Canadian bass-baritone Daniel Okulitch is a frequent interpreter of the principal Mozart roles of Don Giovanni, Count Almaviva, Figaro and Leporello, which he has performed in theatres such as Los Angeles Opera, Santa Fe Opera and Dallas Opera. A strong Mozart presence continues through future seasons including an upcoming house debut at Seattle Opera as Don Giovanni. Other highlights of recent seasons include debuts at Teatro alla Scala in Britten’s A Midsummer Night’s Dream, at Washington National Opera in Peter Grimes and at Grand Théâtre de Genève in Charpentier’s Médée.
Showcasing an innate connection to the music of our time, Okulitch has created several principal characters most notably Ennis del Mar in Charles Wuorinen’s Brokeback Mountain at Teatro Real in Madrid, Seth Brundle in Howard Shore’s The Fly at Paris’ Théâtre de Châtelet and Los Angeles Opera, Mark Rutland in Nico Muhly’s Marnie at English National Opera and LBJ in David T Little’s JFKat Fort Worth Opera and Opéra de Montréal. Further contemporary credentials include appearances as General Groves in John Adams’ Doctor Atomic, Joseph De Rocher in Jake Heggie’s Dead Man Walking and in Kevin Puts’ Silent Night. Daniel Okulitch has recently made an acclaimed role debut as The Protector in George Benjamin’s Written on Skin at Opéra de Montréal and will further explore the composer’s work in Katie’s Mitchell’s production of Lessons of Love and Violence when it premieres in both Barcelona and Paris. In the summer of 2020 at the Spoleto Festival USA, he will also create the role of The Master in the world premiere of Omar, a first opera by Grammy award winning singer-songwriter Rhiannon Giddens.
A committed concert performer, his repertoire includes Bach’s Mass in B Minor, St Matthew Passion and St John Passion, Handel’s Messiah, Mendelssohn’s Elijah, Rossini’s Petite Messe Solennelle and Stabat Mater, Beethoven’s Symphony No.9, Brahms’ Requiem, and Puccini’s Messa di Gloria, working recently with the National Art Centre Orchestra, Toronto Symphony Orchestra, Vancouver Symphony Orchestra, Philharmonia Baroque, San Diego Symphony, Milwaukee Symphony Orchestra, Israel Philharmonic, and Moscow State Philharmonic Society.
Okulitch’s career first garnered national attention as Schaunard in the original cast of Baz Luhrmann’s Tony Award-winning Broadway production of La bohème. His first solo recording, The New American Art Song, was released on GPR Records in 2011 and he can further be heard in Chausson’s Le Roi Arthus with the BBC Symphony Orchestra, Thomas Pasatieri’s Frau Margot, and David DiChiera’s Cyrano de Bergerac.
Bass-baritone Daniel Okulitch is a must-see in this production. His powerful voice remains consistently beautiful, despite the flaws of his character. A tall slender man, he is very convincing and dominating “Protector”
(Les Arts Zé, 2020)
“Daniel Okulitch, who might be remembered as the best thing about Los Angeles Opera’s “The Fly” some years ago, took Saul’s torment to a new, gripping level.”
(LA Times, 2019)
“Petulant and conflicted, with remarkable reserves of cavernous bass-baritone fury, Canadian Daniel Okulitch brought complexity and depth to his portrayal of Saul ”
(Bay Area Reporter, 2019)
“Mr. Okulitch plays his part with plenty of aplomb. This Don does not discriminate among the classes for his conquests — nobility or servants, it does not matter. He exhibits a creepy sense of entitlement over other people usually reserved for say…presidents. And his baritone was seamless and firmly rooted”
(Encore Michigan, 2019)
“Mr. Okulitch sang magnificently. ”
(The New York Times, 2018)
“Okulitch’s richly resonant vocals, clear diction and agile phrasing were displayed in his trip-off-the-tongue recitatives, and rapid-fire delivery of ‘Champagne Aria,’ “Finch’han dal vino,” as effervescent as a glass of bubbly and contrasted by a lushly romantic “Deh vieni alla finestra,” as he woos Elvira’s maid”
(Opera Canada, 2018)
“Daniel Okulitch’s portrayal of the morally bankrupt nobleman is full of swagger and oily condescension. I loved how, from the quietest mezzo voce to a full lyric baritone, Okulitch was not afraid to almost croon some of his sweetest and nastiest words to victims”
(The Globe and Mail, 2018)
“Daniel Okulitch is perfect in the starring role of Don Giovanni in this production of Wolfgang Amadeus Mozart’s two-act opera. He is brash and violent but with convincing charm in voice and deed”
(CBC News, 2018)
“Daniel Okulitch made a vigorous impression”
(The New York Times, 2018)
“Canadian bass-baritone Daniel Okulitch delineated with focused attention to vocal, psychological and physical detail”
(Opera News, 2017)
“In addition to his handsome and statuesque stage presence, Okulitch has a dynamic voice, full of resonating depth but also a brightness in his higher register that is backed up by a lot of power. He brings out all the lyrical beauty of the role, while also maintaining its brooding darkness.”
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