Reviews
“Actress and singer Aundi Marie Moore is superb as Maggie Porter, the soprano who wants to sing solos and not blend in with the group.” -pgssentinel.com, June 6, 2019
"Actress and singer Aundi Marie Moore as Maggie Porter on more than one occasion steals the show with her rich soprano voice portraying a character who wants to sing solos rather than blend her voice into the group.” -www.dcmetroarts.com, May 20, 2019
“The central character of the Mother... here was sung with radiant vocal glamour by soprano Aundi Marie Moore. Her repeated cries of ‘He walks!’ at the climax of the piece gradually rose in intensity until the interior of Holy Apostles Soup Kitchen vibrated like a great bell.” -www.observer.com, December 10, 2018
"Even more revelatory and radiant was soprano Aundi Marie Moore, who makes her On Site debut with this production. Someone needs to record this woman very soon, as she is not even in her prime and yet already sounds like a young Audra McDonald: her unmannered, ringing tone perfectly complemented the composer’s fringe-musical theater style." - www.parterrebox.com by Joel Rozen
“A special treat was guest vocalist Aundi Marie Moore, a soprano of compelling presence whose lyrical, focused, textured voice brought meaning and substance to such tunes as "Silent Night," "The Christmas Song" (Torme), Chanukah Lights (Hamlisch), and a knock out "O Holy Night." Without doubt, Moore's every moment on stage was engaging and totally captivating.” -The Virginia Gazette
"Aundi Marie Moore used her appealing soprano to tender effect in "All I Ever Known," a compelling, bittersweet ballad" -Tim Smith, Opera News
"Some of the most alluring music was written for the character of Odessa Clay, Mr. Ali’s mother, beautifully enacted by Aundi Marie Moore. She spun out the bluesy humming with a honeyed tone, one of several Americana elements of the score." -Vivian Schweitzer, New York Times
“Now to the spectacular: Throughout the program, Moore was riveting- a dazzling stage presence. Her lyric soprano, more than powerful enough to fill the hall, displayed a shimmering luster, effortless flexibility and a remarkable range of color. From Puccini’s “Un bel di” from “Madama Butterfly” to “My Man’s Gone Now’ from “Porgy and Bess” to “Moon River”, one sensed that this woman could sing anything in any style, with stunning results.” -Gene Harris/ Richmond Times
"Some of the best vocal writing, however, fell to Domingo-Cafritz alumna Aundi Marie Moore (she stood out memorably in the supporting cast of the 2008 “Elektra”), who had a coffee-rich tone as Odessa, full of maternal savvy and bluesy vernacular touches." -Charles Downey, Washington Post
"Aundi Marie Moore nearly walked off with the opera in the supporting role of Ali's mother, Odessa. Her radiant soprano lit up the Terrace Theater even when she was just softly humming; her portrayal was remarkably detailed and touching. Sparr stepped into cliche territory when putting an obvious jazz/gospel spin on Odessa's vocal lines, but Moore made them sound perfectly natural. A stirring performance." -Tim Smith, Baltimore Sun
"The great voice that we wait for is provided by Aundi Marie Moore..." -Mal Vincent, The Virginian Pilot
"And Aundi Marie Moore, in the role of Nedda, pretty much stole the show as a believable, beloved actress with a gorgeous voice to match." -June LeBell, The Observer
AUNDI MARIE MOORE, SOPRANO: "Soprano Aundi Marie Moore was stunning. Her soaring vocals thrilled the crowd on Ave Maria, and Hamlischs new original composition Chanukah Lights. Moores powerful voice and graceful stage presence made a lasting impact, and she certainly seems to be a young talent on the rise. Her smile was enough to light up the entire room." -Chris Gerard (DC Scene Contributor)/NBC4.com
"And when the operatic selections concluded (with Giuseppe Verdi's version of -you guessed it- the Letter Scene from his opera, Falstaff), the three singers were joined by a fourth, soprano Aundi Marie Moore who, with her lustrous voice and impeccable delivery, actually brought the entire ensemble to a new level of excellence." - David Lindauer, The Capital
as Fiordiligi in COSÌ FAN TUTTE: "Moore handled the difficult ornamentation of her music flawlessly." - Zsofia Budai / The Hoya
as Lady in Waiting in MACBETH: "Soprano Aundi Marie Moore does nicely in a small but noticeable role." - Kate Wingfield / Metro Weekly
"The last opera segment was from Verdi's "Falstaff," sung in Italian by Cook, Davis, and Mezzacappa, now joined by another award-winning soprano, Aundi Marie Moore, who displayed a stunning voice of power and beauty." -Sherry Boas, Baltimore Sun
as Donna Elvira in DON GIOVANNI: "In February, I wrote of soprano Aundi Moore that while her lower register is still developing, her high notes are going to take her places. Well, they have taken her to center stage of the Kennedy Center Opera House as a standout Donna Elvira in a strong cast. While Mozarts nasty register leaps in Ah! chi mi dice mai showed what is still missing, hers was the only voice that otherwise filled the hall without strain. Ah! fuggi il traditor displayed clarion beauty... Mi tradi was exceptionally effective too." -Robert Battey / Washington Post
as Fifth Maid in ELEKTRA: "Aundi Marie Moore (Fifth Maidservant) and Yingxi Zhang (Young Servant) sounded especially vibrant." -Tim Smith (music critic) / Baltimore Sun /
"In the following opera Pagliacci, Nedda, wife of Canio, was sung in a soaring flexible lyric soprano by Aundi Marie Moore who also doubled as Columbina in the play within a play. Her bird song Hui! Stridono lassu was sung with coloratura dexterity and brightness with a vibrant finale. Her confrontation with the lustful deformed Tonio was powerful and her duet with her lover Silvio was rhapsodic. Ms. Moores interplay with the enraged Canio was performed with bold defiance." -George Voorhis, Opera L-Archives
"Best representing the maidservants, most of whom were sung by members of the Domingo-Cafritz Young Artist program, was Aundi Marie Moore who had a dramatic turn as the fifth maidservant, the one who tries to defend Elektra." - Charles T. Downey / IONARTS