“Melody Moore brought a much-needed regality to Elisabetta, contrasting passion with repression, and thoughtful, provocative phrasing. Her aria at the tomb was a masterclass in phrasing, subdividing the lengthy aria into smaller, emotionally-motivated fragments.”
Harry Rose – Parterre.com
“On opening night, the work was blessed with the performance of Melody Moore, a Tennessee soprano who was making her FGO debut in a part she had never played. Her voice effortlessly sank into the depths of her register and then soared into the upper reaches to mirror her character’s inner tumult. She inhabits the persona of a Brahmin princess who likely hasn’t heard the word “no” much in her life and yet who seems to genuinely grieve for the man she has had killed.”
Bill Hirschman, South Florida
“Vocally, Moore was a revelation. She sounded remarkably at ease, in full control of pitch, articulation and intensity. Singing from the highest forte expression of desire and anger to the lowest pianissimos without any seeming strain”
Jean-François Lejeune, Opera News
Melody Moore starts the year in Hannover, where she sings Rosalinde in Die Fledermaus at the NDR Radiophilharmonie on January 12. She then travels back to the Florida Grand Opera to sing Salomé, the princess whose sexually charged dance leads straight to her own destruction. The performances take place on January 27 and 30, and Feruary 2 and 10.
“Moore and Tigges give the show a captivating, beating heart with a stunning performance of Act 2’s crucial love duet. Conductor Arthur Fagen gives forceful drama to the music’s juxtaposed moments of full, lush orchestration and dramatic quiet. Moore and Tigges bring to life a cosmic, legendary love, but also give the scene interesting touches of the recognizably human, as Senta takes the daring step of falling in love with a stranger and the isolated Dutchman exposes his vulnerability.”