SFist Interviews: Soprano Melody Moore


Sarasota Opera Winter Festival 2011

Opera is alive and well in Sarasota. “It feels like it did before,” says Communications Officer for Sarasota Opera Patricia Horwell.

The Turn of the Screw at LA Opera

An operatic work by an esteemed composer, with a libretto adapted from a great author’s story, staged in an intelligent and well-designed production, featuring singers of the top caliber and a conductor with a deep commitment to the composer’s music, leading a chamber-sized group of his orchestra’s best players — magic in the opera house, right?

Tristan und Isolde, Deutsche Oper, Berlin


Machover, Death and the Powers

This is an opera written with a cannon and a feather. There is sensory
overload—an overload of sensory overload: lights that shine into your face in
the manner of an ophthalmologist scanning your retina; eerie, too-loud sounds
that invade you from every direction; dancing patterns of light that may
resolve into huge words or huge faces; a great chandelier-harp that sometimes
descends to be played, a strumming like the sounds of the sirens in Plato’s
parable of the concentric crystalline spheres.

Philip Glass’s OrphÈe

With voices of doom predicting the end of the CD format — supposedly to be replaced by downloading — the ancillary art of CD packaging also faces a grim future.

Bellini’s I Puritani in Bologna

Vincenzo Bellini’s operas are pure bel canto, with beautiful singing placed above all other considerations.

RomÈo et Juliette, New York

Is Guy Joosten’s staging of RomÈo et Juliette the
best-looking production in the Met’s current repertory or what?

Magnificent Mahler by Shanghai Symphony

It was, of course, only a coincidence, but a week of ideal spring weather — no rain and low humidity — found Shanghai in a perfect mood for an all-Mahler program by the Shanghai Symphony Orchestra on March 12.

Rodelinda, Royal College of Music, London