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Anthony Michaels-Moore

  • Baritone


Anthony Michaels-Moore press reviews

Scarpia in Puccini Tosca
English National Opera / cond. Edward Gardner / dir. Catherine Maltifano
“Anthony Michaels-Moore was a plausibly saturnine and incisive Scarpia.”
Rupert Christiansen, The Telegraph, May 2010

“Anthony Michaels-Moore carefully avoids panto-villain caricature in his coolly menacing Scarpia.”
Intermezzo, May 2010

“Anthony Michaels-Moore...slithers around Scarpia's oleaginous threats with gruesome flair.”
The Times, May 2010

“Anthony Michaels-Moore's Scarpia stood out.”
Dominic McHugh, Musical Criticism, May 2010

“And Anthony Michaels-Moore’s Scarpia – whose black-caped entourage swoop down on the church choristers in act one like malevolent birds of prey (nice touch) and thereafter remain a sinister presence – does exactly what it says on the tin: he is obsequiously, sadistically, loathsomely mellifluous.”
Edward Seckerson, The Independent, May 2010

“Superb bass Anthony Michaels-Moore excels as Scarpia – with his malignant cocksure, hubristic love of power and, beneath it all, shabby seediness, is a million miles away from the pantomime villain the role can sometimes become.”
Graham Rogers, Classical Source, May 201

Title tole in Verdi Falstaff
Théatre des Champs-Elysées / cond. Daniele Gatti / dir. Mario Martone
“...Based on a high quality of singing, agile and highly secure, the English baritone Anthony Michaels-Moore does not overplay the thickness and vulgarity of Falstaff, and so he becomes touching and credible – particularly when, on returning from his forced bath, he recalls with bitterness the burden of old age and the passage of time."
Concertonet, February 2010

“... Falstaff profits from the natural elegance and class of Anthony Michaels-Moore...His voice is capable of doing justice to the great demands of Verdi”
Utmisol, February 2010

“The premiere of Giuseppe Verdi´s opera Falstaff with the brilliant Anthony Michaels-Moore in the title role. This elegant gentleman is first class as Falstaff, he is singing much better than many Falstaff´s I have heard through many years…”
Kulturkompasset, February 2010

Title role in Verdi’s Rigoletto
English National Opera / cond. Stephen Lord / dir. Jonathan Miller
“As befits such a dark opera, deep voices dominate. Anthony 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.”
Richard Morrison, The Times, September 2009

“Anthony Michaels-Moore’s Rigoletto is a believable standout turn — his magnificent, theatrical baritone that of a man who can topple the mighty by jest alone. Later, the same voice rages at fate and makes you tremble”
Kieron Quirke, Evening Standard, September 2009

"Miller is aided immeasurably by remarkable performances from Anthony Michaels-Moore as Rigoletto...Michaels-Moore's embittered joker masks self-loathing with vicious humour, and in his scenes with Katherine Whyte's Gilda takes us into territory in which tenderness and obsession are brought into juxtaposition"
Tim Ashley, The Guardian, September 2009

“…the evening belonged unequivocally to veteran Michaels-Moore. Eschewing the outward contortions so often brought to the role, his Rigoletto was a much more inward creature, beautifully produced and only occasionally employing the full force of his emotive Verdi baritone to potent effect. His is a more than welcome return to ENO.”
Alexandra Coghlan, Musical Criticism, September 2009

"Indeed with such an excellent cast, this is one of the finest performances of Rigoletto that London has seen in quite a while... (Anthony Michaels-Moore) his first UK appearance as Rigoletto was eagerly anticipated and he did not disappoint. He was firing on all cylinders and managed to make the character repulsive and sympathetic in equal measure, which is no easy feat, and provided an object lesson in how to really sing Verdi and his diction, like most of the cast, was faultless. One of the evening's unbridled pleasures was hearing a proper Verdi baritone in full flood, which had no problem filling the cavernous spaces of the Coliseum. He's certainly the finest exponent of the role to be heard in London in years and it whets the appetite for his take on Scarpia in Tosca later this season."
Keith McDonnell, Music OMH, September 2009

“It seems quite extraordinary that Anthony Michaels-Moore has never sung the title role in Britain, but this was his UK debut as Rigoletto, a part that fits him like a glove (unlike his misshapen, ill-fitting jacket), as the renowned Verdian singer that he undoubtedly is. He has the power as well as the pathos to carry the character and he quite rightly grabs our attention and makes us feel for the tragic situation he creates for himself.”
Nick Breckenfield, What’s On Stage, September 2009

“Anthony Michaels-Moore is Rigoletto. He has been singing the role throughout Europe (presumably in Italian) and brings spite, burden and dignity to the role as well as a finely-rounded baritone.”
Colin Anderson, Opera Critic, September 2009

“The main reason for going to see this run of performances though is for Anthony Michaels-Moore's portrayal of Rigoletto… His characterisation of the hunchback is perfect; as the barman he has quite clearly riled each and every one of the Duke's mob; they've all been on the sharp end of his acid tongue and are quick to get one over on him in return. His leering mockery of Monterone in Act I, whose daughter is the Duke's latest ‘victim’ is in sharp contrast to the nervy, suspicious father we see later. Michaels-Moore has a rich voice of leonine strength and refulgent tone; he spins a great legato, especially in the "Piangi, fanciulla" (`Ah, weep now, my daughter') duet in Act II. Rigoletto, the father, is over-protective rather than tender here; in the Act I duet, he makes no physical contact with Gilda at all, whilst in Act II he cannot face her as she makes her revelation, only taking her hand after their duet. It's at the end of the opera, when he's clasping his dying daughter in his arms, that he finally allows Rigoletto's emotions to show and it's all the more powerful as a result. This is baritone singing of the highest quality from Anthony Michaels-Moore."
Mark Pullinger, Opera Brittania, September 2009