Soprano Melody Moore is enjoying a thriving career on the world’s leading stages, prompting Opera News to label her “a revelation,” and of her sold-out appearance at Carnegie Hall to rave, “As I left the auditorium, I could only think: more of Moore, please.”
In the 2020-2021 season, Ms. Moore will sing Bess’s Mother in Missy Mazzoli’s critically acclaimed opera Breaking the Waves at Los Angeles Opera under the baton of Grant Gershon, and will return to Atlanta Opera as Freia in a new production of Das Rheingold, staged by General Director Tomer Zvulun and conducted by Patrick Summers. She will also sing Amelia in Un ballo in maschera for a commercial recording of the opera on Pentatone Records, and reprise the role in concert with the Polish National Radio Symphony Orchestra, both with Maestro Lawrence Foster. On the concert stage, Ms. Moore will join the Minnesota Orchestra for Beethoven’s Symphony No. 9, conducted by Juraj Valčuha.Read more
In the 2019-2020 season, Ms. Moore returned to Houston Grand Opera for a last-minute role debut as Amneris in Aida under Music Director Patrick Summers, and joined the roster of the Metropolitan Opera to cover her signature role of Senta in a new production of Der fliegende Holländer. She was additionally scheduled to return to Seattle Opera as Santuzza in Cavalleria Rusticana, and to reprise the roles of Salome at Bard College and Donna Elvira in Don Giovanni at Opera Naples, In concert, she sang Mahler’s Das klagende Lied in her debut with the Houston Symphony, under the baton of Music Director Andrés Orozco-Estrada, and was scheduled to perform Vaughan-Williams’ Sea Symphony with the Oregon Symphony under Music Director Carlos Kalmar and a solo recital at Lawrence University in Appleton, Wisconsin.
Other career highlights include performances at Houston Grand Opera as Senta in Die fliegende Holländer led by Music Director Patrick Summers, Donna Elvira in Don Giovanni in a new production by Kasper Holten, Julie in Show Boat, Marta in the American premiere of Weinberg’s The Passenger, the title role in Carmen, and Dorabella in Così fan tutte; Los Angeles Opera in her role debut as Gertrude in Hansel and Gretel under Music Director James Conlon, the title role in Tosca, the Countess in Le nozze di Figaro, and in productions of Zemlinsky’s Der Zwerg and Ullman’s Der Zerbrochene Krug; Washington National Opera in her role debut as Elisabetta in Don Carlo, as the title role in Catán’s Florencia en el Amazonas, in Phillip Glass’ Appomattox, and in Francesca Zambello’s highly acclaimed production of Wagner’s full Ring Cycle; San Francisco Opera as Susan Rescorla in the world premiere of Christopher Theofanidis’ Heart of a Soldier and Mimì in La bohème; Seattle Opera in the title role of Káťa Kabanová, for her house and role debut; Hawaii Opera Theater as Tatyana in Eugene Onegin; New Orleans Opera as the title role in Manon Lescaut; Florida Grand Opera as the title role in Salome; Lyric Opera of Kansas City as Tosca; and Atlanta Opera as Senta and Donna Elvira. Internationally, Ms. Moore has performed at Opéra de Montréal as Tosca and as Cio-Cio San in Madama Butterfly; English National Opera as Mimi and as Marguerite in Faust; Opéra de Bordeaux as Pamina in Die Zauberflöte; and Teatro Municipal de Santiago de Chile as Tosca.
On the concert stage, Ms. Moore has appeared with the Atlanta Symphony Orchestra in Bruckner’s Te Deum led by Music Director Donald Runnicles; at the Bard SummerScape Festival as the title role in Turandot; at the Grant Park Music Festival in Delius’ A Mass of Life; with the Milwaukee Symphony Orchestra as Senta under Music Director Edo de Waart; with the New Century Chamber Orchestra in Britten’s Les Illuminations, conducted by Nadja Salerno-Sonnenberg; with the Dresdner Philharmonie as Giorgetta in Il Tabarro and Santuzza in Cavalleria Rusticana; and with the Bavarian Radio Symphony Orchestra in performances and in a recording of excerpts from Gordon Getty’s opera, Plump Jack, conducted by Ulf Shirmer. She has joined Rufus Wainwright for gala concerts at the Kimmel Center in Philadelphia and at Roy Thomson Hall in Toronto, and sung Beethoven’s Symphony No. 9 with the Madison Symphony and at Festival of the Arts Boca. Her solo recitals have included sold-out debuts at Carnegie Hall and the Collaborative Arts Institute of Chicago, as well as a program featuring suppressed music of the Holocaust presented under the auspices of Atlanta Opera.
Ms. Moore can be heard on a number of recordings with Pentatone Records, including her debut solo album entitled An American Song Album with pianist Bradley Moore, as well as Desdemona in Otello, Minnie in La Fanciulla del West, Cio-Cio San in Madama Butterfly, Giorgetta in Il Tabarro, and Santuzza in Cavalleria Rusticana.
A graduate of the Cincinnati Conservatory of Music, Melody Moore is a former Adler Fellow of San Francisco Opera and a participant of the Merola program.
“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