“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
“Melody Moore, as Floria Tosca, was a women’s woman a century early. Her jealousy contributes to her own doom, which she seems to prefer over the alternative of life as a shrinking violet. Her unyielding strength portends her end, but she won’t go out meekly. Her mezzo-rich soprano was always controlled, always on the rich notes, whether at a blood-curdling fortissimo, or at a sonorous pianissimo, easily glistening anywhere in the house.”
Floyd Gingrich – Examiner.com
“The newly commissioned works are particularly challenging in their effect . . . Melody Moore’s earnest delivery and lovely, lyrical sound sell Gregg Kallor and Sara Cooper’s “One Child.”
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.
“ … soprano Melody Moore sang with vibrancy and agitation as Freia . . .”
Steven Brown – Houston Chronicle
“As Freia, the goddess Wotan treats as expendable, Melody Moore ‘s lush soprano instrument pulls on our heartstrings and leaves us rooting for her to be saved from the clutches of Fasolt and Fafner.”
David Clarke – Broadway World
“Melody Moore is another fine singer at the beginning of a major career. She is excellent as Freia…”
Gregory Sullivan Isaacs – TheaterJones