“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 Lyric Opera of Kansas City closed its 2014-2015 season in high dramatic style with Giacomo Puccini’s “Tosca.” The lush production, memorable score and principal singers cast an allure in Kauffman Theatre . . . Melody Moore sang the title role with tremendous spirit and acted with subtlety. Her “Vissi d’arte” was gorgeous, emerging from a bitter silence, and the simple staging allowed her to explore the character’s heartbroken introspection. James Valenti, as Cavaradossi, was a standard heroic tenor . . . They had a great emotional connection and blended timbres with a matched intensity evident in the intimacy of their a cappella moment.”
Libby Hansen – The Kansas City Star
“Melody Moore, as Cavaradossi’s diva lover and the central figure of the opera, Floria Tosca, gave an ardent portrayal of the series of emotional extremes experienced by the inauspicious heroine. Moore and Valenti had great chemistry—moments of jealousy and disgust were obvious, and the two made a good lover pair, especially in their final aria together.”
James Henry – KCMetropolis.org
“The three lead characters, Soprano Melody Moore as Tosca herself, James Valenti as her lover Mario, and Bass Baritone Gordon Hawkins as the dastardly Scarpia all have outstanding instruments and amazing control over them . . .”
Alan Portner – AXS.com
“In Tosca, the singing is gorgeous and emotional. When Tosca and Cavaradossi sing together, you know how much in love they are . . . Although Tosca is a coquettish diva, Moore brings out Tosca’s pure heart.”
Frank C. Siraguso – Kansas City InfoZine
