““crystalline clarity”
”
Amy Moore is an adept soloist, ensemble singer, and musical director, with a particular affinity for both Early and Contemporary Music. During her distinguished career in the UK, she performed with many of the leading ensembles, including The Tallis Scholars, Tenebrae, EXAUDI Vocal Ensemble, The BBC Singers, and The English Concert.
In Australia, Amy has performed solo concerts with Sydney Symphony Orchestra, Melbourne Symphony Orchestra, Tasmanian Symphony Orchestra, Pinchgut Opera, Australian Brandenburg Orchestra, Bach Akademie Australia, and Ensemble Apex.
Alongside her performing work, Amy is increasingly sought after as a director, conductor, vocal ensemble coach and voice teacher.
“clear beauty of tone across all registers”
Amy Moore and Edward Neeman rose to all technical demands of this craggy music, with its unexpected leaps, turns, and mood clashes. They presented as a duo of like minds. Admirable also was Moore’s Hungarian pronunciation, learnt especially for this homage, and the ever-attentive dynamic contrasts of Neeman at the keyboard, whether in solo or duet roles. Their broader performing skills were, however, also demonstrated during this recital by the other two works that filled out this Homage program. The introductory Three Melodies (1930) of a young Olivier Messiaen showed the lighter, and French, side of Moore’s soprano profile, while she was perhaps most at home in Schumann’s extensive Woman’s Love and Life cycle, in German, with a story stretching from love at first sight to “the sleep of death”.
To assist in this sensible endeavour Jupiter enlists the participation of a mob of only slightly lesser and sillier beings. First among equals is the sexiest bass-baritone satyr on the block, Cithéron (Adrian Tamburini); then Love and Madness – brought to soaring soprano life in a Siouxsie Sioux of a performance by Cathy-Di Zhang. Then David Greco’s rich baritone is a delicious dichotomy in the nonsensical yet uneasy person of Momus, god of scorn and mockery. And Nicholas Jones as both Mercury, the messenger and Thespis the divine of comedy, delivers nuanced and discrete characters and a warmly expressive tenor. (He was an unforgettable Fish Lamb in George Palmer’s adaptation of Tim Winton’sCloudstreet, State Opera of SA).
Also notable: the inauguralTaryn Fiebig Scholar, soprano Chloe Lankshear’s touching solo lament, “O sun, flee this place”; and lyric soprano Amy Moore lending luscious comedic chops to the ensemble.
Ēriks Ešenvalds’ The Passion and Resurrection progressed with seamless shifts in language and energy. Amy Moore sang the part of female characters various with breathtaking virtuoso control from the front of the stage.





