Fletcher Artist Management represents the artist in North America and the United Kingdom.
Anthony Michaels-Moore is the first British winner of the Luciano Pavarotti Competition (1985) and has since performed in all of the world’s major opera houses including the Royal Opera House Covent Garden, Paris Opera, Vienna State Opera, La Scala Milan, Bavarian State Opera, Lyric Opera of Chicago, San Francisco Opera, The Metropolitan Opera and many others.
In a career spanning more than 25 years, Anthony has distinguished himself as a specialist in Verdi and Puccini roles, renowned for his portrayals of Rigoletto, Scarpia, Falstaff, Iago in Otello, Simon Boccanegra and Germont in La Traviata. His recent debuts as Falstaff at both Opernhaus Zürich and Théâtre des Champs-Elysees and as Rigoletto at both the English National Opera and Opéra de Montréal have received high praise and critical acclaim. Of his Rigoletto at the ENO, The Times wrote, “As befits such a dark opera, deep voices dominate. Michaels-Moore’s Rigoletto is in a class apart because he somehow manages to be gloriously lyrical and terrifyingly baleful at the same time. He joins the notes together in beautifully sustained lines; a masterclass for young singers. Yet the power he musters is properly monstrous, and that is matched by his sinister lurches across the stage.”
Schedule highlights in recent seasons have included two world premiere operas, plus numerous house and role debuts. Most notably, in the Spring of 2015 Anthony made an exciting return to Teatro alla Scala, starring in the world premiere of Giorgio Battistelli’s C02 based on Al Gore’s An Inconvenient Truth. Michaels-Moore earned high praise in the main role of climatologist Dr. David Adamson in a production directed by Robert Carsen. The Summer of 2015 saw Michaels-Moore in another highly-anticipated world premiere at the Santa Fe Opera: Cold Mountain by the Pulitzer Prize-winning composer Jennifer Higdon, followed by performances in 2016 with Opera Philadephia. During the 2015/16 season, Anthony Michaels-Moore also made an anticipated return to Pittsburgh Opera, as Iago in Otello. Additionally, he made a company debut with Lyric Opera of Kansas City, as Giorgio Germont in La traviata. A regular at English National Opera, he also appeared with the company in the 2014/15 season for Germont.
The 2013/14 Season was an exciting one for the Baritone; select highlights include company and role debuts at Teatro Municipal São Paulo, Opera Leipzig and LA Opera in Aida, Nabucco and Billy Budd respectively. Additionally, he returned to the Wierner Staatsoper as Gérard in Andrea Chénier, and to Santa Fe Opera in summer 2014, to sing the title role in Mozart’s The Impresario, and the Emperor in Stravinsky’s Le rossignol. Anthony’s new solo CD Songs of the Sea, Songs of Travel (released on April 2, 2013) has been hailed by Classical Source as “a perfect gem sensitively performed.”
Schedule highlights in Anthony’s 2012/13 Season included appearances as Don Carlo di Vargas in a new production of La Forza del Destino with Oper Köln, a return to the English National Operain a new production of La Traviata, plus his company debut with Korea National Opera in the title role of Falstaff. On the concert platform Anthony will appear in Rome, Italy singing Curlew Riverunder the baton of James Conlon.
Among the many highlights of Anthony’s 2011/12 Season were his company debut with Veroza Japan under the baton of Seiji Ozawa; his company debut with Sugi Opera in Seoul, Korea as Scarpia in Tosca; a return to Opernhaus Zürich as Iago in Otello with Daniele Gatti conducting; his company debut with Oper Köln as Scarpia in Tosca, plus a return to Köln later in the season in La Forza del Destino. Additionally, Anthony’s performance as Sharpless in Madama Butterfly at theRoyal Opera House, Covent Garden (filmed live in 3D during Summer 2011) has been released in cinemas across the United Kingdom. The film’s international release is being staggered throughout 2012 with a DVD release to follow thereafter.
Since his debut in 1987 with the Royal Opera House, Covent Garden, Anthony has enjoyed a long and artistically diverse relationship with the Company; the sum of his performances totals over 350. He has appeared in L’elisir d’amore, La bohème, I Pagliacci, Die Fledermaus, Il Barbiere di Siviglia, The Cunning Little Vixen, Manon, Stiffelio, Tosca, Simon Boccanegra in concert, Macbeth (both 1847 and 1965 versions), Le Nozze di Figaro, Andrea Chénier, La Battaglia di Legnano, Il Trovatore, Falstaff, Attila, Lucia di Lammermoor and La Traviata. He has also performed with all of Britain’s other major theatres including English and Welsh National Operas, Opera North and Scottish Opera, as well as at the Glyndebourne Festival. Of Anthony’s recent portrayal of Scarpia in Catherine Malfitano’s production of Tosca at the English National Opera, Tim Ashley of The Guardian praised, “Its central performance by Anthony Michaels-Moore makes the evening a remarkable experience. Some baritones have viewed the role primarily in terms of thuggery. Michaels-Moore, however, offers us a study in the sexuality of power and the psychopathology of evil. We are conscious from the outset of his malign charisma and eerie physical grace.”
Anthony’s European engagements have taken him to Wiener Staatsoper (Don Carlo, Rigoletto, Tosca, Nabucco, Manon Lescaut, L’elisir d’Amore, Stiffelio, Il Barbiere di Siviglia, I Vespri Siciliani, and La Forza del Destino); Teatro alla Scala (La Vestale, Die Zauberflöte, Linda di Chamounix, Beatrice di Tenda, and Pulcinella); Teatro de Regio Parma (Rigoletto, Nabucco); Teatro San Carlo Naples (La bohème and Manon Lescaut); Macerata Sferisterio(Macbeth); Opéra National de Paris (Madama Butterfly, Iphigénie en Tauride, Le Nozze di Figaro, Eugene Onegin, Falstaff, Il Trovatore, Les Vepres Siciliennes); Le Théâtre du Châtelet (Otello and Falstaff); Le Théâtre du Capitole Toulouse (Il Trovatore); Bayerische Staatsoper (Le Nozze di Figaro, Tosca, La Traviata, Madama Butterfly, Nabucco); Deutsche Oper (Eugene Onegin, La Traviata, Nabucco); Staatsoper Berlin (La Forza del Destino); Gran Teatre del Liceu (Il Trovatore, Il barbiere di Siviglia, Andrea Chenier, Lucia di Lammermoor, Simon Boccanegra); Grand Théâtre de Genève (Don Carlo); La Monnaie (Tosca, I due Foscari, Rigoletto); Megaron Athens (Don Carlo, Thaïs); Amsterdam Het Muziek Theater (Rigoletto, Madama Butterfly); and Madrid’s Teatro Real (La Duena, Lucia di Lammermoor, Die Zauberflöte, Il Trovatore, Rigoletto) and Oper Köln (Tosca, La Forza del Destino).
Equally sought after in North America, Anthony has appeared at the Metropolitan Opera (La bohème, I Pagliacci, Lucia di Lammermoor, La Traviata, Cyrano de Bergerac, Peter Grimes); San Francisco Opera (Eugene Onegin, Don Carlo, Lucia di Lammermoor, Cavalleria Rusticana, I Pagliacci); Chicago Lyric Opera (Attila); Santa Fe Opera(Simon Boccanegra, Falstaff, The Letter, La Traviata); Pittsburgh Opera (Don Carlo, Un Ballo in Maschera); Florida Grand Opera (La Fanciulla del West); Opera Colorado (Madama Butterfly); and Canadian Opera Company (Così fan tutte). He has also appeared at the historic Teatro Colon in Buenos Aires (Andrea Chénier) and recently debuted in the title role of Rigoletto with Opéra de Montréal in Canada.
In concert, Anthony has performed with the world’s top conductors including Vladimir Jurowski, Fabio Luisi, André Previn, Riccardo Muti, Michael Tilson-Thomas, Sir Colin Davis, Sir Andrew Davis, Sir Charles Mackerras, Sir Neville Marriner, Sir Edward Downes, Nikolaus Harnoncourt, Leonard Slatkin, Bernard Haitink, Sir John Eliot Gardiner, Andris Nelsons, Daniel Harding and Daniele Gatti, in a repertoire ranging from Haydn’s Creation to Orff’s Carmina Burana. Anthony has appeared at the First Night of the BBC Proms on several occasions, and has performed with theRoyal Concertgebouw Orkest, London Symphony Orchestra, Vienna Philharmonic Orchestra, and Concentus Musicus. Anthony gave his London recital debut at St. John’s Smith Square in 2007 as part of the prestigious Rosenblatt Recital Series. Last Season he sang Faure’sRequiem with the Bergen Symphony Orchestra, Bruckner’s Mass in F minor with the Bavarian Radio Symphony Orchestra in Lucerne and Munich, and Mahler’s Symphony No. 8 at theEdinburgh International Festival under Donald Runnicles.
The singer’s varied discography includes recordings for Deutsche Grammophon (Carmina Burana); Sony (La Vestale, Lucia di Lammermoor); Teldec (Fairy Queen); Conifer (The Puccini Experience); Opera Rara (Mercadante’s Orazi e Curiazi); LSO Live (Peter Grimes); Philips(Yeoman of the Guard, Aroldo); BMG (La Favorite, Szymanowski’s Stabat Mater); Decca (Falstaff); and Chandos (A Masked Ball).
Anthony’s 2010/11 Season included his North American debut in the title role of Rigoletto for Opéra de Montréal; Sharpless in Madama Butterfly at both Opéra National de Paris and at the Royal Opera House, Covent Garden; Francesco Foscari in I due Foscari at Théatre des Champs Elysées; and an appearance with Opernhaus Zürich in the title role of Falstaff with Daniele Gatti conducting. Concert highlights included his role debut as the Marquis de la Force in Les Dialogues des Carmelites for La Palau de la Musica, Valencia.
In 1995 Anthony Michaels-Moore was honoured with the Royal Philharmonic Society Music Award, the highest recognition for live classical music making in the United Kingdom.
English National Opera – La Traviata
Michaels-Moore, producing some of the most outstanding, beautiful and superbly shaped singing of the evening, showing what a great Verdi singer he can be and giving Giorgio Germont a nobility that seemed at odds with the concept.
She and Michaels-Moore were on fully equal terms in the Act 2 duet, this both giving us some of the best Verdi singing I have heard in a long time.
Michaels-Moore gave us a finely sung, but also strongly acted Giorgio Germont. His performance showed us a deeply conflicted man, all done via some strongly shaped singing withouta hint of bluster, wobble or vamping.
Robert Hugill, Planet Hugill, February 2013
Michaels-Moore is magnificent, capturing with compassion and intelligence a father who acts with his best intentions and yet must later account for his mistakes. The scenes involving the triad of lover, son and father are incredibly moving.
Harriet Baker, Female Arts, February 2013
Better yet was the soundly sung Germont of Anthony Michaels-Moore.
Michael Migliore, Musical Criticism, February 2013
…while Johnson and Anthony Michaels-Moore as Germont sing classily, with cut-glass diction…
Hugh Canning, The Sunday Times, February 2013
This vision of Germont as Scarpia’s wayward brother was powerfully conveyed by Anthony Michaels-Moore.
Mark Valencia, What’s on Stage, February 2013
Anthony Michaels-Moore is suitably overbearing, enfolding Alfredo in a tough paternal carapace.
Nick Kimberly, London Evening Standard, February 2013
Anthony Michaels-Moore delivered an impressive performance as Germont senior…
Francesca Vella, Bachtrack, February 2013
[Anthony Michaels-Moore]’s forcefulness was certainly effective and his presence commanding.
As Germont, Anthony Michaels-Moore sang with dark Verdian heft, but with a warmth and eloquence as his sympathy for Violetta grows that simply didn’t fit in with Konwitschny’s cartoon- villain concept of the role.
Peter Reed, Classical Source, February 2013
With Anthony Michaels-Moore an impressively stentorian Germont…this is a gripping and impressive Traviata.
Rupert Christiansen, The Telegraph, February 2013
Anthony Michaels-Moore… is the genuine Verdi-baritone article, and sings his romance of attempted consolation to the devastated Alfredo with real style.
David Nice, The Arts Desk, February 2013
Anthony Michaels-Moore… projected well. ‘Di Provenza’ (‘What has turned your heart away?’) was well sung, especially the tender lines in the second verse.
Mark Pullinger, Opera Britannia, February 2013
Oper Köln – La forza del destino
Anthony Michaels-Moore is obviously not new to singing; you can tell from his powerful, virile voice… he gave a vivid portrayal of the vengeful Don Carlo.
Online Music Magazine, September 2012
English National Opera – Tosca
… the central performance by Anthony Michaels-Moore as Scarpia makes the evening a remarkable experience. Some baritones have viewed the role primarily in terms of thuggery. Michaels-Moore, however, offers us a study in the sexuality of power and the psychopathology of evil. We are conscious from the outset of his malign charisma and eerie physical grace. His voice is in terrific shape and his singing wonderfully baleful and incisive. Go and see it for Michaels-Moore, though, whatever you think of the rest of it.
Tim Ashley, The Guardian, November 2011
As for Scarpia himself, Anthony Michaels-Moore – the only principal to return from the production’s original cast – has everything the part demands. Blest with a nice line in reptilian venom, his compelling portrayal of a predator who luxuriates in the erotic power of evil.
Mark Valencia, Classical Source, November 2011
As Cavaradossi’s nemesis Scarpia, Anthony Michaels-Moore…was the ultimate stage villain, with a commanding presence, scarily believable as the stereotypical evil police chief.
David Karlin, Bachtrack, November 2011
Anthony Michaels-Moore’s effortless projection in the grand “Te Deum” a cocktail of lust and religion…
David Nice, The Arts Desk, November 2011
As Scarpia himself, Anthony Michaels-Moore reprised the role he sang in the first run of this production in May 2010. This attractive but deadly man evinces real desire for Tosca, combined with cool-headed cunning. I find the representation by Michaels-Moore to be spot on.
Mark Ronan, Word Press, November 2011
Anthony Michaels-Moore brings his customary musical intelligence to bear on the role of Scarpia…
Barry Millington, London Evening Standard, November 2011
Tosca needs, above all else, a good villain, and Michaels-Moore is as venomous as they come in the role of Scarpia, positively oozing malice as the evil despot-torturer-rapist.
William Hartston, Express, November 2011
Opéra de Paris – Madama Butterfly
In the role of Sharpless, Antony Michaels-Moore performed well… his acuity with text and sensitive acting made for a very rewarding portrayal.
Ditlev Rindom, Mundoclasico.com, August 2011
Anthony Michaels-Moore portrayed a suitably rumpled and kindly Sharpless. In the long letter scene in Act II he ably balanced the sense of anger at the situation he has been forced into with compassion for Butterfly’s fate… [Michaels-Moore] delivered a compelling and rewardingly detailed performance.”
“… [Michaels-Moore] sang with warmth throughout the evening.” “Anthony Michaels-Moore looks and sounds the part as the US Consul Sharpless…
Edward Seckerson, The Independent, July 2011
…Anthony Michaels-Moore was a bluff, warm-hearted and sympathetic Sharpless.
Seen & Heard International, July 2011
The role of the Consul Sharpless was ably and assertively sung by Anthony Michaels-Moore, and was especially touching during the letter-reading scene; his exasperation with Cio-Cio-San’s refusal to listen, and with Pinkerton’s abandonment of her, was brought tangibly to the fore.
Kevin Rogers, Classical Source, July 2011
Anthony Michaels-Moore’s Sharpless was the only stand-out performance beyond Opolais’s Butterfly
Anthony Michaels-Moore is a[n]… endearingly compassionate Sharpless.
Anthony Michaels-Moore… managed skilfully to negotiate the role’s demand to be both (Imperially) mighty and sympathetic.
Flora Willson, Musical Criticism, June 2011
Anthony Michaels-Moore was unsurprisingly excellent as Sharpless, with his full-bodied voice and intelligent interpretation.
Gerard Mannoni, Altamusica.com, January 2011
Opéra de Montréal – Rigoletto
Baritone Anthony Michaels-Moore attracted attention in the title role. Performing with amazing presence, his dark voice suited the character perfectly… brought a remarkable breadth of expression to the role.
Jacques Hétu, Musique Classique, October 2010
His newest album, Songs of the Sea, Songs of Travel, can be purchased here.