“Most formidable of all was Latonia Moore, whose bereft, God-fearing Serena spectacularly fused classical and popular styles.” - Alex Ross
Read More“Moore’s singing of “My Man’s Gone Now,” was stunning—sonically beautiful while full of bitter, wrenching sorrow. When she sang “Oh, Doctor Jesus” to cure Bess’ fever, the entire house held its collective breath. When her character collapsed in grief on stage, Moore received an extended, roaring ovation from the audience. Even conductor David Robinson applauded from the pit.” - George Grella
Read More“Soprano Latonia Moore very nearly stole the show from Blue with Serena’s two show-stopping numbers; the cheers and applause after her wrenching “My Man’s Gone Now” were the kind of fanatical ovation a coloratura might dream of after the Mad Scene in “Lucia di Lammermoor.”” - James Jorden
Read More“Latonia Moore, who has sung a scorching Aida at the Met, delivers Serena’s aria, “My Man’s Gone Now,” with the kind of confidence that comes from playing a princess on the world’s most intimidating stage.” - Justin Davidson
Read More“As Serena, the soprano Latonia Moore stopped the show in “My Man’s Gone Now,” which the character sings over the body of Robbins, her husband. Gershwin’s music took Ms. Moore from almost vibrato-less, celestial high stretches to chilling, chesty low phrases, all of which she sang grippingly. It was overwhelming to see this Serena, in her simple Sunday dress and hat, faltering as she went down a stairway, signing the lament with anguish and anger.” - Anthony Tommasini
Read More“The American soprano emotes with her powerful voice and whole body. Moore’s anguish with the impossible situation she is in, captured in her Act II aria “Vissi d’arte,” is visceral, beautiful, and deeply moving.” - Mike Paarlberg
Read More“Soprano Latonia Moore brought sensational vocalism to her company debut in the title role. She displayed extraordinary power and confidence on top notes and in Tosca’s signature aria, “Vissi d’arte,” marshaled a range of creamy soft singing and dramatic phrasing. Her movement on stage though was stilted and inelegant, and her leap from the parapet almost hesitant.” - Charles T Downey
Read More"Perhaps best of all is the impassioned, radiant soprano Latonia Moore as Serena. Even when wailing with grief over the pointless killing of her husband (“My Man’s Gone Now”), she shows the tragic grandeur of this powerful character.” - Anthony Tommasini
Read More“In what’s become her signature role – the American soprano has sung Aida a hundred times previously – her searingly expressive, silvery tone and complete inhabiting of the character brought the doomed Ethiopian princess in Egyptian enslavement leaping to life.” -Jessica Duchen
Read More“hat this black American soprano did was raise the whole event onto a different musical plane, with her flawless bel canto and lovely sense of line and phrasing.'“ - Michael Church
Read More“The evening is blessed by a remarkable central performance from the American soprano Latonia Moore in the title role. This is a remarkable voice, wonderful in its amplitude at full throttle, yet also capable of sustaining beautiful, rapt pianissimos. She’s a superb actor, too, registering every shift of Aida’s torment as the conflicting demands of her father and lover, implacable enemies in war, tear her psychologically in two. This is one of the finest performances of the role to be heard in London for many years.” - Tim Ashley
Read More“Ms. Moore, though, has it all, singing like a serene angel while ripping out your heart. The voice itself is a pearly full lyric soprano with a fascinating variety of color, like luxurious silk brocade. She played the doomed geisha not as a fragile child bride, but instead as a full-blooded woman, wise enough to doubt her blind faith but so passionate she virtually willed herself to believe.” - James Jorden
Read MoreShe made her role début with this “Tosca” and ran with it, singing with a sweet and plush tone that had plenty of brilliance when necessary.” - Russell Platt
Read More“Moore’s gorgeous singing outshines the spectacle and she is genuinely moving.”
Read More“Her voice was radiant, plush and sizable at its best, with gleaming top notes that broke through the chorus and orchestra during the crowd scenes.” - Anthony Tommasini
Read More