Soprano Melody Moore has appeared on many of the leading opera stages of the world including San Francisco Opera in the title role of Tosca, Susan Rescorla in Heart of a Soldier, Mimì in La bohème, and the Countess in Le nozze di Figaro; Houston Grand Opera as Julie in Show Boat, Marta in the American premiere of Weinberg’s The Passenger, the title role in Carmen, Dorabella in Così fan tutte, and as Freia in Das Rheingold; English National Opera as Mimi and as Marguerite in Faust; New York City Opera as Rita Clayton in the New York premiere of Stephen Schwartz’s Séance on a Wet Afternoon and as Regine St. Laurent in Rufus Wainwright’s Prima Donna; Los Angeles Opera as Tosca and as the Countess in Le nozze di Figaro and in productions of Der Zwerg and Der Zerbrochene Krug; and at the Washington National Opera in the title role of Catán’s Florencia en el Amazonas.
In the 2017-2018 season, Moore will make three major role debuts: Elisabetta in Don Carlo at Washington National Opera; the title role in Salome at Florida Grand Opera; and Tatyana in Eugene Onegin at Hawaii Opera Theater. She will also reprise the title role of Tosca at both Opéra de Montreal and Teatro Municipal de Santiago de Chile.Read more
During the 2016-2017 season, Moore returned to the Los Angeles Opera to sing the title role of Tosca as well as cover Lady Macbeth in Verdi’s Macbeth. Moore made both her role and house debuts in the title role of Janáček’s Kátya Kabanová in a new production at the Seattle Opera, and brought her portrayal of Senta in Der fliegende Holländer to the Austin Opera for her house debut. Her concert work included the Bruckner Te Deum with the Atlanta Symphony Orchestra led by Donald Runnicles and holiday concerts with the San Francisco Gay Men’s Chorus.
Highlights of Moore’s past seasons include her house debut at L’Opéra de Montréal as Cio-Cio San in Madama Butterfly; Freia and Ortlinde in Francesca Zambello’s highly acclaimed production of the Ring at Washington National Opera under the baton of Music Director Philippe Auguin; performances of Macbeth and Der fliegende Holländer at the Glimmerglass Festival; The Passenger at the Lincoln Center Festival; the title roles of Manon Lescaut at New Orleans Opera and Tosca with the Lyric Opera of Kansas City, Pamina in Die Zauberflöte at Opéra de Bordeaux; and Donna Elvira in Don Giovanni with the Atlanta and Colorado Operas.
Melody Moore has appeared on the concert stage of the Bavarian Radio Symphony in performances and recording of excerpts of Gordon Getty’s opera, Plump Jack, conducted by Ulf Shirmer and with the New Century Chamber Orchestra conducted by Nadja Salerno-Sonnenberg. She has joined Rufus Wainwright for gala concerts at the Kimmel Center in Philadelphia and at Roy Thomson Hall in Toronto and has sung Beethoven’s Ninth Symphony with the Madison Symphony and at Festival of the Arts Boca. Her concert performances have also included recitals at Carnegie Hall and the Collaborative Arts Institute of Chicago, as well a program featuring suppressed music of the Holocaust presented under the auspices of the Atlanta Opera.
A graduate of the Cincinnati Conservatory of Music, Melody Moore is a former Adler Fellow of San Francisco Opera and Merola Opera Program participant. Notable conductors with whom she has worked include Kent Nagano, Donald Runnicles, John DeMain, Patrick Summers, Ulf Schirmer, and Roy Goodman. Stage directors of productions in which she has participated include John Copley, Ron Daniels, Des McAnuff, Ian Judge, Jonathan Miller, David Pountney, and Francesca Zambello.
“Hers is a lyric voice with distinctively dark overtones and a spinto reach to lend power and excitement. The names of Renata Tebaldi and Gabriella Tucci have been evoked in describing her special qualities.”
“Tosca is an ideal role for [Melody Moore], drawing on her ability to launch potent, full-bodied high notes… while still bringing power and clarity to more intimate passages.”
“As I left the auditorium, I could only think: more of Moore, please.”
“Melody Moore was an exciting Manon, with volcanic eruptions of vibrant, yet nuanced singing. ”
George Dansker, Opera News
“And, in Marta, he has created a formidable operatic heroine, here performed with dignity, fleeting moments of defiance and courageous honesty by the bright-voiced soprano Melody Moore.”
Anthony Tommasini, The New York Times
“The soprano Melody Moore came into her own as a passionate, full-voiced Marta, for whom memory becomes an ecstatic, affirming vehicle for survival.”
Heidi Waleson, Wall Street Journal
“Vocals, of course, are the crucial thing. Melody Moore in the title role produced an intensely dramatic sound in the celebrated Act 2 aria. She could also sweeten her tone in lyrical interludes, such as the episode of blossom decoration that underlines so painfully the depth of Butterfly’s faith (and deception) . . . she consistently conveyed the dignity of the character.”
Arthur Kaptainis, Montréal Gazette