear from earlier in the Ring, but here at Longborough I wouldn’t have wanted Act I to last a minute less, because Daniel Brenna and Colin Judson were riveting as Siegfried and Mime. It seemed incredible that a mere twenty-something could be singing Siegfried, though Daniel Brenna is in fact in his early to mid-forties despite his brilliant portrayal of a rambunctious young man. His enunciation of the words was so strikingly good that I needed no surtitles — it was as though he were merely speaking, yet with excellent pitch and an admirable heroic tone. … But the main attraction in Act II was Siegfried himself. His soliloquy when he muses about his mother is one I’ve heard beautifully sung before, but Daniel Brenna gave it a real sense of emotion, particularly in his crescendo on the word Mutter when he wishes he could see her.”
Markronan Wordpress
"For 'Ringheads', as Wagner fanatics have come to be known, Mr. Brenna was the long awaited youthful-looking, athletic, stroppy, rebellious tormented angry young man who failed to learn the meaning of fear."
Stratford Herald - Clive Peacock
Moses und Aron - ARON – Zurich Opera House - May 2011
'DANIEL BRENNA agiley played the role and was almost a Mephistopheles, almost a Goebbels, but also a clown, a media-clown of our times. Vocally he performed the miracle of singing this horrendously difficult tenor part beautifully.'
Der neue Merker
„'And the young american Daniel Brenna lends to the contrasting figure of Aron his very precisely placed, capable of all bel canto melting, tenor voice.”
Basler Zeitung
Moses und Aron – Gala concert – ARON - National Philharmonics Budapest
„'The audience gave Kocsis and the other participants, among them the german baritone Wolfgang Schöne as Moses and the american tenor Daniel Brenna as Aron, prolonged applause. ...Despite a feverish cold, Daniel Brenna mastered the seductive of Aron.”
Berner Zeitung
 
 
 
SZENENFOTOS
Opéra de Dijon - Jenufa - LACA
(crédit photos Opéra de Dijon © Gilles Abegg)
 
Opéra de Dijon - Jenufa - LACA
(crédit photos Opéra de Dijon © Gilles Abegg)
 
DANIEL BRENNA as Siegfried and Iréne Theorin as Brünnhilde in
Wagner's “Siegfried” at the San Francisco Opera.
Photo: Cory Weaver / San Francisco Opera
 
DANIEL BRENNA and Iréne Theorin as Brünnhilde in Wagner’s “Siegfried” at the San Francisco Opera.
Photo: Cory Weaver / San Francisco Opera
 
Theater an der Wien - SIEGFRIED
 
Metropolitan Opera New York - Jenufa - LACA
 
Washington National Opera - SIEGFRIED
 
Washington National Opera - SIEGFRIED
 
Washington National Opera - SIEGFRIED
 
Metropolitan Opera New York - Lulu - ALWA
 
De Nationale Opera Amsterdam - Lulu - ALWA
 
De Nationale Opera Amsterdam - Lulu - ALWA
 
Die Soldaten - DESPORTES - Staatsoper München
 
SIEGFRIED - Staatsoper Stuttgart
 
SIEGFRIED - Staatsoper Stuttgart
 
TANNHÄUSER - Theater Dortmund 2013/14
 
SIEGFRIED - Opéra de Dijon 2013
 
Opéra de Dijon/Auditorium - Der Ring - SIEGFRIED
 
Hessisches Staatsthetaer Wiesbaden - Aufstieg und Fall der Stadt Mahagonny - JIM MAHONEY
 
Hessisches Staatsthetaer Wiesbaden - Aufstieg und Fall der Stadt Mahagonny - JIM MAHONEY
 
Salzburger Festspiele - Die Soldaten - DEPORTES
 
Budapest Concert Hall - Aron und Moses - MOSES
 
Longborough Festival - Siegfried - SIEGFRIED
 
Longborough Festival - Siegfried - SIEGFRIED
 
Der Freischütz - MAX
 
Stadttheater Klagenfurt - Boris Gudenov - GRIGORIJ
 
 
 
CD/DVD

Wagner Götterdämmerung
Released in 2018

 
 
INTERVIEWS - PORTRAITS
DANIEL BRENNA, der „Siegfried der Ring-Trilogie des TaW:: „Ich bin ein Bühnentier“
DANIEL BRENNA in an interview with Deborah Voigt (Video)
Interview with Heldentenor Daniel Brenna, Siegfried on 5-28 for the Boston Wagner Society