From Opera Magazine, May 2012
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
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."
the Washington Post (Jan 10, 2010) - Carmen, National
Philharmonic, Daniel Snyder as Don Jose with Kendall Gladen as Carmen
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.
velvety tone and impressive chest voice also deserved praise, as did
the thrilling ring and passionate phrasing in much of Snyder's singing.
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
The Sioux City Journal -"Joining
the other three ... was the hypnotic sound of tenor Daniel
Snyder. Previously, Snyder had shown the extraordinary scope
his lyrical voice in the 'Ingemisco'."
The Richmond Times Dispatch
- "obviously has nailed the part "
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."
und Fall der Stadt Mahagonny' Daniel
Snyder as 'Jimmy'
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."
The Boston Herald
-"sang with distinction"
The Boston Globe
-"Daniel Snyder had just the right feel for MacIntyre" - "he sang with
courage and conviction."
‘The Kurt Weill Newsletter’, Volume 25, Number 1
“Most interesting was Daniel Snyder as Jimmy. He traced a
and displayed some real, unforced heldentenor strength throughout his
range. Appealingly young and fresh, he was an unusually
and tragic presence in the role.”
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
Classical Voice of North
Carolina -"Snyder was terrific in the title role,
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
moi !" Daniel Snyder is 'Don Jose' in 'Carmen'
The Connecticut Post,
May 28 2010: Connecticut Grand Opera
in Carmen's spell like a moth to the flame is Don
Jose, here intelligently sung by tenor Daniel
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.
Snyder communicated Jose's anguish with a performance that increased in
its desperation as the drama progressed.
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
Pittsburgh Tribune -
- "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..."
- "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."
-"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."
Cycle two city tour -Daniel Snyder brings 'Siegfried' to life
Los Angeles Times
- Siegfried “was sung with plenty of testosterone and good tone by
Snyder’s ebullient virility was irresistible”
“Dan Snyder made an unusually lithe and nimble Siegfried”
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.”
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
He was not your usual aging singer impersonating a young man.
exuded youth and exuberance – and of course foolishness...“
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.”