Daniel Mirosław

  • ID: TA843363
  • Name : Daniel Mirosław




    Polish bass-baritone Daniel Mirosław joined the Ensemble at the Staatsoper Hannover in the 2019/20 season; he is a graduate of the Guildhall School of Music and Drama, London and of the Julliard School, New York.

    Daniel’s future guest engagements include his debut at the Opéra national de Lorraine in his role debut as Scarpia in a new production of Tosca; the title role of Don Giovanni and Mephistofeles Faust for Oper Wroclaw in Poland; his return to Opernhaus Zurich and Ópera nacional de Chile, Santiago; his debut for Theater St Gallen and in Hannover, his roles include: Escamillo; Iago Otello; Dr Dulcamara L’elisir d’amore and as Kaspar Der Freischutz.

    Other recent highlights include the title role of Don Giovanni and Mephistopheles Faust for the Ópera nacional de Chile; Truffaldino Ariadne auf Naxos for the Glyndebourne Festival; Melisso Alcina at the Internationale Händel Festspiele in Karlsruhe; Don Giovanni for Opera Wroclaw, Poland; Don Magnifico La cenerentola and Figaro Le nozze di Figaro for the New Generation Festival, Firenze; Oroe Semiramide in Moscow with Maestro Alberto Zedda and Graf Lamoral Arabella for the Opernhaus Zurich.

    From 2016-18, Daniel was a member of the ensemble in Frankfurt Oper, where his appearances included Eustazio Rinaldo; Gualtiero Raleigh Roberto Devereux; Sparafucile Rigoletto; Quinault Adriana Lecouvreur; Panthée Les Troyens; Colline La bohéme and Lothar Der Sandmann. He also appeared at the Alte Oper Frankfurt as the bass soloist in Mozart’s Requiem.

    Whilst at Julliard (2014-16), he appeared as Don Geronio Il turco in Italia; Collatinus The Rape of Lucretia and Der Tod Der Kaiser von Atlantis; he made his Carnegie Hall debut singing Don Fernando Fidelio; also appearing as the bass soloist in Beethoven’s Mass in C major and in Handel’s Messiah.


    Biography not for publication, for an up to date version please contact Oliver Clarke.



    "In terms of acting as a singer, however, Daniel Miroslaw deserves the Palm. He doesn't rely on a darkened bass, but on declamatory power and shapes the figure with intimidating authority. He emanates the crackling of a sex monster that takes whoever it wants without mercy.”

    "Bass baritone Daniel Miroslaw is ardently involved in this scenic design thanks to his considerable talents as an actor, always attentive, mobile and responsive to others. The vocal grain has the appropriate darkness for "Ha più forte sapore" or "Già, mi dicon venal", the projection amply sufficient for the gauge of Nancy's opera and the striking treble ensures it a dominated and impeccable Te Deum."