Wright Moore

Wright has just completed his 10th season as a member of Metropolitan Opera’s Extra Chorus.  

Wright Moore has performed as a soloist with opera companies in the United States and Europe, having made his U.S. professional debut with the Opera Theater of Saint Louis as Brighella in Ariadne auf Naxos and his European debut as Sam in Susannah with the Vienna Kammeroper. 

Highlights from previous work in opera include: Second King in Die Liebe der Danae with the Salzburg Festival (Salzburg, Austria); Don Ottavio in Don Giovanni, Camille in The Merry Widow, and Kudrjasch in Katya Kabanovawith the Luzerner Theater (Luzern, Switzerland); Pong in Turandot with Virginia Opera (Norfolk, VA), Don Ottavio in Don Giovanni with the Circulo Portuense de Opera (Porto, Portugal) and the Mississippi Opera (Jackson, MS); both Tom Rakewell in The Rake’s Progress,and Sam Polk in Floyd’s Susannah with the Wiener Kammeroper (Vienna, Austria); Matteo in Arabella with the Braunschweig Staatstheater (Braunschweig, Germany); Leukippos in Daphne for the Opera du Rhin (Strasbourg, France); Tamino in Die Zauberflötefor Teatro Lirico d’Europa (Madrid, Spain); and Hooker in the World Premiere of Emmeline by Tobias Picker with the Santa Fe Opera (Santa Fe, New Mexico), featured on PBS’s Great Performances Series.  Past concert engagements include:  Puccini’s Messa di Gloria and Bizet’s Te Deum with the Luzern Symphony in Luzern’s KKL Concert Hall in Luzern, Switzerland; Carmina Burana with the Sioux City Symphony; and the Beethoven 9th Symphony with the New Jersey Choral Society and the Orchestra Nexus under the direction of Eric Dale Knapp, conductor.  

Wright is also a painter, holding membership with the Ridgewood Art Institute, the Art Students League of New York, the Garrison Art Center, and the Salmagundi Club of New York.  Wright holds a BA from Amherst College and a Masters in Music from the New England Conservatory of Music.

My teaching is grounded in the principles of the Florentine, Vannaccini bel canto tradition, with the exercises of Practical Method of Italian Singing (Vaccai vocal method) serving as the primary point of departure in lessons. These classic studies provide a clear and disciplined framework through which singers can develop coordination, flexibility, and expressive control of the voice.

Students learn to establish proper vocal placement while maintaining relaxation in the body and an energized, supported breath. Careful attention is given to vowel formation—including very closed vowels—while sustaining an open throat and balanced resonance. Work on articulation ensures that the muscles of pronunciation remain active and mobile, contributing to vocal freedom rather than tension.

Through the use of dynamic shaping—surge and diminish—students develop flexibility and control while cultivating the essential sensation of connecting the voice into the resonant “mask,” a central concept of the Florentine bel canto tradition.

Visit my YouTube channel: @wrightmooretenor 

Education: Amherst College BA; New England Conservatory of Music MM

In person: $100.00 per hour (pianist not included)
Virtual: $75.00 per hour