The 2025/26 season secures Daniel Scofield's position as a dramatic baritone “destined for the world’s major Wagner stages,” with critics acclaiming his Wotan in Die Walküre for Opéra de Monte-Carlo: “His vocal security, stylistic assurance, German diction and dramatic intelligence placed him immediately among today’s most compelling interpreters of Wotan,” (Operawire)..
Daniel opened the season with his role debut as Jochanaan in Salome in St. Louis, “a huge mountain of voice [that] might well be the voice of God” (Broadway World). After Bayreuth, he returned to the Lyric Opera of Chicago for Elijah Moshinsky’s legendary production of Cavalleria rusticana/Pagliacci. Following his triumph as Wotan in Monte Carlo, he rejoins the Prague State Opera this spring to reprise Tonio/Alfio in in Ondřej Havelka’s production of Cavalleria rusticana/Pagliacci for the fourth season in a row, Pagliacci in Las Vegas, and makes debuts as Jochanaan with the Israeli Opera, Golaud in Pelléas et Mélisande with Opera Baltimore, and Athanael in Thais with Opera Idaho.
His is a pro's performance,
and in an artist making his way
through the opera jungle,
it's thrilling to witness.”
Houston Press
During the 2024/25 season Scofield joined Staatstheater Hannover to create a new production of Pagliacci, brought his Marcello in La Bohème to North Dakota, made a double debut as Escamillo in Carmen with Opera Carolina, and returned to Prague for Cavalleria rusticana/Pagliacci, before making his acclaimed debut there in May in the title role of Der fliegende Holländer.
The 2022/23 and 2023/24 seasons included several major debuts and premieres, including Smyth’s Les Naufrageurs (The Wreckers, in the original French) with the Deutsches Symphonie-Orchester in Berlin under Robin Ticciati, a return to Lyric Opera of Chicago for Sir David McVicar’s production of Don Carlos, and his Glyndebourne Festival Opera and Fort Worth Opera debuts as Marcello in La bohème. He joined Teatro di San Carlo in Naples for Die Walküre and the Houston Symphony for Salome, and brought his menacing Scarpia in Tosca to Opera Orlando and the title role of Eugene Onegin to Opera Baltimore. Other recent engagements include his Prague State Opera debut as the Count in Schreker’s Der ferne Klang, and joining Lyric Opera of Chicago for Macbeth.
A two-time Regional Finalist of the Metropolitan Opera Laffont Competition and a recipient of the Olga Forrai Foundation Grant for dramatic voices, Scofield is also a highly regarded concert artist, having appeared with orchestras nationwide in repertoire ranging from Haydn and Handel, to Britten, Stravinsky, and Mahler. Widely praised for his ample vocal palette and strong legato, he is increasingly recognized as a leading interpreter of Verdi and Wagner, with major roles including Rigoletto, La traviata, I vespri siciliani, Macbeth, Don Carlos, Aida, Tosca, La fanciulla del West, Pagliacci, Cavalleria rusticana, Der fliegende Holländer, and Die Walküre.
"The audience’s laughter may have been a testament to Daniel Scofield’s electrifying Rigoletto. His is not a sputtering, old, deformed jester. He might be a clown, but of the kind that gives little children nightmares. He is disturbing in part because of the subtle portrayal of Rigoletto’s deformity. There is only a gesture of a hump and a slightly more prominent limp. Aside from this, Rigoletto often seemed robust and even young. Scofield makes it seem as though being on the edge of normalcy makes him far more conscious of himself as an outsider and that much more intent on preserving his honor.... His voice is richly shaded. In its darker moments, it reminded me of Renato Bruson. He stretched some phrases slowly and thickly, like pulling apart tar."
Opera Wire
