• Chicago Classical Review

    “Colleen Daly brought a pure and resplendent soprano to her solo opportunities...”

    Frank Martin - In Terra Pax
    Grant Park Music Festival

  • The Washington Post (Anne Midgette)

    “The soprano Colleen Daly showed a mezzo-tinted lower register rising to a wonderful warm top.”

    Carmina Burana, Washington Chorus

  • Opera News

    “Colleen Daly likewise registered impressively as Musetta, pouring out a consistently warm, creamy sound and revealing the character's flirtatious and caring sides with equal conviction.”

    La Bohème, Lyric Opera of Baltimore

  • The Baltimore Sun

    “Colleen Daly excelled as Fidelia, using her warm, ample soprano and refined musicality (lots of lovely, floated high notes) to bring the character to life. Her radiant account of ‘Addio, mio dolce amor’ in Act 2 was a particular pleasure.”

    Edgar, Baltimore Concert Opera

  • Opera News

    “Colleen Daly tamed Musetta’s potential hard edge with a shimmering soprano and a heartbreaking sincerity in Act IV.”

    La Bohème, Des Moines Metro Opera

  • The Washington Post

    “As the idealized pregnant Alyce of Jim’s imagination, Colleen Daly had the most lyrical assignment and carried it out glowingly.”

    Glory Denied, Urban Arias

  • Philadelphia City Paper

    “The romantic leads — Colleen Daly's Kát'a and Bryan Hymel as her hapless lover, Boris — were particularly expressive. Daly seems in all ways a marvelous find, displaying real stage presence and timing in addition to an attractive, well-handled, clear and affecting soprano, with unusual richness in the bottom register.”

  • OperaWire.com

    “As Micaëla , Colleen Daly made excellent use of a voice that is agile and elastic without ever losing its lusciously honeyed hue. Her performance was true to the role’s girlishness, but she was no wallflower. Her take showed the grit Micaëla had in trying to save Don José from his fate. “

    Carmen, Tulsa Opera

  • The Baltimore Sun

    “Annapolis Opera's La Bohème was brightened by Baltimore diva and Annapolis Opera favorite Colleen Daly as the flirtatious beauty Musetta, a role she owns. Capable of turning heads, Daly brought delicious fun and warmth to the famous Waltz and dramatic passion to her interplay with baritone Timothy Mix's Marcello. In the final act, Daly delivered a compassionate ‘intesi dire,’ describing her finding Mimi ill. Later, her heartfelt prayer for Mimi is incredibly moving.”

    La Bohème, Annapolis Opera

  • The Daily Orange

    “Daly, a soprano, sings with a heartbreaking purity that fits Micaëla’s innocence. Although the timbre of her voice is absolutely delightful, her dynamic control is what really takes her performance to a memorable level. She sings with the soft desperation one would expect from an innocent woman in love, but in the next line she is filling the Carrier Theater with her rich voice….[Daly’s voice is] classic, clear perfection.”

    La Tragédie de Carmen, Syracuse Opera

  • The Baltimore Sun

    “…the flirtatious Musetta, portrayed here with great warmth by Colleen Daly. Her creamy, radiant tone paid dividends all evening.”

    La Bohème, Lyric Opera of Baltimore

  • The Irish Times

    “As [Vice President] Biden was leaving, Irish-American soprano Colleen Daly sang When Irish Eyes Are Smiling… ‘It brought tears to his eyes – and to a number of other people there,’ the [Irish] Ambassador said.”

  • The Philadelphia Inquirer

    “…Colleen Daly's freely imagined ‘Mad Scene’… ma[d]e a deep impression. Everything seems a prelude to her final scene. Her dress bloodied, the dagger outstretched, she catalogued her madness while embracing choristers, lying on the floor, emerging from a cave-like space under stairs, and finally collapsing in a corner. It was theatrical, musical and riveting.”

    Lucia di Lammermoor

  • Opera Now

    “Soprano Colleen Daly was impressive vocally and dramatically in the title role and had the sympathy of the audience from beginning to end. Her voice had power to spare, but retained its roundness and lovely quality throughout. The scenes between Kát’a and her sister-in-law, Varvara, were especially touching.”

    Kát’a Kabanová

“Colleen Daly as the opportunistic coquette, Musetta, stole the show. She blew into Act 2 at Café Momus dressed in a skin-tight red sheath slit to her hip and a fuzzy white wrap. Blessed with a soprano voice that is light with surprising reserves of power, she dominated the stage with a delightful sense of comic timing and the exuberance the role needs. She reduced her aging escort, the pitiful dupe Alcindoro, to utter confusion, seduced her former lover, Marcello, to frustration and was the most convincing comforter on stage in Mimi’s final moments."

~ Washington Classical Review

“Soprano Colleen Daly played Persephone – the ultimate moll and muse to the opera’s two hellboys, Hades and Lucifer – with beautifully haunted, idyllic vocal smolder."

~ La Scena Musicale

“Daly, a soprano, sings with a heartbreaking purity that fits Micaëla’s innocence. Although the timbre of her voice is absolutely delightful, her dynamic control is what really takes her performance to a memorable level. She sings with the soft desperation one would expect from an innocent woman in love, but in the next line she is filling the Carrier Theater with her rich voice….[Daly’s voice is] classic, clear perfection.”

~ The Daily Orange

“We only hear the role of Micaëla at the beginning and end of the Brook version and that’s a shame, because soprano Colleen Daly’s silky and deeply penetrating soprano provided a treat for the ears I wish did not have to end.  Daly’s duet with Don José at the smugglers’ camp was full of expression and nuance, and she projected well throughout the performance, with credible French diction.”

~ www.CNYCafe Momus.com

“It takes a strong Lucia to stack up against such dominant male leads, and soprano Colleen Daly met the challenge, displaying expert control.  Her voice reflected the quicksilver changes in Lucia's outlook, from girlish glee to sadness and dismay.  As she rapturously described her first encounter with Edgardo, she conveyed breathlessness without sounding unsupported.  The ‘mad scene,’ is the linchpin of the opera, and Daly's rendition was both musically and dramatically satisfying.  Her madness wasn't raving hysteria, but instead almost-wordless catatonia in the highest passages -- an affecting choice.”

~ The Courier-Post