• “The young bass Daniel Fridley, as the wily Don Basilio, was downright chilling in his aria ‘La calunnia,’ in which he explains to Bartolo that the way to deal with Almaviva is to start a rumor and help it spread until an explosive scandal erupts.”

    — New York Times

  • “...singing with a rich, resonant tone, bass Daniel Fridley personified the enlightened Sarastro, whose actions are guided by principle and reason.”

    — Cleveland Classical

  • "Fridley’s stentorian bass had a splendid dash of creepiness to it, quite appropriate for an aria about the joy of spreading slander about your enemies."

    — Opera Wire

  • "The most extensive role, however, was that of the narrator who weaves the story; it was powerfully performed by bass Daniel Fridley, he of a thrillingly deep and beefy voice and dramatic bent."

    — The Herald Times

  • "He had plenty of spin and sparkle in his voice, perfect diction, and the exact resonance and gravitas I look for in a bass. His voice has a wide palette of colors to play with, and Fridley exploited this to great dramatic effect."

    — Parterre Box

  • "The work ended with a pleasing chord featuring a sepulchral bass note expertly deployed by Daniel Fridley. He was a noteworthy singer throughout the concert, notwithstanding the fact that he was a last-minute substitution."

    — Hyde Park Herald

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