Hailed for her “mezzo-tinted lower register rising to a wonderful warm top," (The Washington Post) American soprano Colleen Daly carefully balances her engagements on the concert and opera stages.  This season sees her join Baltimore Chorale Arts for Orff’s Carmina Burana. Her 2019-2020 season was highlighted by Micaëla in Carmen for Tulsa Opera, Beethoven’s Symphony No. 9 for the Carmel Symphony, and a remount of Wachner’s Rev. 23 for the Prototype Festival. Floyd’s Susannah for the Annapolis Opera and Antonia in Les contes d’Hoffmann for Delaware Opera are postponed due to the Coronavirus pandemic. Her 2018-2019 season included Dvořák’s Stabat Mater with the Vancouver Symphony, Musetta in La bohème for the Fairfax Symphony and the Charlottesville Opera, Donna Anna in Don Giovanni for Baltimore Concert Opera, and Verdi’s Requiem with Santa Barbara Symphony. Recent credits include the World Premiere of Julian Wachner’s opera Rev.23 with White Snake Projects in Boston, the title role in Floyd’s Susannah for Baltimore Concert Opera, Martin’s In Terra Pax with the Grant Park Festival, Dvorak’s Te Deum with the Washington Cathedral Choral Society and Carmina Burana with the Washington Chorus at the Kennedy Center. She joined the Windsor Symphony as Countess Almaviva in a concert version of Le nozze di Figaro and the Annapolis Opera for Violetta in La Traviata. She also sang Mahler’s Symphony no. 2 with the Bozeman Symphony, Beethoven’s Symphony no. 9 for the Williamsburg Symphony and covered the role of Cunégonde in Candide for the Washington National Opera.  Ms. Daly debuted internationally with the Calgary Philharmonic as Madeline in Philip Glass’ setting of The Fall of the House of Usher, and was immediately reengaged for Mahler’s Symphony No. VIII. She returned to the Kennedy Center Concert Hall as a soloist in the Washington Chorus’s presentation of Ralph Vaughan Williams’ A Sea Symphony and first appeared with the Bozeman Symphony in Verdi’s Requiem. Notable roles include Musetta in La bohème with Annapolis Opera, Lyric Opera of Baltimore and Des Moines Metro Opera; Violetta in Opera Delaware’s production of La traviata, which she also covered at New York City Opera; Fiordiligi in Così fan tutte with Intermountain Opera; Micaëla in both La Tragédie de Carmen with Syracuse Opera and in Carmen with Baltimore Concert Opera; the Countess in Annapolis Opera’s production of Le nozze di Figaro; and the title role of Thaïs at Opera Company of Middlebury. In the winter of 2016, Ms. Daly returned to one of her signature roles, Micaëla in the Maryland Symphony Orchestra’s presentation of Carmen, and was later presented in her role debut as Fidelia in Puccini’s rarely heard Edgar with the Baltimore Concert Opera.  Her work as a concert and recital soloist has been widely recognized in performing such works as Mozart, Brahms, Fauré, and Rutter Requiem Masses, Mendelssohn’s Elijah, Händel’s Messiah, Haydn’s Creation, Lord Nelson Mass, and Missa Solemnis, Poulenc’s Gloria, Mozart’s Davide penitente, and Stravinsky’s Les Noces. Colleen has appeared with the Columbus Symphony, the Mid-Atlantic Symphony, the Master Chorale of Washington in her Kennedy Center debut, Washington Concert Opera, the Post-Classical Ensemble, the New Dominion Chorale, the Maryland Philharmonic Orchestra, and the Händel Society of Dartmouth, among others. On the recital stage, she presented a program of art song inspired by works in the permanent collection at the Phillips Gallery, and reprised a portion of her program at the Kennedy Center, which was streamed live worldwide.