| Sandra Moon - Selected Reviews | bio and resume |
| As Cleopatra in Cleveland Opera's "Julius Caesar" |
| "Sandra Moon, who sang Cleopatra on short notice at the Met a year ago, sang enchantingly as the Queen of Egypt. Her molding of each phrase of each aria, whether lyric ('V'adoro, pupille') or fiery coloratura ('Da tempeste'), was right on the money. She also brought out the humorous interplay with Tolomeo in 'Non disperar,' and her 'Se pieta' brought Act II to a quietly intense, intimate close." |
| - Allan Montgomery, Opera News, 3/2003 |
As Gilda in "Rigoletto" with Cleveland Opera |
| "Robert McFarland and Sandra Moon made a superb father-daughter team at Friday's opening, reacting to one another with a fine mixture of spontaneity and urgency. In the duets with Gilda, McFaland balanced his voice carefully which gave us multiple chances to hear Moon's gleaming soprano in all its splendor. Accurate, sweet and agile, Moon applied great expressive variety to Gilda's music, whether lines were lyrical or inclined toward gentle coloratura acrobatics." |
| - Donald Rosenberg, The Plain Dealer, 5/6/02 |
Metropolitan Opera performance of Cleopatra in "Guilio Cesare" |
| "The principal casting novelty of this performance was the
illness-compelled replacement of soprano Hei-Kyung Hong (who had
sung the role on opening night) with Sandra Moon as Cleopatra.
Having sung Pamina at New York City Opera and made her Met debut
as Echo in Ariadne auf Naxos in 1997, Moon brought much accomplishment
and further promise to this performance. At this point, her Cleopatra
has wit, sparkle and vocal agility. The great laments 'Se pieta' and 'Piangero' floated on beautiful legato..." |
| - Leighton Kerner, Opera News, 2000 |
" Sandra Moon, Hong's replacement, gave a marvelously assured performance in her place. Her achievement was extraodinary. I know she sang the dress rehearsal, but how many performances of this long and gorgeous opera had she sung before this? She has a handsome lyric soprano with some body to the tone. The voice is flexible. She sang cleanly all evening long, and really brought out the scheming, proud and brave side of this character with astonishing force. She looked gorgeous in this productions lavish and beautiful costumes, which fit her attractive figure beautifully. She was funny and tender. I look forward to hearing her again soon." |
| - Internet Review, BryceNYC, 5/07/00 |
"Sandra Moon is a heartfelt, and in timbre, girlish Rusalka with astonishing volume in the upper range." |
| - Munich, Tageszeitung, 1/25/99 |
"Sandra Moon in the title role [Rusalka] with her even and character filled lyric soprano voice, is reminiscent of a young Hildegard Behrens, who sang this role at the Staatsoper (Munich) in 1981" |
| - Munich Hbendzeitung, 1/25/99 |
"Sandra Moon's Musetta does push the obvious personality contrast with Mimi... the crowd loved her and her famous Act 1, Scene 2 aria was entertaining." |
| - The Columbus Dispatch 11/18/94 |
"Sandra Moon as Princess Elvira possesses a beautiful, easy soprano voice, with a bright shimmer and exemplary technique." |
| - Die Rheinpfalz 6/93 |
"The most convincing performance of the evening was Sandra Moon's Pamina. She sang with sensitivity and cultivated pianissimo. Her g-minor aria (Ach is fühl's) made the deepest impression of the evening." |
| - Die Rheinpfalz 10/92 |
"Sandra Moon sang beautifully as Marzelline, melding ornaments into her line naturally and gracefully." |
| - The New York Times, 8/12/91 |
"The soloists too were splendid..especially Sandra Moon's clear Marzelline." |
| - Opera News, 12/91 |
" ...Quando me'n vo' soletta per la via. That aria, sung with energizing panache by Sandra Moon, launched a musical wave that eventually swept up the orchestra, soloists and chorus and shaped the remainder of the act." |
| - The Milwaukee Journal, 11/22/91 |
"Sandra Moon eclipses many another soprano when she joins the proceedings. She takes Susanna's aria from Figaro and transforms it into something mesmerizingly lovely. Moon's voice is very, very pretty with soft, sweetly rounded corners. There's not the tiniest hint of strain or edginess that characterizes some sopranos. She maintains this true lyrical melodiousness throughout, including a mesmerizing Pamina.." |
| - The Bridgeport Post, 5/1/91 |
"Sandra Moon sang Susanna's famous Deh, Vieni, non Tardar from Act 4 of Figaro with a solid technique, and her rendition of Pamina's Ach Ich Fuhl's from Act 2 of Flute was quite touching." |
| - The Advocate (Conn.), 5/2/91 |
"...in the New York City Opera's production of Mozart's Magic Flute, Sandra Moon, made her company debut as Pamina, and as it turned out, she was by far the best singer in the cast. "Ms. Moon's soprano is well rounded and even textured throughout her range, she produces as lovely, smooth sound, and her acting is natural and sympathetic." |
| - New York Times, Allan Kozinn, 10/88 |
"Sandra Moon should be mentioned as representative of a fine trio of Nymphs." - (Ariadne auf Naxos), |
| - Opera Magazine |
"Sandra Moon sang Aanchen, Agathe's innocent cousin, with the same spirit as if she were in a fully mounted production. She not only nailed her Act II A and her Act III B-flats with ease, but she whipped of her vocal arabesques with aplomb. Then on top of that she acted. |
| - The Star Ledger, Paul Somers, 3/91 |
"Miss Moon has a sweet, focused soprano...and sounded particularly good in "We'll Go Away," her duet with her ardent, melancholy admirer, Sam Kaplan" |
| - New York Times, Allan Kozinn, 10/90 |
"Not only because of her outstanding stage experience is Sandra Moon on her way to becoming an excellent Pamina, but carrying in every range, her shining soprano voice pampers us through splendid cultured legato. |
| - Aachener Nachricht |
"Guest predominated the stage, except for Sandra Moon, who should have a larger role, She sang the role of Oscar with vocal elegance. Despite the light-heartedness of the role, she never indulged in superficiality. An optic as well as a performance." |
| - Aachener Volkszeitung |