"Daniel Collins is a good match for Nicholas Mulroy in tone and intensity. His leading of the almost Purcellian moments with their tightly wrought suspensions like the trio sections towards the end of Ad Manus gave these moments richness."
Buxtehude Membra Jesu Nostri, Resonus Classics RES10238, Early Music Review.

"The standout moments for me were Daniel Collins’ solos – an alto, his voice has an astonishing purity. ‘Et misericordia…’ can be touched by melodrama, but not a bit of it here. A soaring, drawing in to the mercy articulated with such emotion.His second solo accompanied by the most delicious flutes was similarly extraordinary. ‘Esurientes implevit bonis et divites dimisit inanes’ had depth, texture, a sincerity and a serenity borne of lightness."
The Sixteen, Bach Magnificat, Rochester Cathedral

"I particularly liked the inclusion of the countertenor Daniel Collins whose voice is more suited to this music than Elisabeth Popien for Junghänel’s interpretation and who is the equal of Michael Chance and René Jacobs for Koopman."
Buxtehude Membra Jesu Nostri, Resonus Classics RES10238, MusicWeb International.

"Alto Daniel Collins responded tenderly to Purcell’s delicate writing, supported by yearning, pulsating strings."
The Sixteen, Wigmore Hall, musicOMH.

"Here the Deities Approve (raptly sung by Daniel Collins) has become a famed countertenor solo."
Purcell Royal Welcome Songs for King Charles II, CORO COR16173, The Times.