Danielle Talamantes

“It’s not often that an opera-goer is fortunate enough to witness the birth of a star!”
San Francisco review of Danielle Talamantes' debut as Violetta in "La traviata"

“It’s not often that a fortunate operagoer witnesses the birth of a star!,” critics hailed for Danielle Talamantes’ recent role début as Violetta in La traviata.  This season, Talamantes debuts with VA Opera as Beatrice in Daniel Catán’s Il postino as well as performs Micaëla in Bizet’s Carmen with the Helena Symphony. Additional soloist appearances as soprano soloist with the Pensacola Symphony in Verdi’s Requiem, the Eugene Concert Chorale in a Beethoven Celebration, a world premier for soprano soloist, choir, and orchestra at her Alma Mater, Virginia Tech, the masterwork Beethoven Symphony No. 9 with the Fairfax Symphony Orchestra and Chorale, another world premier of the rhapsody written for soprano and orchestra based on T.S. Eliot’s iconic The Love Song of J. Alfred Prufrock with the National Philharmonic Orchestra, and finally, a third world premier, Kohelet, by acclaimed composer Henry Dehlinger with the Santa Clara Master Chorale.

This past season, Talamantes performed Violetta in a debut with Hawaii Opera Theatre in their production of La traviata,  Mimì in La bohéme with Fairfax Symphony and in a return to The Metropolitan Opera to reprise the role of Frasquita for their productions of Carmen.  In addition, she appeared as a soloist in multiple classical masterworks including Beethoven’s Symphony No. 9  and Faure’s Requiem at Carnegie Hall, Verdi’s Requiem with Fairfax Symphony and the National Philharmonic, Fauré’s Requiem and Vaughan Williams’ Serenade to Music with Eugene Concert Choir, Händel’s Messiah with La Jolla Symphony, Elijah with DC-based Choralis, and in the National Philharmonic’s Bernstein Choral Celebration concert.

In recent seasons, Talamantes performed the role of Marzelline in Beethoven’s Fidelio with the Princeton Festival; Mimì in La boheme with the St Petersburg (FL) Opera and Symphony of Northwest Arkansas; the title role of Susannah with Opera Roanoke; Anna in Nabucco and Frasquita in Carmen with The Metropolitan Opera; Violetta in La traviata with Finger Lakes Opera and Cedar Rapids Opera Theatre; Donna Anna in Don Giovanni at Cedar Rapids Opera Theater; a début at Spoleto Festival USA as Sergente in Veremonda. Additional concert works include Mozart’s Requiem with Phoenix Symphony Orchestra, Cathedral Choral Society, and Fairfax Symphony; Brahms’ Requiem with National Philharmonic, Choralis and St. Mary’s College; Villa-Lobos’s Bachianas brasileiras No. 5, Bach’s Magnificat, and Fiordiligi in Così fan tutte with the National Philharmonic; Mozart’s Mass in C minor, Handel’s Laudate pueri dominum, and Charpentier’s Te Deum with The City Choir of Washington; Händel’s Messiah with Phoenix Symphony Orchestra, United States Naval Academy, National Philharmonic, The New Choral Society, and Austin Symphony & Chorus Austin; Poulenc’s Gloria with Arizona State University’s Symphony Orchestra; Verdi’s Requiem with Choral Artists of Sarasota and the Oratorio Society of VA; soprano soloist in Bob Chilcott’s Requiem at Alice Tulley Hall; Dvořák’s Stabat Mater at North Carolina Master Chorale; Barber’s Knoxville: Summer of 1915 with Manchester Symphony Orchestra; and recitals and masterclasses with El Paso Pro-Musica, Rutgers University, Washington & Lee University, James Madison University, Point Loma University, and Catawba College. 

Talamantes recently released her debut album, Canciones españolas, to critical acclaim and her sophomore album, Heaven and Earth, A Duke Ellington Songbook is an exciting crossover into jazz. Both albums can be found on the MSR Classics label.

Danielle Talamantes is married to bass-baritone Kerry Wilkerson.