Felicia
Moore

Soprano
Felicia Moore
(She/Her) Noted by The Wall Street Journal for her “opulent, Wagner-scaled soprano” and acclaimed by The New York Times as the “lustrous, commanding soprano,” Felicia Moore is recognized by Opera News as “a genuine jugendliche dramatische soprano of exciting potential (and present accomplishment).”
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Felicia Moore

Noted by The Wall Street Journal for her “opulent, Wagner-scaled soprano” and acclaimed by The New York Times as the “lustrous, commanding soprano,” Felicia Moore is recognized by Opera News as “a genuine jugendliche dramatische soprano of exciting potential (and present accomplishment).” She is a powerful and innovative artist having made music in partnership with Alan Gilbert, Anne Manson, Ken-David Masur, Yannick Nézet-Séguin, Rafael Payare, Speranza Scappucci, Alexander Shelley, Evan Rogister, Gary Thor Wedow, Ryan Wigglesworth, and Brian Zeger among others. Engagements of the 2022-23 season include a return to the Metropolitan Opera for a revival of Graham Vick’s acclaimed production of Lady Macbeth of Mtsensk under the baton of Keri-Lynn Wilson and for Die Zauberflöte led by Nathalie Stutzmann in a new production by Simon McBurney. In the 2021-22 season Felicia Moore made her Metropolitan Opera debut as First Lady in The Magic Flute under the baton of Dame Jane Glover and covered in Elektra led by Sir Donald Runnicles. She made role debuts as Sieglinde in Die Walküre with New Orleans Opera, as Senta in Der fliegende Holländer with Opera Maine, and in the title role of Ariadne auf Naxos with the Lakes Area Music Festival. Concert engagements included Beethoven’s Ninth Symphony with Rafael Payare and the San Diego Symphony, Ken-David Masur and the Milwaukee Symphony, Donato Cabrera and the Las Vegas Philharmonic, and with Michael Francis and The Florida Orchestra. Additionally, she joined Daniel Meyer and the Erie Philharmonic for Mahler’s Second Symphony and David Chan leading the APEX Ensemble (formerly the Montclair Symphony Orchestra) for Wagner’s Wesendonck Lieder. Highlights of past seasons include the role of Susan B. Anthony in The Mother of Us All at the Metropolitan Museum of Art as a part of Project 19, the New York Philharmonic’s multi-season initiative marking the centennial of the 19th Amendment, which guarantees women the right to vote in the United States, the title role of Lady M in an online fantasia of Verdi’s Macbeth with Heartbeat Opera, and the soprano’s first appearance on the roster of the Metropolitan Opera covering First Lady in The Magic Flute. Felicia Moore sang Donna Elvira in Don Giovanni for Palm Beach Opera, Heartbeat Opera, and with Chamber Music Northwest. Other operatic performances include Britten’s The Turn of the Screw at Opera Columbus and the title role of Janáček’s Katya Kabanova, conducted by Anne Manson, in a new production by Stephen Wadsworth at Juilliard. Past symphonic performances include Verdi’s Requiem with the National Arts Centre Orchestra, The Immolation Scene from Wagner’s Götterdämmerung with the Danish National Symphony Orchestra conducted by Ryan Wigglesworth, and an Opera Gala with the Bergen Philharmonic. Accomplishments during her tenure at Juilliard include Copland’s Twelve Emily Dickinson Songs with pianist Brian Zeger at Juilliard’s Songfest, a solo debut at Alice Tully Hall as winner of Juilliard’s Vocal Arts Honors Recital presenting a program of Sibelius, Wagner and Copland with pianist Chris Reynolds, and with the Juilliard Orchestra workshop selections from Tchaikovsky’s Eugene Onegin with Alan Gilbert, Mozart’s Ch‘io mi scordi di te? …Non temer, amato bene, K. 505 conducted by Gary Thor Wedow, and Beethoven’s Ah! Perfido, Op. 65 led by Speranza Scappucci. Ms. Moore’s training has included resident artist apprenticeships at San Francisco Opera’s Merola Opera Program, Des Moines Metro Opera, Opera Theatre of Saint Louis, Portland Opera, and the Ravinia Festival’s Steans Institute. In Europe she has participated in the Aix-en-Provence Festival’s Mozart Académie and in the International Meistersinger Akademie in Neumarkt, Germany under the tutelage of Edith Wiens. Success in international vocal competition is demonstrated and supported by achievements in the Metropolitan Opera National Council Auditions, Sullivan Foundation Competition, George London Foundation Competition, Licia Albanese-Puccini Foundation, Tenor Viñas International Singing Contest, Opera Index, and Fort Worth Opera’s McCammon Voice Competition. Felicia Moore was awarded the Birgit Nilsson Prize at Plácido Domingo’s Operalia in 2019, the Prix des Amis du Festival by the Aix-en-Provence Festival, First Prize from the James Toland Vocal Arts Competition and the Jensen Foundation, Second Prize at the National Opera Association Competition, the Florence and Paul DeRosa Prize from The Juilliard School, and grants from The Gerda Lissner Foundation, the Richard F. Gold Foundation, and the Wagner Society of New York. Felicia Moore was awarded a Fellowship by Turn The Spotlight, a foundation created to identify, nurture, and empower leaders – and in turn, to illuminate the path to a more equitable future in the arts through mentorship by and for exceptional women, people of color, and other equity-seeking groups in the arts. She is a proud alumna of The Juilliard School, Mannes School of Music, and Westminster Choir College.

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