ABOUT

New York City-based soprano Jennifer Moore has garnered consistent acclaim from reviewers for her “larger, more substantial coloratura voice” (Eli Jacobsen, Gay City News). Other critics note that “the voice is a very beautiful one of impressive quality” (John Yohalem, Parterre Box) and that “her singing is skillful and musical, a free, rich sound throughout” (David Browning, Taminophile blog). As she resumes a busy post-pandemic performance schedule in the New York area, Ms. Moore has recently thrilled audiences with her portrayals of iconic roles such as Mimì in La bohème, Leonore in Fidelio, and Sieglinde in Die Walküre. 

While these larger lyric roles signify an exciting new chapter in her vocal journey, Ms. Moore maintains her mastery of bel canto technique. In the fall of 2023 she will sing Leonora in Il trovatore with the New York Opera Forum and Gilda in Rigoletto with Regina Opera.

Ms. Moore's first entry into the Rossini repertory (Ninetta in La gazza ladra) likewise won glowing reviews. Zachary Woolfe in The New York Times found her “poised and poignant, singing with easy agility and brightly floating tone,” while Musical America's George Loomis praised her “attractive stage presence, involvement and good diction” in the Bronx Opera's English-language production. She returned to Bronx Opera to sing Mimì in La bohème and Violetta in La traviata. She later performed the title role of Meyerbeer’s Dinorah to great acclaim with the Amore Opera and sang Léontine in L’amant anonyme by the Chevalier de Saint-Georges with the Little Opera Theatre of New York.

Her portrayal of Blanche de la Force with the dell’Arte Opera Ensemble’s production of Dialogues des Carmélites won praise from two of New York's leading opera critics, with Mr. Woolfe in the New York Times writing that “Jennifer Moore’s tone was focused and her face memorably stricken as Blanche, the conflicted novice” and James Jorden of The New York Post adding, “In this spectacular role for a sensitive singing actress, the young American soprano Jennifer Moore bravely explored the character’s neurosis.”

Other highlights of her activities since coming to New York have been Aspasia in Mozart’s Mitridate, re di Ponto with the Little Opera Theatre of New York and Zerbinetta in Ariadne auf Naxos with the dell’Arte Opera Ensemble. She has also been heard as Konstanze (Die Entführung aus dem Serail) with the Chesapeake Chamber Opera in Baltimore and two Donizetti heroines, Adina (L’elisir d’amore) and Norina (Don Pasquale) with the Martha Cardona Theater in New York, with which she made her debut as Musetta (La Bohème).

Ms. Moore spent the 2007–08 season as a member of the International Opera Studio at Zurich Opera. She made her Zurich debut as the Sandman in Humperdinck's Hänsel und Gretel. During her time there, she participated in new productions of Grieg’s Peer Gynt and Handel’s Rinaldo (conducted by William Christie), as well as in children's productions of Mozart's Die Zauberflöte (Pamina) and Janáček's The Cunning Little Vixen. 

Ms. Moore earned her Master’s degree at the New England Conservatory, where she sang leading roles in productions of Così fan tutte (Fiordiligi), Orpheus in the Underworld (Eurydice), Gianni Schicchi (Nella), and Little Women (Amy). At NEC Ms. Moore studied with soprano Carole Haber and with esteemed coach and conductor John Moriarty.

A native of Texas, Ms. Moore completed her undergraduate studies at Rice University, where she trained under mezzo-soprano Joyce Farwell. Graduating summa cum laude in 2005, she earned Bachelor’s degrees in both Vocal Performance and German Studies. Her roles at Rice included the Governess in The Turn of the Screw and Nancy in Albert Herring. Ms. Moore spent the summer of 2007 in the Bel Canto Young Artist Program of the Caramoor International Music Festival in Katonah, NY, where she was involved in productions of Linda di Chamounix and Il Trovatore.