Felicia Moore
Soprano Felicia Moore made a compelling protagonist, singing with luminous color and nuanced expression. Working seamlessly with a supple orchestra under Mälkki, she turned in a captivating performance that stuck the landing in every sense.
Cleveland.com, Zachary Lewis
Felicia Moore’s imposing soprano lent stature to Aksinya.
Opera News, David Shengold
Felicia Moore was a superb Senta: her Act II ballad, “Traft ihr das Schiff,” was by turns, vehement, terrifying and deeply compassionate, and she brought sufficient power to match Delavan in their lengthy Act II duet.
Opera News, Allan Kozinn
Moore’s performance of Senta’s famous romantic ballad was a highlight of the evening with its exquisite melody enhanced by the fine, Israel Gursky-conducted orchestra’s evocative swells.
Portland Press Herald, Steve Feeney
In a night of such stellar singing, it is difficult to pick out a single performance as “the one,” but I’m going to do just that. Felicia Moore shook the house with Senta’s pent up passion and obsessiveness over the Dutchman’s portrait hanging above the fireplace mantel. Before her ballad, she ran across the stage, beneath a pair of porticos, striking a frieze-like pose before launching into the tale of the Dutchman’s curse. Here was a voice equal parts lava and silk. The size of the sound was thrilling, with absolutely secure placement, a beautiful warm, and even vibrato, excellent diction and coloring of text. While trying to stay in the moment, I could not help but think what a sensational Ariadne Ms. Moore would be.
pArts blog
Soprano Felicia Moore was a sumptuous Sieglinde, her singing rich and secure in all registers. “Du bist der Lenz” built to a wonderful climax in one of many highlights of the afternoon…[the] artists paid particular attention to Wagner’s text, bringing a welcome sense of theater to the performance.
Opera News, George Dansker
Soprano Felicia Moore’s reading of Lady Macbeth’s “Vieni, t’affretta” was riveting. She recited Macbeth’s letter in Shakespeare’s English; when she launched into the aria itself, her forceful attack registered as a call to action. Moore’s soprano exhibited both scale and focus; in its lower reaches, it suggested the dark forces propelling Verdi’s antiheroine. The trills fell exactly into place; the articulation of the polacca rhythms was both accurate and tremendously exciting.
Opera News, Fred Cohn
The overall impression at the opening on Saturday evening was of grandeur rather than clarity — particularly given the lustrous, commanding soprano Felicia Moore, who sings Susan B. Anthony, not wrongly, like the heiress to Wagner’s Isolde and Strauss’s Ariadne. Ms. Moore scales down her gleaming voice for the work’s many intimate passages, but this is still an enactment of Susan B. as mythical goddess.
The New York Times, Zachary Woolfe
The whole enterprise centered on Juilliard alumna Felicia Moore, a genuine jugendliche dramatische soprano of exciting potential (and present accomplishment). Giving sharp profile to Susan B.’s moods and utterances, Moore soared through her testing music with stunning beauty and accuracy, heroically anchoring a memorable evening.
Opera News, David Shengold
Felicia Moore, a Marcus Institute for Vocal Arts alumna, is the terrific Susan, with a soprano and presence of Wagnerian authority.
The Financial Times, John Rockwell
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Noted by The Wall Street Journal for her “opulent, Wagner-scaled soprano” and acclaimed by The New York Times as the “lustrous, commanding soprano,” Felicia Moore is recognized by Opera News as “a genuine jugendliche dramatische soprano of exciting potential (and present accomplishment).” She is a powerful and innovative artist having made music in partnership with Alan Gilbert, Anne Manson, Sir Donald Runnicles, Ken-David Masur, Yannick Nézet-Séguin, Susanna Mälkki, Rafael Payare, Speranza Scappucci, Alexander Shelley, Evan Rogister, Gary Thor Wedow, Ryan Wigglesworth, and Brian Zeger among others.
Highlights of the 2023-24 season include a debut at Deutsche Oper Berlin in the company’s first revival of Stefan Herheim’s Ring Cycle with performances led both by Sir Donald Runnicles and Nicholas Carter; she appears in Die Walküre as Gerhilde, while covering Sieglinde, and bows in Götterdämmerung as the Third Norn and Gutrune. Other appearances include a Metropolitan Opera company premiere of Anthony Davis’ groundbreaking and influential opera, X: The Life and Times of Malcolm X in a new production by the theater luminary and Tony-nominated director of Slave Play, Robert O’Hara, and a revival of Nabucco under the baton of Daniele Callegari. Felicia Moore is welcomed by the American Symphony Orchestra for Schoenberg’s Gurre-Lieder at Carnegie Hall under the direction of Leon Botstein, and she returns to the Lakes Area Music Festival for the “Liebestod” from Wagner’s Tristan und Isolde with Music Director Christian Reif.
Recent Metropolitan Opera engagements include Lady Macbeth of Mtsensk conducted by Keri-Lynn Wilson, The Magic Flute under Dame Jane Glover, and Elektra led by Sir Donald Runnicles. Felicia Moore made role debuts as Sieglinde in Die Walküre with New Orleans Opera, as Senta in Der fliegende Holländer with Opera Maine, and in the title role of Ariadne auf Naxos with the Lakes Area Music Festival.
Innovative highlights of past seasons include the role of Susan B. Anthony in The Mother of Us All at the Metropolitan Museum of Art as a part of Project 19, the New York Philharmonic’s multi-season initiative marking the centennial of the 19th Amendment, which guarantees women the right to vote in the United States, and the title role of Lady M in an online fantasia of Verdi’s Macbeth with Heartbeat Opera. Felicia Moore sang Donna Elvira in Don Giovanni for Palm Beach Opera, Heartbeat Opera, and with Chamber Music Northwest. Other operatic performances include Britten’s The Turn of the Screw at Opera Columbus and the title role of Janáček’s Katya Kabanova, conducted by Anne Manson, in a new production by Stephen Wadsworth at Juilliard.
Past symphonic engagements include a debut with The Cleveland Orchestra in a performance of Barber’s Knoxville: Summer of 1915 and Beethoven’s Ninth Symphony with Susanna Mälkki, and Beethoven’s Ninth Symphony with Rafael Payare and the San Diego Symphony, Ken-David Masur and the Milwaukee Symphony, and Donato Cabrera and the Las Vegas Philharmonic. Other highlights include Mozart’s Requiem with Itzhak Perlman and the Houston Symphony, Mahler’s Second Symphony with Daniel Meyer and the Erie Philharmonic, and Wagner’s Wesendonck Lieder with David Chan leading the APEX Ensemble. Felicia Moore also has performed Verdi’s Requiem with the National Arts Centre Orchestra, The Immolation Scene from Wagner’s Götterdämmerung with the Danish National Symphony Orchestra conducted by Ryan Wigglesworth, and an Opera Gala with the Bergen Philharmonic.
Accomplishments during her tenure at Juilliard include Copland’s Twelve Emily Dickinson Songs with pianist Brian Zeger at Juilliard’s Songfest, a solo debut at Alice Tully Hall as winner of Juilliard’s Vocal Arts Honors Recital presenting a program of Sibelius, Wagner and Copland with pianist Chris Reynolds, and with the Juilliard Orchestra workshop selections from Tchaikovsky’s Eugene Onegin with Alan Gilbert, Mozart’s Ch’io mi scordi di te? …Non temer, amato bene, K. 505 conducted by Gary Thor Wedow, and Beethoven’s Ah! Perfido, Op. 65 led by Speranza Scappucci. Ms. Moore’s training has included resident artist apprenticeships at San Francisco Opera’s Merola Opera Program, Des Moines Metro Opera, Opera Theatre of Saint Louis, Portland Opera, and the Ravinia Festival’s Steans Institute. In Europe she has participated in the Aix-en-Provence Festival’s Mozart Académie and in the International Meistersinger Akademie in Neumarkt, Germany under the tutelage of Edith Wiens.
Felicia Moore was awarded a Fellowship by Turn The Spotlight, a foundation created to identify, nurture, and empower leaders – and in turn, to illuminate the path to a more equitable future in the arts through mentorship by and for exceptional women, people of color, and other equity-seeking groups in the arts. She is a proud alumna of The Juilliard School, Mannes School of Music, and Westminster Choir College.
Strauss: Ein schönes war
Strauss: Es gibt ein Reich
Wagner: Liebestod
Wagner: Schmerzen
Thomson: The Mother of Us All
Contact
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Tel: 929.777.0775
Email: bp@etudearts.com