“Wagner fans will be more satisfied with good solos from Melody Moore’s Senta, with a clear tone and solid acting …”
American-Statesman Staff – Austin360
“Moore was the right combination of sweet and spicy to execute the role of the desperate Senta. Her conviction of love and admiration proclaimed through a ballad sung to her fellow seamstresses, was beautiful and lively executed. Moore’s love triangle introduced with a local man Erik (played by Clay Hilley) added another element of drama and surprising abuse. This plot line displayed the full circle love story of unrequited and missed love.”
Amy Bradley – Broadway World
Melody Moore makes her greatly anticipated Austin Opera debut this season, as Senta in Wagner’s The Flying Dutchman. In one of her signature roles, Ms. Moore stars alongside Wayne Tigges in the titular role. Eric Einhorn conducts the Austin Opera Chorus and the Austin Opera Orchestra. Performances take place November 12, 17, & 20 at The Long Center for the Performing Arts, and also feature Clay Hilley as Erik and Peter Volpe sings Daland.
“If another singer were to insert sobs into Richard Strauss’s “Befreit,” as Melody Moore did at her New York recital debut on May 25, it might well seem vulgar. The song’s text and melody alone offer so complete a portrayal of grieving devotion that no such extramusical gesture is necessary. But Moore had already proved herself to be a performer of such honesty that could you not only forgive her the effect, but understand its naked emotionality as a manifestation of her open, uninhibited stage persona. This was in fact as moving a “Befreit” as I’ve ever heard: sobs and all, Moore delivered its pathos exactly.
“The emotional transparency that set Puccini apart from his contemporaries was demonstrated again and again … The first program contrasted the “Lescaut” duet, sung with throbbing power by the soprano Melody Moore and the tenor Russell Thomas, with excerpts from Catalani’s “Loreley” and Arrigo Boito’s “Nerone.”
James Jorden – The New York Times
Opera News | by Alan Pendergast
Francesca Zambello, artistic and general director of the nearby Glimmerglass Festival, is passionate about bringing opera to nontraditional audiences—even if the effort sometimes takes her well out of her comfort zone. But in decades of opera and theater work, she had never undertaken anything quite as challenging as last summer’s journey, with several Glimmerglass cast members, to Attica, to perform selections from Verdi’s Macbeth for inmates. A documentary about the prison got her thinking about extending the nonprofit’s community outreach to new realms. “It’s not that far from us,” she says. “I wondered what it would be like if we brought opera to the biggest maximum-security prison in the state.”
“Ms. Moore has been making quite a name for herself with her highly dramatic interpretations and warm stage presence. The list of roles she has tackled and those upcoming give one the impression of astonishing versatility–Mozart, Wagner, Puccini, Verdi, Bizet, and Jerome Kern are all represented. With collaborative pianist Robert Mollicone, she held the Weill Recital Hall audience in rapt attention.