Melody Moore reunites with members of her Glimmerglass Cast for a star-studded and spectacular production of Wagner’s Der fliegende Holländer (The Flying Dutchman) at Hawaii Opera Theatre in February. This “haunting, beautiful” staging opened to critical acclaim at Glimmerglass in 2013, where Melody’s debut as Senta was “pitch perfect” and “remarkable” to behold.
Ryan McKinny and Jay Hunter Morris reprise their roles as The Dutchman and Erik, respectively, with Maestro John Keenan at the helm of this turbulent, tremendous work. Performances for this not-to-be-missed limited engagement take place February 13, 15 & 17. Enjoy a video preview of the production at Glimmerglass, featuring highlights of Melody’s debut performance.
I am proud to be part of the album An AIDS Quilt Songbook: Sing for Hope, with all profits from the recording benefiting amFar, the foundation for AIDS research. Ms. Moore joins incredible colleagues on this CD, including Joyce DiDonato, Jamie Barton, Isabel Leonard, and Anthony Dean Griffey performing songs from some of America’s preeminent and emerging composers. Acclaimed cellist Yo-Yo Ma and clarinetist Anthony McGill are also featured, with actors Sharon Stone and Ansel Elgort providing spoken word. This landmark album will be available via Amazon on November 18 – pre-order your copy today!
Following a spectacular run as Marta in Weinberg’s The Passenger with Houston Grand Opera, Melody Moore returned to the company to sing Dorabella in Mozart’s sparkling comedy Così fan tutte, to rave reviews:
“A cast of six strong singers carried the HGO performance of Mozart’s Così Fan Tutte . . . At the heart of this comedy are the two sisters and their tested, wavering fidelity, and the performances given by sopranos Rachel Willis-Sørensen (Fiordiligi) and Melody Moore (Dorabella) featured the remarkable pairing of gorgeous and beautifully matched voices and convincingly distinguished stage personae. Willis-Sørensen’s soprano excels . . . and the brighter richness of Moore’s singing was its ideal counterpoint. Their sound also complemented their characters . . . Moore, as the weaker mark, brilliantly mugged stalwart “me-too!” agreements with her sister, wild histrionics in her Act I “Smanie implacabili,” and agonized vacillations in response to the disguised Guglielmo’s overtures.”
Gregory Barnett – Opera News
“The Dorabella, soprano Melody Moore, displayed vocal security throughout the range of a role usually assayed by mezzo-sopranos . . . Moore’s spirited delivery of Dorabella’s two arias and her flirtatious acting suggest that, as she moves further into the weightier roles in Wagner, Verdi and Puccini, she should not leave Mozart behind.”
Opera Warhorses | November 5, 2014
Wm: My custom is to ask each artist what their earliest memories of music were. What are yours?
MM: I was involved in church music and singing in front the congregation. I had no introduction to classical music until high school.
Wm: What was your introduction to classical music?
MM: My family moved from Memphis to Houston, where I auditioned for the Kingwood High School choir.
This fall, Melody Moore returns to Houston Grand Opera to sing Dorabella in Mozart’s effervescent comedy, Così fan tutte. Ms. Moore was recently heard to critical acclaim with HGO, as Marta in Weinberg’s The Passenger.
An internationally renowned cast joins her for this Così, including Norman Reinhardt as Ferrando, Jacques Imbrailo as Guglielmo, Rachel Willis-Sørensen as Fiordiligi, and Alessandro Corbelli as Don Alfonso, with HGO Music Director Patrick Summers leading from the pit. Performances take place October 31 and November 2, 8, 13 & 15.
Melody Moore received enthusiastic reviews for her moving performances as Marta in the Houston Grand Opera production of Weinberg’s The Passenger, at the Park Avenue Armory in New York City. Ms. Moore reprised the role of Marta in these performances, after a successful production in Houston earlier this year:
“ . . . the soprano Melody Moore came into her own as a passionate, full-voiced Marta, for whom memory becomes an ecstatic, affirming vehicle for survival.”
Heidi Waleson – Wall Street Journal