Melody Moore made her LAO debut in 2008 as Eve in The Broken Jug and as the First Maid in The Dwarf, returning in 2017 as Tosca and in 2018 as the Mother in Hansel and Gretel.
Soprano Melody Moore is enjoying a thriving career on the world’s leading stages, prompting Opera News to label her “a revelation,” and of her recent sold-out appearance at Carnegie Hall to rave, “As I left the auditorium, I could only think: more of Moore, please.” The current season marks the release of her first solo album entitled An American Song Album with pianist Bradley Moore on Pentatone Records.
In the 2019/20 season, Ms. Moore will make two notable role debuts: her debut as Amneris in a new production of Aida at the Houston Grand Opera and her role and house debut as the Foreign Princess in Rusalka at Cincinnati Opera. Additionally, Ms. Moore will sing Donna Anna in Don Giovanni at Opera Naples, and will conclude her season as Santuzza in Cavalleria Rusticana at Seattle Opera. Concert highlights include her debut with the Houston Symphony Orchestra in Mahler’s Das klagende Lied under the baton of Music Director Andrés Orozco-Estrada, the title role in Strauss’ Salome at Bard College, and a solo recital and masterclass at Lawrence University. In the summer, she sings Vaughan Williams’ Sea Symphony with the Oregon Symphony, led by Carlos Kalmar.
In the 2018/19 season, Ms. Moore returned to Houston Grand Opera to reprise the roles of Senta in the season opening production of The Flying Dutchman led by Music Director Patrick Summers, and Donna Elvira in Don Giovanni in a new production by Kasper Holten, and returned to LA Opera for a role debut as Gertrude (the Mother) in Hansel and Gretel under the baton of Music Director James Conlon. On the concert stage, she debuted with the Dresdner Philharmonie in the roles of Giorgetta in Il Tabarro and Santuzza in Cavalleria Rusticana, both of which were recorded for commercial release by Pentatone Records. Ms. Moore also sang Senta with the Milwaukee Symphony Orchestra, under the baton of Music Director Edo de Waart, and debuted with the Grant Park Music Festival for Delius’ A Mass of Life at the Grant Park Music Festival, and sang the title role in Salome in Daegu, South Korea. Other recording projects included Minnie in The Girl of the Golden West in Cluj, Romania, and the title role in Madama Butterfly in Lisbon, both recorded for commercial release by Pentatone Records.
In the 2017/18 season, Moore made three major role debuts: Elisabetta in Don Carlo at Washington National Opera; the title role in Salome at Florida Grand Opera; and Tatyana in Eugene Onegin at Hawaii Opera Theater, as well as singing her signature roles of Tosca in a return to Opéra de Montréal and for her house debut with Teatro Municipal de Santiago de Chile, and Senta in The Flying Dutchman in a new production by Tomer Zvulun at Atlanta Opera. Her portrayal of Desdemona in a full recording of Verdi’s Otello was released by Pentatone Records.
Recent career highlights include a house and role debut at Seattle Opera in the title role of Janáček’s Kátya Kabanová; appearances with San Francisco Opera in the title role of Tosca, Susan Rescorla in Heart of a Soldier, Mimì in La Bohème, and the Countess in The Marriage of Figaro; Houston Grand Opera as Julie in Show Boat, Marta in the American premiere of Weinberg’s The Passenger, the title role in Carmen, Dorabella in Così fan tutte; Washington National Opera as the title role of Catán’s Florencia en el Amazonas, Phillip Glass’ Appomatox, and in Francesca Zambello’s highly acclaimed production of the Wagner’s full Ring cycle; Opéra de Montréal as Cio-Cio-San in Madama Butterfly; Glimmerglass Festival as Lady Macbeth in Macbeth and Senta in The Flying Dutchman; Lincoln Center Festival in The Passenger; English National Opera as Mimi and as Marguerite in Faust; New York City Opera as Rita Clayton in the New York premiere of Stephen Schwartz’s Séance on a Wet Afternoon and as Regine St. Laurent in Rufus Wainwright’s Prima Donna; and Austin Lyric Opera as Senta in The Flying Dutchman. Additional performances include the title roles of Manon Lescaut at New Orleans Opera, Tosca with the Lyric Opera of Kansas City, Pamina in The Magic Flute at Opéra de Bordeaux; and Donna Elvira in Don Giovanni with the Atlanta Opera and Opera Colorado.
On the concert stage, Ms. Moore has appeared with Atlanta Symphony Orchestra for Bruckner’s Te Deum led by Music Director Donald Runnicles; Bard SummerScape Festival as the title role in Turandot; Bavarian Radio Symphony in performances and recording of excerpts of Gordon Getty’s opera Plump Jack, conducted by Ulf Shirmer and with the New Century Chamber Orchestra conducted by Nadja Salerno-Sonnenberg. She has joined Rufus Wainwright for gala concerts at the Kimmel Center in Philadelphia and at Roy Thomson Hall in Toronto, and has sung Beethoven’s Ninth Symphony with the Madison Symphony and at Festival of the Arts Boca. Her solo recital performances have included a sold-out debut recital at Carnegie Hall and the Collaborative Arts Institute of Chicago, as well a program featuring suppressed music of the Holocaust presented under the auspices of the Atlanta Opera.
A graduate of the Cincinnati Conservatory of Music, Melody Moore is a former Adler Fellow of San Francisco Opera and a participant of the Merola program.
Learn more at MelodyMooreSoprano.com.