Latonia Moore


Highlights in Latonia Moore's 2015/16 season include the title role in a new production of Tosca for the New York City Opera, Cio-Cio San Madama Butterfly for both the Metropolitan Opera and the San Diego Opera, Bess Porgy and Bess at the Cçsis Festival in Latvia and Fidelia in Puccini's Edgar at the Klangvokal Musikfestival Dortmund.

Miss Moore made an unexpected and triumphant debut at the Metropolitan Opera in March 2012 replacing Violeta Urmana as Aida. Her performance was broadcast on live radio and was received rapturously by the press and public alike. The New York Times reported that “she received an ecstatic ovation…her voice was radiant, plush and sizable at its best, with gleaming top notes that broke through the chorus and orchestra during the crowd scenes…Moore has enormous potential.”  Particularly associated with this role, she has gone on to sing Aida with great success at Covent Garden; the Opernhaus Zurich; Opera Australia; the New National Theatre in Tokyo; the Dallas, San Diego, Cincinnati, Pittsburgh and Detroit Operas and at the Ravinia Festival with the Chicago Symphony Orchestra under James Conlon.  She returns to the Metropolitan Opera in the role in the 2016/17 season.

Other notable highlights have included Elisabetta Don Carlo for Opera Australia, Liù Turandot at Covent Garden; Cio-Cio San Madama Butterfly and Amelia Simon Boccanegra for the Hamburg State Opera; Liù, Cio-Cio San and Mimi La bohème at Dresden’s Semperoper; Micaëla Carmen for the New York City Opera; Micaëla, Liù, Elvira Ernani and Lucrezia I due Foscari in Bilbao; Vivetta L’Arlesiana and Fidelia Edgar in Carnegie Hall with the Opera Orchestra of New York and Bess Porgy and Bess with the Berlin Philharmonic Orchestra under Sir Simon Rattle.

Her recordings include the role of Lady Macbeth Macbeth with Edward Gardner for Chandos and Mahler’s Symphony no. 2 with the Vienna Philharmonic and Gilbert Kaplan for Deutsche Grammophon.

Miss Moore's many awards include the Maria Callas Award as debut artist of the season at the Dallas Opera, the Richard Tucker Foundation Grant (2005), first prize at the Marseilles Competition (2003), first prize in the International Competition dell’Opera in Dresden (2002).

This is for information only. Please contact Camilla Wehmeyer for an up-to-date biography.

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News & Features



Carmen (Micaëla)

Mefistofele (Margherita)

La Wally (title role)

L'Arlesiana (Vitetta)

Lucrezia Borgia (title role)

Susannah (title role)

Porgy and Bess (Bess)

Faust (Marguerite)

I Pagliacci (Nedda)

L'Amico Fritz (Suzel)

Don Giovanni (Donna Anna / Donna Elvira)

Les Contes d'Hoffmann (Antonia)

La bohème (Mimi)
Edgar (Fidelia)
Manon Lescaut (title role)
Suor Angelica (title role)
Tosca (title role)
Turandot (Liù)
Madama Butterfly (Cio Cio San)

Eugene Onegin (Tatyana)

Aida (title role)
Il Corsaro (Medora)
Don Carlo (Elisabetta)
I due Foscari (Lucrezia Contarini)
Ernani (Elvira)
Macbeth (Lady Macbeth)
Otello (Desdemona)
Simon Boccanegra (Amelia)
Il Trovatore (Leonora)


St Matthew Passion


Mass in C
Missa Solemnis
Symphony no. 9

Chichester Psalms

War Requiem

Mass in E Minor
Mass in F Minor
Te Deum

Stabat Mater


Die Jahreszeiten
Die Schöpfung

Symphony No. 2
Symphony No. 4
Symphony no. 8 

Symphony no. 2
Psalm 42

Coronation Mass
Mass in C Minor
Vesperae di Domenica
Vesperae Solennes de Confessore


Stabat Mater

Mass in G
Mass in E Flat



Vier Letze Lieder

Les Noces

Messa per Rossini

Wesendonck Lieder

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Media Player


  • Latonia Moore interviewed by by Nicolas Reveles at the San Diego Opera




Madama Butterfly

San Diego Opera

Moore brings new dimension to ‘Butterfly’. Soprano astonishes with acting, vocals in lavish San Diego Opera production. In her astonishing title performance in the company’s latest production, which opened Saturday at the San Diego Civic Theatre, Latonia Moore humanizes the character in a way I’ve never seen. Moore’s rich, supple and multi-octave soprano voice has none of the brittle edges often heard from others in the difficult-to-sing role, and neither does her portrayal of Cio-Cio-San, the love-struck geisha who gives up everything for a visiting American ship captain in turn-of-the-century Japan. Cio-Cio-San, whose name means Butterfly in Japanese, is only 15 when she marries the callous girl-in-every-port sailor B.F. Pinkerton. As a result, Moore gives her character a childlike exuberance on her wedding day, an impetuous tendency to preen at landing an American husband, the stubborn teen nature that refuses to give up when he sails into the sunset, and the near-madness that leads her to smile adoringly during his final betrayal. Moore is also a gifted vocal interpreter. She’s got the power to deliver all the ringing top notes, but she doesn’t over-sing, especially in her character’s heartbreaking signature aria “Un Bel Di,” where she confidently predicts that one day Pinkerton will return. While this “Madama Butterfly” may be the first opera for many San Diegans attending this month, it’s also worth the ticket price for those who’ve seen it many times, because in Moore’s revelatory portrayal, there are many new things to discover.
Pam Kragen, The San Diego Union-Tribune, 17 April 2016
...rising American star Latonia Moore would have carried the show even without support from her first-rate cast members. Last seen here as Aida in 2013, Verdi specialist Moore proved that she was equally capable of nailing a female Puccini protagonist’s role with comparable vocal beauty and dramatic intensity. It is indeed a luxury to hear Puccini’s shimmering lines sung with the vitality that a Verdian soprano is capable of. Add to that a remarkable constellation of dramatic peaks and valleys that intensify as the layers of the character are peeled off to reveal a protagonist whose inner core of strength builds right up to the inevitable dénouement, and you have a portrayal that reveals the complexities of a creature whose ability to captivate her hero (in this case, perhaps an anti-hero) is utterly believable. Erica Miner,, 17 April 2016
Latonia Moore’s vocally radiant Butterfly electrified San Diego Opera’s opening-night production of Puccini’s beloved tragedy about the 15-year-old geisha who is betrayed by a callow American Naval officer. Surrounded by a stellar cast of equally strong voices, Moore kept the dramatic tension white-hot all evening, even though the most casual opera-goer knows the opera’s simple plot by heart. Ken Herman, San Diego Story, 18 April 2016
Butterfly soars with Latonia Moore in lead.  In the three plus hours Moore [matures] from a gushing schoolgirl to a mature woman with responsibilities and tough decisions to make. Throughout, her sumptuous voice rings like a bell. Her movements for a large woman never hamper and every situation is staged beautifully. Her maturity comes in her actions and the way she comports herself in difficult times. While never taking anything away from her strong voice, there is a softness about her thinking; a resignation of what the future will hold for her and her son. Carol Davis, San Diego Theater Examiner, 21 April 2016
Latonia Moore was a credible, poignant Butterfly who brought the geisha’s tragedy home. She has a creamy lyric voice that resounded with beauty of tone throughout the auditorium and her phrases were delivered with a quality of tone well suited to the expression of their meaning. Her acting was believable and her characterization of the abandoned young wife became totally convincing. Maria Nockin, Opera Today, 25 April 2016


Madama Butterfly

Metropolitan Opera, New York

On Wednesday [Latonia Moore] stepped into the Met’s gorgeous staging of Puccini’s Madama Butterfly for a single night, winning the sort of triumph you tell people about the rest of your life. The twin poles of operatic excellence are vocal beauty and emotional commitment, with great stars generally tipping the scales toward one quality or the other. Ms. Moore, though, has it all, singing like a serene angel while ripping out your heart. The voice itself is a pearly full lyric soprano with a fascinating variety of color, like luxurious silk brocade. She played the doomed geisha not as a fragile child bride, but instead as a full-blooded woman, wise enough to doubt her blind faith but so passionate she virtually willed herself to believe.
James Jordan, Observer Culture, 03 March 2016



New York City Opera

Latonia Moore earned a well-deserved standing ovation for her performance in the title role: admired for her Aida at the Met and elsewhere, she made her role début with this Tosca and ran with it, singing with a sweet and plush tone that had plenty of brilliance when necessary.  Russell Platt, The New Yorker, 28 January 2016
What was the most intriguing piece of casting on paper turned out to be the most satisfying performance. In her debut as Tosca, the American soprano Latonia Moore boasted a million-dollar voice, rich and golden across two full octaves. Particularly glorious was the very top of her range, huge glowing high B-flats and steely, electrifying C’s. Alone among the company she seemed to fit into the stylized surroundings, moving with dignity and purpose. James, Jordan, Observer, 28 January 2016
Latonia Moore brought a creamy dramatic soprano and theatrical savvy to the title role.  Her 'Vissi d'arte', elegantly phrased yet underpinned with emotion, was genuinely moving, easily the vocal high point of both performances. George Loomis, Opera, April 2016



Atlanta Symphony Hall (Atlanta Symphony Orchestra/Spano)

The Libera me was absolutely owned by Ms Moore; her strong, beautiful voice was never overshadowed by the chorus. She also became an actor during this section, using her posture, her hand placement and gestures, and her facial expressions to subtlety act out the hope and fear contained in the libretto. At one point, she added to the drama by turning away from the audience while singing with the chorus. She was absolutely stunning, and deserves high praise for breaking out of the mold of the soloist-standing-still-with-score-in-hand. How appropriate for the most operatic of Requiems. William E. Ford, Bachtrack
The four esteemed soloists made for a well-matched quartet. More precisely, Moore’s liquid soprano with Cano’s mahogany-hued mezzo voice, and Griffey’s bright, empyrean tenor with Stark’s reedy stentorian bass. Three of them — Moore, Griffey and Stark — are all returning artists to the Symphony Hall stage with recent ASO performances to their credit Mark Gresham, Arts Atlanta, 14 November 2014


Don Carlo

Opera Australia, Sydney

As the reluctant queen Elisabeth de Valois, Latonia Moore sings with impressive even strength, giving equal focus to vocal depths and peaks. Peter McCallum, Sydney Morning Herald, 15 July 2015
The outright star of the performance was Latonia Moore, an American soprano known and loved in Sydney for the title role of Aida both in-and-outdoors. As Elisabeth de Valois, she demonstrated unique control of vibrato, volume and poignant emotions, culminating in her aria (“Tu che le vanità”) in the final Act. Her moving struggle for love and happiness may have been hopeless, but her effortlessly graceful singing offered some of the most beautiful moments of the night. Zoltán Szabó,, 09 August 2015
The third member of the stellar trio is American soprano Latonia Moore as the victimised Queen Elisabeth. A standout Aida earlier in the year, she reveals herself to be a Verdian lyric soprano of real stature, supporting the taxing lines in her two key arias with a combination of grace and power...she rises to the theatrical challenges from Act IV onwards. Her tonal strengths, evenly displayed from gleaming top to rounded bottom, climax in a magnificent rendition of Tu che le vanità – surely Verdi’s finest dramatic scena for soprano. Clive Paget, Limelight, 15 July 2015
Latonia Moore is in excellent form as Elisabeth — her voice is remarkably large, particularly at the top, but constantly sounds healthy, fleshy, perfectly-supported and completely rounded. Sydney audiences will remember her from her performances as Aida both on the harbour and in the opera house, and she brings the same charisma and presence to this role. Ben, Neutze, Daily Review, 15 July 2015
Elisabeth [is], the cracking American soprano Latonia Moore. Jason Catlett, TimeOut Sydney, July 2015
The abundant-toned Moore (the bloom at the top is gorgeous) has a warm, engaging stage presence.  'Tu che le vanità' was full of dramatic fire but touching too. Deborah Jones, Opera, October 2015



Opera Australia, Sydney

Moore is perhaps the greatest Aida in the world at the moment, with a commitment to both her fiery characterisation and an elastic and expressive vocal performance. It’s a rich, encapsulating sound, with power and incredible warmth through her entire range. Her performance is reason enough to attend. Ben Neutze, Daily Review, 28 March 2015
The greatest asset to this production, fortunately, comes in the form of its leading lady. The American soprano Latonia Moore is a superb Aida, her sumptuous voice rising to nearly every challenge and riding over orchestra and chorus. A proper Verdi soprano, she has the fearless attack of a Callas (she even manages the famous Callas top E Flat!) and really engages with the text both in Ritorna Vincitor and her radiantly sung Nile scene. Her bottom register is a dream – full, strong yet never ugly. The way she bends a phrase like Ah! non fu interra mai da più crudel angoscie un core affranto! (never on earth was a heart torn by more cruelty) is textbook. O Patria mia was beautifully phrased, the voice refulgent all the way to the top. She does a great deal with an acting part that requires her to be pretty much despairing most of the time.
Clive Paget, Limelight, 28 March 2015
Latonia Moore's voice in the title role has rich complexity, colour and power. Peter McCallum, Sydney Morning Herald, 28 March 2015
Post-interval, the show has fewer pyrotechnics, more heart and – crucially – more Moore, who is radiant of voice and noble of presence as Aida. Nancy Groves, The Guardian, 30 March 2015
The indisputable star of the evening was Latonia Moore in the title role – her voice was powerful, sweet and seemingly effortless and her arias in the second act were particularly enjoyable. Eliza Eggler, Australian Stage, 29 March 2015
In the title role, American soprano Latonia Moore is a passionate, dramatic presence, vocally and visually. She brings strength and vulnerability to the role of the captured Ethiopian slave girl/princess torn between her love for her homeland and father and for the Egyptian military hero, Radamès Her heartbreaking delivery of O patria mia was a musical high point of an evening that belonged to Moore. Moore previously sang Aida in the Sydney Opera House in 2012 when she stepped in at short notice, just as she did at the Met in New York earlier that year. For both she gained glowing reviews and she is being justly hailed as one of the most compelling Aida's on the international stage.
Joyce Morgan, Huffington Post, 31 March 2015
[Moore] has a lustrous, dark power at the bottom of the range, warm glow at the top, and she acted every moment with with conviction.  'Ritorna vincitor' and 'O patria mia' were the shining dramatic highlights. Deborah Jones, Opera, June 2015



Orchestra of the English National Opera/Gardner (Chandos CD, 2014)

The American soprano Latonia Moore sings powerfully as Lady Macbeth. Rupert Christiansen, The Telegraph, 24 April 2014
American soprano, Latonia Moore could well have met Verdi’s original conception of the ideal voice. She matches Simon Keenlyside for vocal quality and characterisation. Her voice is rich in colour and can soar to the heights with apparent ease. Her tonal variety is heard to good effect when reading Macbeth’s letter and in the sleepwalking scene where she hits the vocal stratosphere with ease and security. Robert J Farr, Musicweb International, 2014


The Ordering of Moses

Carnegie Hall (Cincinnati Symphony Orchestra/Conlon)

...the soprano Latonia Moore rang over above the formidable May Festival Chorus as Miriam... Amanda Angel, New York Classical Review, 10 May 2014
Soprano Latonia Moore's finest moment was her glowing 'Come, let us praise Jehovah.' Her crystalline soprano, sung against the gentle 'hallelujahs' of the women of the May Festival Chorus, was something to behold. Janelle Gelfand,, 11 May 2014



Opernhaus Zürich

Latonia Moore gibt diese Aida, und sie ist weit über das Titelheldinnentum hinaus das Zentrum und die Seele dieser Aufführung. In nicht weniger als fünf verschiedenen Produktionen hat die 33-jährige Texanerin ihre Paraderolle in den vergangenen Monaten gesungen, aber da ist nichts Routiniertes in ihrer verblüffend gelassenen Interpretation. So mühelos wie intensiv entwickelt sie ihre Phrasen aus einer vollen Tiefe heraus, und ihre Spitzentöne klingen nie überambitioniert, sondern strahlen wie von selbst. Wer weiss, vielleicht wirkt da die frühe Gospelprägung nach, vielleicht ist es auch nur die Vertrautheit mit einer Figur und einer Musik, die Moore ganz selbstverständlich zu entsprechen scheinen. Susanne Kübler, Tages Anzeiger, 04 March 2014
Latonia Moores warm timbrierter So­pran gibt stimmlich eine berührende Aida. Bruno Rauch, Der Landbote, 04 March 2014
Die 34-jährige Latonia Moore (Aïda) ist ein Emotionsvulkan: Die Kraft ihrer Stimme ist riesig... Christian Berzins, Aargauer Zeitung, 03 March 2014
...die stimmmächtige Latonia Moore spannt prächtig weite Bögen... Torbjörn Bergflödt, Südkurier, 04 March 2014



Pittsburgh Opera

Latonia Moore commanded the stage as 'Aida,' a role she's performed at the Metropolitan Opera in New York City. He voice is lustrous and smooth on top, and has an emotional tinge even at the ends of phrases that taper quietly. Her lowest register was dry at first, but velvety long before the exquisite tomb scene.  The soprano's power was thrilling to experience, both in solos and in big scenes. She also acted extremely well. All in all, an unforgettable company debut. Mark Kanny, Pittsburgh Tribune, 13 October 2013



Ravinia Festival (Chicago Symphony Orchestra/Conlon)

Much of the excitement centered around the Ravinia debut of soprano Latonia Moore, who scored a memorable triumph in the title role, earning a storm of applause and cheers by the end of the evening. Moore made the role indelibly her own. Aida has become something of a signature role for the 35-year-old Houston native, having sung nearly 50 performances of the work at the Metropolitan Opera, Covent Garden and various regional American houses. Her sound is plush and lustrous, produced without effort. It is even in quality from an earthy chest voice to a velvety middle to a gleaming, powerful top. Unlike many who undertake 'O patria mia,' she capped off that treacherous aria with a high C sung dolce (softly), as Verdi indicates. She also brought dramatic charisma and vivid stage presence to her performance, whether in her confrontation with Michelle DeYoung as Amneris, the Egyptian princess who is her rival for Radames' affections; or in the taxing Nile Scene, where Aida bows to the will of her father, the Ethiopian king Amonasro (Mark Delavan), and causes Radames (Roberto Alagna) to unwittingly betray king and country. There was palpable electricity in Moore's scenes with DeYoung and Delavan, each artist bringing out the best in the others.
John von Rhein, Chicago Tribune, 04 August 2013



Cincinnati Opera

Latonia Moore, a young spinto soprano with awesome reserves in the upper and lower range, an unflagging legato line and plenty of heft in the middle voice sang 'Ritorna vincitor,' unleashing her voluminous voice in the opening middle passages and then tapering off to a lovely pianissimo for 'Numi, pieta del mio soffrir.' Her Nile scene proved beyond a doubt that she owns the role with a meltingly sung 'O patria mia,' easily rising to the notorious high C at the end with total aplomb. Rafael de Acha, Seen and Heard, 23 July 2013
The cast, headed by soprano Latonia Moore as Aida, was superlative...Moore, who made a celebrated last-minute debut as Aida at the Metropolitan Opera in New York in 2012, captivated the Cincinnati audience likewise, calibrating her full, rich soprano exquisitely to tender as well as impassioned moments. Mary Ellyn Hutton, Concerto Net, 01 August 2013
Moore's company debut as the Egyptian Princess will be remembered as one of the great performances on Music Hall's stage.  Her voluptuous, effortless sound soared over massive choral and orchestral forces, yet she also projected nuance and beauty.  Her anguished 'Ritorna vincitor !' in Act I was striking for the emotional depth and the sympathetic tone she conveyed.  The American soprano projected powerfully in the first two acts and summoned velvety pianissimos in the last two.  She sailed sweetly up to the high C in 'O patria mia,' and sang with lyrical beauty as she tried to convince Radames of the ecstasy they would share if they fled together. Janelle Gelfand, The Enquirer, 20 July 2013



Detroit Opera

As Aida, Latonia Moore unleashed a bright, forward, lush soprano of much power; she also endowed Aida with earthiness.  It was a nuanced performance all round. Michael H. Margolin, Opera, November 2013



San Diego Opera

In the title role, Latonia Moore was [Walter] Fraccaro’s equal, showing the same power but with considerably more warmth. And she is as much a communicator as a singer. James Chute, The San Diego Union-Tribune, 21 April 2013
As the Ethiopian princess Aida, American soprano Latonia Moore more than impressed with her creamy vocals. Her powerhouse voice, particularly in 'Ritorna vincitor!,' could easily fill the 3,000-seat San Diego Civic Theatre, but she also possesses a delicacy and beauty of tone, heard best in the finale. Pam Kragen, Concerto Net, April 2013
Last evening Ms. Moore was the bright light. Already celebrated as a world-class artist since her relatively recent opera debut, she counts the Met, Covent Garden and Hamburgische Staatsoper among her operatic conquests. As the ill-fated Ethiopian princess, she carried the burden of a role taxing in its tessitura and weight with seeming ease. Her exquisite artistry in phrasing and lyric beauty of her voice evoked the shimmering stars of an Egyptian night. Vocally she was like a fine, fresh Beaujolais wine with “notes” of Leontyne Price and Leona Mitchell, her lustrous turns of phrase reminiscent of the young Renée  Fleming. The audience’s warm reception and uninhibited standing ovation were almost a given for this rising operatic force of nature. Erica Miner, Opera Pulse, 22 April 2013
The last-minute Met debut of soprano Latonia Moore is the stuff of which legends are made. While not a legend yet, Moore is understandably lauded for her performance of Aida and is on the cusp of becoming something very special indeed. She is a magnet onstage, drawing every eye to her fully-committed, corporeal involvement in the part, even when not singing. It is quite unfair to mention Leontyne Price in any review of a current Aida, but there is an uncanny vocal resemblance here. Moore doesn’t sing with Price’s uniformity of sound, but her top notes are thrilling, with a similar crying edge in the sound that effortlessly carries the voice above the ensemble. Moore’s soprano voice has edge and fire; in some ways she’s a throwback with her use of portamento and range of expression. She holds back nothing. Moore’s phrasing is graceful and her pianissimos effortless. Her 'Ritorna vincitor' was tortured and highly sympathetic. Her 'O patria mia' was expressive and dynamic. Her high C was spot-on and shimmering. Still, it’s not a completely polished instrument. But what is already well-established in her voice is often breathtaking. She has a chance to be a star as Aida with a unique color of sound and intelligence as a singing actor. A word to the wise: keep an eye on Latonia Moore.
Matthew Richard Martinez, BachTrack, 20 April 2013



Dallas Opera

The star of Sunday's performance was soprano Latonia Moore in the title role. She first generated a lot of buzz in the Dallas area in 1998, when, as a University of North Texas student, she won the Dallas Opera Guild Vocal Competition in spectacular fashion.  She certainly impressed again Sunday, with a powerful, gorgeous voice that could easily be heard even against massed forces. Olin Chism, Star Telegram, 31 October 2012
Latonia Moore has received a lot of buzz leading up to her performance in this opera as Aida. Earlier this year, she made her Metropolitan Opera debut in the role, filling in for an ailing soprano. Compared to others on stage, her vocal performance stood out. Her voice has great strength and range, an impressive instrument to witness in a live performance. Throughout the opera, over a sometimes slightly over-bearing (but gorgeously shaped) orchestral performance, she capably manoeuvered the demands of the repertoire. Katie Womack, Dallas Observer, 30 October 2012
It is easy to see why New York audiences went wild when they heard Latonia Moore, go on in the leading role in Aïda in March. One of her two big arias, 'Ritorna vincitor', happens in the first act. It is a tour de force, both vocally and acting-wise, and sopranos great and lesser have crashed on its rocky shores. On the other hand, Friday evening for the gala opening performance of Verdi's 'Aïda' produced by the Dallas Opera, Moore was transcendent. All of the red carpet folderol that accompanies the opening of the opera season pales with the memory of her performance. Vocally, she was superb with her big and beautiful voice that easily soared over cast, chorus and orchestra. On top of that, her acting was riveting. Every change of emotion was visible as the tormented and conflicted Aida poured out her heart. Little wonder there was an overwhelming ovation for her, both in New York's Metropolitan Opera production and in the Winspear Opera House Friday night. Gregory Sullivan Isaacs, Theater Jones, 27 October 2012
Houston-born, UNT-trained soprano Latonia Moore, a rising star who has already triumphed as Aida at Covent Garden and at the Met, simply astounded with a voice that was equally powerful—and clearly capable of subtle effect—from top to bottom. While sheer magnitude are volume are the most immediately striking aspects of her voice, Moore proved repeatedly throughout the evening that she is capable of producing arresting emotional effect as well. Wayne Lee Gay, D Magazine, 27 October 2012
The one character who did seem flesh-and-blood human, and touchingly believable, was Latonia Moore's Aida.  She commanded an impressive instrument, with a blazing top. Scott Cantrell, Opera, March 2013


Porgy and Bess

Berlin Philharmonie (Berlin Philharmonic Orchestra/Rattle)

Latonia Moore: Die vitale junge Dame singt Bess mit leuchtendem, selbstbewusst vibrierenden Sopran. Zielsicher erklimmt sie federnd höchste Höhen. Leichtes Soubretten-Timbre. Prima die Auseinandersetzung mit Crown im 2. Akt, 2. Szene. Apartes, schwereloses Vibrato in “I loves you Porgy”.

Latonia Moore: The vital young lady sings Bess with bright, confident, vibrant soprano. Unerringly she climb the highest heights spring. Light soubrette timbre. Prima confrontation with the Crown in the 2nd Act 2 Scene. Apartes, weightless vibrato "I loves you Porgy".



Opera Australia, Sydney

In the title role, Latonia Moore, though diminutive in stature for a person who rocks an empire, sings with a huge enveloping sound, easily soaring over chorus and orchestra with warmth and even colour over a wide pitch range. Though capable of poise and pathos, it is in the dramatic moments and large chorus scenes that she excels. Peter McCallum, The Sydney Morning Herald, 19 July 2012
Latonia Moore, a young American soprano who was given just a day's notice (and no stage rehearsal) to save the day for the Metropolitan Opera in March, replacing Violetta Urmana had a significant success there and also entranced the Sydney Opera House crowd on July 17. [She] quickly settled to thrill the house with a gleaming soprano that is beautifully placed and penetrating enough to soar over the ensemble and orchestra with plenty in reserve. Deborah Jones, Opera, October 2012



Metropolitan Opera, New York

This past March 3, I listened to the Met's Saturday-afternoon broadcast of Aida, with Latonia Moore making her debut in the title role.  At the end, she received a justly deserved ovation.  At that moment, I didn't want to be anywhere but right there in the theater, soaking up the electricity of the audience as it roared its approval.  Brian Kellow, Opera News, April 2012
The audience loved her. When Ms. Moore took her solo curtain call at the end, she received an ecstatic ovation. She brought experience to bear, having sung Aida last season at Covent Garden in London and the Hamburg State Opera. On Saturday her voice was radiant, plush and sizable at its best, with gleaming top notes that broke through the chorus and orchestra during the crowd scenes. She also has appealing stage presence, and brought palpable emotion to her portrayal of the tormented Aida, an Ethiopian princess held captive in Egypt, torn between love of her homeland and passion for Radamès, the leader of the Egyptian forces. That Ms. Moore is a young black artist singing the most famous African heroine in opera lent an extra dimension to her affecting portrayal. Ms. Moore has enormous potential. New York Times, March 2012



Royal Opera House, Covent Garden

...the most glorious-sounding Aida I have heard at the ROH in more than 30 years... Hugh Canning, The Sunday Times