Album Notes

“…a warm and dark voice…a radiant and soft soprano sings out…as Mimi”

– Leipziger Volkszeitung

“The rich soprano sound of Christine Moore caught the ear in the evening’s opening numbers from Monteverdi’s “Incoronazione di Poppea…”

– The New Mexican

"Soprano Christine Moore stood out for lyrical singing of an aria in the “Susannah” title role; for energetic presence and clarity of diction in a scene from Douglas Moore’s “The Ballad of Baby Doe” and for striking acting in the “Student Prince” excerpt.”

– Albuquerque Journal

“…a colourful, evocative performance from the chamber ensemble and American soprano Christine Moore…of Schoenberg’s Pierrot Lunaire”

– The Herald (Glasgow)

*****

Praised by the Leipziger Volkszeitung for her "warm voice" and "radiant" singing as Mimi with the Leipzig Opera, Sacramento native Christine Moore has performed throughout the United States and in Europe, and is noted for her lush sound and powerful expression. A Regional Finalist in the Metropolitan Opera National Council Auditions, she has performed with the Santa Fe Opera, Central City Opera, Aldeburgh (U.K.) Fall Festival, Sacramento Opera and Chautauqua Institute in roles that range from Cio-Cio San, Suor Angelica and Alice Ford to Micaela, Donna Anna, and the Countess (Figaro).

Her orchestral and recital performances are numerous and include Barber's "Knoxville-Summer of 1915", Mozart's and Brahms' "Requiems", Handel's "Messiah", Beethoven's "9th Symphony", and Mendelssohn's "Elijah". She has given recitals at Merkin Hall, Trinity Church and Christ & St. Steven's Church (New York City), as well as venues across the U.S. and in Europe.

Ms. Moore is active in the performance of new works and is a regular soloist with the American Composers Alliance and the Brooklyn Conservatory New Music Collective. In 2000 she sang the world premiere of Richard Thompson's chamber work "The Shadow of Dawn" with the Manhattan Chamber Orchestra, and recently made her debut at the Paxton House Chamber Music Festival in Scotland performing Schoenberg's "Pierrot Lunaire," which the Glasgow Herald described as a "colourful...evocative performance."