He sang to great acclaim throughout Italy and the Americas, appearing in lyric and dramatic roles from the Italian, French, Wagnerian, and Russian repertoire.

He attended the Conservatorio di San Pietro a Majella in Naples, where he was trained first by Luigi Colonnese, a baritone of the previous generation whose own pedagogical lineage included Alessandro Busti and the castrato Girolamo Crescentini.

[5] He continued building his Italian career to great success, singing in Bologna, Genoa, Rome, and Naples, among other places.

In 1915 he performed at the Teatro Costanzi in Rome in the world premiere of the opera Una tragedia fiorentina by Mario Mariotti.

From May 1914 through September 1915, Danise sang primarily in South America, in theatres in Uruguay, Brasil, and Argentina, such as the Teatro Colón in Buenos Aires.

The sections that were lost were re-recorded the following year with a different set of singers, Rigoletto being sung by Ernesto Badini.

In 1918, at the Teatro Costanzi in Rome, he sang in the world premiere of Vincenzo Michetti's Maria di Magdala.

There he starred in the Met premiere of Giordano's Andrea Chénier, Catalani's Loreley, Lalo's Le roi d'Ys, and La Habanéra by Raoul Laparra.

He was paired with the greatest singers of the age, including Emmy Destinn, Rosa Ponselle, Claudia Muzio, Amelita Galli-Curci, Giovanni Martinelli, Beniamino Gigli, Giacomo Lauri-Volpi, and José Mardones.

[8][9] Most of them were done in the acoustic method, but a small handful of electrics show a voice of great sonority with an intense ring.

In the years 1935–37 he performed at the Opera of Rio de Janeiro as Scarpia, as Rigoletto, as Gianciotto in Francesca da Rimini, and as Germont père in La traviata alongside Brazilian soprano Bidu Sayão.