is enjoying a thriving career on the world’s leading stages, prompting Opera News to label her “a revelation,” and of her recent sold-out appearance at Carnegie Hall to rave, “As I left the auditorium, I could only think: more of Moore, please.”
In the 2018-2019 season, Ms. Moore returns to Houston Grand Opera to reprise the roles of Senta in the season opening production of Der fliegende Holländer led by Music Director Patrick Summers, and Donna Elvira in Mozart’s Don Giovanni in a new production by Kasper Holten. She returns to Los Angeles Opera to make her role debut as Gertrude in Hänsel and Gretel under the baton of Music Director James Conlon. On the concert stage, she debuts with the Dresdner Philharmonie in the roles of Giorgetta in Puccini’s Il Tabarro and Santuzza in Mascagni’s Cavalleria Rusticana, both of which will be recorded for commercial release by Pentatone Records. She revisits her critically acclaimed portrayal of Strauss’ Salome in Daegu, South Korea and will will record a solo album of American music with pianist Bradley Moore for Pentatone Records.
In the 2017-2018 season, Moore made three major role debuts: Elisabetta in Don Carlo at Washington National Opera; the title role in Salome at Florida Grand Opera; and Tatyana in Eugene Onegin at Hawaii Opera Theater, as well as singing her signature roles of Tosca in a return to Opéra de Montréal and for her house debut with Teatro Municipal de Santiago de Chile, and Senta in Wagner’s Der fliegende Holländer in a new production by Tomer Zvulun at Atlanta Opera. Her portrayal of Desdemona in a full recording of Verdi’s Otello was released by Pentatone Records.
Recent career highlights include a house and role debut at Seattle Opera in the title role of Janáček’s Kátya Kabanová; appearances with San Francisco Opera in the title role of Tosca, Susan Rescorla in Heart of a Soldier, Mimì in La bohème, and the Countess in Le nozze di Figaro; Houston Grand Opera as Julie in Show Boat, Marta in the American premiere of Weinberg’s The Passenger, the title role in Carmen, Dorabella in Così fan tutte; Washington National Opera as the title role of Catán’s Florencia en el Amazonas, Phillip Glass’ Appomatox, and in Francesca Zambello’s highly acclaimed production of the Wagner’s full Ring cycle; Los Angeles Opera as Tosca, the Countess in Le nozze di Figaro and in productions of Der Zwerg and Der Zerbrochene Krug; Opéra de Montréal as Cio-Cio San in Madama Butterfly; Glimmerglass Festival as Lady Macbeth in Verdi’s Macbeth and Senta in Der fliegende Holländer; Lincoln Center Festival in The Passenger; English National Opera as Mimi and as Marguerite in Faust; New York City Opera as Rita Clayton in the New York premiere of Stephen Schwartz’s Séance on a Wet Afternoon and as Regine St. Laurent in Rufus Wainwright’s Prima Donna; and Austin Lyric Opera as Senta in Der fliegende Holländer. Additional performances include the title roles of Manon Lescaut at New Orleans Opera, Tosca with the Lyric Opera of Kansas City, Pamina in Die Zauberflöte at Opéra de Bordeaux; and Donna Elvira in Don Giovanni with the Atlanta Opera and Opera Colorado.
On the concert stage, Ms. Moore has appeared with Atlanta Symphony Orchestra for Bruckner’s Te Deum led by Music Director Donald Runnicles; Bard SummerScape Festival as the title role in Turandot; Bavarian Radio Symphony in performances and recording of excerpts of Gordon Getty’s opera, Plump Jack, conducted by Ulf Shirmer and with the New Century Chamber Orchestra conducted by Nadja Salerno-Sonnenberg. She has joined Rufus Wainwright for gala concerts at the Kimmel Center in Philadelphia and at Roy Thomson Hall in Toronto, and has sung Beethoven’s Ninth Symphony with the Madison Symphony and at Festival of the Arts Boca. Her solo recital performances have included a sold-out debut recital at Carnegie Hall and the Collaborative Arts Institute of Chicago, as well a program featuring suppressed music of the Holocaust presented under the auspices of the Atlanta Opera.
is a composer and pianist whose music fuses the classical and jazz traditions he loves into a new, deeply personal language. The New York Times writes: "At home in both jazz and classical forms, [Kallor] writes music of unaffected emotional directness. Leavened with flashes of oddball humor, his works succeed in drawing in the listener - not as consumer or worshipful celebrant, but in a spirit of easygoing camaraderie." In 2017, Kallor was named the Classical Recording Foundation's Composer of the Year.
In October 2018, The Angel's Share and On Site Opera will present the world premiere of Kallor's new suite of operatic sketches based on the monster's harrowing tale from Mary Shelley's Frankenstein in the Catacombs at the historic Green-Wood Cemetery in Brooklyn, NY, as well as the premiere of a solo piano tribute to Leonard Bernstein (a permanent Green-Wood resident), and a reprise of Kallor's acclaimed setting of Edgar Allan Poe's chilling story, The Tell-Tale Heart, with mezzo-soprano Jennifer Johnson Cano and cellist Joshua Roman, directed by Sarah Meyers. The New York Observer wrote: "I can't think of a better opera to become a new Halloween tradition."
These performances will coincide with the release of Kallor's new album, The Tell-Tale Heart, the premiere recording of Kallor's musical ghost story, performed by the composer with soprano Melody Moore and cellist Joshua Roman, recorded by GRAMMY®-winning producer Adam Abeshouse. A celebration of music and literature, the album also features the first recording of Kallor's eleven new song-settings of poems by Sara Teasdale, Elinor Wylie, Stephen Crane, Mark Twain, William Butler Yeats, as well as the young phenomenon Clementine Von Radics' "A Prayer," which Moore premiered at Carnegie Hall in 2016.
Recent projects include Mouthful of Forevers, Kallor's work for string orchestra commissioned by Town Hall Seattle, premiered by the Seattle Youth Symphony Orchestra and conducted by Joshua Roman; and Some Not Too Distant Tomorrow, a tribute to the legacy of Martin Luther King, Jr. for piano and string quartet, commissioned by The Classical Recording Foundation and funded by a gift from Stuart and Linda Nelson, which Kallor premiered with the Attacca Quartet.
Kallor is the inaugural Composer-In-Residence at SubCulture in New York City, named one of Time Out New York's best new music venues. His residency has featured collaborations with artists encompassing a wide spectrum of musical flavors - including instrumentalists Joshua Roman, Miranda Cuckson, Joel Frahm, Alan Hampton, Ben Wittman, Claire Jensen, Chris Van Voorst Van Beest, and Laura Metcalf; singers Melody Moore, Adriana Zabala, Matthew Worth, Jo Lawry, Laila Biali, Kate McGarry, Peter and Eldridge; tap dancer Andrew Nemr; beat-boxer Mark Martin; and more. Kallor has premiered chamber music, vocal music, and a solo piano suite at SubCulture.
Kallor's solo recording, A Single Noon, is a musical tableau of life in New York City that evokes moments of caffeinated bliss, embarrassing subway mishaps, and the buzzing energy of a city driven by dynamic, thoughtful, talented, and slightly crazy people. Pianist/composer Fred Hersch calls A Single Noon "the work of an extraordinary pianist, a composer of great distinction and a true conceptualist... This ambitious and unique suite takes us somewhere that is very deeply heartfelt and dazzlingly executed. This is 21st-century music that has clearly absorbed the past and looks to a bright and borderless musical future." Kallor premiered A Single Noon at Carnegie Hall in 2011.
Kallor's previous song album, Exhilaration - Dickinson and Yeats Songs, features his settings of poems by Emily Dickinson, William Butler Yeats, and Christina Rossetti sung by mezzo-soprano Adriana Zabala. Opera News wrote: "Kallor knows how to make these words sing, and Zabala gives perfect flight to them."
Kallor's music videos are "a visual feast for the eyes," writes Feast of Music: "Espresso Nirvana" (think caffeinated hijinks) and "Broken Sentences," which features 88 artist-designed pianos that Sing For Hope temporarily placed in public spaces around NYC, where anyone could play them. Gregg did. A lot.
Kallor joined an all-star roster of musicians, including Joyce DiDonato, Yo-Yo Ma, Jamie Barton, Isabel Leonard, Susanna Phillips, Anthony McGill, actors Sharon Stone and Ansel Elgort, and many more, for An AIDS Quilt Songbook: Sing for Hope. Kallor recorded two songs for the album, with Melody Moore - "One Child," which Kallor composed for this project - and Matthew Polezani. All profits from the sale of this album will go to amfAR, The Foundation for AIDS Research.