“Aida” – Out of Egypt, Still Enticing
Why two theatrical extravaganzas bode well for the state of opera in L.A.
Musically and dramatically, an outstanding Aida from LA Opera
HGO’s Aida Brings a Silky Spectacle to Houston
“Soprano Melody Moore, last seen at HGO as Senta in Wagner’s The Flying Dutchman, stands out as Amneris, exploring this traditionally mezzo-soprano role with considerable depth. In the beginning, her performance leans toward comedy as she tricks Aida into revealing her love for Radames, but after she exposes her rival, she drops the playfulness to reveal imperious cruelty, conveyed through her robust tone in its middle and lower registers. Her resurgence in the opera’s final act as an ostensibly sympathetic character is a curious story choice, but Moore… makes the most of it, singing with full conviction of her love for Radames and grief over what has transpired.”
Amneris debut in Houston
“Soprano Melody Moore, as jealous Amneris, daughter of Pharaoh who’s also in love with Radames, has a powerhouse voice … Her confrontation scene with Aida was dramatically striking, and her plangent last words sung above the tomb of her unrequited lover, “Pace, Pace, Pace,” were a benediction made from tears.”
“At the start of Act 2, Moore gave an especially cozy turn to Amneris’s sinuous phrases invoking Radamès; when Amneris pretended to be Aida’s friend, Moore’s light, conversational delivery made the pretense convincing.
And whenever the music took off above the staff, her voice welled up with a vibrancy and focus that equalled Wilson’s. Moore helped generate the ensembles’ electricity, and her abandon enabled the Judgment Scene to give Aida’s theatrics a walloping climax. ”
Texas Classical Review
“Fellow soprano Melody Moore, as Amneris, proves a worthy foil for Aida dramatically and vocally.”