Graduate Lecture-Recital: Daniel Fridley (DMA), bass

Portrait photo of Daniel Fridley
Wednesday, May 12, 2021, 7:30 PM (ET)

Rossini's Basses: Individual Composition and Personal Alteration

This event will include a Lecture-Recital presentation and Q+A component. Join us by using Zoom at the provided link.


Daniel Fridley, bass
Mikhail Grazhdanov, fortepiano


Isabella Luchi-Coutinho, soprano
Emma Nossem, contralto
Tyler Young, tenor


(all selections by Gioacchino Rossini)
scores and translations

“Ah, quando inclinassi a prender moglie”
L’italiana in Algeri (1813)

Excerpt from Introduzione
L’italiana in Algeri (1813)

Excerpt from Act I Finale
La gazza ladra (1817)

“Anna, tu qual tumulto ascolto...all’invito generoso”
Maometto II (1820)

Excerpt from Coro e Cavatina di Maometto
Maometto II (1820)

“Bell’imago degli Dei”
Semiramide (1823)

“Sì, vi sarà vendetta...deh ti ferma”
Semiramide (1823)

“La calunnia”
Il Barbiere di Siviglia (1816)

Daniel Fridley, bass, is a doctoral student in the Case Western Reserve University Historical Performance Practice program, studying with Ellen Hargis. 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. Performance credits from recent seasons include Monstro in Francescana Caccini’s La liberazione di Ruggiero dall’isola d’Alcina (Boston Early Music Festival); Contrabass Soloist in Emilio Rautavaara’s Vigilia (Chicago Chorale); Bass Soloist in J.S. Bach’s Coffee Cantata (Wyoming Baroque); 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).

In previous summers he was a Studio Artist with Central City Opera, and a Young Artist at the Boston Early Music Festival. Last summer he sang Pretore in Rossini’s La gazza ladra with Teatro Nuovo, and hopes to return there next summer, pending the coronavirus situation, to cover Maometto II in Rossini’s Maometto Secondo. He regularly sings with the Apollo’s Fire Singers, as well as concertizing with Musical Upcoming Stars in the Classics.