English mezzo-soprano Diana Moore is being lauded on both sides of the Atlantic for her “emotional depth” (The Guardian), “thrilling” technical bravura (Gramophone), and “rich, evocative sound” (San Francisco Chronicle). She enjoys a varied and international career of opera, oratorio, and concert performances, and is a popular soloist at many major music festivals.
Ms. Moore’s tall and graceful stature has made her the ideal trouser-role performer. She recently completed a North American tour of Handel’s Orlando (Medoro) at the Ravinia Festival, Lincoln Center’s Alice Tully Hall, and Tanglewood Festival with the Philharmonia Baroque Orchestra conducted by Nicholas McGegan. The New York Times praised her “smooth toned” and “compassionate” performance while the Chicago Classical Review raved that she “made a delightfully shameless seducer in the trouser role of Medoro.” She has also performed the role at Göttingen, Sweden’s Drottningholm Court Theatre, and in San Francisco. This season she performs the role with the English Concert conducted by Harry Bicket.
Other Handel roles include the title role in Rinaldo at Göttingen International Handel Festival, VlaamseOper, the National Theatre in Prague, and Versailles, Sesto in Giulio Cesare (Göttingen), and Armindo in Partenope with the Early Opera Company. The London Times commented that, “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… a perfectly lovely performance.”
Last season, Moore’s performances included the American premiere of Scarlatti’s La Gloria di Primavera at Carnegie Hall and throughout California’s Orange County and Bay Area with Philharmonia Baroque Orchestra and conductor Nicholas McGegan. Moore is featured on a recording of the work released on the Orchestra’s label in April 2016 and selected as an “Editor’s Choice” recording in Gramophone. In the 2016-17 season, she revives the piece with PBO at Tanglewood and Yale’s Norfolk Chamber Music Festival. Moore also performs a program of Bach with Israel Camerata and sings Messiah with the Baltimore and Indianapolis Symphonies.
Other engagements of note include Vivaldi’s Juditha Triumphans (Holofernes) with the Philharmona Baroque Orchestra and conductor Nicholas McGegan; Elgar’s The Dream of Gerontius at the Barbican Centre; Bach’s Mass in B Minor and St. Matthew Passion, Handel’s La Resurrezione, Mendelssohn’s Paulus, and an all-Vivaldi program with The King’s Consort; St. Matthew Passion with Trevor Pinnock and the English Consort; a tour of Haydn masses in Switzerland with John Eliot Gardiner; Beethoven’s Mass in C with the Salzburg Camerata and Berlioz’s Les nuits d’été with the Northern Sinfonia, both under Sir Roger Norrington; and a performance of Mahler’s Das Lied von der Erde. She has performed Messiah with The English Concert/Harry Bicket, the Indianapolis Symphony Orchestra, and the National Arts Centre Orchestra with Paul Goodwin conducting. Her recording of Handel’s Parnasso in Festa with King’s Consort and conductor Matthew Halls was the winner of the Stanley Sadie Handel Recording Prize.
Ms. Moore’s charismatic vocal quality and training place her firmly within the fine heritage of English mezzo-sopranos. She is committed to celebrating the music and musicians of her homeland and has built a reputation as a leading exponent of English song. In 2007, she devised Kathleen Ferrier — Her Life, Letters & Music, to honor that legendary English singer. The program has been endorsed by the Kathleen Ferrier Society, and a recent review called it “one of the most moving and captivating evenings I’ve spent.”
Born in Lowestoft, Suffolk, Ms. Moore studied at the University of Birmingham and the Royal Academy of Music, London where she won numerous prizes and is now an Honorary Associate.