“Contralto Diana Moore relished Handel’s word-painting, tenderly singing of lambs and shepherds at one moment and then vividly recalling the horrors of the crucifixion the next. And like all the soloists her eye-contact with the audience was a vital part of the effect.”5***** -ReviewsGate
“Diana Moore was serenely radiant as Gerontius’ guardian Angel, quietly ecstatic in her intensity as her charge approached his Judgment (and what a climax Weaver drew from the orchestra!). Her Farewell, underscored by choral entreaties and praises, was like a sacrament.” Read more at Midlands Music Review
“Conductor Nicholas McGegan makes the musical points tell precisely and his energy affects the entire performance, carrying it through the slow parts of the piece. Diana Moore is simply perfect, her crystalline diction making it possible to distinguish every word she sings. Nicholas Phan as Simeon and Sherezade Panthaki as Joseph’s wife Asenath are similarly […]
“It was a pleasure to encounter Diana Moore again at Göttingen, bringing her sumptuous mezzo voice and dramatic skills to the role of Hercules. For the first half of the piece she had only to sit looking god-like, but also responding to the different arguments – obviously, no easy choice. “Yet, can I hear that […]
“Panthaki was absolutely sensational, singing with sumptuous tone, extraordinarily flexible and apparently effortless coloratura, and impeccable diction…the role of Joseph was elegantly sung by mezzo-soprano Diana Moore, whose burnished low notes resounded darkly while her shimmering high notes shone brightly…conductor Nicholas McGegan led his period-instrument orchestra in a rhythmically pulsating score.” — Read more at […]
“The vocal soloists — soprano Alisa Jordheim, tenor Benjamin Butterfield, bass-baritone Michael Dean and, especially, the lustrous-toned mezzo Diana Moore — sang vividly.” — Read more at The Baltimore Sun.
“Mezzo-soprano Diane Moore portrayed Spring as a kind of earth mother, rich in tones and bossy over the others…baritone Douglas Williams wore a pompous air…As in their previous Tanglewood appearances, McGegan had his period-instrument orchestra playing with impressive unanimity and spirit.” – Read more at berkshireeagle.com.
“The Philharmonia Baroque Orchestra’s string-playing is routinely urbane, and the continuo group’s realisa-tions are impeccably shaded…Diana Moore is expressive with words and musical details in Spring’s splendid arias…part 2 has a theatrical impact thanks to Douglas Williams’s resonance and mastery across a wide-ranging tessitura. This is a delightfully enjoyable revelation of the elder Scarlatti’s genius.” […]
“Mezzo-soprano Diana Moore made a gracious Spring, her vibrato taut and phrasing lithe…Bass-baritone Douglas Williams provided a comically pompous and jaunty Jove. Meanwhile, McGegan and the Philharmonia Baroque supported in glowing hues and lyrical lines, the rhythm driven from the bottom of the orchestra (as in a good jazz band) and the violins gamboling ebulliently.” […]