Daniel Fridley, bass, is a doctoral student in the Case Western Reserve University Historical Performance Practice program, studying with Ellen Hargis and Aaron Sheehan. His “spotless, resonant bass” (Cleveland Classical) lends itself well to both early music and operatic performing. He obtained his Masters of Music degree in Vocal Performance from the Cleveland Institute of Music, where he continues to take lessons with Dean Southern.
This season, Fridley performs Fiorello in Rossini’s Il barbiere di Siviglia with Cleveland Opera Theater, will return to the Cleveland Institute of Music in their fall double bill as the Chamberlain and Bonze in Stravinsky’s Le rossignol and L’arbre in Ravel’s L’enfant et les sortileges, sing with the Boston Early Music Festival for their chamber opera La liberazione di Ruggiero dall’isola d’Alcina (Francesca Caccini) in November, and solo with Les Délices and Quire Cleveland in their Christmas concert, featuring Charpentier’s Midnight Mass. He is looking forward to exploring the repertoire of the recently discovered Leuven Chansonnier with Les Délices and the Newberry Consort in January, as well as performing the contrabass solo in Rautavaara’s Vigilia with the Chicago Chorale in March, and singing his first Coffee Cantata with Wyoming Baroque in May.
Performance credits from recent seasons include Dottore Grenvil in Verdi’s La traviata (The Cleveland Opera); Dangerous Love, a concert of fiery 17th century Italian music (Newberry Consort); Jesus in both Arvo Pärt’s and J.S. Bach’s St. John Passion (Trinity Cathedral Cleveland and Atlanta Baroque); Leporello in Mozart’s Don Giovanni (La Musica Lirica); Polyphemus in Handel’s Acis and Galatea (CWRU); Don Alfonso in Mozart’s Così fan tutte (Cleveland Institute of Music); and Figaro in Mozart’s Le nozze di Figaro (Cleveland Institute of Music).
This summer he was a Studio Artist with Central City Opera, and the previous summer he was a Young Artist with the Boston Early Music Festival. He regularly sings with Apollo’s Fire and Quire Cleveland, as well as concertizing with Musical Upcoming Stars in the Classics.
This season, Fridley performs Fiorello in Rossini’s Il barbiere di Siviglia with Cleveland Opera Theater, will return to the Cleveland Institute of Music in their fall double bill as the Chamberlain and Bonze in Stravinsky’s Le rossignol and L’arbre in Ravel’s L’enfant et les sortileges, sing with the Boston Early Music Festival for their chamber opera La liberazione di Ruggiero dall’isola d’Alcina (Francesca Caccini) in November, and solo with Les Délices and Quire Cleveland in their Christmas concert, featuring Charpentier’s Midnight Mass. He is looking forward to exploring the repertoire of the recently discovered Leuven Chansonnier with Les Délices and the Newberry Consort in January, as well as performing the contrabass solo in Rautavaara’s Vigilia with the Chicago Chorale in March, and singing his first Coffee Cantata with Wyoming Baroque in May.
Performance credits from recent seasons include Dottore Grenvil in Verdi’s La traviata (The Cleveland Opera); Dangerous Love, a concert of fiery 17th century Italian music (Newberry Consort); Jesus in both Arvo Pärt’s and J.S. Bach’s St. John Passion (Trinity Cathedral Cleveland and Atlanta Baroque); Leporello in Mozart’s Don Giovanni (La Musica Lirica); Polyphemus in Handel’s Acis and Galatea (CWRU); Don Alfonso in Mozart’s Così fan tutte (Cleveland Institute of Music); and Figaro in Mozart’s Le nozze di Figaro (Cleveland Institute of Music).
This summer he was a Studio Artist with Central City Opera, and the previous summer he was a Young Artist with the Boston Early Music Festival. He regularly sings with Apollo’s Fire and Quire Cleveland, as well as concertizing with Musical Upcoming Stars in the Classics.