Crossley Danielle Hawn, soprano
Praised for "her lovely limpid colors in good harmony with her musical intelligence" (Perform Arts Perugia), her "lovely, vibrant soprano, precise in her tuning," and "great acting and agile vocals" (DCMetroTheaterArts), Crossley enjoys an engaging career in various styles of music in the DC area. Commended as "outstanding" and "consistently beautiful" by Washington Classical Review, she has served as a guest soloist with ensembles including Cathedra (Pott My Song is Love Unknown), Cathedral Choral Society (Einhorn Voices of Light with Eya Ensemble), The Reston Chorale (Handel Messiah), Maryland Choral Society (Winter Missa Gaia), Maryland Summer Chorus (Vivaldi Gloria in D), and The City Choir of Washington (Charpentier Te Deum, Bartoldus Magnificat, Schütz Uppsala Magnificat, Mozart Requiem). She looks forward to returning to sing solos with City Choir in May of 2020. Crossley was the winner of the 2018 Choralis Young Artist Competition, and performed as a soloist with Choralis, singing solos from Vaughan-William's Dona Nobis Pacem and Jongen's Messe en l'honneur du Sant-Sacrement. With Evolution Contemporary Music Series, she had the honor of performing David Lang's Pulitzer prize winning the little match girl passion, with the composer in attendance. She is an active member of Eya: Ensemble for Medieval Music, an award-winning female trio specializing in early music. Crossley has also appeared with ensembles such as Folger Consort, Cathedra, Washington Bach Consort, Chantry, the National Shrine Choir, The Thirteen, The Bridge Ensemble, The District Eight, the U.S. Air Force Singing Sergeants, Kinnara, and Clarion Choir.
A summa cum laude graduate of the Benjamin T. Rome School of Music at the Catholic University of America with an M.M. in Vocal Performance and studies in Theology, Crossley enjoys both sacred and operatic repertoire. With Summer Opera Theatre Company, The Catholic University of America, Bel Cantanti Opera, and Loudoun Lyric Opera, she has performed the roles of Dido in Dido and Aeneas, the Shepherd Boy in Tosca, Giannetta in L'Elisir d'Amore, Drusilla in L'Incoronazione di Poppea, Susanna in Le Nozze di Figaro, Adele in Die Fledermaus, Suor Dolcina in Suor Angelica, Amahl in Amahl and the Night Visitors, and Serpina in La Serva Padrona, for which she was an award recipient of DC Metro Theater Arts: Best of 2016.
Other highlights in her career include performing solo and choral programs at the Kennedy Center, singing in chamber choirs for two Popes, performing arias by request for Sir Anthony Hopkins in Italy, serving as cantor at Justice Antonin Scalia's Mass of Christian Burial, and taking part in the Defiant Requiem in Budapest and at the Lincoln Center. She has performed world wide at concerts in Italy, Canada, Switzerland, France, England, Germany, Austria and Hungary. Crossley has been a soloist on EWTN and WETA on numerous occasions, and has been involved in a number of DC classical music recordings, including all of Gothic Catalog's "New American Choral Music" series. She enjoys employment as a chorister and cantor with the Basilica of the National Shrine of the Immaculate Conception under the direction of Dr. Peter Latona, and at the Washington National Cathedral under the direction of Canon Michael McCarthy. She is currently serving as Project Manager for Experiential Orchestra's recording of Dame Ethel Smyth's The Prison with EXO and Clarion Choir, and is an Artistic Director of The Bridge Ensemble.
Praised for "her lovely limpid colors in good harmony with her musical intelligence" (Perform Arts Perugia), her "lovely, vibrant soprano, precise in her tuning," and "great acting and agile vocals" (DCMetroTheaterArts), Crossley enjoys an engaging career in various styles of music in the DC area. Commended as "outstanding" and "consistently beautiful" by Washington Classical Review, she has served as a guest soloist with ensembles including Cathedra (Pott My Song is Love Unknown), Cathedral Choral Society (Einhorn Voices of Light with Eya Ensemble), The Reston Chorale (Handel Messiah), Maryland Choral Society (Winter Missa Gaia), Maryland Summer Chorus (Vivaldi Gloria in D), and The City Choir of Washington (Charpentier Te Deum, Bartoldus Magnificat, Schütz Uppsala Magnificat, Mozart Requiem). She looks forward to returning to sing solos with City Choir in May of 2020. Crossley was the winner of the 2018 Choralis Young Artist Competition, and performed as a soloist with Choralis, singing solos from Vaughan-William's Dona Nobis Pacem and Jongen's Messe en l'honneur du Sant-Sacrement. With Evolution Contemporary Music Series, she had the honor of performing David Lang's Pulitzer prize winning the little match girl passion, with the composer in attendance. She is an active member of Eya: Ensemble for Medieval Music, an award-winning female trio specializing in early music. Crossley has also appeared with ensembles such as Folger Consort, Cathedra, Washington Bach Consort, Chantry, the National Shrine Choir, The Thirteen, The Bridge Ensemble, The District Eight, the U.S. Air Force Singing Sergeants, Kinnara, and Clarion Choir.
A summa cum laude graduate of the Benjamin T. Rome School of Music at the Catholic University of America with an M.M. in Vocal Performance and studies in Theology, Crossley enjoys both sacred and operatic repertoire. With Summer Opera Theatre Company, The Catholic University of America, Bel Cantanti Opera, and Loudoun Lyric Opera, she has performed the roles of Dido in Dido and Aeneas, the Shepherd Boy in Tosca, Giannetta in L'Elisir d'Amore, Drusilla in L'Incoronazione di Poppea, Susanna in Le Nozze di Figaro, Adele in Die Fledermaus, Suor Dolcina in Suor Angelica, Amahl in Amahl and the Night Visitors, and Serpina in La Serva Padrona, for which she was an award recipient of DC Metro Theater Arts: Best of 2016.
Other highlights in her career include performing solo and choral programs at the Kennedy Center, singing in chamber choirs for two Popes, performing arias by request for Sir Anthony Hopkins in Italy, serving as cantor at Justice Antonin Scalia's Mass of Christian Burial, and taking part in the Defiant Requiem in Budapest and at the Lincoln Center. She has performed world wide at concerts in Italy, Canada, Switzerland, France, England, Germany, Austria and Hungary. Crossley has been a soloist on EWTN and WETA on numerous occasions, and has been involved in a number of DC classical music recordings, including all of Gothic Catalog's "New American Choral Music" series. She enjoys employment as a chorister and cantor with the Basilica of the National Shrine of the Immaculate Conception under the direction of Dr. Peter Latona, and at the Washington National Cathedral under the direction of Canon Michael McCarthy. She is currently serving as Project Manager for Experiential Orchestra's recording of Dame Ethel Smyth's The Prison with EXO and Clarion Choir, and is an Artistic Director of The Bridge Ensemble.
| Hawn Resume May 2019 |
"Soprano Crossley Hawn sang the Renaissance works with a focused yet light tone, letting it blossom fully in the high descant of the later works."
Bachtrack on Folger's A Christmas Messe
"From the very opening duet “Sub Arturo plebs” sung by soprano Crossley Hawn and mezzo-soprano P. Lucy McVeigh, one is drawn into a centuries-old world of English music and verse. The lively blend of instrumental, vocal and theatrical presentations thoroughly wrap the audience in otherworldly splendor...I have never heard such beautiful and haunting minor chords and bridges as presented during “Alleluia navitas” sung by Hawn and McVeigh."
DC Metro Theatre Arts on Folger's A Christmas Messe
"Beautifully sung by soprano Crossley Hawn, mezzo P. Lucy McVeigh, tenor Oliver Mercer and baritone William Sharp..."
The Washington Post on Folger's A Christmas Messe
"The quintet of singers blend wonderfully, and their solos give each a deserved opportunity to shine."
Broadway World on Folger's A Christmas Messe
Our Community Now on Folger's A Christmas Messe
"Sopranos Crossley Hawn and Emily Noël had the most consistently beautiful sound, floating together in twin parts...the sopranos were outstanding..."
Washington Classical Review on Folger's Low How a Rose E're Blooming
"Crossley Hawn has a lovely, vibrant soprano, precise in her tuning, and excels in the recitative sections."
DC Metro Theatre Arts on La Serva Padrona
The Washington Post on Eya and CCS's Visionary Women
The Washington Post on Cathedra and Folger's Paris, Music for the City of Light
The Baltimore Sun on Lang the little match girl passion
The Washington Post on Cathedra and Folger's Sing a New Song
"...lovely limpid colors in good harmony with her musical intelligence."
Perform Arts Perugia