Dramatic Baritone Daniel Sutin's career has taken him onto the prestigious stages of the Metropolitan Opera, Lyric Opera of Chicago, L’Opera de Montreal, Royal Opera House Covent Garden, Washington National Opera, and the Spoleto, Savonlinna Opera and Lincoln Center Festivals.

Recent performances include Alfio in Cavalleria Rusticana in the Classical Concert Series (2023) at Seton Hall University, the title role in Rigoletto with Opera North (2021), Don Fernando in Fidelio at the Polish National Opera (2021) and Baron Scarpia in the Northern Lights Music Festival’s critically acclaimed production of Tosca, the first North American opera production to be performed with social distancing. In 2018-20, Sutin again covered the title role in Wozzeck at the Metropolitan Opera, where he had performed the role in 2015 to standing ovations. This year also marked his debut with Arizona Opera as Giorgio Germont in La Traviata. In 2017-18, Sutin’s engagements included Baron Scarpia in Boston Lyric Opera’s new production of Tosca, Giacomo in Giovanna d’Arco with Odyssey Opera, and his return to Chicago to cover Alberich in Siegfried. He also covered at the San Francisco Opera for Alberich in their Der Ring des Nibelungen. Read More

In previous seasons at the Met he also covered the title role in Wozzeck and sang the One-Eyed Brother in Die Frau ohne Schatten. Sutin debuted the role of Jochanaan in Salome with the Detroit Symphony, sang Don Fernando in Fidelio with Cincinnati Opera, Iago in Otello with the Phoenicia Festival of Voice, Enrico Ashton in Lucia di Lammermoor with Boheme Opera of New Jersey, and covered the title role of Wozzeck and Alberich in Das Rheingold at Lyric Opera of Chicago as well as Alberich in Der Ring des Nibelungen at Washington National Opera (2015-16). Other engagements for the 2014-15 season included Biterolf in Tannhäuser (Lyric Opera of Chicago), and Sharpless in Madama Butterfly (Hawaii Opera Theatre). In 2013, he sang Giorgio Germont in La Traviata (Savonlinna Opera Festival, Finland), the title role of Rigoletto (Musica Viva, The Opera Society of Hong Kong), Konrad Nachtigall in Die Meistersinger von Nurmberg (Lyric Opera of Chicago), and Tonio in Pagliacci (Austin Lyric Opera). Highlights of the 2011-12 season include Mr. Sutin’s debut at Boston Lyric Opera in the title role of Macbeth, and Marcello in Opera Fairbanks’ production of La Bohème.

In 2010-11, he returned to Lyric Opera of Chicago as Sonora in La Fanciulla del West, sang the role of Paolo Albiani in Simon Boccanegra (L’Opéra de Montréal), Iago in Otello (Palm Beach Opera), and was at the Metropolitan Opera for Wozzeck and Boris Godunov. In addition he sang Baron Scarpia in Las Vegas Opera’s Production of Tosca. 2009-10 season highlights: Peter, the Father (cover) in Hänsel und Gretel (Metropolitan Opera), title role of Rigoletto (San Antonio Opera and Nashville Opera), and Paolo in Simon Boccanegra (Canadian Opera Company. 2008-09 marked Mr. Sutin’s debut with the Royal Opera House, Covent Garden, as Sonora in La Fanciulla del West. In addition, he sang Sharpless in Madama Butterfly (Savonlinna Opera Festival, Michigan Opera Theatre). 2007-08 was his Lyric Opera of Chicago debut, as the One-Eyed Brother in Die Frau ohne Schatten. It also was his seventh season at the Metropolitan Opera, where he was Paris in Roméo et Juliette. Mr. Sutin was heard at the Metropolitan in the world premiere of Tan Dun’s The First Emperor, and sang Orest in Elektra (Canadian Opera Company) and Conte di Luna in Il Trovatore (Caramoor Festival).

Mr. Sutin was born in Albany, New York, and earned Bachelor’s and Master’s Degrees in Vocal Performance from The Juilliard School. He furthered his studies with Armen Boyajian. Read Less

Berg Wozzeck - Wozzeck Giordano Gerard - Andrea Chénier Humperdinck Peter - Hänsel und Gretel Leoncavallo Tonio - Pagliacci Mascagni Alfio - Cavalleria Rusticana Ponchielli Barnaba - La Gioconda Puccini Jack Rance - La Fanciulla Del West Gianni Schicci - Gianni Schicci Sharpless - Madama Butterfly Lescaut - Manon Lescaut Michele - Il Tabarro Scarpia - Tosca R. Strauss Mandryka - Arabella Barak - Die Frau ohne Schatten Der Einäugige - Die Frau ohne Schatten

Verdi Amonasro - Aida Ezio - Attila Renato - Un Ballo in Maschera Don Carlo - Ernani Don Carlo - La Forza del Destino Giacomo - Giovanna D’arco Miller - Luisa Miller Macbeth - Macbeth Iago - Otello Rigoletto - Rigoletto Simon Boccanegra - Simon Boccanegra Paolo Albiani - Simon Boccanegra Germont - La Traviata Il Conte di Luna- Il Trovatore Montforte - I Vespri Siciliani Wagner Der Holländer - Der fliegende Holländer Alberich, Gunter - Götterdämmerung Telramund - Lohengrin Fritz Kothner - Die Meistersinger Konrad Nachtigall - Die Meistersinger Amfortus, Klingsor - Parsifal Wotan, Alberich - Das Rheingold Wotan, Alberich - Siegfried Wolfram - Tannhäuser Kurvenal - Tristan und Isolde Wotan - Die Walküre

Beethoven - 9th Symphony Brahms - Ein deutsches Requiem

Mahler - 8th Symphony Orff - Carmina Burana

Diese Liste beinhaltet die empfohlenen, bzw. einstudierten Partien im Repertoire der Künstler. Eine Liste der aufgeführten Partien sind in den Künstlerunterlagen (Biografie/ Resume) auf die Künstlerseite unserer Website vorzufinden.

“But of course, the real scene-stealer was Daniel Sutin as Giacomo, who was able to craft a complex, believable character out of the libretto he was given. It is a rare opera singer who can act both with and without his voice, and Sutin showed adept skill at both; the result was magnetic and full of pathos.”

Arturo Fernandez, SCHMOPERA

“Baritone Daniel Sutin stepped into the lead part (“Wozzeck” at the Met)... and gave a vocally and dramatically powerful performance.”

Barry Bassis, THE EPOCH TIMES

“Last-minute replacement Daniel Sutin settled into the part of Count di Luna (Il Trovatore) with energy and panache.”

S. James Wegg, JAMES WEGG REVIEW

“Daniel Sutin’s dense, oaky baritone is perfect for Verdi (Giovanna d’Arco).”

Kevin Wells, BACHTRACK.COM

“The most striking stage presence came from baritone Daniel Sutin as the court's jester and title character. His singing effectively articulated his ardent overprotectiveness, as his daughter's father, and his obsession with a curse placed upon him in the first scene.”

David Hendricks, MY SAN ANTONIO