"Tenor Brendan Daly sang with stellar purity, and [Jake] Heggie painted vividly with cascading thirds on the keyboard. In a complete about-face, the same performers gave an intensely dramatic rendering of "Incantation Bowl" (Gene Scheer), enhanced by Nathan Troup's twitchy, obsessive staging."
- Boston Musical Intelligencer
"Brendan Daly sang the role of Tiberge in style. Acting as a mediator between the clashing mindsets of Jean and Des Grieux, Daly kept the role cheery, while not making too light of it either. Tiberge's witty scheme of fashioning Aurore to the likeness of Manon prove him sly, but his genuine concern for Des Grieux temper this sly character. Daly's French diction was particularly impressive..."
- Examiner.com
"Vocally, I was particularly impressed by...Brendan Daly as Lechmere in the opening scene, the one place where Britten allows us a sense of fun and joy--one could almost understand why one would want to be a soldier by seeing the pure joy Lechmere brings to brandishing a sword."
- Boston Musical Intelligencer
"Brendan Daly had a strong and convincing tenor voice, along with his acting ability."
/ A Magical Match with Saratoga and Trial by Jury
- Timesunion.com
"The curtain-raiser was Hindemith's "Hin und Zurück,"...a telling, if too brief, showcase for Chanel Marie Wood, Anthony P. McGlaun and Brendan Daly, who gave amusingly characterized and well-sung performances as Helene, Robert and the Bearded Sage. Kazem Abdullah led the jazz-inflected orchestration..." / Tanglewood Contemporary Music Festival Focuses on the Voice, Alan Kozinn
- The New York Times
"Tenor Brendan Daly was wonderfully acrobatic in the Baroque stanzas of the Bearded Sage." / Tanglewood and Beyond, Lawrence Budmen
- Music and Vision
"Others in the company of twenty who sang especially well were Daniella Carvalho as Manuela, a woman who never likes to pay when she can wheedle, Fabienne Wood in a coloratura turn, and lyric tenor Brendan Daly." / Mastering the Zarzuela at Last, James Keolker
- San Francisco Classical Voice