“. . . she was stunning. Her riveting command of the stage offered a persuasive correlative for Lady’s malevolent allure. Her voice was forceful and freely produced, with none of the guttural approximations that some Lady Macbeths permit themselves. Moreover, its trace of steel fit the role exactly; the savage “O voluttà del soglio” section of “La luce langue” slashed like a sword.”
Fred Cohn – Opera News
“Take Lady Macbeth, a role to die for. Melody Moore returns from playing the “pure” Senta in last year’s splendid production of The Flying Dutchman with the creation of an altogether tougher, bigger-than-life, and dead-ahead villainess. From her first entrance in the “letter scene,” she leaps into the aria Veni t’affrete, roiling and boiling fearlessly. Moore gives one hundred per cent, and throughout Act I expresses not an ounce of vacillation or fragility of resolve. The lady summons up the dark powers all on her own without her husband’s urging.
In Indonesia, we would have called her characterization a Mem Basar, a Big-Boss Madam. I could well believe this was a woman who imperiously commanded her manor of upstairs and downstairs servants. With hands that alternated between clenched fists and clawing hands, Moore’s Lady M. is a rapacious bird of prey. Her singing is equally powerful. Not only does she pull out the stops for her character’s high notes, but she excels in the way Verdi moves between descending half-steps and suddenly plunging down into that dark middle sound of a soprano’s voice. Difficult yes, but Moore does it all with a ferocious will.”
Susan Galbraith – DC Theatre Scene
” . . . the strongest vocal performances of the weekend came on Friday evening from the bass-baritone Eric Owens and the soprano Melody Moore in “Macbeth.” Ms. Moore . . . settled into a variety of modes of expression, and even showed vulnerability at times.”
James R. Oestreich – The New York Times
“Melody Moore took admirable risks . . . expertly navigating the role with small piercing top notes, deep low ones and solid dramatic comprehension.”
Anne Midgette – Washington Post
“Glimmerglass Festival’s “Macbeth,” as anticipated, was a huge success July 11, opening night, with . . . luxurious-voiced Melody Moore as Lady Macbeth . . . Moore cements her monumental place in this production with the enactment of the famous hand-washing scene in which she appears to float among her ladies-in-waiting as if she has already been metamorphosed into a ghost. Her stalwart soprano, thrilling throughout on her arias, mesmerized the audience, which neither moved nor even breathed, as Moore effected a luminous cadenza on “Una macchia e qui tuttora” in Act 4.”
Linda Loomis – Syracuse.com
“It’s the same fate for the accomplice Lady Macbeth. Her nocturnal wanderings, while wringing her guilty hands, made for one of the more eloquent and memorable stage pictures of the night . . . Moore’s Lady Macbeth . . . positively overflows with unrestrained ambition. That goes a long way [in explaining] her singing in act one, which bordered on explosive. Her opening arias pushed the bounds of Verdi’s writing.
It came as something of a relief to encounter Moore again in a more legato mode during the fourth act, accompanied by fine playing from the woodwinds and strings. Here, as she sings in a somnambulate state, choreographer Barney O’Hanlon has her drifting and turning among women of the chorus who are draped in white, holding candles and positioned like pillars in a sanctuary. While their kingdom lies in waste, there’s a hint of redemption for the Macbeths.”
Joseph Dalton – Times Union
“The production was the occasion for role debuts by Pennsylvania baritone Eric Owens and Tennessee soprano Melody Moore, both of whom displayed mastery of their roles’ vocal demands and deep insights into the psychological motivations of these formidable characters . . .
Moore displayed how the part can and should be sung – through her control, vibrant coloratura (with trill), beautifully sung duets with Owens’ Macbeth, and vocal power to project the Lady’s determined support for Macbeth’s ambitions, wherever they might lead her.
The most famous episode in the opera, the Lady’s Sleepwalking scene (brilliantly staged by Bogart), was performed with distinction, heralding her as a Lady Macbeth of whom the world of opera should take notice.”
“A Second Look: Verdi’s “Macbeth” . . . My earlier review praised the extraordinary singing of Melody Moore as Lady Macbeth that has challenged and even defeated some of Moore’s famous predecessors in the role. She was in glorious voice as well for this third performance of this most difficult part.”
