Sought after on international stages, the Texas native has also joined the Teatro alla Scala for Demetrius in A Midsummer Nights Dream after first joining the company for Maximilian in Robert Carsen’s production Candide, which he also sang at the Théâtre du Châtelet as well as in Hyogo and Tokyo, Japan. He recently made his Lyric Opera of Chicago debut in a performance of Stanley Kowalski in A Streetcar Named Desire and subsequently sang Jud Fry in the company’s premiere production of Oklahoma! He has sung the title role in Francesca Zambello’s production of Billy Budd with the Israeli Opera, where has also sung Malatesta in Don Pasquale and Ned Keene in Peter Grimes.  A frequent presence at Seattle Opera, his previous roles with the company include Figaro in Il barbiere di Siviglia, Zurga in Les pêcheurs de perles, Guglielmo in Così fan tutte and Jake Wallace in La fanciulla del West. He recently joined Pittsburgh Opera for the title role in Billy Budd and Marcello in La bohème, Nashville Opera and Chautauqua Opera for the title role of Don Giovanni, Central City Opera for Guglielmo in Così fan tutte, Arizona Opera for the title role of Eugene Onegin and Ford in Falstaff, Glimmerglass Opera for Aeneas in Dido and Aeneas, and Arizona Opera, Palm Beach Opera, and Utah Opera for further performances of Guglielmo in Così fan tutte in addition to joining the roster of the Metropolitan Opera for the same title. He joined New Orleans Opera for Silvio in Pagliacci paired with Orff’s Carmina Burana in a double bill. His other noted performances on American stages include his New York City Opera debut as Papageno in Die Zauberflöte as well as subsequent performances of the role with Austin Lyric Opera; Mercutio in Roméo et Juliette with San Diego Opera, Palm Beach Opera, Arizona Opera, Opera Theater of Saint Louis, and Utah Opera; the Count in Le nozze di Figaro with Palm Beach Opera and Opera Grand Rapids, and Tarquinius in The Rape of Lucretia with the Opera Festival of New Jersey. 

A celebrated interpreter of contemporary music, Moore has received critical acclaim for his performances of Prior Walter in Peter Eötvös’ Angels in America with the Los Angeles Philharmonic, BBC Symphony Orchestra, Opera Wrocławska, and at Fort Worth Opera. He subsequently created the role of Lucifer in Eötvös’ Paradise Reloaded in his debut at the Neue Oper Wien. He recently reprised Joseph de Rocher in Heggie’s Dead Man Walking with the Lyric Opera of Kansas City, sang Starbuck in Heggie’s Moby Dick with Utah Opera, Sergeant Raymond Shaw in Kevin Puts’ The Manchurian Candidate with Austin Opera, and returned to the Royal Opera House at Covent Garden for the world premiere of George Benjamin’s Lessons in Love and Violence. He has joined the Grand Théâtre de Genève for Catesby and Rivers in Batistelli’s Richard III, debuted the role of Joseph De Rocher in Heggie’s Dead Man Walking and Rappacini in Catán’s La hija de Rappacini with Des Moines Metro Opera and sang performances of Stanley Kowalski in A Streetcar Named Desire with Virginia Opera, the Pilot in Portman’s Little Prince with Tulsa Opera and Laurent in Tobias Picker’s Thérèse Raquin at Dicapo Opera. He created the role of Vincent Van Gogh in Rands’ Vincent as a guest artist with Indiana University’s Opera Theatre. He sang the stage premiere David T. Little’s Soldier Songs at Le Poisson Rouge in New York and followed that with performances at L.A. Opera, Austin Opera, and at the Atlas Theater in Washington D.C. as well as a commercial recording release. With the Orchestra of Saint Luke’s, he sang Lieberson’s King Gesar at the Rubin Museum of Art. At the Guggenheim Art Museum, he premiered the work Blood Makes Noise in collaboration with electronic music luminary Holly Herdon, and, separately, Martin Hennessey’s 9-11-01 as part of the Works and Process Series. 

The baritone made his Carnegie Hall debut in recorded performances of Rabbi Joshua in Dessau’s Hagadah shel Pessach, then returned to Carnegie Hall for Orff’s Carmina Burana with David Robertson and the Orchestra of St. Lukes. Other notable concert appearances include Carmina Burana with the Saint Louis Symphony Orchestra, also under the baton of David Robertson, the Netherlands Radio Philharmonic Orchestra as Jesus in Elgar’s The Apostles, Orquestra Real de Sevilla singing Mozart’s Mass in C minor and Vesperae Solemnae, Utah Symphony for Vaughan Williams’ Dona nobis pacem, and Carmina Burana with the Jerusalem Symphony.

Selected art song credits include Brahms’ Die schöne Magelone in recital with pianist Daniel Gortler at the Israel Museum, Jerusalem, the Jewish Museum (NYC), and at Rishon LeZion Performing Arts Center in Israel, Schubert’s Winterreise with Anchorage Opera, Houston Community College, and Hesston College, and Mahler’s Lieder eines Fahrenden Gesellen with the Cleveland {red} Orchestra and at the World Exposition in Lisbon, Portugal. 

Also active as a stage director and designer specializing in digital media, Moore and director/designer Vita Tzykun are artistic directors of GLMMR, a New York based interdisciplinary art collective, with whom he performs, directs, designs, and composes a variety of artistic and theatrical works. GLMMR’s multimedia production of Schubert’s Winterreise, performed by Moore and directed and designed by Moore and artistic partner Vita Tzykun, has been produced at Atlanta Opera, Des Moines Metro Opera, Portland Opera, Anchorage Opera, Austin Opera, and at National Sawdust in New York. GLMMR also designed a production of David T. Little’s Soldier Songs, starring Moore, for San Diego Opera and KPBS TV. Also with David T. Little, Moore co-composed the score and designed the interactive media for GLMMR’s electro-acoustic performance installation, Book of Dreams: chapter sand which premiered at NYC’s National Sawdust. GLMMR’s design for Faust at Lyric Opera of Chicago, with projection design by Moore, was featured in Lighting and Sound America Magazine. 

Moore is a graduate of the Oberlin Conservatory of Music and the University of Cincinnati College-Conservatory of Music. He serves on the faculty of the Eugene O’Neill Center’s National Theater Institute and has given lectures, 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. 

In the 2022-2023 season, he and his creative partner, Vita Tzykun, have been awarded concurrent Granada Artist Residencies at University of California, Davis, where they have been commissioned to write, direct, compose, and design GLMMR’s new immersive movement theater work called REFUGE, which explores personal, universal questions of home ignited by Russia’s invasion of Ukraine.  

David Adam Moore’s Website
Photo Credit: Vita Tzykun
Management Territory: Worldwide