2012

Happy New Year to you all! What a year it’s been on so many levels. The year began with a run of Louise Moaty’s wonderful production of Handel’s Rinaldo in Prague, so a nice return to work with familiar colleagues in such a wonderful city. I’ve had a number of ‘firsts’ this year. There was my first performance in the Leipzig Gewandhaus in September, my first performance in Canada (Ottawa) in December, the first performance, at last, of my Feminine Charms programme, which was fantastically received and will be recorded in 2013, and seen again at Buxton Festival this July. Then there was my first Das Lied von der Erde in October – hopefully the first of many, and my first performances of some of the Ruckert lieder.

I’ve been thrilled to have been involved in the Kathleen Ferrier Centenary celebrations in 2012, with many performances of my programme, but topped off with being asked to perform Kathleen Ferrier Society’s Centenary Weekend. When I think back to my earliest experiences of singing and of hearing Ferrier’s voice, I could never have imagined being in that position. That, combined with finally learning and performing Das Lied, has made 2012 really a year to remember and cherish.

December was an exciting month and I travelled firstly to Ottawa to perform at the National Arts Centre – I’ll never forget this visit! I was spoilt rotten! Fantastic audiences, wonderfully responsive orchestra and lovely colleagues and people alike. I enjoyed every minute of it! Then, I flew to Philadelphia to sing with the Philadelphia Orchestra. What a great city it is. Again, I was spoilt absolutely rotten by Ben Spalter et al and had a wonderful time. The Verizon Hall has to rank as one of the absolute best I’ve ever sung in – I felt so comfortable on that stage. I do hope I get to return there. One of the highlights of the trip was a visit with soprano Karina Gauvin to the Barnes Foundation. I had no idea before I visited Philadelphia that this existed but I spent one of the nicest afternoons ever looking at the amazing collection of Renoirs, Matisses, Cézannes, Van Goghs, Picassos, etc etc etc – all from as close as a metre away! One of my absolute favourites was a huge canvas by Seurat called The Models - just to see it in the flesh and see the detail of the brushstrokes took my breath away.

So, now on with 2013. There are lots of exciting things on the horizon so I hope you’ll join me along the way and I’ll keep you posted as much as I can!

Whattaweek!

I’m sure Ferrier must have said that at some point!…

Well, it’s been quite a week of Kathleen Ferrier, one way or another! I had the honour of singing at the Kathleen Ferrier Centenary Weekend last week. It was fascinating to meet so many people not only connected with the Society, but also with Ferrier herself, and hear so many individual stories. It was also wonderful to meet Lucy Stevens, the actress behind ‘Whattalife’ and talk to her about how she came to Ferrier’s story and made her artistic decisions. The audience at King George’s Hall on Saturday night were a treat!

After such an immersion over the weekend, I felt energised for two performances of ‘A Celebration of Kathleen Ferrier’ in Wales this week with John Reid at the piano – Rhyl Music Club, where Kathleen herself performed with Gerald Moore on 22 October 1950 at 3pm – and the wonderful Music Club at Ruthin. Both audiences were wonderful – I ALWAYS love singing in Wales! I think my ‘Morgan-Davies’ roots stir whenever I cross the border! The hospitality was generous and respectful and we all had a great time. I’m looking forward to visiting Dolgellau Music Club on Friday – my birthday! – for the third, (or is it 4th time?) Whichever it is, it’ll be a treat to see Ben Ridler and the audience there again. It’s concerts like these that remind me why this can be the best job in the world.

I had the great pleasure and trepidation of including songs from Mahler’s Ruckert Lieder in the programme for the first time, having been emboldened by the performance of ‘Das Lied’ back in October. It was terrifying but also utterly invigorating – I’ve wanted to sing them for about 20 years but have never felt technically prepared to attempt them. Now, however, bring it on!! As much Mahler as possible, please!

Plans for the new website are moving forward, so more very soon!

The Kathleen Ferrier Society Weekend, Blackburn

I’m very excited to be on my way to Blackburn to join in this weekend’s Centenary celebrations with the Kathleen Ferrier Society - I’m honoured to have been asked to give tomorrow night’s concert at King George’s Hall, Blackburn with pianist, Christopher Glynn, celebrating some of the music Ferrier was associated with. I’m looking forward to seeing many old friends and also meeting new ones. This concert will be open to the public and tickets can be bought from King George’s Hall, a hall that Ferrier herself performed in many times during her lifetime, both as a pianist and as a singer!

Website offline

My website will be temporarily offline as it is in the process of being re-designed and updated. I’ll keep you posted as to it’s progress! In the meantime, information is available via my Agent’s website, http://www.rayfieldallied.com/artists/diana-moore/ 

My next concert will be a performance on Saturday 20 October at St Alban’s Abbey of Beethoven’s Missa Solemnis.

More very soon and thank you for your patience!

Diana

My first Das Lied von der Erde and new US dates

Just over 2 weeks to go now before my very first Das Lied von der Erde (Mahler). I think this piece must be the ultimate test as to whether one has achieved adulthood as a singer!! I’ve been having the time of my life working on this wonderful text and music. Just to warn you that the concert has been moved from the original venue of Tewkesbury Abbey to All Saints Church in Cheltenham, contrary to what my Events Diary says. My old RAM friend and colleague Daniel Norman will also be making his Das Lied debut and I can’t think of a better colleague to share this experience with! I’m looking forward to working with David Curtis again too, who gave me my first chance to sing the Knaben Wunderhorn Songs and also Mahler’s 3rd Symphony

I’m still trying to get my tongue around the tongue twisters in the 4th movement so that I can sing them in my sleep if necessary – it’s starting to feel that way!

 

More exciting news is that I have 3 new dates in my diary for December this year, all performances of Handel’s Messiah. The first two will be at the National Centre of the Arts, Ottawa with the NACO conducted by Paul Goodwin on 17/18 December, followed by another performance on the 23rd with the Philadelphia Orchestra in Philadelphia, also conducted by Paul Goodwin. Can’t wait!

Christopher Morley’s 5 Star Review of ‘Feminine Charms’ in Birmingham Post

Postponed from last year because of the singer’s indisposition, Diana Moore’s “Feminine Charms” recital at last graced Tardebigge on Sunday, genuinely “Celebrating English Song”, and this time solely from the pens of women composers.

And what a celebration this was, the accumulation of ten years of research and a couple of years in the planning, revealing the immense amount of talent and resource still to be recognised by what regrettably remains a man’s world.

All but two of the songs in Moore’s generous programme were being sung by her for the first time. The freshness of her performance, her compelling body-language from prelude, through the song, to postlude (not least the eloquent eyes), and her empathetic response to the emotional truths of the texts, particularly those from female authors — who understand the soul better than we males do — delivered a message which spoke to us all.

Hers is a mezzo in the traditional English style, lustrous, full-bodied but capable of nuances of timbre, singing off the words with marvellous diction, and she cascaded us with delights from too many composers to list here, aided by the brave pianism of Elizabeth Burgess, coping with a bewildering variety of styles and textures.

Highlights for me were Liza Lehmann’s “Thoughts have Wings”, simple yet heart-piercing, Amy Woodforde-Finden’s “Pale Hands I Loved” (believe me, this is a song of genuine stature), and above all, Lynne Plowman’s trio of e e cummings’ settings, two of them new commissions sponsored by the Kay Trust, and, at their centre, “I carry your heart with me”, musical rhythms matching the verbal ones, vocal line reaching both climax and sublime intimacy. This is a song never to be forgotten.

Read More http://www.birminghampost.net/life-leisure-birmingham-guide/birmingham-culture/music-in-birmingham/2012/08/03/review-diana-moore-at-tardebigge-parish-church-65233-31525344/#ixzz22h8axgVr

Review from The Courier of the Perth Festival performance of A Celebration of Kathleen Ferrier

A Celebration of Kathleen Ferrier – Perth Theatre, 24 May 2012, Perth Festival of the Arts

One of the most moving and captivating evenings I’ve spent. These aren’t words I’d normally open a review with but in relation to Thursday night’s show in Perth Theatre, they are more than justified. “A Celebration of Kathleen Ferrier” was tastefully produced and impeccably performed, and the tribute to a great singer, who was born 100 years ago and who died tragically young, made for an evening I’ll not forget in a hurry.

Her story is ultimately tragic, but at the same time fulfilling and uplifting, and the character of this extraordinary singer was brought to life by narration from the dulcet tones of Brian Kay and the rich, velvety mezzo soprano of Diana Moore, the inspiration behind this innovative production. Moore’s choice of songs illustrated the versatility of Ferrier, from folk to opera and from oratorio to lieder, and they were all delivered superbly, aided by the excellent dexterity of pianist Christopher Glynn. Each song was sung with the utmost expression, one of Ferrier’s trade marks with the odd touch of humour which was another trait of the late singer.

As her life story unfolded, Kay and Moore added anecdotes and reminiscences from some of the greats of her time, like Bruno Walter, Barbirolli and Gerald Moore, which illustrated the immense regard with which Ferrier was held by her peers. Musically, the show didn’t have a weakness and if pushed for the best moment, I would plump for the two Brahms lieder although The Angel’s Farewell from Gerontius wasn’t far behind.

Ferrier’s superb voice lives on through recordings, and the show finished with an empty stage and her version of Che Faro echoing round the theatre. The uncanny resemblance of her voice to Moore’s added to the emotionally charged atmosphere that ran throughout the evening, as the life – and voice – of a truly great Briton was rightly and royally celebrated.

 Garry Fraser, Scots Magazine & Music Critic for The Courier, Dundee