Diana Moore is represented by Rayfield Allied worldwide.

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Diana Moore

Mezzo-soprano

  • "The cast is led by the superb Apollo of Diana Moore… who combines the range of a mezzo with the tone quality of a contralto. Her semiquaver runs in 'Torni pure' are thrilling"
    Gramophone Magazine
  • Diana Moore’s distinct mezzo colouring is just one of the vocal delights
    Geoff Brown, The Times
  • Diana Moore's Penelope, a mixture of intelligence with musicianship and beauty of tone and perfect restraint that highlighted the emotional depth of each moment
    Robert Thicknesse, The Guardian

  • Born in Lowestoft, Diana Moore pursued her musical studies at the University of Birmingham and the Royal Academy of Music and is now widely acclaimed for her “emotional depth” (The Guardian), “thrilling” technical bravura (Gramophone) and “rich, evocative sound” (San Francisco Chronicle).

    Recent opera appearances include the title role in Rinaldo at the Göttingen International Handel Festival, Flanders Opera, Opera de Versailles and National Theatre Prague, Sesto Giulio Cesare at Göttingen with Nicholas McGegan, Medoro Orlando in Stockholm, San Francisco, New York, Tanglewood and Ravinia, as well Penelope Il Ritorno d’Ulisse for the Aldeburgh Festival and Dido Dido and Aeneas for The Early Opera Company.

    On the concert stage, Diana Moore as appeared at the Concertgebouw Amsterdam, the Tonhalle Zurich, the Barbican Centre, the Kultur Kongresscentrum Luzern, Lincoln Centre New York and at the Royal Albert Hall in the BBC Proms, working with such leading orchestras as the Orchestra of the age of Enlightenment, Camerata Salzburg, City of Birmingham Symphony, Philharmonia Baroque, Northern Sinfonia, Philadelphia Symphony Orchestra, Ottawa National Arts Centre Orchestra and the BBC Philharmonic. Her recent recording of Parnasso in Festa with Matthew Halls and The King’s Consort was awarded the Stanley Sadie International Handel Recording Prize.

    Current engagements include collaborations with the Hanover Band, The King’s Consort, with various performances across Europe, Oxford Philomusica and an appearance at the Buxton Festival.

    Diana Moore is represented worldwide by Andrew Rosner at Rayfield Allied.
    This biography is for information only and should not be reproduced.

    • Messiah
      Philadelphia Orchestra

      Mezzo-soprano Diana Moore’s momentary vocal resemblance to Kathleen Ferrier was great to hear.
      David Patrick Stearns, Philadelphia Inquirer

    • Messiah
      Ottawa National Arts Centre

      Diana Moore sang beautifully, with admirable melisma in the Refiner's Aria.
      Richard Todd, Ottawa Citizen

    • Parnasso in Festa
      The King's Consort

      Diana Moore’s distinct mezzo colouring is just one of the vocal delights.
      Geoff Brown, The Times
      The cast is led by the superb Apollo of Diana Moore… who combines the range of a mezzo with the tone quality of a contralto. Her semiquaver runs in 'Torni pure' are thrilling
      Gramophone Magazine
      This allegorical 'festa teatrale' emerges fresh-minted... in this delightful recording. The young soloists, especially Diana Moore as Apollo and Euterpe...are a treat. A must for Handelians
      Sunday Times

    • Orlando
      Philharmonia Baroque Orchestra

      Diana Moore introduced a suave, full-throated mezzo-soprano as the African prince Medoro…
      Matrin Bernheimer, Financial Times
      Diana Moore, the mezzo-soprano, matched those qualities beautifully in her smooth-toned, compassionate account of Medoro.
      Allan Koznin, New York Times
      British mezzo-soprano Diana Moore made a delightfully shameless seducer in the trouser role of Medoro, particularly in “Se il cor mai ti dirà” and “Verdi allori, sempre unito” where she effectively incorporated a tad of expressive vibrato.
      Dennis Polkow, Chicago Classical Review
      Labelle was well matched by Moore, a commanding English mezzo-soprano making her first Philharmonia appearance. As Medoro, an African prince, Moore mustered a rich and evocative sound that seemed to caress Handel's phrases with sensuous directness, most alluringly in the slow and heartfelt aria Verdi allori.
      Joshua Kosman, San Francisco Chronicle
      The tender arioso, a love duet, of Medoro and Angelica, “Ritornava al suo bel viso” (Returning to his beautiful face) showcased perfectly blended harmonics and book-matched voices. Moore and Labelle, who sang as though truly, madly, deeply in love for a long time, effectively captured the depth of Handel’s music. In Medoro’s aria, “Verdi allori” later in Act II, Moore sang with limpid grace.
      Cashman Kerr Prince, The Boston Musical Intelligencer
      Mezzo-soprano Diana Moore was a forthright Medoro, all decisive loyalty, with an appropriately resolute dark-glass voice.
      Matthew Guerrieri, Boston Globe
      Diana Moore's warm, plush mezzo-soprano was an asset in the role of Medoro
      Georgia Rowe, Mercury News
      Best of all was the English mezzo-soprano Diana Moore, whose warm, noble sound imbued the role of Medoro with an aching appeal. The highlight of the afternoon was her ravishing delivery of the aria "Verdi allori" ("Verdant trees, always united, preserve our names"), after she has carved her and Angelica's names in the forest.
      Mike Silverman, Huffington Post

    • Das Lied Von der Erde
      Cheltenham

      There was an overwhelming sense of desolation in The Lonely One in Autumn poignantly communicated by Diana Moore helped by some gentle contributions from solo flute and oboe. Indeed much of the music is intimate – more like chamber music. The Farewell – consisting of two Chinese poems and words by Mahler himself – is by far the longest movement of the set and is announced by a clash of cymbals. But this is also the most profound, spiritual and timeless of all, qualities that Diana Moore expressed so perfectly in her singing. As I heard the closing words “Allüberall und ewig blauen licht die Fernen ….. ewig …..ewig” ( Everywhere distant spaces shine their blue light) I couldn’t help recalling another singer who made these songs her own – Kathleen Ferrier, whose centenary we have been commemorating this year. Indeed, I am bold to say that this performance was very much in the Kathleen Ferrier mould.
      Roger Jones, Seen and Heard International

  • Diana Moore’s Opera Repertoire

    BERLIOZ
    • Damnation of Faust (Marguerite)*
    • Les Troyens (Didon)*
    BRITTEN
    • Rape of Lucretia (Lucretia)*
    DOVE
    • Palace in the Sky (Nimrod)
    GLUCK
    • Orfeo ed Eurydice (Orfeo)
    HANDEL
    • Alcina (Bradamante), (Ruggiero)*
    • Amadigi (Amadigi)*
    • Ariodante (Ariodante)*
    • Giulio Cesare (Cesare)*, (Cornelia)*, (Sesto)
    • Orlando (Medoro)
    • Partenope (Armindo)
    • Rinaldo (Rinaldo)
    • Xerxes (Xerxes)*
    MONTEVERDI
    • Ritorno d'Ulisse (Penelope)
    MOZART
    • Clemenza di Tito (Sesto)*
    PURCELL
    • Dido and Aeneas (Dido), (Sorceress)
    STRAUSS
    • Der Rosenkavalier (Octavian)*
    *
    • denotes role 'in preparation'

    Diana Moore’s Concert Repertoire

    BACH
    • B minor Mass
    • Cantatas 35 and 170
    • Christmas Oratorio
    • Magnificat
    • St John Passion (Eng & Ger)
    • St Matthew Passion (Eng & Ger)
    BRITTEN
    • Spring Symphony
    • Phaedre*
    BEETHOVEN
    • Symphony No. 9 'Choral'
    • Mass in C
    • Missa Solemnis
    BERLIOZ
    • Nuits d’Ete
    BRAHMS
    • Alto Rhapsody
    CANTELOUBE
    • Songs from the Auverne
    COPLAND
    • In the Beginning
    DE FALLA
    • El Amor Brujo.
    DURUFLE
    • Requiem
    ELGAR
    • Sea Pictures
    • The Dream of Gerontius
    • The Music Makers
    HANDEL
    • Belshazzar
    • Cantata 'La Lucrezia'*
    • Dixit Dominus
    • Jephtha
    • Judas Maccabeus
    • Messiah
    • Parnasso in Festa
    • Solomon*
    • Theodora
    HAYDN
    • Masses
    • Scena di Berenice*
    • Stabat Mater
    MAHLER
    • Das Lied von der Erde
    • Kindertotenlieder
    • Lieder eines fahrenden gesellen
    • Kindertotenlieder*
    • Ruckert lieder
    • Songs from Das Knaben Wunderhorn
    • Symphony no. 2 (Resurrection)
    • Symphony no. 3
    MENDELSSOHN
    • Elijah
    MOZART
    • Mass in C minor*
    • Requiem
    PERGOLESI
    • Stabat Mater
    TIPPETT
    • A Child of Our Time
    VAUGHAN WILLIAMS
    • Serenade to Music
    VERDI
    • Requiem
    VIVALDI
    • Stabat Mater
    *
    • Denotes work 'in preparation'

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