“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
This fall, Melody Moore makes her role debut as Cio-Cio-San in Puccini’s Madama Butterfly at Opéra de Montréal, which will also be her debut appearance with the company. Performances take place September 19, 22, 24, 26 & 28, and also feature Demos Flemotomos as Pinkerton, Morgan Smith as Sharpless, and Allyson McHardy as Suzuki. The production is staged by renowned director François Racine, with Maestro James Meena leading the Orchestre Métropolitain and the OdM chorus.
“. . . 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
This summer, Melody Moore returns to Glimmerglass in her role debut as Lady Macbeth in the Festival’s first-ever production of Verdi’s powerful drama Macbeth, in celebration of its 40th season. Ms. Moore is joined by Eric Owens in his debut in the title role, with Soloman Howard as Banquo, and Michael Brandenburg as Macduff, in a new production directed by Anne Bogart. Macbeth opens on July 11, with additional performances on the 17, 21, 26 & 31, and August 8, 13, 15, 17 & 22.
“Among the quartet of soloists, we were delighted to welcome back soprano Melody Moore, Madison Opera’s Tosca two seasons ago . . . The ladies were a wonderful vocal match for each other, and indeed the foursome blended beautifully; particular attention should be given to Moore’s highest notes, especially at the end, which she delivered with apparent ease.”
Greg Hettmansberger – Madison Magazine
Katya Kabanova - Seattle Opera