Latonia Moore Press Reviews
Opera Australia, Sydney - 'Aida' - July / August 2012
"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
Metropolitan Opera, New York - 'Aida' - February 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
Hamburg State Opera - 'Aida' - May 2012
"American soprano Latonia Moore proved to be a real stroke of luck for Hamburg State Opera. The black singer from Texas filled Aida's tragedy of love with real passion and let her marvellous voice shine. Especially her velvet piano, her shining highs and her dramatic verve were marvelous. An acclaimed Aida!"
Deutsche Presse Agentur / press agency, May 2010
"Latonia Moore put so much passion and emotion in her title role of Aida that everyone in the audience understood at once what it means to be torn between poltical decisions and love."
SörHamburger Morgenpost, May 2012
"Young black American Latonia Moore gave her debut in the title role with fresh girllike charme. What a beautiful, effortless ascending voice - what an emotional, moving and never stiff soprano voice! Latonia Moore is a real jewel!"
Die Welt, May 2012
"The most convincing singer of the evening was young Latonia Moore, an extremely talented American soprano. She gave her role debüt, brilliant in the higher registers and in her dramatic interpretation."
SPIEGEL, May 2012
"BRAVA Philadelphia! AVA Gala, Kimmel Center, Philadelphia. The soprano star of the evening was Latonia Moore whose voice was always plush...On Wednesday, she sang "Un bel di" from Madama Butterfly and "La mamma morta" from Andrea Chenier in ways that showed all fronts of her artistry shored up and spectacularly fused - a great voice at the service of a soul that feels the music deeply and projects, in detail, any given character's inner life."
The Philadelphia Inquirer, April 2010
Minnesota Orchestra - 'Aida' - August 2009
"Making her Orchestral Hall debut Saturday night in the title role was the young Texas-born soprano, Latonia Moore, and an impressive debut it was. Moore was a cauldron of intensity from star to finish, displaying a rich, colorful dramatic soprano that could express itself forcefully in the scenes of high stress but was also palpable of exquisite, floating, soft-grained vocalism - the delicate high A, for example, at the end of her tender reading of "O patria mia".
MichaStar Tribune, August 2009
"Some may have left the hall feeling as if they had one of those "a star is born" epiphanies while listening to American soprano Latonia Moore in the title role. Possessing a rare mix of power, clarity and silky dynamic control, Moore gave every aria an exceptional interpretation. Even while showing herself a good team player on trios and quartets, her talent stood out."
Pioneer Press, August 2009
Bilbao - 'I Due Foscari' - November 2008
"Latonia Moore, who had already had a great success in Bilbao as Liú, was a fine replacement, improving on the original casting by quite some margin. She was enthusiastically received, although she was also making her debut in the role. This young soprano has a bright future and should already be singing regularly in the big houses. She was an outstanding Lucrezia and very few sopranos can compete with her in this role. There was a full theatre, with Latonia Moore...receiving the warmest applause."
Seen and Heard International Review, November 2008
Royal Opera House, Covent Garden - 'Turandot' (Liù) - March 2009
"Moore’s creamy, lyric soprano could take her to the top of her profession."
Opera - Volume 60, March 2009
Bilbao - 'Turandot' (Liù) - October 2008
"The slave Liú has two of Puccini’s most inspired arias and it is no wonder that 9 out of 10 times, it is Liú who triumphs vocally. This is what happened here with the young American soprano Latonia Moore offering a perfect Liú. With a beautiful voice, conveying rare emotion, she sang both arias outstandingly, each of them with ravishing piani. She is perfect for the role and she had a very successful debut in Bilbao. If she takes the right decisions about repertoire she is surely a soprano with a very bright future."
Seen and Heard International Review, October 2008
Opera Orchestra of New York - 'Edgar' - April 2008
"Latonia Moore, an impressive young soprano, earned the evening’s most thunderous response with her radiant, elegantly shaded performance as Fidelia."
The New York Times, April 2008
"...a worthy prima donna in Latonia Moore, bringing her generously produced lyric soprano and infectiously warm presence to the role of Fidelia, the opera’s “good girl.” In her attentiveness to the text and her use of it to give meaning and shape, she created a convincing portrait of the Puccinian “little woman.” Fidelia’s Act III aria, “Addio, mio dolce amor,” a showcase for Moore’s gleaming top, earned the biggest ovation of the evening."
Opera News Online, April 2008
New York City Opera - Carmen (Micaëla) - September 2006
"Latonia Moore triumphed as Micaëla. She seemed to come from another world, not only because the character is so wholesome but because Ms. Moore used her sweet soprano so capably, intelligently, beautifully. Her aria was a bright moment in the evening."
The New York Times, September 2006
"The High point is Latonia Moore, a radiant-voiced Micaëla who seems to belong to a world apart….."
The New York Times, September 2006