Felicia Moore, bereits als Lady Macbeth in der Deutschen Oper gefeiert, konnte sich mit strahlenden Höhen behaupten, mit einer weichen, runden Sopranstimme.
Der Oper Freund, Ingrid Wanja

Einen gediegenen vokalen Eindruck hinterließ die amerikanische jugendlich Dramatische Felicia Moore als Tove.
Online Merker, Dr. Ingobert Waltenberger

The triangle’s third point is the soprano who steers the chorus through the Mass. Felicia Moore, stepping in for Christine Goerke, sang with a cool, Wagnerian gleam. In contrast to the lieder-inflected approach of both men, Moore stayed in full operatic sail, riding above chorus and orchestra with steely, avenging-angel conviction even from her place behind the orchestra. Britten takes an ambivalent attitude towards the Latin Mass text – a relic of a Christendom twice-destroyed. Rather than allow the listener to take refuge in those familiar words, Britten sets them at a distance: impersonal, ritualistic, unable to speak directly to the modern horrors Owen describes.

Moore embodied this remove well, her Wagnerian tone and bearing suggesting a Valkyrie from another world entirely, one with no understanding of or mercy for the men below. Her severe dignity kept the Mass text magnificent but unreachable, never offering false comfort. Moore is young, but her biography already includes Die Kaiserin in Die Frau ohne Schatten. Her ability to carry above a massive, Eastern-inflected, percussion-heavy orchestral texture speaks well of her promise in Strauss.
Parterre Box, Elaine Yao

Soprano Felicia Moore made a stunning SLSO debut Friday night. The role requires a dramatic soprano who can ride on top of a large orchestra and chorus while still commanding attention in the more intimate moments. Moore was just right for the part, making a particularly strong impression in the Sanctus with her wide range and commanding presence.
Saint Louis Arts Scene, Chuck Lavazzi

Felicia Moore…impressed with her luminous soprano voice, which is on the threshold of the youthful-dramatic repertoire, and which she carried with remarkable confidence. She mastered the fioritura of the cabaletta “Or tutti sorgete” just as precisely as the high D flat at the end of the “Sleepwalking Scene.”  She impressed in “Vieni t’affretta” with a controlled attack and perfectly blended registers and even in ensemble scenes she effortlessly asserted herself against the choir and orchestra. Certainly not the rough, stifled, dark voice that Verdi supposedly wanted for the role of the diabolical lady, but it fills me with cool, blazing passion.
Opernglas

It would come as no surprise if this becomes a springboard for the young American soprano Felicia Moore…Right from the first richly decorated solos, especially in the infernally funny drinking song and the crazy drinking song reprise in the second act, Moore captives everyone with her incredible impact. Her splendid, metallically shimmering timbre is almost too beautiful for the role of the Lady. Expressive and agile in the middle range, this voice is accurate in the ornamentation of the higher registers. But also fragile in the depths and in the half-dead recitative of the sleepwalker scene.
Klassik Magazin, Dr. Eleonore Büning

In the famous sleepwalking scene, in which she recalls the murders of Duncan, Banquo, and Lady Macduff, Moore delivers a dreamy high D flat that has probably rarely been heard with such ease. In fact, the whole role seems to pose no technical problems for her and it is nice to hear a very young soprano without a strong vibrato in this murderous role.
Online Merker, Dr. Ingobert Waltenberger

La vraie triomphatrice de la soirée sera Felicia Moore. La jeune Américaine, connue pour ses seconds rôles wagnériens, brule les planches. Sa présence évidente démontre que la corpulence n’influe en rien sur le charisme scénique. Sa Lady hypnotise aussi parce que vocalement tout est excitant : l’ambitus qui culmine sur le répiano de la scène somnambule, le trille qui vient surpiquer le brindisi, les vocalises enchainées à la vitesse d’une rossinienne, la chair de la voix enfin qui s’assombrit dans le bas medium et lui permet de croquer une reine véritablement terrifiante.
Forum Opéra, Yannick Boussaert

Nach der Absage Bartolis ist Moore jetzt an die erste Stelle gerückt und gibt ihr Bestes, singt die Lady mit souverän angesteuerten Spitzentönen, allerdings auch sehr geerdet und ausgeglichen, ohne ekstatische Ausbrüche in der berühmten Wahnsinnsszene.
Tagesspiegel, Ugo Badelt

Sie hatte die Extrempartie von der mit Hochspannung erwarteten Anastasia Bartoli übernommen. Moore ist das volle Gegenteil zur vor 40 Jahren die Lady genial zerfurchenden Mara Zampieri. Denn Moore hat nach langer Parforce-Schlacht und Präzisionssucht in den fast weichen Koloraturen noch immer imponierenden Reserven. Das helle Timbre steht nicht in Widerspruch zu einem Vulkan mit Höchstbrennwerten und entwickelt mit jeder der hier gezeigten Fehlgeburten eine sensiblere Ausdrucksskala.
Concerti.de, Roland H. Dippel

Bei der kurzfristig eingesprungenen Felicia Moore als Lady Macbeth verhält es sich anders herum: Schauspielerisch, wie mein Gesprächspartner bei der Premierenfeier es bezeichnete, eher ein Hausmütterlein, schreckt sie nicht davor zurück, ihrem makellos geführten Sopran während der ersten drei Akte metallische Schärfe zu verleihen. Die Dolchklingen, die die Lady ihrem Mann in die Hand drückt, blitzen quasi aus dem Gesang hervor. Dass Felicia Moore auch anders kann, wird während der Wahsinnsszene deutlich hörbar. Da weht uns eine fast kindlich reine Stimme an, ganz weich und trotzdem immer noch bis in die Spitzentöne und ins Pianissimo tragend, zugleich klanglich mit dem Orchester verschmelzend: der Höhepunkt des Abends.
Klassik begeistert, Sandra Grohmann

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 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

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

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

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