The Seckerson Tapes: Melody Moore Interview | reviews, news & interviews
The Seckerson Tapes: Melody Moore Interview
The Seckerson Tapes: Melody Moore Interview
Star of new ENO Faust talks Broadway and opera
Monday, 13 September 2010
Melody Moore: The aptly named American soprano
Melody Moore is well named. Her parents must have had a sixth sense that she would be "melodious". This exciting young American soprano has been making waves on both sides of the Atlantic. She has established footholds at both San Francisco and Los Angeles Opera and in the 2008/9 season made her English National Opera debut in Jonathan Miller's new production of La bohème. She returns to the ENO this season as Marguerite in Des McAnuff's new staging of Gounod's Faust, a role which seems to define the direction in which her voice and career are taking her.
Melody Moore is well named. Her parents must have had a sixth sense that she would be "melodious". This exciting young American soprano has been making waves on both sides of the Atlantic. She has established footholds at both San Francisco and Los Angeles Opera and in the 2008/9 season made her English National Opera debut in Jonathan Miller's new production of La bohème. She returns to the ENO this season as Marguerite in Des McAnuff's new staging of Gounod's Faust, a role which seems to define the direction in which her voice and career are taking her.
Subscribe to theartsdesk.com
Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 15,000 pieces, we're asking for £5 per month or £40 per year. We feel it's a very good deal, and hope you do too.
To take a subscription now simply click here.
And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?
more Opera
Die Zauberflöte, Glyndebourne review - cornucopia of visual inventiveness eclipses everything else
An operatic feast for the eyes doesn't translate into conceptual satisfaction
Carmen, Glyndebourne review - total musical fusion
Production tells the story, mostly, but it’s the lead and the conductor who electrify
L'Olimpiade, Irish National Opera review - Vivaldi's long-distance run sustained by perfect teamwork
Sporting confusions and star-crossed lovers clarified by vivacious singing and playing
Remembering conductor Andrew Davis (1944-2024)
Fellow conductors, singers, instrumentalists and administrators recall a true Mensch
Götterdämmerung, LPO, Jurowski, RFH review - outside looking and listening in, always with fascination
Every orchestral phrase and colour perfect, vocal drama often a notch below
Simon Boccanegra, Hallé, Elder, Bridgewater Hall, Manchester review - thrilling, magnificent exploration
Verdi’s original version of the opera brought to exciting life
Aci by the River, London Handel Festival, Trinity Buoy Wharf Lighthouse review - myths for the #MeToo age
Star singers shine in a Handel rarity
Carmen, Royal Opera review - strong women, no sexual chemistry and little stage focus
Damiano Michieletto's new production of Bizet’s masterpiece is surprisingly invertebrate
La scala di seta, RNCM review - going heavy on the absinthe?
Rossini’s one-acter helps young performers find their talents to amuse
Death In Venice, Welsh National Opera review - breathtaking Britten
Sublime Olivia Fuchs production of a great operatic swansong
Salome, Irish National Opera review - imaginatively charted journey to the abyss
Sinéad Campbell Wallace's corrupted princess stuns in Bruno Ravella's production
Jenůfa, English National Opera review - searing new cast in precise revival
Jennifer Davis and Susan Bullock pull out all the stops in Janáček's moving masterpiece
Add comment