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A recent graduate of the Metropolitan Opera’s Lindemann Young Artist Program, John Moore is garnering praise for his energetic performances and burnished baritone in both operatic and concert repertoire. In 2007, he made his debut at the Metropolitan Opera singing Fiorello in Il Barbiere di Siviglia. Mr. Moore made his international debut at Welsh National Opera in 2008 singing Figaro in WNO’s acclaimed English Barber of Seville.

This season, Mr. Moore appears as Papageno in The Magic Flute and as Fléville in Andrea Chénier with the Metropolitan Opera, Donald in Billy Budd with Glyndebourne at BAM, and Guglielmo in Così fan tutte  at Hyogo Performing Arts Center, Japan. Future seasons include debuts in leading roles with Atlanta Opera and Seattle Opera, and returns to the Metropolitan Opera.

Last season, the baritone returned to the Metropolitan Opera as Curio in Giulio Cesare and Simonetto in Francesca di Rimini, and also returned to the role of Donald in Billy Budd with the Glyndebourne Festival Opera.

Mr. Moore’s 2011-12 season featured a return to the Metropolitan Opera as Fiorello in Il barbiere di Siviglia, Yamadori in Madama Butterfly, and Donald in Billy Budd. He was the baritone soloist in the American premiere of Juraj Filas’s Oratorio Spei with Sacred Music in a Sacred Space at the Church of St. Ignatius Loyola under the baton of Kent Tritle. In addition to his recital with Philadelphia Chamber Music Society, Mr. Moore also gave recitals at his alma mater, Simpson College, and at People’s Symphony Concerts in NY. In the summer, he returned to the Des Moines Metro Opera in a role debut as the titular character in Tchaikovksy’s Eugene Onegin. Mr. Moore concluded the season as Count Almaviva in Le nozze di Figaro with Glyndebourne Opera’s touring ensemble in the United Kingdom.

In the 2010-2011 season, Mr. Moore appeared as Papageno in the Metropolitan Opera’s English production of The Magic Flute, toured with Musicians from Marlboro, performed in recital with the Brooklyn Friends of Chamber Music, and returned to the Des Moines Metro Opera as Dr. Malatesta in Donizetti’s Don Pasquale. In addition, Mr. Moore took part in a studio recording of Peter Lieberson’s The Coming of Light with CCM.

During the 2009-10 season John premiered Lieberson’s The Coming of Light with Chicago Chamber Musicians, sang Abbé Lorenzo in a new production of Argento’s Casanova’s Homecoming at Minnesota Opera, sang Fiorello at the Met, appeared in concert at the Lakes Art Center in Okoboji, Iowa and for the Des Moines Opera Guild, and made his debut at Glyndebourne Festival Opera in England singing Donald in Britten’s Billy Budd.

Glyndebourne at Brooklyn Academy of Music – Billy Budd

“Among the strong ensemble, the outstanding contributions vocally came from…John Moore, whose sonorous Donald colored his text with incisive skill. Justified ovations welcome this moving performance.”

David Shengold, Opera News Online

Glyndebourne Opera (Tour) – Le nozze di Figaro

“John Moore’s Count is fiery and lubricious in a way that suits the period.”

Kieron Quirke, London Evening Standard

“John Moore’s Almaviva is a fine study in authoritarianism laced with an excess of libido…”

Anne Morley-Priestman, WhatsOnStage.com

“The entire cast was sublimely balanced and it would be unfair to praise one individual but John Moore played the jealous count with comic genius underpinned by threat. This man had armies and they would come for you.”

Susan King, SussexExpress

Des Moines Metro Opera – Eugene Onegin

“John Moore might ideally have tossed a bit more ice into the blender interpretively, but Onegin’s anguish in his ultimate desolation was palpable. Moore’s lovely baritone resonated with great lyrical beauty in the role, with formidable reserves of power in Act III.”

Mark Thomas Ketterson, Opera News

Sacred Music in a Sacred Place – Juraj Filas’s “Oratio Spei”

“John Michael Moore, the baritone, summoned more consistent power, and sang with a warm, commanding tone in the Tuba Mirum and Confutatis.”

Alan Konzinn, The New York Times

 

Des Moines Metro Opera – Don Pasquale

“John Moore’s Malatesta was endowed with an arresting burnt-umber baritone and personality to burn.”

Mark Thomas Ketterson, Opera News

Chicago Chamber Musicians – Peter Lieberson’s “The Coming of Light” and Samuel Barber’s “Dover Beach”

 

“The communication between baritone John Michael Moore and the

instrumentalists…had the relaxed intensity of a conversation with close friends. Moore deftly scaled his warm, flexible baritone to fit the intimate space, bringing both stirring passion and quiet reflection to the songs’ images of still nights and endless seas.”

 

“Baritone John Michael Moore sang with fortitude and grace, yielding the right amountof playfulness when called for. He fleshed out a grave beauty in the fourth song, set to Shakespeare’s Sonnet 109 (“O, Never say that I was false of heart”), that was surely the cycle’s vertex.”

 

“Samuel Barber’s song Dover Beach (1931) was a natural vehicle for Moore’s richly anguished vocals…”

Wynne Delacoma, Chicago Classical Review

 

Musica Sacra – Brahm’s Ein Deutches Requiem and Mahler’s “Lieder eines fahrenden Gesellen”

 

John Michael Moore, a baritone, offered tonal refinement and a compelling presence in the Brahms and in Mahler’s “Songs of a Wayfarer,”… Mr. Moore was consistently admirable.”

Steve Smith, New York Times

 

Des Moines Metro Opera – Il barbiere di Siviglia

 

“John Michael Moore’s burnished-bronze, athletically sung account of Figaro.”

Mark Thomas Ketterson, Opera News

Welsh National Opera – The Barber of Seville

 “In the title role, John Moore was all energetic zest, and his clear diction helped

underline Figaro’s subversive element…”

The Guardian

Des Moines Metro Opera – The Magic Flute

“Young baritone John Michael Moore was one of the most enjoyable Papagenos in memory, his voice nicely shot through with testosterone.”

Mark Thomas Ketterson, Opera News

 

COMPOSER ROLE OPERA
Adès Prospero The Tempest
Britten Billy Budd, Donald Billy Budd
Debussy Pelléas Pelléas et Mélisande
Donizetti Malatesta Don Pasquale
Donizetti Belcore L’elisir d’amore
Giordano Fléville Andrea Chénier
Gounod Mercutio Roméo et Juliette
Handel Curio Giulio Cesare
Heggie Joseph DeRocher Dead Man Walking
Leoncavallo Silvio I Pagliacci
Mozart Guglielmo Così fan tutte
Mozart Don Giovanni, Masetto Don Giovanni
Mozart Conte Almaviva Le nozze di Figaro
Mozart Papageno Die Zauberflöte
Puccini Marcello, Schaunard La bohème
Puccini Yamadori Madama Butterfly
Rachmaninoff Aleko Aleko
Rossini Figaro, Fiorello Il barbiere di Siviglia
Rossini Raimbaud Le Comte Ory
R. Strauss Harlekin Ariadne auf Naxos
Tchaikovsky Eugene Onegin Eugene Onegin
Thomas Hamlet Hamlet
Zandonai Simonetto Francesca da Rimini

 

Hear John Moore sing Onegin’s Act I aria:

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