“ … 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
Melody sings the role of Freia in Wagner’s Das Rheingold at Houston Grand Opera, in a new production designed by La Fura dels Baus, the renowned contemporary Spanish theatrical group. Ms. Moore is joined by a spectacular cast, including Iain Paterson as Wotan, Christopher Purves as Alberich, Jamie Barton as Fricka, and Andrea Silvestrelli as Fafner, with Music Director Patrick Summers leading the Houston Grand Opera Orchestra.
The production runs April 11 through April 26 in the Brown Theater, Wortham Theater Center.
Opening night – April 11, 2014
“Melody Moore, a rich-voiced soprano, gave Marta’s anguish lyricism and strength . . .”
Heidi Waleson – Wall Street Journal
“Soprano Melody Moore, singing the part of Marta, has depth behind her voice that was necessary to portray this character. Her final aria was exquisitely controlled, yet emotionally unbarred.”
Girl at the Opera
Melody Moore will sing the role of Marta in the U.S. premiere of Weinberg’s devastating and dramatic work The Passenger, in a production co-commissioned by Houston Grand Opera, Bregenzer Festspiele, Teatr Wielki Opera Narodowa, English National Opera, and the Teatro Real in Madrid. The cast includes Michelle Breedt as Liese, Joseph Kaiser as Walter, Morgan Smith as Tadeusz, Kelly Kaduce as Katya, and Kathryn Day as Bronka.
Ms. Moore will reprise the role this summer as the Houston Grand Opera, Orchestra, and Chorus, along with Music Director Patrick Summers, travel to New York to perform the piece as part of the Lincoln Center Festival, July 10, 12 & 13.
Houston opening – January 18, 2014
Madison Opera Demonstrates Exactly What Great Opera Is All About
Madison Magazine | By Greg Hettmansberger
If you’ve never been sure that you really ever understood what opera is all about, all you need to do is get to the Overture Center Sunday afternoon and watch Madison Opera present Puccini’s Tosca, and at the final curtain you’ll know exactly what all the shouting is about. Chances are pretty good you’ll even let loose with a “bravo” or two, because nearly everyone involved in this riveting production deserves one. In fact, the only problem in writing this review is the risk of omitting a contribution worth singling out. Let’s start with the easy stuff: the gorgeous sets and costumes come courtesy of Seattle Opera, which means that Madison has a company healthy enough to invest in that kind of rental, and enjoys a space like Overture Hall in which to employ them. The heart of the matter though, is singing; if you don’t have persuasive voices, the prettiest stage and the greatest orchestra are crippled. No worries: Melody Moore in the title role delivers on all the hype that resulted when she stepped in as Tosca on opening night (beginning with Act 2 no less!) at the San Francisco Opera almost exactly one year ago. That central act contains the diva’s “big hit,” “Vissi d’arte,” and Moore reaped as prolonged an ovation Friday night as I’ve heard at Madison Opera. But better still was her ability to deliver two kinds of chemistry: the jealously unstable but passionate love for Cavaradossi, and the flip side, a skin-crawling revulsion for Scarpia, as dark a villain as inhabits the operatic hall of shame.
Melody Moore made her debut singing the title role in San Francisco Opera’s Tosca, replacing Angela Gheorghiu (who had fallen ill) after intermission. Ms. Moore left an incredible impression on audiences and critics alike:
“Moore embarked on every understudy’s dream, or nightmare, with ease and assurance. Her great aria, “Vissi d’arte” (I lived for art), came soon enough, and long, thunderous applause reflected appreciation and relief.”
Janos Gereben – San Francisco Examiner
“Moore’s “Vissi d’arte” . . . was as beautifully vocalized as it was touching
. . . it was greeted by a huge ovation of appreciation and support from music lovers who have come to love one of our many hometown Merola and Adler Fellows made good. Moore, whose performance as Susan Rescorla was the highlight of the SFO premiere of Heart of a Soldier, has always excelled in expressing hurt, tenderness, and vulnerability. Given the opportunity, as in her big aria and the passages that followed, she presented a side of Tosca too rarely seen.”
Jason Victor Serinus – San Francisco Classical Voice