From Opera Magazine, May 2012

"The More riveting still was Daniel Snyder as the loutish Tom Buchanan, a role that combines Heldentenor sonorities with the ominous orchestral rhetoric of Hunding; without stinting on the character’s brutality, Snyder conveyed something of his raffish charm as well.  

From the "San Francisco Classical Voice" The Great Gatsby, Daniel Snyder as 'Tom Buchanan'

"The two standouts of the evening were Susannah Biller as Daisy, and tenor Daniel Snyder as her overbearing husband Tom." "Snyder's voice was powerful, rich enough to be a baritone's, and well suited to the role."  

 From the Washington Post (Jan 10, 2010) - Carmen, National Philharmonic, Daniel Snyder as Don Jose with Kendall Gladen as Carmen

Joe Banno, WashingtonPost Classical Beat- "The quiet intensity of Snyder's Don Jose throughout the evening, in fact, proved the dramatic focus of the performance, while the blend of easy sensuality and dignity in Gladen's Carmen brought a welcome respite from the role's oft-encountered histrionics.

Verdi Requiem press clippings from around America for Daniel Snyder

Classical Voice of North Carolina -"From as early as the opening quartet it was obvious that tenor Dan Snyder was a class act. The apparently effortless manner by which he created such powerful sound was astonishing."

The Washington Post - "Tenor Daniel Snyder's virile low notes and ringing, tightly focused top (with its flickering vibrato and rock-solid high notes) gave the most pleasure”.

The Sioux City Journal -"Joining the other three ... was the hypnotic sound of tenor Daniel Snyder.  Previously, Snyder had shown the extraordinary scope of his lyrical voice in the 'Ingemisco'."

The Richmond Times Dispatch - "obviously has nailed the part "

"Max" in 'Der Freischütz'

The Berkshire Review for the Arts - "From his first entrance as Max, Daniel Snyder established a very high vocal level, with his thoroughly virile tenor voice, which recalled the dusky timbres of the classic exponents of Max, Tannhaüser, and such roles, for example Helge Roswaenge, Hans Hopf and René Kollo. The voice was balanced and consistent throughout its range, and very handsome. Snyder acted convincingly and his sung German was quite good."

The Wall Street Journal - "Tenor Daniel Snyder played Jimmy like a man bent on self destruction"

Opera News Online - "As the work's antihero, Daniel Snyder was a Jimmy McIntyre shell-shocked and spent from the outset. Snyder's railing against the ugliness around him was poignant; there's very little fight left in him, and he knows it. Playing to feeling rather than irony, Snyder stood out as the one person, amid a sea of caricatures, who still has some heart."

Daniel Snyder is 'Hoffmann' in 'Les Contes d'Hoffman'

The Washington Times -"As Hoffmann, Dan Snyder is the embodiment of the haunted storyteller " - Mr. Snyder's instrument exhibited considerable power and breadth"

Port Folio Weekly -"Snyder dazzled us with his lovely, lyrical tone and convincing portrayal" - "The voice was strong and consistent in this well paced performance; ringing in the upper register, full and present in the lower."

Classical Voice of North Carolina -"Snyder was terrific in the title role, Hoffmann, melding an even, strongly supported voice with flexibility and gorgeous head tone. His warm timbre was pleasing, his high notes were spot-on and ringing, and his diction was outstanding. Snyder was perfect as the poet constantly blinded by love. He captured Hoffmann’s character perfectly

"C'est moi !" Daniel Snyder is 'Don Jose' in 'Carmen'

The Connecticut Post,  May 28 2010: Connecticut Grand Opera

Caught in Carmen's spell like a moth to the flame is Don Jose, here intelligently sung by tenor Daniel Snyder.

The concert format denied us the physical aspects of Don Jose's conflict-ridden relationship with Carmen. Missing even was the sight of his ultimate crime of murder and Carmen lying in the dirt outside the bull ring in Seville.

But Snyder communicated Jose's anguish with a performance that increased in its desperation as the drama progressed.

His is certainly not the thin nasal sound one usually associates with French opera. But Snyder always rose to the role's considerable demands: though his final confrontation with Carmen lacked a blade in hand, Snyder's voice cut heroically through the orchestra fabric; his expression left no doubt of Don Jose's deep psychological pain.

The Cleveland Plain Dealer -"hearing Snyder's forceful tenor conjure lyrical enchantment..."

Pittsburgh Tribune - Review - "compelling performances by the lead singers in a production brimming with vitality...Dan Snyder was terrific" - "singing his demanding part with passionate intensity. He also acted extremely well..."

Pittsburgh Post-Gazette - "there was no disputing his technique, which grew stronger as the night went on. Moreover, he used his voice to clearly delineate the stages of his character from naive bumpkin to tormented lover."

Shreveport Times -"If you didn’t shed a tear when he made one last plea for Carmen’s love in “C’est toi, you left your heart in the car."

Ring Cycle two city tour -Daniel Snyder brings 'Siegfried' to life

Los Angeles Times - Siegfried “was sung with plenty of testosterone and good tone by Daniel Snyder.”

Musical America-“Dan Snyder’s ebullient virility was irresistible”

Opera News- “Dan Snyder made an unusually lithe and nimble Siegfried”

Press Telegram“…And then there is Dan Snyder’s Siegfried: a joyous hero if ever there was one, confused about life and love (He was raised by Mime in a blacksmith’s shop) but ready to try anything, …….he is a powerful, even slightly manic hero.” 

www.Opera West.com-“... in many ways he was the best Siegfried I’ve ever seen and heard (and I am a veteran of several ‘Rings’). No, he was not a muscle-bound L’ll Abner type: in fact, he looked and acted a bit like a petulant punk rock star.  But act he did – and with a passion.  He was not your usual aging singer impersonating a young man.  He exuded youth and exuberance – and of course foolishness...“

Showmag.com-“Dan Snyder’s clarion-voiced Siegfried rang through the hall seemingly
without effort.  If he couldn’t actually make the character likable, his careless virility brought Siegfried to life.”