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 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 the music of Edward Elgar and English Song. In 2007, she devised A Celebration of 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.”

Ms. Moore’s tall and graceful stature has made her the ideal trouser-role performer on the opera stage. With conductor Nicholas McGegan and Philharmonia Baroque Orchestra, Moore performed the role of “Medoro” in Handel’s Orlando in an acclaimed American tour at the Ravinia Festival, Lincoln Center’s Alice Tully Hall, and Tanglewood Festival. 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, with the English Concert in Ferrara, and in San Francisco.

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 (Partenope) and Bradamante (Alcina) with the Early Opera Company under Christian Curnyn. 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 made her debut with the Colorado Symphony in a performance of Mozart’s Requiem. This season (2024-5) includes performances at London’s Wigmore Hall,  Mahler’s Das Lied von der Erde at Oxford International Festival of Song, a return to Baltimore Symphony for a programme of Bach and Vivaldi with Nicholas McGegan, OBE, Handel’s Messiah with Charlotte Symphony, conducted by Julian Perkins and Elgar’s The Music Makers with Bournemouth Symphony.

Other engagements of note include performances with conductor Nicholas McGegan of Vivaldi’s Juditha Triumphans (Holofernes) with Philharmonia Baroque Orchestra, and selections from Mahler’s Des Knaben Wunderhorn with Royal Northern Sinfonia; Elgar’s The Dream of Gerontius at Royal Albert Hall with the Royal Philharmonic Orchestra; Monteverdi’s Il Ritorno d’Ulisse (Penelope) at The Globe Theatre, London, directed by Tim Carroll; St. Matthew Passion with Trevor Pinnock and the English Consort culminating in a performance at the BBC Proms; a tour of Haydn masses in Switzerland with Sir John Eliot Gardiner; Beethoven’s Mass in C with the Salzburg Camerata and Berlioz’s Les nuits d'été with the Royal Northern Sinfonia, both under Sir Roger Norrington; and a performance of Mahler’s Rückertlieder with Bremen Philharmonic, conducted by Jane Glover. She has performed Messiah with The English Concert/Harry Bicket, Freiburg Baroque with Ivor Bolton, the Indianapolis Symphony under Patrick Dupré Quigley, Houston Symphony with Nicolas McGegan and the Philadelphia Orchestra with Paul Goodwin conducting.

As a recording artist, Moore is a soloist on the premiere recording of Scarlatti’s La Gloria di Primavera with Philharmonia Baroque Orchestra, which was selected as an “Editor’s Choice” recording in Gramophone. She has also recorded Mozart’s Requiem with Winchester College and the London Mozart Players on Convivium Records, and Handel’s Messiah with Baltimore Symphony Orchestra for Naxos. 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. She also appears on 

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.

BACH   | B Minor Mass | Gabrieli Consort | Paul McCreesh, cond.

“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.” — The Times (UK)

         | St Matthew Passion | Gabrieli Consort

"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

BRAHMS | Opus 53 (Alto Rhapsody) | Leith Hill Music Festival 2011

“… the outstanding delivery by contralto Diana Moore of ‘Rhapsody’ (Opus 53) by Johannes Brahms in which the combination of the vocal and orchestral vision brought, perhaps, one of the most memorable sequences of the LHMF of the last decade.”  — Simon Ames

COPLAND | In the Beginning | 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."  — Chichester Observer

DURUFLÉ | Requiem | Ex Cathedra

"Diana's voice was absolutely captivating and beguiling, filling the Cathedral with a most joyful and happy sound." — Chichester Observer

ELGAR | The Dream of Gerontius | Thaxted Festival

“... the wonderful ‘Angel's Farewell’ was most sensitively sung by Diana Moore.” — Richard Latham

‘A wonderful Gerontius with the heartstopping Diana Moore lingering long in the memory. A glorious end to Thaxted Festival’ — Donna Sharp, Saffron Walden Early Music Festival

  | The Dream of Gerontius | Kidderminster Choral Society

“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.

– Christopher Morley, Midlands Music Reviews      

           | The Kingdom | Chichester Festival 2013

“... a performance to remember.  Diana Moore’s mezzo role of Mary Magdalene could not have been bettered.  She is widely acclaimed with total justification for her emotional depth and evocative sound – qualities which she used in abundance in her role in The Kingdom.” — Chichester Observer

           | 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

HANDEL | The Choice of Hercules | “Hercules” |  International Handel Festival Göttingen | Laurence Cummings, cond.

"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 dulcet lay” was sung beautifully and with evident ambivalence, but in the final decision, “Lead, Goddess, lead the way” she conveyed conviction with gleaming high notes.” — Sandra Bowdler, Bachtrack

“Authority and a full-bodied spectrum, permeable to the troubling inner frailties of the character” – Crescendo Magazine

             | Jeptha | “Storge” | London Handel Festival, 2009

“As Storge, his wife, Diana Moore took over the role at the last minute, but her consummate performance displayed no signs of this. Her Storge was a touchingly warm mother, with not so much of the shrewishness that some singers bring to the role ... In 'First perish thou', her response to Jephtha after learning of his vow, Moore imbued her performance with a tremendous vituperation ... This was a notable highlight of the 2009 Festival.” — Robert Hugill, mvdaily.com 

| Joseph and His Brethren | Philharmonia Baroque Orchestra | Nicholas McGegan, cond. (recording)

“…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.”

— James Roy MacBean, Berkeley Daily Planet

 “…an inspired choice… Moore is an excellent singer and interpreter in every way; there are not the slightest grounds for finding any fault with her…her voice sounds amazingly like a very fine male counter-tenor rather than a female mezzo; I had to double- and triple-check the cast listing in the booklet to assure myself that I was not hearing a man instead.”— James A. Altena, Fanfare Magazine

“This recording’s stylistically expert cast is led by mezzo-soprano Diana Moore’s Joseph, with soothingly velvety timbre, elegant musicality and innate dignity. She also sounds delightful with soprano Sherezade Panthaki, as Asenath,” – Roger Pines, Opera News

         | Messiah | Houston Symphony Orchestra | Nicholas McGegan, cond.

         “Mezzo-soprano Diana Moore stood out for her sheer warmth – something that countertenors, for all their

positives, can rarely match when they take charge of the same arias. She spun out Handel’s melodies with an eloquence and finesse that gained even more power from her clear diction. Friday’s most arresting moments may have come in “He was despised,” when Moore intoned two simple, unaccompanied phrases – a return to the aria’s opening words – with a simplicity and stillness that made it seem as if she were singing to each member of the audience individually. But Moore also gave the music impact when that was called for. Her voice welled up dynamically in “For He is like a refiner’s fire,” the explosion in the middle of “But who may abide,” and she sang with a bite that captured the brutal picture of “He gave His back to the smiters.” – Steven Brown, Texas Classical Review

             | Messiah | National Arts Centre Orchestra | Paul Goodwin, cond.

“There was an excellent quartet of soloists….mezzo-soprano Diana Moore sang beautifully, with admirable melisma in the “Refiner’s Fire” aria.” — Ottawa Citizen

             | Orlando | “Medoro” | Philharmonia Baroque Orchestra | Nicholas McGegan, cond.

“Diana Moore introduced a suave, full-throated mezzo-soprano as the African prince Medoro...”

— Financial Times

“Diana Moore, the mezzo-soprano, [gave a] smooth-toned, compassionate account of Medoro.”

— The New York Times

“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").” — Huffington Post

“British mezzo-soprano Diana Moore made a delightfully shameless seducer in the trouser role of Medoro, particularly in “Se il cor mai ti dirà” and “Verdi allori, sempre unito” where she effectively incorporated a tad of expressive vibrato.” — Chicago Classical Review

"Labelle was well matched by Moore, a commanding English mezzo-soprano. 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’." — San Francisco Chronicle

“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.”

— The Boston Musical Intelligencer

"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

“Diana Moore offered another refreshingly serious performance amid the comic posturing. She embodied a disarmingly manly Medoro in this trousers role….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." — 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….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.” — The Reverberant Hills

             | Partenope | “Armindo” | Early Opera Company

“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." — The Times (UK)

             | Rinaldo | Gottingen Handelfestspiel

“‘The title role was sung by young mezzo Diana Moore, who bestrode the stage as if she had spent her life there.” — Andante.com

MAHLER | Das Lied von der Erde | Cheltenham Symphony

 “There was an overwhelming sense of desolation in The Lonely One in Autumn poignantly communicated by Diana Moore….The Farewell – consisting of two Chinese poems and words by Mahler himself – is by far the longest movement of the set and is announced by a clash of cymbals. But this is also the most profound, spiritual and timeless of all, qualities that Diana Moore expressed so perfectly in her singing. As I heard the closing words “Allüberall und ewig blauen licht die Fernen ….. ewig …..ewig” ( Everywhere distant spaces shine their blue light) I couldn’t help recalling another singer who made these songs her own – Kathleen Ferrier, whose centenary we have been commemorating this year. Indeed, I am bold to say that this performance was very much in the Kathleen Ferrier mould.” — Seen and Heard International

'Your performance was mesmerizingly intense. I cannot believe it was your first experience of this supremely expressive and technically demanding work, which I have loved for many years. Friends in the audience were talking of a Kathleen Ferrier quality in your soaring line and deeply felt lower register. The final "ewig" was breathed with the tenderest [sic] consolatory pianissimo to leave us all enraptured.’ 

— Audience member, October 2012

             | Das Knaben Wunderhorn | Royal Northern Sinfonia

Singing with astonishing range and power, the acclaimed mezzo-soprano Diana Moore relished every vocal embellishment in Wer hat dies Liedlein erdacht? and savoured every syllable in the haunting Wo die schonen Trompeten blasen. The audience was simply swept away by the emotional depth of her rendition of  Rheinlegenchen. —  Gavin Engelbrecht, The Northern Echo

           | Rückert Lieder | Bremen Philharmonic | Jane Glover

“the five late songs after poems by Rückert tell about parting from the world…. found the British mezzo-soprano Diana Moore more and more in the mysterious sound of Mahler.” – Kreiszeitung

MENDELSSOHN | Elijah | “Jezebel” | The City of London Choir / Royal Philharmonic Orchestra | Hilary Davan Wetton, cond.

Diana Moore’s mezzo voice is full-bodied and resonant…and her accounts of Jezebel were full of nuanced scorn, but her O Rest in the Lord was rich and warm and utterly lovely. — Barry Creasy, musicOMH

MONTEVERDI | Il Ritorno d'Ulisse | “Penelope”

“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.” — The Guardian

SCARLATTI | La Gloria di Primavera | Philharmonia Baroque Orchestra | Nicholas McGegan, cond.

“Mezzo-soprano Diana Moore was a radiant Spring. Her "Nightingale" aria, beautifully accompanied by flutist Stephen Schultz, was one of the evening's highlights.” — Georiga Rowe, San Jose Mercury News

“Mezzo-soprano Diana Moore made a gracious Spring, her vibrato taut and phrasing lithe.” 

— Timothy Mangan, The Orange County Register

Among the members of the soloist quintet, English mezzo-soprano Diana Moore stood out in the role of Spring (Primavera), the winning contestant. Her dark-hued voice made especially memorable such arias as “Già fermo sull’empia ruota” or the “nightingale” dialogue with flutist Stephen Schwartz, “Canta dolce il rosignuolo” — Edward Sava-Segal, bachtrack

VIVALDI | Juditha Triumphans | Philharmonic Baroque Orchestra | Nicholas McGegan, cond.

“As Holofernes, Diana Moore combined military grandeur and suave seductiveness into a superb portrait of a warrior at play on the fields of love." — Joshua Kosman, SF Gate

PERSONAL

“Many thanks and congratulations on your wonderful performance yesterday - everyone I've spoken to was completely bowled over - and rightly so. It's such a delight to work with you and thank you so much for all your helpful suggestions in rehearsal - both musical and practical. They all contributed to the success of the evening and I was very grateful ... it was great to have the benefit of your experience and love of the piece. I do hope it won't be too long before we have the chance to work together again.” — Janet Wheeler, Conductor, Elgar's Dream of Gerontius, Thaxted Festival 

‘Many thanks for a truly wonderful evening on Saturday.  As a performer you know you have cracked it when the audience doesn’t clap at the end of an evening like that.  My mother was in tears during the interval, so it somehow seemed very personal as well.  She said it was the best musical experience she has had and the highlight of her Festival stay with me. There were so many positive comments from people leaving the Church that you and John are to be congratulated on a very polished and moving concert.  The students were so impressed with you both - as lovely people to work with, but as consummate musicians - which I echo.’ — Pauline Johnson, Artistic Director,  Guildford International Music Festival

“What an absolute pleasure it was working with you. Thank you for your wonderful singing and your delightful demeanour. I hope we work together again soon and often.”

— Tom Smail, Composer

“I enjoyed working with Diana very much both personally and musically, I thought she did a great job. I see now that there is life after countertenors!” — Paul Goodwin, Conductor

“Beautiful work by Diana – I think that Paul Goodwin is very happy. We certainly are!” 

— Daphne Burt, Manager of Artistic Planning, NACO, Ottawa


“Thank you so much for your beautiful contribution to the 'In Celebration' concert on Saturday.  The concert was very well received.  In addition to singing so well, you were able to create a rapport with your audience which many singers never achieve.  Your performance was much appreciated.”

— Sylvia Alexander, Chairman, Kathleen Ferrier Society

“My dear Diana: There's no doubt what was the musical highlight of this year's festival for me: your divine singing of the Alto Rhapsody. I've no doubt I speak for many others too, and I'm just so thrilled that we were able to include it and, of course, that you sang it so superbly, as I knew you would. To have that sound and that musicality in my left ear is more good fortune than any conductor ever deserves, and I'm so glad it was me who had it!! So - bless you for doing it, and so beautifully. If there's the slightest chance of ever doing it again somewhere, you'll be hearing from me! Take care and know that there are a lot of people in Surrey whose lives were greatly enriched last week by your artistry and by your glorious voice - particularly me!”

— Brian Kay, BBC Broadcaster, founding member of The Kings Singers, Artistic Director of Leith Hill Music Festival

CD REVIEWS

HANDEL: MESSIAH | BALTIMORE SYMPHONY ORCHESTRA | EDWARD POLOCHICK, COND.

"Alto Diana Moore’s “O thou that tellest good tidings to Zion” is a thing of rare beauty. She is classified as a mezzo-soprano, but hers is a voice with a richness and dark veneer that leans towards the sound of a contralto. She’d be an excellent candidate for Brahms’s Alto Rhapsody.” — Jerry Dubin,s Fanfare, January 2019

SCARLATTI: LA GLORIA DI PRIMAVERA | PHILHARMONIA BAROQUE ORCHESTRA |

NICHOLAS MCGEGAN, COND.

“English mezzo Moore’s voice is warm, plush, full, and eminently smooth, with an air of nobility and grace that never gets in the way of her fleet coloratura. Given the regal nature of the occasion, which calls for a certain amount of royal restraint rather than Bartoli-like abandon, she is perfect”

— Jason Victor Serinus, San Francisco Classical Voice

..the vocal writing is fluid and winningly elaborate, and the performers deliver it smartly — particularly mezzo-soprano Diana Moore, who makes the triumph of Spring feel entirely merited.”

— Joshua Kosman, SF Gate

HANDEL: PARNASSO IN FESTA | “APOLLO/EUTERPE” | THE KINGS CONSORT |

MATTHEW HALLS, COND.

"Diana Moore’s distinct mezzo colouring is just one of the vocal delights." — The Times (UK)

"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 semiquaver 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" — Sunday Times