“La soprano estadounidense Melody Moore ha abordado el rol titular en escenarios como las Óperas de San Francisco y Los Angeles, y demostró una convincente compenetración vocal y actoral con el personaje, en particular en el exigente segundo acto, donde evitó los efectismos en los que caen algunas colegas, desplegó un acertado lenguaje corporal (en particular en su tensa interacción con Scarpia) y manejó muy bien su voz cálida, atractiva y de buenos agudos, entregando además una efectiva y contenida versión de su famoso momento solista Vissi d’arte.”

Cooperativa

“Detrás del Telón de Tosca” was held on Tuesday June 19 at the Sala Arrau of the Municipal de Santiago. On this occasion, the journalist and opera critic Joel Poblete presented, together with the creators of the staging and the singers, the next opera of the 2018 Season of the Municipal de Santiago.

Click here to listen to the recording.

The Collaborative Arts Institute of Chicago (CAIC) hosted the Chicago premiere of soprano Melody Moore in the Penthouse of the Logan Center here in Hyde Park on Sunday afternoon. The music was glittering and glorious, with Moore creating sumptuous sound and Shannon McGinnis offering able and astute support at the piano.

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“As so often with HOT productions, the evening’s highlight was the voices. As Tatyana, Melody Moore’s powerful, warm soprano set the opera’s moral compass — as soon as he heard her, Onegin should have known she would win out”

The Honolulu Star-Advertiser

For most people, singing loud enough to project to a hall of 2,000 seats without amplification sounds impossible. Imagine doing it for nearly half an hour straight. In Russian.

That was Soprano Melody Moore’s challenge as she began prepping for her character Tatyana’s famous Letter Scene in Tchaikovsky’s Eugene Onegin. When the curtain rises for the opening night of HOT’s upcoming co-production of the opera this Friday, it will be her first time performing the role for a full audience. Preparing for the role was no easy feat, Melody shared.

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“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