Mezzo-soprano Alicia Hall Moran is gaining international recognition for her technical virtuosity and brilliant interpretation of song. Embracing a broad musical repertoire, including classical and avant-garde, Jazz, and Broadway, she pushes the boundaries of music—in concerts and collaborations noted for their flair, intelligence, and audacity.
Ms. Moran’s boldly original work transcends expectations while upholding the traditions of her ancestors and teachers—from her great uncle Hall Johnson, the legendary choral director, composer and interpreter of Negro Spiritual, to her esteemed vocal coaches, Shirley Verrett, Adele Addison, Hilda Harris, David Jones and Warren Wilson. Despite her classical training, Ms. Moran is not bound to the classical repertoire. In her critically-acclaimed performances, she creates dynamic and sensual musical worlds where the lyricism of Marvin Gaye and the high-drama of Puccini collide.
Ms. Moran appeared in the ensemble of the Tony Award-winning Broadway production of The Gershwins' Porgy and Bess wherein she also performed the role of Bess as an understudy—and for six weeks, as the scheduled Wednesday night alternate—to Audra McDonald.
Ms. Moran’s singularly innovative work, The Motown Project, has been thrilling audiences across the United States. As musicologist Guthrie Ramsey observes, “the idea of thinking about Motown recordings as a Schubertian song cycle winding through the stages and associated emotions of a love affair—from declamation, assurance, doubt, disappointment, to anger—[is] brilliant.”
Along with her husband, the pianist Jason Moran, she was artist in residence in the 2012 Whitney Biennial, curating BLEED, a five-day performance cycle that juxtaposed song, dance, poetry, lecture, diary, film, video, and journalism with a survey of the Morans’ past collaborations in the musical and visual arts. Writing in The New York Times, the critic Ben Ratliff deemed Bleed “extraordinary in breadth, depth, planning and execution; if you’d seen the Morans only as imposing musicians, it’s time to expand that view.”
Ms. Moran was an artist-in-residence at the Isabella Stuart Gardner Museum, and has been commissioned by Art Basel Miami. She co-authored and improvised vocal music for Bill T. Jones/Arnie Zane Dance Company’s award-winningChapel/Chapter. Her column on classical music, Suite Sounds, appeared weekly in the New York Amsterdam News.
Alicia Hall Moran, Mezzo-soprano
Jason Moran, Fender Rhodes
Thomas Flippin, Guitar/Theorbo
Tarus Mateen, Bass
Kaoru Watanabe, Taiko/Fué/Vocals
Steven Herring, Baritone