American bass-baritone Daniel Mobbs has won praise on both sides of the Atlantic for his “solid, resonant voice and boundless energy…his stage presence virtually ensured that he was the focal point of nearly every scene in which he appeared,” as written in the New York Times.
During the 2016-2017 season, Mr. Mobbs returns to both Opera Philadelphia, as Orbazzano in Tancredi, and Portland Opera, as Don Alfonso in Così fan tutte. He also joins the Lyric Opera of Chicago for its production of Don Quichotte, as well as Opera Delaware and Baltimore Concert Opera as Assur in Semiramide. In concert, he appears with the Tulsa Symphony Orchestra for the Brahms Requiem, and sings the Messiah with the Jacksonville Symphony. Future seasons include a return to the Metropolitan Opera as Kromow in the Merry Widow.
Last season, Mr. Mobbs appeared with Opera Santa Barbara as Leporello in Don Giovanni, Opera Philadelphia, as the Baron Douphol in La traviata, Opera Memphis, as Escamillo in Peter Brooks’ La tragédie de Carmen, and returned to the Metropolitan Opera for their production of La donna del lago.
During the 2014-2015 season, Mr. Mobbs made an anticipated return to the Metropolitan Opera for its new production of The Merry Widow as Kromow, where he also participated in the company’s production of La donna del Lago. Additionally, he made his debut with Los Angeles Opera as Baron Douphol in Marta Domingo’s production of La traviata, conducted by James Conlon. He closed the season in a return to Caramoor as Balthasar in La Favorite and the Marquis de la Force in Poulenc’s Dialogues des Carmélites. The 2013-2014 season bought performances as Andrew Borden in Lizzie Borden with Boston Lyric Opera and also the Tanglewood Festival, and he joined the Metropolitan Opera for its productions of Così fan tutte and I Puritani.
In the 2012-13 season, Daniel Mobbs was a member of the vocal faculty of the San Francisco Conservatory of Music, sang Handel’s Messiah with the Rochester Chamber Orchestra, and returned to Pittsburgh Opera as Dandini in La Cenerentola, conducted by Antony Walker. In the 2011-2012 season, Mr. Mobbs returned to Portland Opera, for Figaro in Le nozze di Figaro; Minnesota Opera, for Don Alfonso in Così fan tutte; and Opera Philadelphia, as Geronte in Manon Lescaut. Additionally, he made his debut with Lyric Opera Baltimore, as Mozart’s Figaro, joined the Cincinnati Symphony Orchestra for Handel’s Messiah, and sang Mozart’s Requiem with the Oklahoma Mozart Festival, conducted by James Bagwell.
Daniel Mobbs began the 2010-2011 season with his role debut as Alidoro in La Cenerentola with Minnesota Opera. He later sang Capulet in a new production of Roméo et Juliette at the Opera Philadelphia, directed by Manfred Schweigkofler. Following this appearance, Mr. Mobbs returned to Opera Orchestra of New York for Don Pedro in Meyerbeer’s L’Africaine, sang Giorgio in I Puritani with Knoxville Opera, and returned to Opera Philadelphia for Angelotti in Tosca. The summer of 2011 brought his highly acclaimed portrayal of the title role in Rossini’s Guillaume Tell with the Caramoor International Music Festival.
In the summer of 2009, Mr. Mobbs bowed as Assur in Semiramide at Caramoor International Music Festival. At the Bard SummerScape Festival, he participated in a concert of Wagner arias with the American Symphony Orchestra, under the direction of Leon Botstein. In the fall of 2009, Mr. Mobbs joined Boston Lyric Opera, adding the role of Escamillo in Carmen to his vast repertoire, followed by a Gala Concert with the Collegiate Chorale to celebrate the appointment of new Music Director James Bagwell. The spring found him as Leporello in Don Giovanni withVirginia Opera, Ormonte in Partenope at New York City Opera, and Dandini in La Cenerentola with Washington Concert Opera. He later collaborated with the New York Choral Society for Mozart’s Requiem and James DeMars’ Tito’s Say. In the summer of 2010, Mr. Mobbs appeared for his 11th consecutive season with the Caramoor International Music Festival, this time in the role of Oroveso in Bellini’s Norma.
In the summer of 2008, Mr. Mobbs sang Figaro in Il barbiere di Siviglia with Caramoor International Music Festival. In the 2008-2009 season, he bowed as the title role of Le nozze di Figaro with Palm Beach Opera and Leporello in Don Giovanni with New Orleans Opera.
The 2007 – 2008 season brought a wealth of interesting and challenging roles to Daniel Mobbs, including Baritone #1 (the Cold Genius of Winter) in Purcell’s King Arthur at New York City Opera, an appearance at the Opera Orchestra of New York’s Gala 100th Performance Concert at Carnegie Hall, Mercutio in Roméo et Juliette at Baltimore Opera, Capellio in Bianca e Falliero at Washington Concert Opera, the tile role in Guillaume Tell at the National Opera (Warsaw), and a soloist in Brahms’ Requiem at Carnegie Hall.
Mr. Mobbs has also enjoyed a long relationship with the Caramoor International Music Festival. In recent seasons he has been seen as Lycomedes in Handel’s Deidamia, in the American premiere of Donizetti’s Elisabetta, Ernesto in Il Pirata, Elmiro in Rossini’s Otello, Lodovico in Verdi’sOtello and recitals entitled Shakespeare’s Songs and Love, Death, Heaven and Hell.
Past performances include: his Metropolitan Opera debut in the 2003-04 season as Cascada in performances of The Merry Widow followed by Yamadori in Madama Butterfly, Lakmé with Baltimore Opera and Finzi’s In terra pax with the New York Choral Society; Figaro in Il Barbiere di Siviglia with New York City Opera, Kentucky Opera, Arizona Opera, the Spier Festival in South Africa and Baltimore Opera, where he has also sung Dandini in La Cenerentola. He has also bowed in Turandot with the Washington National Opera and Pittsburgh Opera. Other credits include Taddeo in L’italiana in Algeri, Papageno in Die Zauberflöte, and Ping in Turandot with New York City Opera; Papageno with Washington National Opera; Dominik in Arabella with Santa Fe Opera; Valentin in Faust with Grand Rapids; Danilo in The Merry Widow with Shreveport Opera; Belcore in L’Elisir d’Amore with Kentucky Opera; and Sid in Albert Herring with both Cleveland Opera and Kentucky Opera. Orchestral credits include the Fauré Requiem with the Pacific Symphony; Carmina Burana with the symphonies of Kalamazoo, Nashville, Knoxville and Grand Rapids; The Messiah with Chattanooga Symphony, and Brahms’ Ein Deutsches Requiem with the Nashville Symphony.
A native of Louisville, Kentucky, his awards include first place in both the College Division of the MacAllister Awards and the Mario Lanza Scholarship. He is a winner of the Sullivan Foundation Award and also a recipient of a grant from the Puccini Foundation. He is a graduate of the Academy of Vocal Arts in Philadelphia.