Medoro (Handel's Orlando), Ravinia, Lincoln Centre, NY, Tanglewood, Philharmonia Baroque
"Best of all was the English mezzo-soprano Diana Moore, whose warm,
noble sound imbued the role of Medoro with an aching appeal. The
highlight of the afternoon was her ravishing delivery of the aria "Verdi
allori" ("Verdant trees, always united, preserve our names"), after she
has carved her and Angelica's names in the forest. "
Mike Silverman, Associated Press
Mike Silverman, Associated Press
"To hear a first rate
period performance of a Handel opera in an intimate venue with a cast of
singers who are true masters of the period technique that these works
require is nothing short of a revelation. British mezzo-soprano Diana
Moore made a delightfully shameless seducer in the trouser role of
Chicago Classical Review
"Dominique Labelle used her flexible, burnished soprano thoughtfully in her dignified characterization of Angelica, and her florid ornamentation was often dazzling. Diana Moore, the mezzo-soprano, matched those qualities beautifully in her smooth-toned, compassionate account of Medoro."
New York Times
“Diana Moore introduced a suave, full-throated mezzosoprano as the African prince Medoro.”
Martin Bernheimer, ft.com
The tender arioso, a love duet, of Medoro and Angelica, “Ritornava al suo bel viso” (Returning to his beautiful face) showcased perfectly blended harmonics and book-matched voices. Moore and Labelle, who sang as though truly, madly, deeply in love for a long time, effectively captured the depth of Handel’s music. In Medoro’s aria, “Verdi allori” later in Act II, Moore sang with limpid grace.
Robert Levin, The Boston
Medoro (Handel's Orlando), San Francisco, Philharmonia Baroque
"Labelle was well matched by Moore, a
commanding English mezzo-soprano making her first Philharmonia
appearance. As Medoro, an African prince, Moore mustered a rich and
evocative sound that seemed to caress Handel's phrases with sensuous
directness, most alluringly in the slow and heartfelt aria Verdi allori."
Joshua Kosman, San Francisco Chronicle
"Diana Moore's warm, plush mezzo-soprano was an asset in the role of Medoro"
Georgia Rowe, Mercury News
“Handel gives the pair of lovers, Angelica and Medoro, little to match Orlando's novelties, but ...Diana Moore (Medoro) executed (her) role with peerless grace. Moore's was a deft, complex take both on Medoro and the trouser role more generally, and her vocal strengths clearly exceed the relatively unremarkable part.”
Adeline Mueller, musical criticism.com
“Diana Moore offered another refreshingly serious performance amid the comic posturing. She embodied a disarmingly manly Medoro in this trousers role, running around the church in defence of Angelica and pursuit of Orlando. Her voice combines a warmth and firmness in a way that is rare in a mezzo, and her “Verdi allori,” the famous lilting, tree-carving aria, was the most musically satisfying moment of the entire opera."
Jonathan Rhodes Lee, San Francisco Classical Voice
“Medoro can easily be a lightweight, something like Paris in the Greek legends: a youthful prince, he lacks the heroism of Orlando, and as a lover he's also less than noble, since he initially deceives Dorinda, and is fairly passive in his relationship with Angelica. But Diana Moore made the case for him about as well as it can be made, through the authority of sheer vocal beauty. At moments I was reminded of the sound of Lorraine Hunt Lieberson. I’d love to hear more of her.”
Patrick Vaz, The Reverberant Hills
Penelope (Monteverdi's Il Ritorno d'Ulisse)
Moore's Penelope, a mixture of intelligence with musicianship and beauty
of tone and perfect restraint that highlighted the emotional depth of
Robert Thicknesse, The Guardian
Armindo (Handel's Partenope), Early Opera Company
Moore gave a powerful performance as the besuited Armindo.”
Lawrence Hughes, The Independent
“As Partenope's true love, Diana Moore briefly fooled me into believing that she too was a man, so natural and elegant did she look in her suit, but the role was indeed written for a woman and her very individual tone defied categorisation in a perfectly lovely performance."
Rodney Milnes, The Times
Bach's B minor Mass, Gabrielli Consort, Spitalfields Festival
The mezzo-soprano Diana Moore truly
encompassed the breadth of Bach's requirements. Her richly expressive
Agnus Dei found both awe and majesty: just the performance needed to add
depth to McCreesh's lightness of touch.”
Neil Fisher, The Times
Elgar's Sea Pictures, Guildford Cathedral
Bach's St Matthew Passion, Gabrielli Consort, La Chaise Dieu Festival
"The remarkable young mezzo-soprano Diana Moore (whose voice sounds like that of the young Lorraine Hunt) gave a rapturous account of the St. Matthew's alto solos." andante.com
Copland's In the Beginning & Durufle's Requiem, Ex Cathedra"If Diana Moore is not the finest mezzo soprano to sing in Chichester Cathedral then, at the very least, she is equal to the very best. Diana's voice was absolutely captivating and beguiling, filling the Cathedral with a most joyful and happy sound."
English Song Weekend at Ludlow 2010
"The importance of eye-contact without the score intervening as a barrier between the interaction of singer and audience was a point reinforced in a fascinating and informal lecture-recital given by mezzo Diana Moore (with) pianist Christopher Gould. Charting the actual changes in the approach to interpretation over the last 130 years, these engaging musicians enlightened with a variety of live examples, Moore’s wonderful tones so sensitively inflected, her volume never exceeding the capabilities of the hall. When she sang Lynne Plowman’s rapturous response to e e cummings’ I carry your heart with me, the world briefly seemed to come to a stop."