“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“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 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
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