Melody Moore received enthusiastic reviews for her moving performances as Marta in the Houston Grand Opera production of Weinberg’s The Passenger, at the Park Avenue Armory in New York City. Ms. Moore reprised the role of Marta in these performances, after a successful production in Houston earlier this year:

“ . . . 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

“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 . . . The cast is flawless . . .”
Anthony Tommasini – The New York Times

“Marta is the key figure, and Moore told her story with an exceptional performance, marked by a fresh, focused, creamy soprano, unflagging musicality and dramatic commitment.”
Ronni Reich – NJ.com

“Melody Moore made the anguish of Marta, the most magnetic inmate in the barracks, both urgent and mellifluous.”
Martin Bernheimer – Financial Times

“Breedt, Moore and Kaduce have full, shining voices. They sang with excellent articulation and beautiful sound. Most importantly, they were consistently inside the music and characters, expressing difficult nuances of anguish, agitation, bluster, strength and tenderness with clarity . . . Breedt and Moore especially were excellent vocal and expressive foils for each other, sparring with each other dramatically while supporting each other musically.”
George Grella – New York Classical Review

“Marta . . . sung with fearless empathy by Melody Moore.”
Justin Davidson – Vulture

“ . . . soprano Melody Moore is consoling, sympathetic, an enigma whose own thoughts come out only at the quite chilling climax.”
Harry Rolnick – ConcertoNet.com

“Breedt, Moore and Kaduce have full, shining voices. They sang with excellent articulation and beautiful sound. Most importantly, they were consistently inside the music and characters, expressing difficult nuances of anguish, agitation, bluster, strength and tenderness with clarity . . . Breedt and Moore especially were excellent vocal and expressive foils for each other, sparring with each other dramatically while supporting each other musically.”
George Grella – New York Classical Review