Felicia Moore
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’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.
This season she sings the role of Lady Macbeth in a new production of Macbeth for Deutsche Oper Berlin directed by Marie-Ève Signeyrole and conducted by Enrique Mazzola and covers Die Kaiserin in Tobias Kratzer’s production of Die Frau ohne Schatten conducted by Sir Donald Runnicles. In North America where her concert schedule is highlighted, she joins JoAnn Falletta and the Dallas Symphony Orchestra for performances of Verdi’s Requiem and performs Beethoven’s Ninth Symphony both with Xian Zhang and the New Jersey Symphony and with Tito Muñoz and the Phoenix Symphony.
Felicia Moore made her debut last season 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, appearing in Die Walküre as Gerhilde, while covering Sieglinde, and bowing in Götterdämmerung as the Third Norn and Gutrune. Other appearances included participating in 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. She was welcomed by the American Symphony Orchestra for Schoenberg’s Gurre-Lieder at Carnegie Hall under the direction of Leon Botstein and returned 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.
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.
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
General Management
Bill Palant, Étude Arts
Ansonia Station,Post Office Box 230132
New York, New York 10023
Tel: 929.777.0775
Email: [email protected]