Concertonet.com - May 14, 2008 (Micaele Sparacino)

As her son Orest, who had fled in exile after his father, the King Agamemnon, had been murdered, and who has now returned to help Elektra in the revenge murders of both Klytemnästra and her husband Aegisth, baritone Daniel Sumegi gave a commanding portrayal. He also has a huge voice and he paired well with Susan Bullock. They were memorable in the famous “Recognition Scene.” His presence created a real sense of foreboding and impending horror.......

Washington Times - May 12, 2008 (Tim Smith)

As Orestes, Australian baritone Daniel Sumegi is a big bear of a man with a deep, threatening voice to match, which added some needed ballast to this soprano-heavy score.
 

Opera News - May 13, 2008 (Tim Smith)

Daniel Sumegi cut a tall, beefy figure as Orest, with a big, sturdy sound to match.

The Opera Critic - October 16, 2007 (Sandra Bowdler)

The Landgrave was sung with resonant authority by bass Daniel Sumegi, always an impressive performer.

Sydney Morning Herald - October 10, 2007 (Peter McCallum)

As Hermann, Daniel Sumegi blended vocal power with Neidhardt's delicate lacings of hypocrisy in the characterisation.

Seen and Heard - August 19, 2007 (Bernard Jacobson)

The Australian bass Daniel Sumegi, meanwhile, was a sympathetic Daland–a personage whose easy-going venality and cosy human warmth recall the character of Rocco in Beethoven’s Fidelio –and projected with style and apparent ease the Italian melodic lines that coexist in the score with hints of the mature Wagner to come.

The Seattle Times - August 8, 2007 (Melinda Bargreen)

There wasn't a weak spot anywhere in the cast, not with supporting roles filled by the likes of Daniel Sumegi (a terrific and multifaceted Daland)..........

Seattle Post Intelligencer - August 5, 2007 (R M Campbell)

Daniel Sumegi's Daland, Senta's father, was appropriately sober-minded, "a figure of everyday life," who didn't let love get in the way of greed.

Opera News - August 4, 2007 (John F Hulcoop)

Making his debut with Seattle Opera, Australian Daniel Sumegi made a marvelously robust Daland. Playing him as a simple seafaring man, Sumegi seemed entirely at home with the character and with his easygoing, easy-flowing bass-baritone. His voice melded perfectly with Grimsley's in the lovely Act II duet, and he showed a nice sense of humor in handling those awkward transitional moments when Daland is with Senta and the Dutchman.

The Guardian - Oct 7, 2006 (Tim Ashley)

Decay is omnipresent in the seedy glamour and guttering candles of the set (McVicar's own). The tone is at times as much angry as nostalgic. One is struck... above all, in the way in which class divides are temporarily set aside in the communal ostracism of Daniel Sumegi's lubricious, unusually attractive Ochs.

The Scotsman - (Kenneth Walton)

Of the male line-up, Daniel Sumegi's Baron Ochs was big, booming and buffoon-like where it mattered.

The Herald - Oct 6, 2006 (Conrad Wilson)

The Ithaca Times - July 26, 2006 (Jane Dieckmann)

The music teacher Don Basilio was played by Australian bass Daniel Sumegi, with a voice both resonant and rich. The ending of the big aria "La calumnia" was among the opera's funniest moments.

Ithaca Journal - July 20, 2006 (Stephen G. Landesman)

The Basilio of bass-baritone Daniel Sumegi was also refreshingly different for being less a risible caricature of the scheming music teacher than a genuine flesh-and-blood threat. Imposing in stature, Sumegi sang “La calunnia” with an unaccustomed menace and no bark, superb throughout save for his failure to initially rein in his booming instrument to a subtle piano before beginning the ascent to the aria's ultimate crescendo.

July 10, 2006 (Chuck Klaus)

Daniel Sumegi's dark and richly textured voice made his Basilio a worthy addition to an impressive singing and acting cast.

Frankfurt Rundshau - March 28, 2006

Daniel Sumegi (Bottom) was able to equip his strong bass baritone with all humor necessary for the roll.

Abendblatt - March 27, 2006 (Jaochim Mischke)

Daniel Sumegi roars pliantly with rustic force through the part of the Bottom.

Financial Times - April 25, 2006 (Shirley Apthorp)

The cast is a wonderfully even line-up of excellence, from Ha Young Lee’s voluptuous Titania and Alexander Plust’s smoothly seductive Oberon to Daniel Sumegi’s generous Bottom.

The Spectator - Feb 21, 2006 (Michael Tanner)

Jokanaan, when he appeared after booming away invisibly, acted his role, imprecating and waving his arms in a most prophetic way.  Daniel Sumegi has a huge voice, not without an ingredient of grit, but the impression was as strong as this fake-religious music allows.

The Sunday Times - Jan 22 (Hugh Canning)

Opera North has assembled a fine supporting cast:…The bass-baritone Daniel Sumegi sang powerfully as Jokanaan.  There are two more performances…they should not be missed.

The Times - Neil Fisher

Those seeking subtlety wouldn’t have found it in Daniel Sumegi’s oversized John the Baptist, either. Sumegi’s single-minded, fanatical portrayal — half Ayatollah, half David Blaine — thundered out with ruthless efficiency.

The British Theatre Guide - December 2005 - Mayflower, Southampton (Kevin Catchpole)

Much of the story concerns the machinations of the Church - a world clearly close to Verdi's heart, though the clergy do not emerge from proceedings with much credit, least of all the Grand Inquisitor for whom the experienced veteran Daniel Sumegi was in splendid voice.

MusicOMH.com - October 26, 2005 (Dominic McHugh)

The Grand Inquisitor surprised me by being solid in every aspect, so well done to Daniel Sumegi

Operanews online  - September 17, 2005 (George Hall)

Seen and Heard - October 26, 2005 (Robert J Farr)

Other vocal highlights of the production were the scene between Philip and the Grand Inquisitor, sung with power and nuance by Daniel Sumegi.

The Opera Critic - October 15, 2005 (Catriona Graham)

As for the power politics and the religious fundamentalism, it is a difficult call which is more frightening - Andreas Silvestrelli as Philippe II or Daniel Sumegi as the Inquisitor.

Bristol Evening Post - November 18, 2005

It was full of lovely pieces of comic business but was never selfish, setting up some fine humour, with Daniel Sumegi's wonderfully exaggerated self-centred singing teacher Don Basilio.

Opera – Jan 2006 (Rian Evans)

It was apparent that Daniel Sumegi, who was also singing the Grand Inquisitor in Don Carlos, enjoyed the contrast offered by an outrageously overthe-top Don Basilio.

Sydney Morning Herald - July 1, 2005 (Peter McCallum)

Daniel Sumegi, richly grained and textured in the bass role of Zaccaria, the High Priest.

Washington Times, June 8, 2005 (T L Ponick)

Meanwhile, on the villainous side of the equation, the huge bass voices of Matthew Lau (Wurm) and Daniel Sumegi (Count Walter) were given an unusual opportunity to shine in this concert production.  So often, bass voices this rich and resonant get buried during operatic stage performances. Here, though, both bad guys added significant heft and athleticism to the opera's many gorgeous ensembles.

Washington Post - June 7, 2005 (Tim Page)

Bass Daniel Sumegi did his best with the hopeless role of Count Walter: His voice is a handsome one, dark and sinuous, with an edge.

Cincinnati Enquirer - May 22, 2005 (Janelle Gelfand)

But what an extraordinary feat the symphony was, garnering richly deserved, tumultuous ovations for Australian bass Daniel Sumegi and the men of the May Festival Chorus from the large Saturday night crowd.

Cincinnati Post - May 23, 2005 (Mary Ellyn Hutton)

Led by May Festival music director James Conlon, with bass Daniel Sumegi, the men of the May Festival Chorus and the Cincinnati Symphony, it made a profound impact........Australian born Sumegi was towering in Yevtushenko's searing texts. From the threnody-like "Babi Yar" with its evocations of Russian pogroms and the loathing of a "true Russian" for anti-Semitism, to the dripping sarcasm of "Humor" and the haunting images of "In the Store," where women struggle to buy scarce provisions, Sumegi sang with power and expression.

Mahler 8^th Symphony  - City of Birmingham Symphony Orchestra  

The Times June 7,  2004 (Richard Morrison)

(Sir Simon) Rattle even cooked up a touch of visual drama: the youth choruses cupped their hand around their mouths at the climax…what a sroke of showmanship.  No cupped hands from the eight soloists, but plenty of glorious welly – particularly from Christine Brewer, David Wilson-Johnson and the outstanding Australian bass Daniel Sumegi.

Carmen – Welsh National Opera

South Wales Echo – May 28, 2004 (AJ Sicluna)

For swagger and style there was little to touch Daniel Sumegi as Escamillo.

The Western Mail – May 28, 2004 (Mike Smith)

Escamillo is robustly sung by Daniel Sumegi, not a swaggering toreador buta rounded, worldly character acting as a foil to the shattered innocence of Don Jose…

The Big Issue – May 31, 2004 (Cathryn Scott)

Daniel Sumegi, as Escamillo, also has a remarkable amount of power in his voice, giving a masterful performance of Toreador that fills the auditorium.

The Stage – June 10, 2004 (Jon Holliday)

Daniel Sumegi is a dominating, powerfully sung presence as Escamillo.

Plymouth Evening Herald – June 17, 2004 (Phillip R Buttall)

…whilst Daniel Sumegi presents a suitably swaggering Escamillo, with a voice to match.

Birmingham Evening Mail – June 25, 2004 (Paul Fulford)

…while Daniel Sumegi was a hugely impressive Escamillo, a proud, swaggering, sneering pragmatist.

Bristol Evening Post – July 1, 2004 (Gerry Parker)

You need flair and confidence to be a bullfighter – qualities that Daniel Sumegi had in abundance.

Flying Dutchman – Austin Lyric Opera

Austin Chronicle – March 26, 2004 (Jerry Young)

We'd assume that a girl's father wouldn't encourage a cross-century romance, but for Senta's father, Daland, the answer lay in the captain's treasure. Daniel Sumegi managed to show Daland's enthusiasm for the promise of wealth without making us resent him.

The Flying Dutchman-  Opera Australia

Sydney Morning Herald - January 27, 2004 (Peter McCallum)

Daniel Sumegi, stepping into the father role of Daland at short notice, was equally worthy. Vocally true and dramatically quick, he maintained pace and vocal colour, completing a tight-knit group of principal singers in a quartet of vivid vocal drama.

Pioneer Press – December 12, 2003 (Rob Hubbard)

… while bass Daniel Sumegi gave a properly dark menace to his aria. But Sumegi proved his versatility in the celebratory tone of Part III's "And the trumpet shall sound," upon which he and the trumpet soloist wove their tones about one another in a lively pas de deux.

Salome - Opera Australia

The Bulletin - September, 2003 (Humphrey McQueen)

...To the role of Jokanaan, Daniel Sumegi brought the vigour of a baritone and the resonance of a bass. He transcended the woodenness in the part to take charge of the scene when he is on stage. Only someone with his vocal heft could have been heard from the bottomless pit to which the director has condemned him. Only the surtitles made it possible to discern the threats that he hurled from that abyss....

Opera News - September Edition (Tim Smith)

Daniel Sumegi (Jorg) summoned terrific vocal and interpretive force

Carmen - Opera Australia

The Australian – May 9, 2003 (Peter Burch)

The most robust presence of the night was Daniel Sumegi’s Escamillo, the bullfighter who lures Carmen’s affection away from Don Jose.  Sumegi is a big man and an impressive actor, with a large and exciting voice that he used to powerful effect.

The Age – May 9, 2003 (John Slavin)

Carmen and the bullfighter Escamillo, come on dressed in formal black, like two characters who have strayed out of an Ibsen drama.  Sumegi brings some much needed erotic fission to this dull evening.  His baritone has a wonderfully dark timbre and he has the charisma of the bulls he fights.  But if Carmen is so willfully independent of men, why, one wonders, does she fall for the biggest spunk on the block?

Die Meistersinger  - Vlaamse Opera

Opera – Oct 2002 (John McCann)

The Pogner of Daniel Sumegi was capaciously sung.

De Standaard – Mar 25 2002 (Jan Vandenhouwe)

The bass Daniel Sumegi was a warm Pogner with a sonorous voice.

The Bulletin – Mar 28, 2002 (Camille de Rijck)

Bass Daniel Sumegi as the patriarch Pogner showcased an overwhelmingly powerful voice.

Luxemburger Wort – Mar 29, 2002 (Jean Lucas)

Among the other Masters is revealed the beautiful bass of Australian Daniel Sumegi, imposing as  Veit Pogner.

Tristan und Isolde - Opera Australia

Stage Left – Nov 20, 2001 (James Moffatt)

The Kurwenal of Daniel Sumegi is nothing short of a revelation.  An Australian bass currently building a solid international reputation, he is simply the best Kurwenal I have ever heard or seen.  Sumegi has a stunning voice and a commanding stage presence.

Sunday Age – Nov 18, 2001(Neil Jillett)

There were also first class performances from basses Bruce Martin and Daniel Sumegi.

The Age – Nov 16, 2001 (John Slavin)

 …while Daniel Sumegi, as Tristan’s retainer, Kurwenal, is nothing short of superb.

The Australian – Nov 16, 2001 (Peter Burch)

Daniel Sumegi is another singer whose performances have grown as we’ve watched over the past decade.  His Klingsor in SOSA’s Parsifal in September was a triumph, and he proved to be an equally powerful vocal and stage presence in a richly realized Kurwenal.

Opera Opera – Dec 2001 (Clive O’Connell)

As well, Daniel Sumegi’s Kurwenal came over with impressive brio and clarity of character that argued for this singer’s increased vocal maturity and showed the rewards of his overseas experience through his acting with a good deal more savvy than most of his colleagues.

Parsifal - State Opera of South Australia

Sydney Morning Herald and The Age – Sept 25, 2001 (John Slavin)

…and Daniel Sumegi’s Klingsor has a thrilling presence and a resonant bass.

Opera – Feb 2002 (Elizabeth Silsbury)

And never has this company fielded such a superb cast…Daniel Sumegi a stunning Klingsor in black leather with dazzling diamond-studded codpiece (or non-codpiece, more correctly), vocally as vicious as his text and undoubtedly the least unconvincing character in the whole spectacle.

Il Pirata - Washington Concert Opera

Baltimore Sun – April 23, 2001 (Tim Smith)

A vocally commanding, dramatically involved cast made much of the score Friday evening at George Washington University’s Lisner Auditorium… Daniel Sumegi, as Gualtiero’s former tutor Goffredo, filled the hall with his grandly scaled bass and elegant phrasing.

Washington Post – April 23 2001 (Phillip Kennicot) 

Bass Daniel Sumegi produced the largest tones – and they were pleasing tonally as well.

Don Carlos - Washington Opera

The Washington Times - Mar 24, 2001 (T L Ponick)

The Washington Opera’s new production of Giuseppe Verdi’s “Don Carlo” is easily the most magnificent ensemble performance of the season.  Without a weak singer-actor in the cast, the company offers an example of how dazzling opera can be in it’s take on Verdi’s political, religious and psychological masterpiece… The role of the Grand Inquisitor is small but important.  As sung by bass Daniel Sumegi, the Inquisitor is an implacable opponent to justice and decency, a religious fanatic who makes the late Ayatollah Khomeini look like a kindergarten teacher.  Mr. Sumegi’s threats and pronouncements, sung clearly in the lowest notes available to a male singer, effectively cast a pall of fear over the entire evening.

New York Times – Mar 31, 2001 (Bernard Holland)

But Verdi’s subsidiary principal singers are a profound and pungent lot, and they have been strongly cast here…Daniel Sumegi bore the weight of the Grand Inquisitor nicely.

Opera News - July 2001 (Tim Smith)

The conflict between religious and secular authority was underlined with particular force by Paata Burchuladze as Philip and Daniel Sumegi as the Grand Inquisitor. Burchuladze's penetrating sound (though prone to sharpness) and sensitive phrasing got to the heart of "Ella giammai m'amò." His subsequent exchange with the Inquisitor was masterfully shaded to reveal slowly simmering fury. Sumegi, likewise producing rich bass tones, was just as effective at conveying his character's inner strength and determination.

Opera – April 2001 (Elizabeth Silsbury)

Daniel Sumegi’s debut as Scarpia was generally admired for his superb, fruity but strongly focused bass.  Those of us expecting villainy, raw lust and brutishness remained unconvinced that Sumegi would carry out his threat to violate Tosca, but his enthusiasm for the increasingly vicious torture was unmistakable.

The Western Mail (Cardiff) – Sep 30, 2002 (Mike Smith)

Just like the Spanish wine Scarpia savours, this is a robust, full-bodied and intoxicating Tosca….Add to that…a Scarpia of massive presence from fellow Australian bass Daniel Sumegi, and this was a night to sit back and relish every moment.

Evening Post (Bristol) – Oct 3, 2002 (Gerry Parker)

All too often, in an effort to show the evil within Baron Scarpia, an air of coarseness creeps into the portrayal dramatically and vocally.  No sign of this with Daniel Sumegi’s smooth villain.  Here was a man completely sure of his powers in knowing exactly how to make full use of them.  This was a more charming Scarpia than we often see and all the more frightening as a result.

Birmingham Post (City Edition) – Oct 18, 2002 (Maggie Cotton)

Daniel Sumegi as debonair, calculating villain Scarpia, delivered his evil with superb voice, fine acting and imposing poise.

Birmingham Evening Mail – Oct 18, 2002 (Paul Fulford)

“Wicked Baron in Tour de Force”.  Daniel Sumegi’s towering performance as a dastardly Baron Scarpia dominated the Welsh National Opera’s thoroughly enjoyable performance of Puccini’s tale of lust and betrayal.  His poised singing and polished acting created a convincing Scarpia – half pantomime villain, half devil incarnate.  Ironic boos as well as sincere applause greeted him at the end.

Der Rosenkavalier - Welsh National Opera

Opera – September 2000 (Rodney Milnes)

There is a half-formed tradition of young Ochses in this staging – Franz Hawlata’s first appearance here at the previous revival remains unforgotten – and it was well-sustained by Daniel Sumegi, like Hawlata a big, handsome man.  He has all the notes from a real bottom C to an unstrained, full-voiced piano top F – stunning! – and as time goes by they will be joined together into more elegant phrases with a surer sense of overall line.  He was at his best in the third act, gaining genuine tragic stature towards the end: the prescribed “deeply scornful bow” to the Marschallin spoke enough volumes to fill those bookshelves.

This is Oxforshire and Oxford Mail - June 30, 2000 (Chris Gray)

I Puritani – Washington Opera

The Washington Post - Dec 31, 1999 (Phillip Kennicott)

Bass Daniel Sumegi (seen last season as the Reverend Hale in “The Crucible) is the best-cast singer in the production.  As Giorgio, he covers notes with fullness of tone, and has the substantial breath support to sing a true, seamless Bellini line.  His stage presence as the loving father figure, an alpha male with beta sensibilities, was also the most dignified and convincing of the evening.  Baritone Jorge Lagunes as Riccardo sang a very rousing “Suoni la Tromba” with Sumegi – they blended nicely.

The Washington Times – Jan 1, 2000 (T.L. Ponick)

An exquisite cast of singers is needed to make this opera work.  Fortunately, the Washington Opera seems to have put together just the right ensemble...Once again, the Washington Opera has been fortunate in it’s choice of talent.  Bass Daniel Sumegi, in the role of Elvira’s compassionate uncle-protector Giorgio, is superbly authoritative.  Mr. Sumegi sings with gravitas and sensitivity.  His deep, powerful bass is clean and accurate.  It never rasps or growls in the lowest notes and never falters or breaks in the taxing higher register...As Riccardo, … Jorge Lagunes…sets the martial tone for the opera, and his brilliant duet with Mr. Sumegi, which closes the second act, is one of the finest displays of male singing we have seen in some time.

Aida – Houston Grand Opera

Houston Press – Oct 28, 1999 – Nov 3, 1999 (Cynthia Greenwood)

As Ramfis, the High Priest, Australian Bass Daniel Sumegi was authoritative and robust.

Götterdämmerung - State Opera of South Australia

Opera News – July ’99

Perhaps the best of the singers was Daniel Sumegi, as Hagen, who simply dominated Götterdämmerung, both vocally and physically.  His dark, sumptuous bass voice had no trouble quelling the vassals in act II, but he was not shy about singing softly and could be intimate and insinuating when necessary.

Opera Now – April/May ’99 (Shirley Apthorp)

…while Daniel Sumegi and Liane Keegan as Hagen and Erda gave truly thrilling performances, vocally rich, musically mature and theatrically convincing.

Faust - Opera Australia

Opera – January 1999 (Maria Prerauer)

…rendered by some very fine genuinely operatic voices, it became a nice night’s entertainment.  Here the Devil does indeed have the best part, and the magnificent young bass, Daniel Sumegi, a gigantic larger-than-life Mephistopheles disguised as a cold, manipulative businessman, did not miss a trick.  Surely a star in the making.

The Australian Financial Review, Weekend – August 22-23 (Meurig Bowen)

... All of this could fall flat without a fine cast.  The double-act of imposing Daniel Sumegi and slightly awe-struck Vinson Cole works well as the thoughtful mere-mortal in too deep with the devil. With an astonishingly vibrant, blazing vocal presence, Sumegi’s Mephisopheles has to be one of the homegrown opera achievements of the decade.

Lady Macbeth of Mtsensk – L’Opéra de Nantes

Ouest France- June 8, 1998 (Jean–Luc Quéau)

As for Boris, the father-in-law of Katerina, he has an explosive bass made of granite, and enjoyed the dark tessitura required by the subject of Chostakovitch.  One could not forget all the protagonists who have given the best of themselves.

Presse Océan- June 9, 1998 (A.P.D.)

...while Daniel Sumegi, incarnating Boris, transports instantaneously into this Russia where such a bass voice customarily makes the [isbas] tremble.

Samson et Dalila – Palm Beach Opera

Opera News, March 1998/Opera, August 1998 (Tim Smith)

Daniel Sumegi’s imposing bass and fluent acting made the High Priest a dominant presence.

Palm Beach Daily News – Jan 25, 1998 (Daniel G. Monek)

Both Samson, sung by Finnish tenor Heikki Sukola, and the high Priest, sung by Australian Daniel Sumegi, had clear and powerful voices.  Many times they easily overwhelmed Polish singer Malgorzata Walewsaka’s Dalila, particularly in her act 2 duet with the high priest.

Macbeth – Houston Grand Opera

Houston Chronicle -  Monday Oct 20, 1997

Bass Daniel Sumegi sang Banquo richly.

Houston Sidewalk – Arts Wednesday Oct 22, 1997

Bass Daniel Sumegi made a sturdy and impassioned Houston Grand Opera debut as Banquo.

Houston Press – Oct 23, 1997

In the role of Banquo, bass Daniel Sumegi turned in a noteworthy performance.

La Boheme – San Francisco Opera

San Francisco Examiner – June 17, 1996 (Allan Ulrich)

Bass Daniel Sumegi’s Colline set the standard…in this production.

Aida - The Australian Opera

Australian Financial Review – Fri 28^th July, 1995 (Richard Synnott)

Young Sydney Bass Daniel Sumegi showed why he is in such demand abroad – his Ramphis, the High Priest, was a big and menacing vocal presence.

The Sun Herald – July 30^th 1995 (John Carmody)

It was wonderful to hear the treacly blackness of Daniel Sumegi’s voice as Ramphis, the malign high priest.

Metropolitan Opera National Council Auditions Winners Concert

New York Times – March 31, 1994 (Bernard Holland)

Winners (no losers) from Met Auditions.

The quality this year is exceptionally high…one cannot resist trying to predict who among them will find fame and fortune in their futures…Another candidate for success was Daniel Sumegi, an authentic bass from Australia with a confident command of  styles ranging from Britten to Tchaikovsky.