Daniel Knight, Internationally Acclaimed Bass-baritone singer, is considered to be a specialist in the performance practice of 17th and 18th century music. He began his musical studies in Montreal as a pianist, having been taught in the fine Viennese tradition of music-making by his stepfather Karl Steiner. Daniel entered College as a pianist and, through encouragement due to his innately gifted singing ability, he pursued the voice as his first instrument.  He graduated from Concordia and McGill Universities, having established himself as a singer and voice teacher par excellence in Canada with innumerable winnings in vocal competitions both local and national.

Since then, Daniel has sought out the best singing teachers and singers in order to perfect his voice. He studied with some of the world's most respected singers such as Daniel Ferro of the Juilliard School of Music (New York), Vera Rozsa (London), Rita Streich (Vienna), Max van Egmond (Amsterdam), Lina Narducci (Milan), Arno Niitof (Estonia), Jan Simons at McGill University (Montreal), James Bowman, Ian Partridge, Judith Nelson, Emma Kirkby and David Thomas.  Daniel also received vocal coaching from Max van Egmond, Kurt Equiluz, and Paul Esswood, the principal soloists of the Complete Bach Cantata Project recorded by Teldec under Nikolaus Harnoncourt.

He continued his singing career giving recitals, singing on the radio, as well as being a member of the Canadian Opera Company.  Since 1991, Daniel has been living in the UK continuing to pursue further research in the Academic field as well as a singing career.

Daniel’s wide solo experience includes a recent concert of Austrian Lieder, including Mahler's Kindertotenlieder, celebrating 1000 years of Austria in Ottawa, Canada's capital city, as part of an International Conference.  He performed the title role in Henry Purcell's Dioclesian under the direction of Paul Goodwin, which toured England and Croatia.  He was Aeneas in Dido and Aeneas, in Thomas Tallis' Church in Waltham Abbey, Essex, in which he was also artistic stage director and sang Bach's B minor Mass in Canterbury Cathedral.  Daniel Knight’s singing is featured in the audio tour of the Dublin Writer’s Museum since 1991, singing extracts from Handel’s Messiah and has been included in the 2003/2004 Storytelling Through Music CD Rom with West Virginia Symphony Orchestra singing Puccini’s aria from La Boheme.

Daniel Knight's name has been included in the "The International Who's Who in Classical Music" since 1998. He has sung for, given instruction and spoken on, BBC Radio 3 in a Prix D'Italia nominated program.

In 2004, The American Biographical Institute included Daniel Knight in its publication Great Minds of the 21st Century.

Reviews......

"The protagonist, Diocles, played and sung by Daniel Knight, at first appeared merely the earnest stolid figure that Fletcher (the playwright) had parroted from his sources.  Very soon, however, this imposing actor began to glimpse the absurd possibilities in the part - his moral inconsistencies, which could either shock or amuse, or both.  He played with the audience like an accomplished comedian, so that our laughter felt almost forbidden: we experienced the double pleasures of delight and shame." (Critique of performance of Purcell's semi-opera Dioclesian)  Peter Pegnall, The Independent, London, England.

"  ... I also find the rich, resonant quality of his voice very exciting."  James Bowman.

"He has an excellent Bass-Baritone voice. "  Emma Kirkby.

“He is a very talented bass-baritone with a beautiful voice.  I was impressed with the evenness of his tone from top to bottom, his musical intelligence, his quick understanding of new ideas, and his readiness to acknowledge and project the meaning of the text.” Judith Nelson.

“He made the art songs seem real. He has a way of conveying the spirit of the art songs by careful attention to the text, while the arias and Broadway show tunes rounded out the program. Knight reminded the listeners of how great songs like Richard Strauss’ Morgen and Zueignung really are.”  Charles Ward, Houston Chronicle, Texas, USA.

"Our principal reason for inviting Mr. Knight to come to Houston was to sing a recital for our audience. He offered us an impressively long list of repertoire chosen from the musical literature spanning four centuries; from this extensive and interesting list we were invited to choose our favorites for the recital. He entitled his program ‘From the Drawing Room to the Stage.’ The concert itself on Saturday, March 27, 1999, was an exciting event, enjoyed by a large and enthusiastic audience. Mr. Knight has a beautiful, flexible, and warm bass-baritone voice, particularly well-suited to the music of the Baroque period and to the German lieder of the nineteenth century, as well as to music of other periods. The warmth and charm of his personality endeared him to the audience, as well as his consummate skill as a vocalist. The beauty of his singing and the creativity of his teaching were the principal reasons for our great enjoyment of Daniel Knight’s stay here in Houston. For the person in charge of the concert, another very important aspect of his work emerged as well. He is also an excellent businessman, a joy to work with. He was timely in providing all the material necessary for advance publicity, for preparing printed programs, providing music for the accompanist, and all the numerous minutiae of presenting a musical event. He was always accessible to answer even the smallest question, and was very professional in all of our dealings. I look forward to hearing this fine artist again soon. " Suzanne Marion, Concert Secretary and Past President, Houston Tuesday Musical Club, Texas, USA.

“...excellent solo singing from Daniel Knight.” Beresford King Smith, Birminham 

“the arias were well handled, especially by the flamboyant bass soloist (Daniel Knight) in “Revenge Timotheus cries”  Robert Johnson, Review of Alexander’s Feast by Handel, Midland Early Music Forum.

“  ... Daniel Knight’s sonorous baritone was deployed with appropriate fervour.”  Geoffrey Crankshaw, The Musical Opinion, England.

“Daniel Knight gave a well controlled performance, with resonance in all registers and some very impressive bass notes. It was an expressive voice that would be as much at home in opera as in cantatas. “  Charles Abdy, Ewell Parish News, England.

“ ...chante dans la plus noble tradition du lied.” Claude Gingras of La Presse, Montreal, Canada.

" ... he deserves outstanding recognition in the field of the performing arts. "  Jantina Noorman.

"... his potential has been fully realized in all ways, from the warmth and generosity of his personality to the deep vibrancy and spell-binding quality of his singing."  E. Forrest-O'Driscoll, Irish International Arts Centre.

“He prepares his performances thoroughly and completely, and has a wide repertoire, ranging from early opera to Mahler lied and the twelve-tone music of Berg and Webern. Daniel’s voice has fluidity, depth and consistency of tone across the whole range. He displays a wide variety of colour and dynamics in his voice. His performances are technically excellent and he is able to carry the emotion of the piece to its full extent. “  Ian Hayter, Conductor, Composer, and Producer of Paradisum Records, London, England.

"The Handel [Cantata " Dalla Guerra Amorosa "] showed off the virtues of Mr. Knight’s Bass-Baritone register, displaying a warm, resonant sound as rich as creamy chocolate." David Barber, author of "If it ain't Baroque ".

"His deep hued voice dived into subterranean depths, yet could move into top ranges with surety when the occasion required."  Eugene Lang of The Intelligencer, Belleville, Canada.