Danielle is a Kansas native residing in Oklahoma City with her husband David and furry son Albere. She is a performer, teacher, and researcher.
Danielle is a lyric coloratura soprano with experience interpreting a range of roles. To end 2019, she sang Belinda in Dido and Aeneas with the early music ensemble Collegium Musicum, and in February 2019 she played the title role in Handel's Rodelinda with the University of Oklahoma Opera Theatre. In May 2018, she premiered the main character in Nicer When You Smile by Oklahoma composer Chris Prather at Opera on Tap's 10-Minute Opera Festival. She also sang in the chorus of Tosca with Oklahoma City's Painted Sky Opera in their 2017 season. At her engagement with the National Music Festival in Maryland, she was the soprano soloist for the Verdi Requiem and Serpina in La Serva Padrona. Other roles include Donna Anna (Don Giovanni), Adele (Die Fledermaus), Contessa di Folleville (Il viaggio a Reims), Sister Genovieffa (Suor Angelica), Papagena (Die Zauberflöte), and Le Feu (L’enfant et les sortileges). In addition to full roles, she has worked with significant pedagogues, performers, and composers. Under the guidance of W. Steven Smith, she interpreted Lucia (The Rape of Lucretia) and Sophie (Der Rosenkavalier) for scene performances. From 2012-2014, Danielle coached with Samuel Ramey, performing a scene from Dinorah in his Scholars Concert. In 2013, she was the soprano soloist for the song cycle Songs of Heaven, where she sang for American operatic composer Carlisle Floyd.
She founded the OKC chapter of Opera on Tap,
a nonprofit performing troupe, in 2016.
She regularly performs and MCs at monthly shows.
Danielle is on faculty at the University of Central Oklahoma School of Music, where she teaches applied vocal lessons, lyric diction, and writing courses. She started her career in higher education as an adjunct professor at Oklahoma City Community College. As a voice pedagogue, Danielle has had the privilege of teaching hundreds of students over the past nine years. She currently teaches her private studio at Rosenbalm Academy of Music in south Edmond.
Teaching through a holistic approach, she works with singers and pianists to develop healthy technique as well as cultivating communication skills so they can clearly express ideas. In addition, she has crafted detailed processes to help students learn music and language efficiently. Danielle is committed to her students, helping them gain the tools to be empowered musicians. In addition to her vocal training, Danielle is a trained pianist, having played for 24 years. She is a member of the National Association of Teachers of Singing.
As a musicologist, Danielle's primary research interest is
18th and 19th- century French opera.
Danielle’s secondary area is in 21st American opera.
Her thesis from 2015 examines two one-act comédies amidst the social, economic, and politically-charged milieu of the Salle Favart (later the Opéra-Comique) in Paris during the French Revolution (1790-1799). The case-studies, Philippe et Georgette and Le Secret, are two of the five most performed and attended one-act comédies and support her conclusion of Revolution comédies as ideological diversions rather than pure edification or entertainment. Danielle presented about Philippe et Georgette in May 2019 at the international conference, "Singing Speech and Speaking Melodies: Musical Theatre (1650-1918)," held in Oviedo, Spain in conjunction with the musicological center Centro Studi Opera Omnia Luigi Boccherini and Universidad de Oviedo. Her conference paper is currently being adapted into a chapter to be published.
Her other musicological efforts focus on composer style assimilation, including but not limited to J.S. Bach, Brahms, Grétry, Meyerbeer, Mozart, Rameau, Rossini, and Wolf, as well as an emphasis on social contextualization. She has the privilege of working for Painted Sky Opera as its Resident Musicologist and provides pre-performance talks for large-scale operas, including Verdi's La Traviata (2017), Puccini's Tosca (2017), Heggie's Three Decembers (2018), Verdi's Rigoletto (2018), Bizet's Carmen (2019), and Rossini's Il Barbiere di Silvia (2019). Danielle presented her thematic transformation findings from Heggie's Three Decembers at the 2019 National Opera Association Conference "Pioneering the Future of Opera" and a refined version of this again at the American Musicological Society Southwest Regional Conference in April 2019. She is a current member of the American Musicological Society.
Danielle is a Graduate Teaching Assistant at the University of Oklahoma, where she is pursuing her Doctorate of Musical Arts. Danielle has two Masters of Music, one in Opera Performance (2014) and another in Music History/Literature (2015), both from Wichita State University. Her Bachelor of Music in Vocal Performance is also from Wichita State University (2012). At WSU, she studied with Dr. Deborah Baxter and coached with Samuel Ramey. Her current teacher is Dr. Leslie Flanagan at OU. Danielle's current musicological advisor is Dr. Sanna Pederson, and her thesis advisor/musicological mentor was Dr. Mary Channen Caldwell.