John Daszak
Tenor

"John Daszak has a flexible, beautiful voice combined with most intelligent, effortless characterisation." (Frankfurter Allgemeine on Khovanshchina)

Contacts

Shirley Thomson +44 (0)20 3725 9173
Catherine Znak +44 (0)20 3725 9105

Biography

Possessing a broad and eclectic repertoire, John Daszak is widely considered one of Europe’s most versatile tenors with key successes in recent seasons in Wozzeck in Berlin with Daniel Barenboim, Der Zwerg in Munich with Kent Nagano, Moses und Aron in Vienna with Lothar Zagrosek and Billy Budd in New York with David Robertson.

John Daszak's current season opens with a rare performance of Strauss’ Taillefer cantata under the baton of Sakari Oramo at the Last Night of the BBC Proms and includes Janáček’s Glagolitic Mass with the City of Birmingham Symphony

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Possessing a broad and eclectic repertoire, John Daszak is widely considered one of Europe’s most versatile tenors with key successes in recent seasons in Wozzeck in Berlin with Daniel Barenboim, Der Zwerg in Munich with Kent Nagano, Moses und Aron in Vienna with Lothar Zagrosek and Billy Budd in New York with David Robertson.

John Daszak's current season opens with a rare performance of Strauss’ Taillefer cantata under the baton of Sakari Oramo at the Last Night of the BBC Proms and includes Janáček’s Glagolitic Mass with the City of Birmingham Symphony Orchestra under Edward Gardner as well as Beethoven’s Symphony No.9 with the BBC Philharmonic under Juanjo Mena. On the opera stage, John sings Aschenbach (Death in Venice) at the Teatro Real, Madrid, returns to the Berliner Staatsoper for Wozzeck under Daniel Barenboim and makes his Bayreuther Festspiele debut as Loge under Kirill Petrenko. 

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Contacts

Shirley Thomson +44 (0)20 3725 9173
Catherine Znak +44 (0)20 3725 9105

Reviews

“The young Englishman John Daszak possesses nearly all the necessary qualities of a young Siegfried: vocal power, great lyric potential and, despite this killer-part, admirable stamina. Without doubt he is a worthy addition to the Heldentenor scene.” (Die Welt, February 2014)

“Whoever spotted John Daszak might be a good Siegfried should now be congratulating themselves as it was a most impressive performance.” (Jim Pritchard, Seen and Heard International, February 2014)

“Even Alexei’s passion and sincerity are lent a narcissistic bitterness by John Daszak, in his blistering account of the title role [The Gambler].” (Shirley Apthorp, Financial Times, December 2013).

“John

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“The young Englishman John Daszak possesses nearly all the necessary qualities of a young Siegfried: vocal power, great lyric potential and, despite this killer-part, admirable stamina. Without doubt he is a worthy addition to the Heldentenor scene.” (Die Welt, February 2014)

“Whoever spotted John Daszak might be a good Siegfried should now be congratulating themselves as it was a most impressive performance.” (Jim Pritchard, Seen and Heard International, February 2014)

“Even Alexei’s passion and sincerity are lent a narcissistic bitterness by John Daszak, in his blistering account of the title role [The Gambler].” (Shirley Apthorp, Financial Times, December 2013).

“John Daszak turns Aegisth’s short cameo into a starring role in its own right.” (Richard Fairman, Financial Times, September 2013)

"John Daszak’s Ägisth isn’t given much to work with by Strauss but he staggers across stage convincingly as a drunken, sexually-deviant, figure and sings this high-lying part with unaccustomed ease." (Jim Pritchard, Seen and Heard International, September 2013)

"Vere was written for the tenor Peter Pears, who sang it at the Met when this production was new. John Daszak made his Met debut on Friday as Vere and won a rousing ovation ... he is an intelligent and deeply expressive singer who makes every word count with impeccable English diction." (The New York Times, May 2012)

"The role of the captain was taken in this revival by tenor John Daszak in his Met debut. He sang with a bright, pungent tone and notably crisp diction. He was persuasive both as an old man tormented by guilt and as an embattled captain facing an impossible choice." (The Huffington Post, May 2012)

"...the dangerously demented Grishka of John Daszak, who performed virtuoso bar tricks and raised drunkenness to new levels of tenorial brilliance” (Netherlands Opera - The Legend of the Invisible City of Kitezh, Opera Magazine, May 2012)

"Thanks to John Daszak's searingly sung and acted Dwarf - this fine British tenor has really found his true metier and more appropriate roles since he left the roster of ENO - Zemlinsky's opera had a powerful impact and Jarzyna's idea of making the central character a 'normal' man surrounded by ghastly grotesques made the opera seem even nastier than it usually is." (Der Zwerg - Bayerische Staatsoper - Opera Magazine, July 2011)

"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, February 2010)

“John Daszak is magnetic as Mephistopheles.” (Financial Times, July 2008)

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

Discography

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