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B i o g r a p h y

David Adam Moore performs as a leading baritone with major opera houses and orchestras worldwide, including the Metropolitan Opera, Royal Opera House Covent Garden, Teatro alla Scala, Lyric Opera of Chicago, Salzburg Festival, Carnegie Hall, Teatro Colón Buenos Aires, Théâtre du Châtelet, Bunkamura (Tokyo), Grand Théâtre de Genève, Israeli Opera, LA Opera, New York City Opera, Netherlands Radio Philharmonic, BBC Symphony, LA Philharmonic,

Orchestra of St. Luke's, American Symphony Orchestra, and many others. His performances have been broadcast on BBC, Arte television, NPR, Radio France, RAI, ORF, and Radio Netherlands, and recorded by Erato, BMG, GPR, and Innova records.


With a repertoire of over 60 principal roles, he is best known for his portrayals of Billy Budd, Don Giovanni, Eugene Onegin, Rossini’s Barbiere, Joseph DeRocher in Dead Man Walking, Stanley Kowalski in A Streetcar Named Desire, Prior Walter in Angels in America, Zurga in Les pêcheurs de perles, Schubert’s Winterreise, Carmina Burana, Count Almaviva in Le Nozze di Figaro and the Soldier in David T. Little’s Soldier Songs, which Moore premiered and recorded. A celebrated interpreter of contemporary music, he has created roles and premiered works for some of today’s most important living composers, including Thomas Adès, Peter Eötvös, David T. Little, Holly Herndon, John Eaton, Ricky Ian Gordon, Conrad Cummings, Martin Hennessey, and Tom Cipullo, while simultaneously garnering critical acclaim for his interpretations of opera, art song, and concert works from the Baroque, Classical, Romantic, and Modern eras. Moore’s Metropolitan Opera debut performance as Colonel Gomez in Thomas Adès’ The Exterminating Angel was broadcast in theaters worldwide and is available on dvd.


Also notable for his work as a projection designer, composer, digital media artist, and stage director, Moore recently made his Lyric Opera of Chicago stage design debut as projection designer for a new production of Faust - in which he collaborated with renowned sculptor/animator John Frame and stage/film designer Vita Tzykun. Working in partnership with Tzykun, he is a founding member of GLMMR - an NYC-based interdisciplinary art collective that works in a variety of artistic fields. GLMMR’s latest original work, Book of Dreams: chapter sand, is an electro-acoustic performance installation featuring an electronic composition by Moore, an interlocking vocal composition by David T. Little, production design and direction by Vita Tzykun, and sound-reactive video design by Moore. Performed without microphones, it explores uncharted sound worlds by creating a symbiosis between un-amplified vocals and a floor-shaking electronic accompaniment carefully designed to integrate with the acoustic properties of an operatically-produced voice. It premiered to a sold-out audience at National Sawdust in a performance described by music journalist Jeremy Hirsch as "unpretentious and utterly enjoyable while it effectively told a treacherous story.” GLMMR’s multimedia staging of Schubert’s Winterreise, starring Moore, has garnered critical acclaim in productions by The Atlanta Opera, Portland Opera, Des Moines Metro Opera, Anchorage Opera, and in its NYC premiere at National Sawdust. Other stage productions by GLMMR include set, costume, and projection design for David T. Little’s Soldier Songs at The Atlanta Opera and in a PBS-televised production, starring Moore, for San Diego Opera. GLMMR created the largest-scale production to date of Michael Nyman’s opera The Man Who Mistook His Wife for a Hat, based on the book by Oliver Sacks. Co-directed and co-designed by Tzykun and Moore in collaboration with a team of consulting neurologists, the production premiered at Indianapolis Opera in 2015, is set to make its European debut in a future season, and will be featured in a forthcoming documentary about the life and work of Dr. Sacks. Moore’s projection design work has been featured in Lighting and Sound America magazine and his award-winning photography has been published by the Frankfurter Allgemeine Zeitung, Boosey and Hawkes Music, and the San Diego Union-Tribune. His other interactive works and collaborations have been presented by the Guggenheim Museum (Holly Herndon: Blood Makes Noise), the 92nd Y, .NO Gallery, Town Hall (Nick Hallett and Performa), and Sybarite 5.

Moore holds degrees from the University of Cincinnati College-Conservatory of Music and Oberlin Conservatory of Music, where he was a protégé of the influential voice pedagogue Richard Miller. He co-authored articles with Miller on vocal acoustics and received research grants from the McNair Foundation and the National Academy of Recording Arts and Sciences. He now regularly teaches workshops and masterclasses for academic institutions throughout the U.S. and Canada, including Mannes School of Music, Rice University Sheperd School of Music, Oberlin Conservatory, University of Texas, and San Diego State University. He has served on the guest faculty of Carnegie Hall’s Weill Music Institute and Mannes School of Music at the New School. He also serves on the advisory boards of San Diego Opera’s Opera Hack and Austin Opera’s Innovation Council, where he collaborates with other thought leaders and technologists from major corporations and cultural institutions to find new paths forward from the intersection of art and technology.


SOLDIER SONGS, San Diego Opera (2016); photo: Karli Cadel

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