2020_11_danielle herrington_03_original

ABOUT

Danielle is a Kansas native residing in Oklahoma City with her husband David and furry son Albere. She is a performer, teacher, and researcher.

PERFORMER

Danielle is a lyric coloratura soprano with experience interpreting a range of roles. She most recently collaborated with Dr. David Forbat on his Chopin recital, presenting three Chopin lieder in Polish from Op. 74.

Two days before the 2020 lockdown in the Midwest, Danielle sang Michael Daugherty's Labyrinth of Love (2013), a theatrical 40-minute song cycle, with the UCO Wind Symphony as the guest artist. In 2019, she sang Belinda in Dido and Aeneas with the early music ensemble Collegium Musicum, while earlier that year 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.

TEACHER/PEDAGOGUE

Danielle is on faculty at the University of Central Oklahoma School of Music, where she teaches applied vocal lessons, lyric diction, opera history, and research/writing courses. Additionally, she teaches Understanding Music courses to non-majors at the University of Oklahoma. 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 decade. She currently teaches her private studio from her home in southwest 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 20+ years of vocal training, Danielle is a trained pianist, having played for 25 years. 

 

She is a member of the 

National Association of Teachers of Singing,

Music Teachers National Association,

Central Oklahoma Teachers National Association,

American Musicological Society, and

the Rousseau Association.

RESEARCHER

As a musicologist, Danielle's research focuses on opera studies and ideology, specifically in18th-century France

as well as 20th- and 21st-century America.

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 will be published as a book chapter in 2021 by Brepols Pulishers.

 

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.

EDUCATION

Danielle recently concluded her work as a Graduate Teaching Assistant at the University of Oklahoma. She is currently ABD and a doctoral candidate. 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 and coach is Dr. Elizabeth Avery, both at OU.

Danielle's current musicological advisor is Dr. Sanna Pederson, and her thesis advisor/musicological mentor was Dr. Mary Channen Caldwell.