By Isaac Zamet

25 April 2024

With Glyndebourne fast approaching, Tatler’s June issue focuses on the chatelaine of the estate, whose remarkable career has seen her called ‘the Beyoncé of opera’. These are her five most significant moments on stage

DANIELLE DE NIESE IN THE ORGAN ROOM, WHERE THE FIRST MUSICAL PERFORMANCES AT GLYNDEBOURNE TOOK PLACE IN THE 1920S AFTER JOHN CHRISTIE – HER MUSIC-LOVING GRANDFATHER-IN-LAW – INHERITED THE ESTATE Luc Braquet

Giulio Cesare, Glyndebourne, 2005

Danielle de Niese’s career breakout moment came at Glyndebourne in 2005, when she starred as Cleopatra in David McVicar’s Giulio Cesare. This might have been her ‘breakout’ but Danielle already had a decade long career behind her, having established herself in 1995 with the Los Angeles Opera and making her Met Opera House debut in New York at 19.

GLYNDEBOURNE FESTIVAL OPERA 2005, GIULIO CESARE, DANIELLE DE NIESE AS CLEOPATRA Mike Hoban

Opera Magazine wrote of her 2005 triumph, ‘she created the biggest ‘star-is-born’ sensation the Sussex festival has experienced since the new theatre was unveiled in 1994.’ She thereafter became one of the world’s most sought after lyric sopranos, winning immense critical acclaim and a multi-album record deal.

 

The Sound of Music, Last Night of the Proms, 2015

DANIELLE DE NIESE PERFORMS ON STAGE AT BBC PROMS IN THE PARK AT HYDE PARK ON SEPTEMBER 12, 2015 IN LONDON, ENGLAND Jo Hale

Another sumptuous career milestone came for Danielle when she played Maria in the 50th anniversary celebration of The Sound of Music at the Last Night of the Proms. Danielle joined Marin Alsop, Jonas Kaufmann, Benjamin Grosvenor and the BBC Symphony Orchestra, for a hugely popular moment in the history of the proms – and also in the story of one of the world’s favourite musicals.

This was a moment of enshrinement in popular memory for Danielle who was already by then a huge star in operatic circles. It was said that she ‘flirted with the gallery in Delibes’s Les Filles de Cadix’ but it was the rendition of favourites from The Sound of Music that found a place for Danielle in the hearts of the masses.

The Merry Widow, Sydney Opera House, 2017

DANIELLE AS HANNA IN OPERA AUSTRALIA’S THE MERRY WIDOW, 2017

In a homecoming performance of tectonic proportions, the intercontinental star returned to Oz for Opera Australia’s production of The Merry Widow at the most famous opera house in the world.

As Danielle reprised her much acclaimed Hanna for Australian audiences, the full weight of her stardom was brought to bear in her home country. Her extraordinary stage presence helped present the role in an intoxicating blend of youth, fragility and lust. Her high kicks were remembered for the ages. Some panache…

La Bohème, Royal Opera House, 2018

DANIELLE DE NIESE (MUSETTA) IN LA BOHEME BY PUCCINI AT THE ROYAL OPERA HOUSE Tristram Kenton

By this point widely recognised as a central figure in global opera, Danielle appeared in an iconic scarlet-red costume as she played Musetta in the ROH’s La Bohème. This was Danielle’s role debut as Musetta and also the first revival of Richard Jones’s storied production – with musical direction from Nicola Luisotti.

The ROH production came shortly after Danielle’s majestic operatic debut in Australia (in her performance as Hanna in The Merry Widow). It may have surprised some that ‘Danni’ as she was then known, had not yet played Musetta in her career. But they needn’t have worried. She made her role debut with characteristic passion and simultaneous aplomb. One critic called the performance an ‘unforgettable portrayal’ of the strength of Musetta.

Giulio Cesare, Teatro alla Scala, 2019

DANIELLE REPRISED THE ROLE OF CLEOPATRA IN 2019

In a reprisal of the role that saw her break onto the world stage in 2005, Danielle played Cleopatra once again in 2019, receiving waves of standing ovations. After replacing Cecilia Bartoli, Danielle delivered a vintage performance, as she joined Bejun Mehta, Philippe Jaroussky and Sara Mingrado in leading the show.

De Niese said to Opera Wire of the performance, ‘I am honoured to make my debut at Teatro alla Scala in a role that I hold so dear to my heart, and which has brought me so much joy and so many opportunities.’ The role of Cleopatra is clearly one Danielle sees as being very close to the heart of her career and it was – without doubt – a triumphal return to Cleopatra. One reviewer described her delivering her performance as a ‘true veteran’. By this point, Danielle was a woman who understood the limelight.

Tatler’s June issue is on sale 2 May