Moore headshot low res

A frequent performer in both Europe and the United States, John Moore is garnering praise for his energetic performances and burnished baritone in both operatic and concert repertoire. He is a graduate of the Metropolitan Opera’s Lindemann Young Artist Program.

John Moore’s 2021-2022 season features the rescheduled tour of The (R)evolution of Steve Jobs as he reprises the titular Steve Jobs with Austin Opera, Lyric Opera of Kansas City, and Atlanta Opera. He also returns to Seattle Opera as Marcello in La bohème, and joins New Orleans Opera as a soloist in their Gala Concert. In the summer of 2022, he returns to Des Moines Metro Opera as Jess in the world premiere of Kristin Kuster’s A Thousand Acres.

During the COVID-19 impacted 2020-2021 season, John Moore’s engagements included the title role in Eugene Onegin with his hometown company Minnesota Opera (cancelled), Handel’s Messiah with the Saint Paul Chamber Orchestra (postponed), the title role in The (R)evolution of Steve Jobs with Atlanta Opera, Austin Opera, and Lyric Opera of Kansas City (postponed), Brahms’ Requiem with the San Diego Symphony, led by Edo de Waart (cancelled), and Conte Almaviva in Le nozze di Figaro with New Zealand Opera (performed).

Mr. Moore’s original engagements during the COVID-19 shortened 2019-2020 season began with the role of Frank Lloyd Wright in Arizona Opera’s production of Shining Brow (performed). He then joined Seattle Opera as the title role in Eugene Onegin (performed), appeared in The Philadelphia Orchestra’s presentation of Ravel’s L’enfant et les sortilèges (performed), and planned to finish the season as Conte Almaviva in New Zealand Opera’s production of Le nozze di Figaro (postponed).

Mr. Moore’s 2018-2019 season included performances of Pa Zegner in Missy Mazzoli’s Proving Up at the Miller Theater, his company debut with San Diego Opera as the Count in Le nozze di Figaro, role debuts as Steve Jobs in The (R)evolution of Steve Jobs with Seattle Opera and Zurga in The Pearl Fishers with Lyric Opera of Kansas City, and a return to Portland Opera, singing Figaro in Il barbiere di Siviglia.

John Moore’s 2017-2018 season included a return to Seattle Opera as Figaro in Il barbiere di Siviglia and role debuts of Hannah Before in As One with Des Moines Metro Opera and Johannes “Pa” Zegner in Proving Up with Opera Omaha. He also returned to the Metropolitan Opera to cover Papageno in The Magic Flute and Belcore in L’elisir d’amore. He finished the season by joining the Glyndebourne Festival as Achilla in Giulio Cesare.

2016-2017 saw the baritone in the world premiere of Missy Mazzoli’s Breaking the Waves with Opera Philadelphia, singing the role of Jan, a role he reprised with Beth Morrison Projects. He also returned to the Metropolitan Opera as Moralès in Carmen, Seattle Opera as Papageno in Die Zauberflöte, the Hyogo Performing Arts Center as Figaro in Le nozze di Figaro, and the Santa Cruz Symphony as Figaro in Il barbiere di Siviglia. In concert he appeared with the Chamber Music Society at Lincoln Center featuring works of Vaughan Williams and Weber.

The previous season saw several significant company debuts for the baritone including: Seattle Opera, as Count Almavivia in Le nozze di Figaro; the Bayerische Staatsoper, Adario in Les indes galantes; Florida Grand Opera, Tadeusz in The Passenger; Portland Opera, as Papageno in Die Zauberflöte, and Opera Omaha, as Figaro in Il barbiere di Siviglia. On the concert stage, he appeared at Carnegie Hall with the Oratorio Society of NY under the direction of Kent Tritle, and the Philadelphia Chamber Music Society.

The 2014-2015 season saw John Moore return to the Metropolitan Opera stage as Moralès in Carmen, as well as Nachtigal in Die Meistersinger von Nürnberg, and he appeared with their annual Opera in the Parks summer concert series. Additionally, he debuted at the Atlanta Opera as the Conte Almaviva in Le nozze di Figaro and covered the role of Tadeusz in Lyric Opera of Chicago’s production of The Passenger.

During the 2013-2014 season, Mr. Moore appeared 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. He also toured Russia with members of the Metropolitan Opera.

In the 2012-2013 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. 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.

Opera Omaha – Proving Up

John Moore gave a thoroughly engaging performance as the alcoholic and angry “Pa” Zegner.”

Kevin Hanrahan, Opera News

Glyndebourne Festival Opera – Giulio Cesare

The American baritone John Moore relished the opportunities accorded to the treacherous general Achilla and indeed made a good deal more than the usual of what often feels like a secondary role, his proud and wide-ranging voice sounding thrilling and his acting no less commanding.”

George Hall, Opera

“John Moore’s testosterone-fuelled Achilla made a strong impact…”

Mark Pullinger, Bachtrack

“John Moore commanded attention as the out-and-out villain Achilla…”

Sebastian Scotney, The Arts Desk

“…American baritone John Moore brought thrilling vocalism and high-definition characterisation to Tolomeo’s treacherous general Achilla.”

George Hall, The Stage

Seattle Opera – Il barbiere di Siviglia

Moore’s Figaro was the standout here, however, with a handsome timbre, unflagging energy, and an easy command of the stage.”

Melinda Bargreen, Seattle Times

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,

“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