OPERA          CONCERT           RECORDINGS           RECITALS


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

"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 Medoro"

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 Musical Intelligencer

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)

Diana Moore's Penelope, a mixture of intelligence with musicianship and beauty of tone and perfect restraint that highlighted the emotional depth of each moment.
Robert Thicknesse, The Guardian

Armindo (Handel's Partenope), Early Opera Company

"Diana 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



CONCERT

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

"Diana Moore's performance of Sea Pictures was, in turn, deeply moving and exhilarating,... filling the Cathedral with her warm tone."
Surrey Advertiser

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."
Graham Hewitt, Chichester Observer

RECORDINGS

The King's Consort: Parnasso in Festa (Hyperion)

"The cast is led by the superb Apollo of Diana Moore… who combines the range of a mezzo with the tone quality of a contralto. Her semi-quaver runs in 'Torni pure' are thrilling                                             
 Gramophone



"This allegorical 'festa teatrale' emerges fresh-minted... in this delightful recording. The young soloists, especially Diana Moore as Apollo and Euterpe...are a treat. A must for Handelians"

The Sunday Times

"Diana Moore’s distinct mezzo colouring is just one of the vocal delights.
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Geoff Brown, The Times


RECITALS

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."

Christopher Morley, Birmingham Post