On September 12th, 2025, EuroArts launched a new disc recorded in Romania - the opera Norma by Vincenzo Bellini. An elite distribution that reunited soprano Melody Moore, tenor Ștefan Pop, bassist Adam Lau, mezzosoprano Roxana Constantinescu, soprano Noemi Modra, tenor Eusebiu Huțan, and the "Transilvania" Philharmonic Choir (trained by Cornel Groza) and Orchestra from Cluj-Napoca. Leading the orchestra - conductor Pier Giorgio Morandi.

On this occasion, American soprano Melody Moore was kind enough to allow me an interview:

A new disc, and at the same time, a new role. What are your thoughts about Norma, both as a character and as a score?

I think Norma is a very difficult score due to its distinct complexity. Bellini wrote it for multiple types of voices - particularly specific for coloration voices, as well as dramatic ones, with an extraordinary intensity. A killer character, but full of nobility. I think the aria "Casta Diva" is like a prayer for herself and for Pollione, the man she loves, and not about winning a battle. It's more about her than the druids. Of course, this is her secret, and Norma has a lot to hide. As a character, I find her fascinating because she has so many secrets, but then, when the moment of truth comes, she confesses to everything. I respect this about her, I respect her character, her relationship with her children, even during the moments when she believes herself capable of crime. In Bellini's score, we find a large variation of expression methods - flourishes, explosive coloration passages, extremely difficult passages, but there are also remarkably dramatic moments, present both during speaking portions and in arias and ensembles. I appreciate Norma's relationship with her father, Oroveso. I think he understands her, but tries to maintain his presence. It's difficult for all of them; no character in this opera has an easy road. It reminds me of the poem "The Road Not Taken" by Robert Frost, about two paths that go different ways in a forest, in the end, the one chosen being the one not often taken, which made the journey significant. I think Norma chose this kind of path.

What do you think you gained from this new experience?

I have gained a lot from this role. We went through a pretty tough time at the beginning of the recording session. We had Larry Foster with us, as you well know. All of us knew him very well. The orchestra had performed with him before. He had worked with us for a while, but he fell sick. His assistant took over, who did a wonderful job with us until we were able to find a new maestro. So, there have been a lot of problems right from the start. Therefore, what I gained from this role was different ways to persevere. I had to develop a mental fortitude, but also a vocal one, because we kept practicing and practicing, even if we stopped recording. And all that we had already recorded couldn't be used in the name of the new conductor. Therefore, I think the ability to persevere is the most precious thing I've gained. For a while, I felt that most of the time spent here was in waiting to start working, and then everything proceeded smoothly, like lightning. We worked for about 10 days, then we also had a concert with Norma. It was a lot of singing all at once. I think this way I gained something new - having at the same time the fear of being able to complete this, but also, releasing afterward that we succeeded, and what a way to finish, with style. So I am very proud of myself.

Do you intend to perform Norma during shows, too?

I have no intention to do that. Norma represents a peak for me. It changed me. It changed the way I view myself as an artist. It changed my way of thinking about what I thought I could and couldn't do. It highlighted my vulnerabilities, my perseverance in the face of effort. After, the character's states of mind highlighted the kind of energy that should only be felt during singing, without playing the role on a stage, with costumes, lights, and movement. So no, I don't plan to perform Norma on stage. The power of the spoken word weighs heavily, so I am very aware of what it means when I say this. It would take a lot of work to convince me to perform Norma on stage.

It's your third time collaborating with Cluj-Napoca's philharmonic and Romanian soloists. What do you think about this collaboration?

As I said, this collaboration changed my life. On another note, every time I come to Cluj, I learn something new about myself. The first time, I looked around me, I looked at the hills surrounding me, I led through one of the mountain regions, I visited a couple of the soloists, I went to the Wonderland resort, and I told myself: I could live here. I didn't know I was talking about something I was going to do in the future.

My relationship with the soloists Ștefan and Roxana Constantinescu was like being in a family. She saw me go through many changes in my life. While working on Norma, she was a very reliable friend and offered me a lot of advice I will never forget.

I like Cluj's philharmonic very much. I think its artists are very reliable, not just as musicians, but also as people, considering the rapport between their way of thinking and what they have to do for their ensemble. I think they work well together. They speak the same language. I am friends with them. It was truly an honor to record with them so many times. I think I am one of the luckiest people out there because these soloists and this orchestra are part of my life, and I can sing with them. On Fridays, I go to their concerts, and sometimes I even get to sing with them, if I am lucky.

How is it for you to prepare and sing for the recording sessions compared to a show on the stage?

I actually think it's easier. I go through the role as if I were going to play it on stage. Of course, I want to know exactly what I'm saying and the subtext of what I'm saying. I want to know how I relate to the other characters, and I want to master the role before I start recording. The character of the role that I'm portraying comes from what I've accumulated, from understanding the character, not from a string of musical notes. The result remains unchanged forever. I like it because every minute of a recording comes in multiple versions, which means you have a lot of possibilities to play each phrase, to try different things, and then you decide which ones you want to keep... and you've managed to portray what you want. So it feels a little more creative to me. In a show, when you're on stage, you can't stop the moment; you have to move on, you can't retake it. Maybe you'll have another show where you can try something different, but that won't be the same day. It will take a few days or a week before you have the chance to try something different. In recording sessions, you can make quick progress with real results on creative ideas. Shaping the score can be done immediately. It's invigorating. I really enjoy the whole process. It can be tiring, but if you think ahead of time about the plan you want to put into practice that day, it can be a really exciting experience. You can feel the effervescence. Didn't like that note? You can try again.

What are the main events in your schedule for the new season?

In October, there will be a recital that I will perform in Cluj with Mrkus Hadula. He is a pianist from Vienna, fantastic for lieder. We will play Wesendonk Lieder by Wagner, Rückert-Lieder by Mahler, and Hermit Songs by Barber. I am very excited. There is a lot to sing, but the music is very beautiful. Then, in November, Pier Giorgio Morandi will return to the Philharmonic for a Puccini concert. There will be not only arias, but also duets, with different artists. I don't think I can talk about next year before the projects are publicly announced, but I can't wait to get on an opera stage again; it will be in one of the theaters in Romania. I am looking forward to learn Scheherazade by Ravel, a very interesting score. As for the future, I am thinking of tackling other titles from the German repertoire, such as Strauss's Last Four Songs and more. For the moment, I can't wait for a vocal-symphonic concert, another voice and piano one, and at least one opera performance.

Photo credit: Cristina Rădulescu