PRESS
Ariodante by George Frederic Handel, Pittsburgh Opera (2023)
"Daniel O’Hearn, as Lurcanio, gave an excellent display of his pure and true, distinctly timbred tenor voice. He acted the part gracefully, and swung a mean sword."
- George B. Parous, onStage Pittsburgh
"Daniel O’Hearn’s stand-and-deliver approach to his foe was matched by his forthright singing. He is a tenor spelled with a capital 'T'."
- Rick Perdian, Seen and Heard International
Roberto Devereux by Gaetano Donizetti, Washington Concert Opera (2022)
"Stepping into the role of Lord Cecil at the proverbial eleventh hour, tenor Daniel O’Hearn voiced every note of the part eloquently, his timbre burnished throughout the range and his ease of navigating the passaggio indicating expert technical assurance."
- Joseph Newsome, Voix des Arts
Le nozze di Figaro by Wolfgang Amadeus Mozart, Pittsburgh Opera (2022)
"Two Resident Artists made their debuts – tenor Daniel O’Hearn, doing double-duty as Don Basilio and Curzio, and bass-baritone Evan Lazdowski as Antonio, the tipsy gardener. Both proved worthy of their company and we’ll look forward to hearing more of them in the future."
- George B. Parous, onStage Pittsburgh
Flight by Jonathan Dove, Utah Opera (2022)
"Bill and Tina are a couple trying to put the spark back in their marriage with a tropical vacation. With an entrance heralded by marimba and percussion, they draw the entire ensemble into their excitement over their holiday that must solve all their problems, manifesting their hope and desperation. Utah Opera resident artists Julia Gershkoff and Daniel O’Hearn are perfect as the hapless couple, both vocally and dramatically, and drew the company’s biggest laughs."
- Rick Mortensen, Utah Arts Review
Light on the Horizon, Utah Opera (2021)
"Gilbert and Sullivan was well represented with “Stay, Frederic, Stay” from The Pirates of Penzance, and “Then one of us will be a Queen” from The Gondoliers. The former is a sublime moment in a broad farce, and the duo of Utah Opera resident artists Daniel O’Hearn (tenor) and Julia Gershkoff (soprano) largely ignored the farce and focused on the sublime. Both of their voices rose expressively above the orchestra (with Tweten again seeming to take a slower tempo than usual)."
- Rick Mortensen, Utah Arts Review