Daniel Sauer was born in Munich in 1999 and began taking singing lessons with the Tölzer Knabenchor choir at the age of seven. There he was greatly influenced by choir director Gerhard Schmidt-Gaden and voice coach Christian Fliegner. At the age of 11, he made his first appearances as one of the Three Boys in Mozart’s Magic Flute, including at the Staatstheater Bremen.

In addition to singing, he also took drum lessons from Arno Haselsteiner as a child and, after his voice broke, trumpet lessons from Reinhard Greiner.

In 2016, he began studying singing, initially as a junior student with Prof. Dominik Wortig at the Leopold Mozart College of Music at the University of Augsburg. During his studies, under the guidance of Carolin Danner, he discovered his passion for playing the piano, which he continues to pursue alongside singing to this day.

In 2022, he will be awarded the Culture Promotion Prize of the City of Pfaffenhofen an der Ilm, and in July 2023, he will complete his bachelor’s degree in Augsburg. He receives further important inspiration from Thomas Hampson, Mariette Witteveen and other lecturers in master classes and coaching sessions.

Since 2024, he has been continuing his studies in the master’s programme ‘Lied-Oratorio-Concert’ at the University of Music and Performing Arts Vienna with Prof. Florian Boesch and Prof. Karlheinz Hanser. He has discovered a great affinity in Vienna, particularly in relation to song and, associated with this, poetry. A highlight in this area is the performance of songs by Alexander von Zemlinsky in the baroque Schönbrunn Palace Theatre, accompanied by a symphony orchestra after an arrangement by Richard Dünser.

Nevertheless, the baritone also maintains his connection to the oratorio and opera repertoire with great interest and curiosity. Public performances as a baritone soloist, including in Gabriel Fauré’s Requiem, are just as much a part of Daniel Sauer’s experience to date as his portrayal of various opera roles, including Aeneas in Henry Purcell’s Dido and Aeneas, Pelléas in Marius Constant’s Impressions de Pelléas, based on Claude Debussy’s Pelléas et Mélisande, and Marco in Giacomo Puccini’s Gianni Schicchi.