On January 14, Melody Moore will be joined by pianist/composer Gregg Kallor and cellist Joshua Roman for a late-night performance of Kallor’s setting of “The Tell-Tale Heart.” The performance marks Ms. Moore’s highly anticipated return to SubCulture NYC, and will include stage direction from Sarah Meyers. Tickets and more information about the event can be found via SubCulture online.

This holiday season, Melody Moore returns to San Francisco as the guest artist for the San Francisco Gay Men’s Chorus holiday concerts, called “Home for the Holidays.” Performances take place on December 24 at 5pm, 7pm & 9pm at the Castro Theatre. Please note the 5pm concert is now sold-out, with limited tickets available for the remaining times. Visit SFGMC.org to check availability and to purchase your tickets online.

“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.

Continue reading

“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.

Continue reading