in the media
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AIDA, Vancouver Opera
“Mezzo-soprano Daveda Karanas’s Amneris is a standout among standouts, perfectly bringing to life director David Gately’s vision of emotionally true characterizations. Just watch her acting in her scene with Aida, singing sweetly and adoringly to coax her slave to confess her love, then turning cold and spiteful. She displays even more complexity later on, as Amneris’s blind jealousy finds shades of remorse; at one point she slumps in her throne in horror at what she’s done. As for her voice? It’s a clear, polished mezzo that enunciates meaning in every word."
– Janet Smith, The Straight, April 23, 2012
“The women, Mlada Khudoley and Daveda Karanas, are gloriously gifted as Aida, the Ethiopian prisoner (and secret princess), and Amneris, the Egyptian princess, respectively. As mismatched rivals for Radames’ heart – Aida having the upper hand despite being Amneris’ servant – it’s fascinating to see how Karanas reveals Amneris’ unhinged longing, allowing a steely hint of madness to permeate her mezzo-soprano."
– Andrea Warner, The Globe and Mail, April 23, 2012
“This excellent work from the men, plus a strong performance from mezzo Daveda Karanas as Amneris, Aida’s rival, produced remarkable intensity."
– David Gordon Duke, Vancouver Sun, April 22, 2012
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AIDA, Arizona Opera
“As Amneris, Greek-American mezzo Daveda Karanas possesses a tightly focused, slightly steely voice that easily penetrated the orchestra - rather in the mold of Fiorenza Cossotto. Her interpretation is that of a mature artist, and she is a compelling actress."
– Andrew Moravcsik,Opera Today, March 19, 2012
“Finally, it should be repeated that 'Aida' should probably be called 'Amneris', since the Pharaoh's daughter is clearly the most interesting character in the story. Aida and Radames are fairly conventional lovers, but Amneris and her conflicted emotions are more believable, more human and more relatable, and credit should go to Daveda Karanas, who managed to convey that character."
– Richard Nilsen,The Arizona Republic, March 12, 2012
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IL TROVATORE, Opera Grand Rapids
“Debuting as well as the gypsy Azucena, Daveda Karanas sang with a mighty mezzo soprano that could peel paint off the banister as she described her mother's death to Manrico."
– Jeffrey Kaczmarczyk, The Grand Rapids Press, October 29, 2011
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DER RING DES NIBELUNGEN, San Francisco Opera
“Daveda Karanas brought theatrical intensity to her Waltraute in “Götterdämmerung”.
– Heidi Waleson, Wall Street Journal, July 6, 2011
“Daveda Karanas contributed an anguished Waltraute. The Norns, who appeared to be toiling inside a giant motherboard (connecting cables, rather than a weaving rope) voiced eloquently."
– Georgia Rowe, Musical America, June 22, 2011
"Back on Brünnhilde's rock, Daveda Karanas as Valkyrie Waltraute gave one of the Cycle's finest performances in a powerful scene with Stemme."
– David Sckolnik, Colorado Springs Gazette, June 21, 2011
“The three Norns who weave the rope of fate (in this production it's an Internet cable) were strongly portrayed by Ronnita Miller, soprano Heidi Melton, and mezzo Daveda Karanas.”
– Mike Silverman, Associated Press, June 20, 2011
“It's rather more common for the roles of the “Rheingold” and “Walküre” Wotans to be split, as the Siegfried roles often are. It's rather more extraordinary to assign the same artist the Waltraute roles in “Walküre” (one of eight valkyries whom even veteran attendees of "Ring" performances may have trouble identifying as individuals as the move around stage" and in “Götterdämmerung” (a character in an extended scene with Brünnhilde, requiring a large voice). But Daveda Karanas performed both and deserves kudos for an immensely successful effort.”
– William Burnett, Opera Warhorses, June 20, 2011
“Former SFO Adler Fellow Daveda Karanas stands out as the Second Norn, and also, later, as Brünnhilde's Valkyrie sister Waltraute.”
– Michael J. Vaughn, The Opera Critic, June 19, 2011
“Kudos to the fine Rheinmaiden trio...and to Norns Ronnita Miller (also a resonant Erda), Daveda Karanas (an outstanding Waltraute), and Heidi Melton.”
– Lisa Hirsch, San Francisco Classical Voice, June 19, 2011
“...and the Norns were superbly sung by Ronnita Miller, Daveda Karanas (who returned as Waltraute), and Heidi Melton.”
– Joshua Kosman, San Francisco Chronicle, June 7, 2011
“Norns (Ronnita Miller, Daveda Karanas, Heidi Melton)...gave fine ensemble performances.”
– Janos Gereben, San Francisco Examiner, June 6, 2011
“The grand, deep-voiced Ronnita Miller, the bright and vivid [mezzo] soprano of Daveda Karanas, the contrasting, focused grainier soprano of Heidi Melton all carried the scene persuasively. Daveda Karanas, as the fine second Norn, doubled as Waltraute, making the Valkyries' visit to implore Brünnhilde to give up the Ring as gripping as it must be.”
– Robert P. Commanday, San Francisco Classical Voice, June 5, 2011
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SCHWABACHER DEBUT RECITAL, San Francisco Opera
“She boasts a large, brawny instrument with more than a touch of steel, and it’s been gratifying during the recent years to hear how well she’s learned to channel that power into expressive and carefully modulated phrasing. Karanas can still unleash a powerhouse of sound when she needs to, and her upper register sounded especially potent and true on Sunday. But her finest showing came in the more intimate passages of the recital, which she delivered with tender eloquence.”
– Joshua Kosman, San Francisco Chronicle, April 12, 2011
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MADAMA BUTTERFLY, San Francisco Opera
“Luisotti built success, then, on the other singers. Daveda Karanas saturated the role of Suzuki with an intensity of feeling that left no doubt about her empathetic understanding of Butterfly’s emotion and of her impeding doom. Karanas’ rich mezzo - almost a contralto voice - worked magic in this crucial part.”
– John Bender, San Francisco Classical Voice, October 12, 2010
“Mezzo-soprano Daveda Karanas, a former Adler Fellow, was a similarly arresting vocal presence as the maid Suzuki - an incongruous view of this deferential character, but Karanas’ technical assurance made it work.”
– Joshua Kosman, San Francisco Chronicle, October 13, 2010
“As Suzuki, Butterfly’s devoted servant, American mezzo-soprano Daveda Karanas (a former Adler Fellow) proved to be powerful and exquisite in the second half.”
– Richard Scheinin, San Jose Mercury News, October 13, 2010
“Karanas’ round, warm mezzo voice had the opposite effect. It contained within it an intense pathos that never undermined Vassileva’s proud Cio-Cio San. The sonic contrast between Karanas and Vassileva’s voice - one edgier, the other more inviting - made the drama of the second act, as Cio-Cio San and Suzuki watch time inch forward, all the more pronounced. I look forward to seeing how Karanas’ skills translate to the roles of Waltraute and the Second Norn in the SFO’s upcoming Ring Cycle.”
– Laura Biggs, musicalcriticism.com, October 15, 2010
“Quinn Kelsey and Daveda Karanas portrayed the U.S. Consul Sharpless and Butterfly’s maid Suzuki, who try to protect Cio-Cio San, with an extra measure of warmth and handsome presence, representing the humanity at the center at the opera.”
– NBC Bay Area, October 15, 2010
“And as the final index of this production’s greatness, consider that even the eight Valkyries in Act 3 - so often an undifferentiated mass of female vocalism - sounded brilliant. They were Wendy Bryn Harmer, Tamara Wapinsky, Daveda Karanas, Suzanne Hendrix, Molly Fillmore, Maya Lahyani, Pamela Dillard and Priti Gandhi; a hearty “ho-jo-to-ho” to the lot of them.” “The third-act brings the expected dramatic climaxes. The Ride of the Valkyries is as exciting, and as thurderously played and sung, as you please, led by Valkyries Wendy Bryn Harmer, Tamara Wapinsky, Daveda Karanas, Suzanne Hendrix, Molly Fillmore, Maya Lahyani, Pamela Dillard, and Priti Gandhi.” “Mezzo Daveda Karanas stunned the audience with works by Verdi and Bellini. What a treat. The aria from “Macbeth” Ms. Karanas emoted made one long to hear the entire work sung by her.” “She has a smooth, buttery quality to her voice and she sang the aria, ‘La luce langue,’ from Verdi’s Macbeth with considerable dramatic power. Her rendition of ‘O don fatale’ from the same composer’s Don Carlo soared over the orchestration with sumptuous tones as did her lines in the Bellini duet ‘Mira, o Norma’.” “Daveda Karanas sang “D’amour, l’ardente flamme” from La Damnation de Faust, joining Tamara Wapinsky in a powerful Anna Bolena duet at the end of the concert.” “Three present Adler Fellows and a former one contributed mightily. Daveda Karanas’ Nurse and Catherine Cook’s Innkeeper were excellent.” “Daveda Karanas, a 28 year-old mezzo-soprano from Louisiana, offered formidable performances of arias by Meyerbeer and Purcell (a gripping “When I am Laid in Earth” from “Dido and Aeneas”) “Cassandra’s aria, “Malheureux Roi” (Unhappy King), from Berlioz’ “Les Troyens,” prophesizes the fall of ancient Troy. As Karanas began the piece on Sunday, it was clear that much brighter tidings are in store for the mezzo...Karanas offered the biggest voice of the day, filling the hall with resonance and vitality. If the Met judges are looking for voices to fill that massive house, they’ve found it. Her follow up aria, “All that Gold” from Menotti’s “Amahl and the Night Visitors,” was an unexpected choice from the judges, but one that allowed Karanas to also deliver a powerfully dramatic reading” “And just before the end came what was probably the evenings finest offering, a solo from Meyerbeer’s “Le Prophète” done with capacious power and vaunting athleticism by mezzo-soprano Daveda Karanas. To hear her unleash those dark-hued, precisely placed tones in the service of an emotionally probing performance was a rare delight.” “Shaking rafters with song...so did mezzo soprano Daveda Karanas, who sculpted her large, golden voice with glistening beauty in Fides’ aria “O prêtres de Baal” (Oh, priests of Baal) from Meyerbeer’s Le Prophète...what these singers shared was the ability to bring their audience to them, to demand to be listened to, to share the musical moment, to lift the music from the page and make it real.” “Daveda Karanas provided a show stopper as Fides in “O prêtres de Baal,” from Meyerbeer’s “Le Prophète”” “The audience also went wild over mezzo Daveda Karanas’ performance of “O Prêtres de Baal” from Meyerbeer’s rarely performed Le Prophète. Karanas’ range, coloratura facility, and strength on high were impressive.” “Daveda Karanas offered the third high point of the evening. It’s hard to stand out, all the singers were so amazing, but she managed the feat. A big voice that fills the opera house effortlessly, she still sounded delicate and always accurate...she could be immobile, with a voice like hers, she’ll convey the emotions of the part effectively, and she’ll get people’s attention” “By far the most dramatic voice among the women was that of Greek-American mezzo-soprano Daveda Karanas, from Mandeville, Louisiana, whose teachers include Marilyn Horne, in “O Prêtres de Baal” from Meyerbeer’s Le Prophète” “It testifies to the depth of this summer’s Merola company that a voice lustrous and exciting as that of mezzo-soprano Daveda Karanas would turn up in the minor role of Tisbe.” “Two vicious-ridiculous stepsisters, sung by soprano Ani Maldjian (Clorinda) and mezzo Daveda Karanas (Tisbe), both outstanding singer-actors, making their caricature characters both funny and believable.” “The sisters, Ani Maldjian and Daveda Karanas, enjoyed their stage antics and tossed off fine vocalism at every turn” “Soprano Ani Maldjian and mezzo-soprano Daveda Karanas lent sweet tone and lively characterizations to the roles of Cenerentola’s venomous stepsisters, Clorinda and Tisbe” “Daveda Karanas was the sympathetic Ericlea” “They are more than supported by several standout young singers...mezzo Daveda Karanas as Penelope’s maid” “And a quartet of future stars from Boston University’s Opera Institute - Jessica Tarnish, Michelle Johnson, Valerie Arboit, and Daveda Karanas - made a vivid impression as (please don’t tell their parents) Four Naked Virgins”____________________________________________________________________________________________________
DIE WALKÜRE, San Francisco Opera
– Joshua Kosman, San Francisco Chronicle, 2010
– Lisa Hirsch, San Francisco Classical Voice, 2010
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ARIAS CONCERT, San Francisco Opera
– Donald Behnke, Green Valley News and Sun, March 9, 2010
– Maria Nockin, Opera Today, March 17, 2010
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THE FUTURE IS NOW: ADLER FELLOW CONCERT,
San Francisco Opera Center
– Janos Gereben, San Francisco Classical Voice, 2009
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BORIS GODUNOV, San Francisco Opera
– Janos Gereben, San Francisco Classical Voice, 2008
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METROPOLITAN OPERA NATIONAL COUNCIL AUDITIONS –
GRAND FINALS, Metropolitan Opera
– Anthony Tommasini, New York Times, 2008
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METROPOLITAN OPERA NATIONAL COUNCIL AUDITIONS –
GULF COAST REGIONALS, Metropolitan Opera
– Theodore P. Mahne, The Times Picayune, 2008
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MEROLA GRAND FINALE, Merola Opera Program
– Joshua Kosman, San Francisco Chronicle, 2007
– James Keolker, San Francisco Classical Voice, 2007
– Janos Gereben, San Francisco Classical Voice, 2007
– Jason Victor Serinus, Bay Area Reporter, 2007
– Cedric Westphal, Sfist.com, 2007
– Ruth C. Jacobs, Opera L Archives, 2007
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LA CENERENTOLA, Merola Opera Program
– Steven Winn, San Francisco Chronicle, 2007
– Janos Gereben, The Examiner, 2007
– John Bender, San Francisco Classical Voice, 2007
– Georgia Rowe, Contra Costa Times, 2007
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IL RITORNO D’ULISSE IN PATRIA, Chicago Opera Theater
– John von Rhein, Chicago Tribune, 2007
– Andrew Patner, Chicago Sun Times, 2007____________________________________________________________________________________________________
MOSES UND ARON, Boston Symphony Orchestra
– T.J. Medrek, Boston Herald, 2006