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

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

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

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