Daniel Auchincloss

Canadian tenor Daniel Auchincloss studied at the University of Toronto and the Royal Scottish Academy of Music and Drama. Since then he has performed with many important ensembles and orchestras including the Gabrielli Consort, Orchestra of the Age of Enlightenment, Bournemouth Symphony Orchestra, Royal Liverpool Philharmonic Orchestra, Boston Baroque, La Grande Écurie et la Chambre du Roy and the Salzburg Camerata, under conductors including Emmanuelle Haïm, Paul McCreesh, Stephen Cleobury, Gary Cooper, Diego Fasolis, Jean-Claude Malgoire, James Morgan, Sir Roger Norrington, Vassily Petrenko, Laurence Cummings, Christian Curnyn and Stephen Devine.

Opera includes Linfea La Calisto (Early Opera Company), La Pythonisse David et Jonathas and title role in Rameau’s Pigmalion (OAE), Apollo L’Orfeo (Capella Cracoviensis), title role Platée (English Bach Festival at the Megaron, Athens), title role Le Comte Ory and Bajarzet Tamerlano (New Chamber Opera), Police Inspector The Nose (The Opera Group), title role in Charpentier’s Actéon (Leeds Baroque), Nencio in Haydn’s L’infedeltà delusa (Potsdamer Winteroper), Don Basilio/Don Curzio Le nozze di Figaro (Atelier Lyrique de Tourcoing at the Théâtre des Champs-Élysées), Acis Acis and Galatea (Dunedin Concert at the Felicja Blumental International Music Festival, Tel Aviv), Mengonein in Haydn’s Lo Speizale (on tour with the Israel Camerata), Don Carlos/Tacmas Les Indes galantes (Boston Baroque), Eumete Il ritorno d’Ulisse in patria (Boston Baroque/Iford Arts), Tantale in Charpentier’s La Descente d’Orphée aux Enfers (Early Opera Company at the Wigmore Hall), title role in Rameau’s Daphnis et Eglé (Le Siècle des Lumières) and David David et Jonathas (Essex Baroque).

His many concerts include Evangelist in the first British performance of CPE Bach’s Matthäus-Passion, Monteverdi Vespers 1610 with the Netherlands Bach Society, Purcell’s The Fairy Queen with The King’s Consort in Vienna; a programme of Gabrieli, Grandi and Monteverdi with the Orchestra of the Age of Enlightenment; Rameau’s La Princess de Navarre with l’Ensemble Vocal Heinrich Schütz and a European tour of Purcell’s King Arthur and Dido and Aeneas with The King’s Consort conducted by Robert King.

His recordings include Bach Cantatas with I Barocchisti (Arte), Biber Requiem in F, Paride ed Elena and the Monteverdi Vespers 1610 with The Gabrieli Consort & Players (DG), Sacred Music of Claudio Monteverdi with The King’s Consort (Hyperion), Neukomm Missa Solemnis with La Grande Écurie et la Chambre du Roy (K617), The Fairy Queen with the Corodella Radio Svizerra (RTSI TV), Mozart Missa brevis, K.194 and K.275 with St. Albans Cathedral Choirs (Naxos).

Earlier this season he made his Royal Opera House debut in Shostakovich’s The Nose and he returns to cover Drunk Prisoner in The House of the Dead next season.

Gallery

The Apothecary/Bampton Classical Opera

“The individual vocal performances were of a high standard….Daniel Auchincloss’s wily Mengone….” Opera Magazine, November 2015

Il ritorno d’Ulisse in patria/Boston Baroque/Pearlman

“Tenor Daniel Auchincloss is enchanting as the faithful swineherd Eumete, his aristocratic phrasing of ‘Oh come mal si salva un Regio amante da sventure e da mali’ in the eleventh scene of Act One belying the character’s humble state. In the subsequent scene, Auchincloss erases any doubts about the pervasiveness of Eumete’s distaste for Iro, his singing of ‘Iro, gran mangiatore, Iro, divoratore, Iro, loquace! Mio pace non perturbar. Corri a mangiar! a crepar!’ seething with loathing. Then, in the tenth scene of Act Two, he voices ‘Io vidi, o pellegrin, de’ Proci amanti l’ardir infermarsi’ with extraordinary grace, and ‘Forza d’occulto affetto raddolcisce il tuo petto’ in the fourth scene of Act Three receives from Auchincloss a performance of consummate artistry. The voice is a plangent instrument, used by the singer in this performance to portray a character whose social status does not inhibit his loyalty, integrity, and generosity of spirit.” Voix des Arts, May 2015

The Glory of Venice (works of Gabrieli, Monteverdi et al) Orchestra of the Age of Enlightenment/Howarth

“Tenor Daniel Auchincloss is a name to look out for. His voice has an agility and sweetness you would associate with a good countertenor, but there is richness there too, and plenty of power at the bottom.” Orpheus Complex, January 2012

“Grandi’s Exaudi me Domine, for solo voice and continuo, was engagingly performed by Daniel Auchincloss, who displayed admirable fluidity and ease in his upper register.” Classical Source, January 2012

“Doyle and Auchinloss [sic] were placed at the front and came over very much as soloists rather than first among equals. Both were impressive, with Auchinloss being particularly so as he seemed to be entirely unphased by the extremely high tessitura of the part.” Planet Hugill, January 2012

Le Nozze di Figaro/L’Atelier Lyrique de Tourcoing/Malgoire

“…Pour terminer, n’oublions pas le Don Basilio très gracieux et bien en voix de Daniel Auchincloss…” ClassiqueInfo.com

“…et le ténor Daniel Auchincloss, petit rôle et grand potentiel…” Le Libre, Belgium

David et Jonathas/Orchestra of the Age of Enlightenment/Haïm

“Daniel Auchincloss a une intéressante voix légère de haute-contre, avec des aigus très mixtes en quasi-fausset, qu’il peut donc ouvrir sans jamais les crier, avec une excellente diction très naturelle, et des graves en voix pleine…” Chanteur.net

“Daniel Auchincloss tente de donner corps à la Pythonisse et sa voix est chargée de belles nuances…” Concertonet.com

Carmina Burana/Royal Liverpool Philharmonic Orchestra/Petrenko

“…Daniel Auchincloss’s wrenchingly protracted song of the burning swan was well executed…”
Liverpool Daily Post

Britten on Film/ NMC Birmingham Contemporary Music Group/Brabbins

“Tenor Daniel Auchincloss, who sounds eerily like Peter Pears, gives a moving performance in Negroes…” Allmusic.com

St. John Passion/Exeter Festival Chorus

“Neil Jenkins – an expert on Bach’s works – coped splendidly with the high notes demanded of tenors in the composer’s narrative sections, while fellow tenor Daniel Auchincloss showed equal aptitude with the recitatives and arias.” Exeter Express & Echo

Biber Requiem – Deutsche Grammophon/Gabrieli Consort & Players/McCreesh

“Daniel Auchincloss’ high tenor was a pleasure to hear…” Early Music Review

The Indian Queen/Toronto Masque Theatre/Beckwith

“Tenor Daniel Auchincloss shone throughout, his sweet voice matched by openness of heart.” The Globe and Mail

The Nose/The Police Inspector/The Opera Group/Fulljames

“There’s a deliciously high-camp performance from Daniel Auchincloss as the Police Inspector who discovers the sadly bewildered barber trying to dispose of the evidence in the River Neva. ‘You’ve dropped something…!’ he squeals in the high-tenor of his exacting tessitura. The cardinal-like nature of his costume (give-or-take the skull badge attached to his hat…) and the limb-stretching postures that he assumes with a ‘Carry-On-Up-The-Kirov’ aplomb that would have challenged even Kenneth Williams makes him one of the production’s star turns.” Music & Vision

The Dragon of Wantley – Lampe/Akademie für Alte Musik Berlin/Cooper

“…Daniel Auchincloss lent a twinkle of self-mockery to a vocally heroic Moore…” Financial Times

“…the possessor of a fine and agile tenor voice” Opera Magazine

“Den Wichtigtuer Moore of Moore Hall gibt Daniel Auchincloss mit hellem Tenor, geschmeidigen Gesangslinien und Spielfreude.” Potsdammer Neuste Nachrichten

Opera Repertoire

COMPOSER OPERA ROLE
Cavalli Erismena Idraspe
Cavalli Hipermestra Berenice
Cavalli La Calisto Linfea
Charpentier Actéon Actéon
Charpentier David et Jonathas La Pythonisse/David
Haydn Lo speziale Mengone
Ligeti Le Grand Macabre Piet the Pot
Rameau Les Indes galantes Don Carlos/Tacmas
Rameau Platée Platée
Rossini Ciro in Babilonia Arbace/Baldassare
Rossini Le Comte Ory Comte Ory
Shostakovich The Nose Police Inspector
Stravinsky The Rake's Progress Sellem
TITLE COMPOSER RECORD COMPANY DISC NUMBER
Cantatas 106 & 198 Bach
Arts CD 476952
Il ritorno d'Ulisse in patria Monteverdi
Linn Records CKD 451
Missa Brevis k. 194 & 275 Mozart
Naxos 8.573092
Missa Solemnis Pro Die Acclamationis Johannis VI Neukomm
K617 212
Negroes Britten
NMC CD D112
Paride ed Elena Gluck
DG Archiv 477 5415
Requiem in F Biber
DG Archiv 474 7142
Sacred Music Volume 1 Monteverdi
Hyperion CDA 67428
Sacred Music Volume 3 Monteverdi
Hyperion CDA 67487
Sacred Music Volume 4 Monteverdi
Hyperion CDA 67519
Vespers 1610 Monteverdi
DG Archiv 477 6147