Critical Acclaim

Review Extracts

• Caramoor - Il barbiere di Siviglia

"The [bass-] baritone Daniel Mobbs was a robust, sassy Figaro."

                                                         New York Times (Anthony Tommasini)

• Baltimore Opera – Roméo et Juliette

  "Also a convincing teen was Daniel Mobbs, singing Mercutio with a firm baritone that made one sit up and take notice...He certainly enjoyed leaping around the stage in his tights."

  Washington Post (Anne Midgette)

• New York City Opera – King Arthur

  "How could you not rejoice in the sight of bass-baritone Daniel Mobbs crammed into a refrigerator, his words jolting out, while soprano Mhairi Lawson struts about as Cupid, telling him love's a blessing, not something to freeze up over?"

  The Village Voice (Deborah Jowitt)

• "Soprano Mhairi Lawson was a bright-voiced, mischievous Cupid; she easily awakened bass-baritone Daniel Mobbs, who sang the shivers of the Cold Genius wonderfully, from his sleep in a refrigerator, and set off the hesitant, stomping movements of the blanket-shrouded Cold People."

  Wall Street Journal (Heidi Waleson)

• "Bass-baritone Daniel Mobbs unfurls elegant, cavernous tones, and is amusing as the ship's captain and as the Cold Genius of Winter, trapped in a refrigerator before being freed by Cupid."

  Variety.com (Eric Myers)

• "Here we see the sturdy and excellent Daniel Mobbs, trapped inside a clunky old refrigerator, as snowflakes rain down on a group of dancers bundled up in flannel blankets."

  New York Times (Anthony Tommasini)

• Caramoor – Il trovatore

  "Daniel Mobbs got (and deserved) a rousing hand after the opening scene: firm bass-baritone tone, all the gruppetti absolutely in place and the aria sung like a true narrative, with excellent diction and pointed phrasing."

  Opera (David Shengold)

• "Bass-baritone Daniel Mobbs, an exceptional character actor, was potent as Ferrando, the count's henchman."

  New York Times (Steve Smith)

• "Daniel Mobbs used his firm bass-baritone and appealing stage presence to make much of the thankless part of Ferrando."

  Variety.com (Eric Myers)

• Florida Grand Opera -  Così fan tutte

  "The driving comical forces — and in some respects the vocal gemstones — of the Florida Grand production are bass-baritone Daniel Mobbs' youngish mischief-maker Don Alfonso and Suzanne Mentzer's impish maid Despina."

  South Florida Sun-Sentinel (Jack Zink)

• New York City Opera – Don Giovanni

  "High points in the month's NYCO revivals included — in a generally enjoyable Don Giovanni — a remarkably complete assumption, vocally and verbally, of Leporello by Daniel Mobbs (a handsome, polished vocalist deserving a run as Giovanni himself)..."

  Gay City News (David Shengold)

• "With an energetic young cast, an enthusiastic conductor facing a fine-toned orchestra, and Broadway-style razzmatazz direction, this production of Don Giovanni is a healthy reminder of why opera was once the pop music of its day...thanks to some great, physically deft singers (especially Daniel Mobbs' Leporello), we get a real sense of action... The singing was, for the most part, outstanding. As mentioned above, Daniel Mobbs is a deft Leporello. Even more, his voice has a nice timbre, and he seems especially suited to a comic role."

  The Edge New York

• "Aaron St. Clair Nicholson, in his company debut, brought a flexible baritone and stylish manner to the title role...He was well partnered by the lively Leporello of Daniel Mobbs, who gave an arresting account of the catalog aria."

  New York Sun (George Loomis)

• New York City Opera – La bohéme

  "...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."

  New York Times (Steve Smith)

• Opera Orchestra of New York – Otello (Verdi)

  "And it is a tenorfest...Was there a bass or baritone around? Yes, the American bass-baritone Daniel Mobbs, portraying Desdemona's awful father, Elmiro. He has a rich and velvety sound, and he sang with security."

  New York Sun (Jay Nordlinger)

• "...As Elmiro, Desdemona's father, Daniel Mobbs showed a grasp of baritone coloratura and created an authoritative if too sympathetic presence, missing the haughtiness of this demanding parent."

  Opera News (John W. Freeman)

• "...The cast's lone bass-baritone, Daniel Mobbs, brought elegant phrasing and full, opulent low notes to the part of Desdemona's father, Elmiro."

  Variety.com (Eric Myers)

• Caramoor – Otello (Verdi)

  "The presentation of both Otellos at Caramoor in July marks the first time they have been available hereabouts (other than on records) for direct comparison...bass-baritone [Daniel] Mobbs, the only soloist common to both the Rossini and Verdi casts, put forth an authoritative Lodovico."

  Opera News (John W. Freeman)

• Caramoor – I Puritani

  "Always a thorough, proper artist, Daniel Mobbs has often struck me as rather unmemorable vocally, so I was pleasantly impressed with his distinguished performance as Giorgio. With fine vocal color and true Italianate style, he grew in vocal stature as the evening progressed. Weston Hurt, the Riccardo, showed vocal promise with ample range and flexibility, but as yet there is no true legato, and his Italian needs work. His finest singing came in the duet "Suoni la tromba," which Mobbs tore into with abandon, challenging Hurt to follow suit; letting their voices ring out boldly, the artists provided a vigorous, rollicking close to Act II."

  Opera News Online (Judith Malafronte)

• L’Opéra Francais de New York – La Recontre Imprévue

  "...Daniel Mobbs, a particularly solid, agile bass-baritone for New York City Opera and other theaters, nearly stole the show as Vertigo."

  Opera News (Leighton Kerner)