British baritone Anthony Michaels-Moore has distinguished himself as a specialist in Verdi and Puccini roles, renowned for his portrayals of Rigoletto, Scarpia, Falstaff, Iago Otello, Simon Boccanegra and Germont La Traviata and is much sought after by the world’s leading opera houses in a celebrated career which spans over 25 years.
Michaels-Moore’s European engagements have taken him to Wiener Staatsoper, Teatro alla Scala, Opéra National de Paris, Théâtre du Châtelet, Théâtre du Capitole Toulouse, Bayerische Staatsoper, Deutsche Oper Berlin, Staatsoper Berlin, Gran Teatre del Liceu, Grand Théâtre de Genève, La Monnaie and Teatro Real. Equally in demand in North America, he has appeared at the Metropolitan Opera, San Francisco Opera, Chicago Lyric Opera, Santa Fe Opera, Pittsburgh Opera, Florida Grand Opera, Canadian Opera Company, and the historic Teatro Colon in Buenos Aires.
Michaels-Moore was the first British winner of the Luciano Pavarotti Competition in 1985. Throughout his career, he has enjoyed a fruitful relationship with the Royal Opera House, Covent Garden with over 350 performances. He has appeared in L’elisir d’amore, La bohème, I Pagliacci, Die Fledermaus, Il Barbiere di Siviglia, The Cunning Little Vixen, Manon, Stiffelio, Tosca, Simon Boccanegra, Macbeth, Le Nozze di Figaro, Andrea Chénier, La Battaglia di Legnano, Il Trovatore, Falstaff, Attila, Lucia di Lammermoor and La Traviata. He has also appeared in other major theatres in the UK including English National Opera, Welsh National Opera, Opera North, Scottish Opera and Glyndebourne Festival. In 1995 he was honoured with the Royal Philharmonic Society Music Award, the highest recognition for live classical music making in the United Kingdom.
Highlights of Michaels-Moore’s 2012/13 season included appearances as Don Carlo di Vargas in a new production of La Forza del Destino with Oper Köln, a return to the English National Opera in Peter Konwitschny's new production of La Traviata, plus his company debut with Korea National Opera in the title role of Verdi's Falstaff. On the concert platform Anthony marked both a company and role debut with Teatro dell'Opera di Roma singing The Ferryman in Britten's Curlew River under the baton of James Conlon.
Other recent highlights include highly acclaimed performances of Falstaff and Iago for Opernhaus Zürich, both under Daniele Gatti, Scarpia for Oper Köln, Sharpless for ROH (with 3D broadcast in cinemas across the UK) and for Opéra National de Paris, Falstaff and Francesco Foscari I due Foscari for Théatre des Champs Elysées. He has also sung Rigoletto for Opéra de Montréal and ENO, and debuts with Veroza Japan under Seiji Ozawa in Madama Butterfly and Scarpia with Sugi Opera in Korea. He has also sung in a concert performance of Les Dialogues des Carmelites as Marquis de la Force for La Palau de la Musica, Valencia.
In concert, Michaels-Moore has performed with the world's top conductors including Vladimir Jurowski, Fabio Luisi, André Previn, Riccardo Muti, Michael Tilson-Thomas, Sir Colin Davis, Sir Andrew Davis, Sir Charles Mackerras, Sir Neville Marriner, Sir Edward Downes, Nikolaus Harnoncourt, Leonard Slatkin, Bernard Haitink, Sir John Eliot Gardiner, Andris Nelsons, Daniel Harding and Daniele Gatti, in a repertoire ranging from Haydn's Creation to Orff's Carmina Burana. He has appeared at the First Night of the BBC Proms, and has performed with the Royal Concertgebouw Orkest, London Symphony Orchestra, and Wiener Philharmoniker. Recently he sang Bruckner's Mass in F minor with the Bavarian Radio Symphony Orchestra and Mahler's Symphony No.8 at the Edinburgh International Festival under Donald Runnicles.
Michaels-Moore’s varied discography includes recordings for Deutsche Grammophon (Carmina Burana), Sony (La Vestale, Lucia di Lammermoor), Teldec (Fairy Queen), Conifer (The Puccini Experience), Opera Rara (Mercadante’s Orazi e Curiazi), LSO Live (Peter Grimes), Philips (Yeoman of the Guard, Aroldo), BMG (La Favorite, Szymanowski’s Stabat Mater), Decca (Falstaff), and Chandos (A Masked Ball). Anthony's new solo CD Songs of the Sea, Songs of Travel, released on April 2, 2013, has been hailed by Classical Source as "a perfect gem sensitively performed."
Highlights in 2013/14 include include company and/or role debuts at the Theatro Municipal São Paulo, Opera Leipzig and LA Opera in Aida, Nabucco and Billy Budd respectively. Anthony will also return to the prestigious Vienna State Opera as Gérard in Andrea Chénier, and to The Santa Fe Opera Festival for a double bill pairing of role debuts for the title role in Mozart's The Impresario and The Emperor in Stravinksy's Le Rossignol.
Anthony Michaels-Moore is represented by Intermusica.
October 2013 / 717 words. Not to be altered without permission. Please destroy all previous biographical material.
Mr Redburn Billy Budd / Los Angeles Opera
Cond. James Conlon Dir. Francesca Zambello
“The officers are well portrayed and solidly sung by Patrick Blackwell, Anthony Michaels-Moore and Daniel Sumegi...”
Marc Porter Zasada, Huffington Post, February 2014
The Ferryman Curlew River / Teatro dell’Opera di Roma
Cond. James Conlon
“Anthony Michaels-Moore delivers a strict and imposing Ferryman, full of authority and whose nuanced baritone still maintains a beautiful clarity. Perfect diction, as usual, is the culmination of this excellent delivery.”
Forum Opera, July 2013
Recording: Charles Villiers Stanford and Ralph Vaughan Williams Songs of the Sea & Songs of Travel / acc. Michael Pollack [CD: Opus Arte]
“It’s been a pleasure to watch Anthony Michaels-Moore rise from our regional companies to international Verdi and Puccini stardom. Here, though, his sturdy, mellifluous baritone reverts to core British repertoire.”
“Michaels-Moore records the piano version, throwing the burden of colour and expression onto the voice with considerable success…”
“He… sounds arrestingly heroic in ‘Drake’s Drum’. He also finds rich melancholy in ‘Outward Bound’ and ‘Sailing as Dawn’.”
“In [The Robert Louis Stevenson-based Songs of Travel and the Three Whitman Poems], Michaels-Moore faces equal competition, including Sir Thomas Allen and Bryn Terfel, but concedes little, whether in his response to the themes of youth and age, or in sheer vocal beauty.”
“Michaels-Moore’s baritone is still in fine shape, his diction is superb…He is at his interpretative best in the Vaughan Williams settings of Walt Whitman’s poems.”Opera Now
, June 13
“In all of these sea fearing songs Michael-Moore’s voice is richly unfurled.
Vaughan Williams’s glorious cycle Songs of Travel has not been neglected on disc… Michaels-Moore sings the first song, ‘The Vagabond’, with what one might call an outdoors voice to suit the traveller’s enjoyment of the open road. During the cycle we hear some neat little inflections and touches that enhance the relevant song. The quiet head note on ‘eventide’ in ‘Youth and Love’ is one, and the dulling of the tone for ‘and dead’ in ‘The Infinite Shining Heavens’ shows thought. This is a strong telling of what can be thought of as a happier Winterreise by the baritone and his partner…”
John T. Hughes, International Record Review, May 2013
“Michaels-Moore colours all [the songs] with warm, rich definition, and plenty of swagger when called for.”
Michael Church, Scotsman, April 2013
“Michaels-Moore brings admirable commitment to these delights… his enunciation is first-class, even at speed: English as it should be spoken. It’s very good that texts are included in the booklet, but Michaels-Moore makes them superfluous.”
“The French-titled song, setting Keats, is a mellifluous beauty with urgent emotions. The three selections from Songs of the Fleet – a companion to the Sea cycle and also originally scored for baritone, chorus and orchestra to words by Henry Newbolt – are no less pictorial thanks to Michael-Moore’s vivid word-painting.”
“Setting Robert Louis Stevenson, Songs of Travel opens with the proud trudge of ‘The Vagabond’ and goes on to explore many moods through lovely melody, vivid description and heartfelt harmonies, all ardently and sympathetically reciprocated by the singer… the song’s sense of nostalgia is touching, and Michaels-Moore is a very distinguished interpreter of Songs of Travel.”
“… it’s good to have Anthony Michaels-Moore’s sovereign artistry captured in repertoire that he serves so well, for there is much here to relish and return to.”
Alex Peyton-Jones, Classical Source, April 2013
Germont in Verdi La Traviata / ENO
cond. Michael Hofstetter / dir. Peter Konwitschny
“The voice of Anthony Michaels-Moore (who sang this role in Italian at Covent Garden) is better than ever in its velvety warm solidity and mix of legato and resonance.”
Agustín Blanco Bazán, mundoclassico.com, March 2013
“ Anthony Michaels-Moore sang the role of his life as the egotistical father, brutal and overpowering and yet still appealing to an empathetic node in audience hearts and minds”.
Norman Lebrecht, Arts Journal, February 2013
“Michaels-Moore, producing some of the most outstanding, beautiful and superbly shapedsinging of the evening, showing what a great Verdi singer he can be and giving Giorgio Germonta nobility that seemed at odds with the konzept.”
“She and Michaels-Moore were on fully equal terms in the Act 2 duet, this both giving us someof the best Verdi singing I have heard in a long time.”
“Michaels-Moore gave us a finely sung, but also strongly acted Giorgio Germont. Hisperformance showed us a deeply conflicted man, all done via some strongly shaped singingwithouta hint of bluster, wobble or vamping.”
Robert Hugill, Planet Hugill, February 2013
“Michaels-Moore is magnificent, capturing with compassion and intelligence a father who actswith his best intentions and yet must later account for his mistakes. The scenes involving the triadof lover, son and father are incredibly moving.”
Harriet Baker, Female Arts, February 2013
“Better yet was the soundly sung Germont of Anthony Michaels-Moore”.
Michael Migliore, Musical Criticism, February 2013
“…while Johnson and Anthony Michaels-Moore as Germont sing classily, with cut-glassdiction…”
Hugh Canning, The Sunday Times, February 2013
“This vision of Germont as Scarpia’s wayward brother was powerfully conveyed by Anthony Michaels-Moore”.
Mark Valencia, Whats on Stage, February 2013
“Anthony Michaels-Moore is suitably overbearing, enfolding Alfredo in a tough paternal carapace”.
Nick Kimberly, London Evening Standard, February 2013
“Anthony Michaels-Moore delivered an impressive performance as Germont senior…”
Francesca Vella, Bachtrack, February 2013
“Anthony Michaels-Moore contributes a formidable ... Germont”.
Hannah Nepil, Financial Times, February 2013
“[Anthony Michaels-Moore]’s forcefulness was certainly effective and his presence commanding.”
Edward Seckerson, February 2013
“As Germont, Anthony Michaels-Moore sang with dark Verdian heft, but with a warmth and eloquence as his sympathy for Violetta grows that simply didn’t fit in with Konwitschny’s cartoon-villain concept of the role”.
Peter Reed, Classical Source, February 2013
“With Anthony Michaels-Moore an impressively stentorian Germont…this is a gripping and impressive Traviata”.
Rupert Christiansen, The Telegraph, February 2013
“Anthony Michaels-Moore… is the genuine Verdi-baritone article, and sings his romance of attempted consolation to the devastated Alfredo with real style.”
David Nice, The Arts Desk, February 2013
“Anthony Michaels-Moore… projected well. ‘Di Provenza’ (‘What has turned your heart away?’ was well sung, especially the tender lines in the second verse.”
Mark Pullinger, Opera Britannia, February 2013
Don Carlo in Verdi La forza del destino
Oper Köln / cond. Will Humburg / dir. Olivier Py
“Anthony Michaels-Moore is obviously not new to singing; you can tell from his powerful, virile voice... he gave a vivid portrayal of the vengeful Don Carlo.”
Online Music Magazine, September 2012
Baron Scarpia in Pucinni Tosca
English National Opera / cond. Stephen Lord / dir. Catherine Malfitano
“… the central performance by Anthony Michaels-Moore as Scarpia makes the evening a remarkable experience. Some baritones have viewed the role primarily in terms of thuggery. Michaels-Moore, however, offers us a study in the sexuality of power and the psychopathology of evil.
We are conscious from the outset of his malign charisma and eerie physical grace. His voice is in terrific shape and his singing wonderfully baleful and incisive.
Go and see it for Michaels-Moore, though, whatever you think of the rest of it.”
Tim Ashley, The Guardian, November 2011
“As for Scarpia himself, Anthony Michaels-Moore – the only principal to return from the production’s original cast – has everything the part demands. Blest with a nice line in reptilian venom, his compelling portrayal of a predator who luxuriates in the erotic power of evil.”
Mark Valencia, Classical Source, November 2011
“As Cavaradossi's nemesis Scarpia, Anthony Michaels-Moore (…) was the ultimate stage villain, with a commanding presence, scarily believable as the stereotypical evil police chief.”
David Karlin, Bach Track, November 2011
“Anthony Michaels-Moore's effortless projection in the grand "Te Deum" a cocktail of lust and religion (…)”
David Nice, The Arts Desk, November 2011
“As Scarpia himself, Anthony Michaels-Moore reprised the role he sang in the first run of this production in May 2010. This attractive but deadly man evinces real desire for Tosca, combined with cool-headed cunning. I find the representation by Michaels-Moore to be spot on.”
Mark Ronan, Word Press, November 2011
“Anthony Michaels-Moore brings his customary musical intelligence to bear on the role of Scarpia…”
Barry Millington, London Evening Standard, November 2011
“Tosca needs, above all else, a good villain, and Michaels-Moore is as venomous as they come in the role of Scarpia, positively oozing malice as the evil despot-torturer-rapist.”
William Hartston, Express, November 2011
Sharpless in Puccini Madama Butterfly
Opera de Paris / cond. Maurizio Benini / dir. Robert Wilson
“In the role of Sharpless, Antony Michaels-Moore performed well… his acuity with text and sensitive acting made for a very rewarding portrayal.”
Ditlev Rindom, Mundoclasico.com, August 2011
“Anthony Michaels-Moore portrayed a suitably rumpled and kindly Sharpless. In the long letter scene in Act II he ably balanced the sense of anger at the situation he has been forced into with compassion for Butterfly’s fate… [Michaels-Moore] delivered a compelling and rewardingly detailed performance.”
Opera Britannia, July 2011
“... [Michaels-Moore] sang with warmth throughout the evening."
What's On Stage, July 2011
"Anthony Michaels-Moore looks and sounds the part as the US Consul Sharpless..."
Edward Seckerson, The Independent, July 2011
“...Anthony Michaels-Moore was a bluff, warm-hearted and sympathetic Sharpless.”
Seen & Heard International, July 2011
“The role of the Consul Sharpless was ably and assertively sung by Anthony Michaels-Moore, and was especially touching during the letter-reading scene; his exasperation with Cio-Cio-San’s refusal to listen, and with Pinkerton’s abandonment of her, was brought tangibly to the fore.”
Kevin Rogers, Classical Source, June 2011
“Anthony Michaels-Moore's Sharpless was the only stand-out performance beyond Opolais's Butterfly.”
Igor Toronyi-Lalic, The Arts Desk, June 2011
“Anthony Michaels-Moore is a[n]… endearingly compassionate Sharpless.”
Christian Hoskins, Music OMH, June 2011
“Anthony Michaels-Moore… managed skilfully to negotiate the role's demand to be both (Imperially) mighty and sympathetic.”
Flora Willson, Musical Criticism, June 2011
“Anthony Michaels-Moore was unsurprisingly excellent as Sharpless, with his full-bodied voice and intelligent interpretation.”
Gerard Mannoni, Altamusica.com, January 2011
Title role in Verdi Rigoletto
Opéra de Montréal / Cond. Tyrone Paterson / dir. François Racine
“Baritone Anthony Michaels-Moore attracted attention in the title role. Performing with amazing presence, his dark voice suited the character perfectly… brought a remarkable breadth of expression to the role.”
Jacques Hétu, Musique Classique, October 2010
“Anthony Michaels-Moore is a powerful and intelligent performer who sings a convincing Rigoletto.”
Alan Conter, The Globe and Mail, September 2010
Scarpia in Puccini Tosca
English National Opera / cond. Edward Gardner / dir. Catherine Maltifano
“Anthony Michaels-Moore was a plausibly saturnine and incisive Scarpia.”
Rupert Christiansen, The Telegraph, May 2010
“Anthony Michaels-Moore carefully avoids panto-villain caricature in his coolly menacing Scarpia.”
Intermezzo, May 2010
“Anthony Michaels-Moore...slithers around Scarpia's oleaginous threats with gruesome flair.”
The Times, May 2010
“Anthony Michaels-Moore's Scarpia stood out.”
Dominic McHugh, Musical Criticism, May 2010
“And Anthony Michaels-Moore’s Scarpia – whose black-caped entourage swoop down on the church choristers in act one like malevolent birds of prey (nice touch) and thereafter remain a sinister presence – does exactly what it says on the tin: he is obsequiously, sadistically, loathsomely mellifluous.”
Edward Seckerson, The Independent, May 2010
“Superb bass Anthony Michaels-Moore excels as Scarpia – with his malignant cocksure, hubristic love of power and, beneath it all, shabby seediness, is a million miles away from the pantomime villain the role can sometimes become.”
Graham Rogers, Classical Source, May 2011
Title tole in Verdi Falstaff
Théatre des Champs-Elysées / cond. Daniele Gatti / dir. Mario Martone
“...Based on a high quality of singing, agile and highly secure, the English baritone Anthony Michaels-Moore does not overplay the thickness and vulgarity of Falstaff, and so he becomes touching and credible – particularly when, on returning from his forced bath, he recalls with bitterness the burden of old age and the passage of time."
Concertonet, February 2010
“... Falstaff profits from the natural elegance and class of Anthony Michaels-Moore...His voice is capable of doing justice to the great demands of Verdi”
Utmisol, February 2010
“The premiere of Giuseppe Verdi´s opera Falstaff with the brilliant Anthony Michaels-Moore in the title role. This elegant gentleman is first class as Falstaff, he is singing much better than many Falstaff´s I have heard through many years…”
Kulturkompasset, February 2010
Title role in Verdi’s Rigoletto
English National Opera / cond. Stephen Lord / dir. Jonathan Miller
“As befits such a dark opera, deep voices dominate. Anthony Michaels-Moore’s Rigoletto is in a class apart because he somehow manages to be gloriously lyrical and terrifyingly baleful at the same time. He joins the notes together in beautifully sustained lines: a masterclass for young singers. Yet the power he musters is properly monstrous, and that is matched by his sinister lurches across the stage.”
Richard Morrison, The Times, September 2009
“Anthony Michaels-Moore’s Rigoletto is a believable standout turn — his magnificent, theatrical baritone that of a man who can topple the mighty by jest alone. Later, the same voice rages at fate and makes you tremble”
Kieron Quirke, Evening Standard, September 2009
"Miller is aided immeasurably by remarkable performances from Anthony Michaels-Moore as Rigoletto...Michaels-Moore's embittered joker masks self-loathing with vicious humour, and in his scenes with Katherine Whyte's Gilda takes us into territory in which tenderness and obsession are brought into juxtaposition"
Tim Ashley, The Guardian, September 2009
“…the evening belonged unequivocally to veteran Michaels-Moore. Eschewing the outward contortions so often brought to the role, his Rigoletto was a much more inward creature, beautifully produced and only occasionally employing the full force of his emotive Verdi baritone to potent effect. His is a more than welcome return to ENO.”
Alexandra Coghlan, Musical Criticism, September 2009
"Indeed with such an excellent cast, this is one of the finest performances of Rigoletto that London has seen in quite a while... (Anthony Michaels-Moore) his first UK appearance as Rigoletto was eagerly anticipated and he did not disappoint. He was firing on all cylinders and managed to make the character repulsive and sympathetic in equal measure, which is no easy feat, and provided an object lesson in how to really sing Verdi and his diction, like most of the cast, was faultless. One of the evening's unbridled pleasures was hearing a proper Verdi baritone in full flood, which had no problem filling the cavernous spaces of the Coliseum. He's certainly the finest exponent of the role to be heard in London in years and it whets the appetite for his take on Scarpia in Tosca later this season."
Keith McDonnell, Music OMH, September 2009
“It seems quite extraordinary that Anthony Michaels-Moore has never sung the title role in Britain, but this was his UK debut as Rigoletto, a part that fits him like a glove (unlike his misshapen, ill-fitting jacket), as the renowned Verdian singer that he undoubtedly is. He has the power as well as the pathos to carry the character and he quite rightly grabs our attention and makes us feel for the tragic situation he creates for himself.”
Nick Breckenfield, What’s On Stage, September 2009
“Anthony Michaels-Moore is Rigoletto. He has been singing the role throughout Europe (presumably in Italian) and brings spite, burden and dignity to the role as well as a finely-rounded baritone.”
Colin Anderson, Opera Critic, September 2009
“The main reason for going to see this run of performances though is for Anthony Michaels-Moore's portrayal of Rigoletto… His characterisation of the hunchback is perfect; as the barman he has quite clearly riled each and every one of the Duke's mob; they've all been on the sharp end of his acid tongue and are quick to get one over on him in return. His leering mockery of Monterone in Act I, whose daughter is the Duke's latest ‘victim’ is in sharp contrast to the nervy, suspicious father we see later. Michaels-Moore has a rich voice of leonine strength and refulgent tone; he spins a great legato, especially in the "Piangi, fanciulla" (`Ah, weep now, my daughter') duet in Act II. Rigoletto, the father, is over-protective rather than tender here; in the Act I duet, he makes no physical contact with Gilda at all, whilst in Act II he cannot face her as she makes her revelation, only taking her hand after their duet. It's at the end of the opera, when he's clasping his dying daughter in his arms, that he finally allows Rigoletto's emotions to show and it's all the more powerful as a result. This is baritone singing of the highest quality from Anthony Michaels-Moore."
Mark Pullinger, Opera Brittania, September 2009