This season, soprano Sylvia D’Eramo returns to the prestigious Metropolitan Opera Lindemann Young Artist Development Program. Originally scheduled to make her mainstage debut as Diane in the Metropolitan Opera’s cancelled production of Iphigénie en Tauride, she will instead debut as Countess Ceprano in Rigoletto. Additionally, she makes her Philadelphia Orchestra debut, performing Kitty/Vanessa in Kevin Puts’ The Hours, and returns to Santa Fe Opera as a principal artist to make her role debut as Micaëla in Carmen. Last season she joined the Lindemann Young Artist Program for her inaugural season, and in the summer of 2021 she made her role debut as Mimì in La bohème, conducted by James Gaffigan, with the Verbier Festival in Switzerland where she was also awarded the Thierry Mermod top singer prize.

During the 2019-2020 COVID-affected season, Ms. D’Eramo trained with the Los Angeles Opera as a member of its Young Artist ProgramShe also made her company and role debut with Lyric Opera Kansas City as Musetta in La bohème. In the summer of 2020, she was to become an inaugural member of the Aspen Opera Theater and VocalARTS program, led by Renée Fleming and Patrick Summer, singing the role of Rosasharn in Ricky Ian Gordon’s The Grapes of Wrath (cancelled due to COVID-19). She was also slated to join the Britt Festival Orchestra as the soprano soloist in Beethoven’s Ninth Symphony, conducted by Teddy Abrams (cancelled).

For the 2018-2019 season, she joined the Benenson Young Artist Program at Palm Beach Opera, where she appeared in the Rising Stars Concert, and covered Zerlina in Don Giovanni and Adele in Die Fledermaus. In May of 2019 Ms. D’Eramo joined the Glenn Falls Symphony as the soprano soloist in Beethoven’s Ninth Symphony, then returned to Santa Fe Opera for her second year as an Apprentice, where she covered Mimi in La bohème, and sang Barena in Jenůfa.

Previously, Sylvia joined Santa Fe Opera as an Apprentice Artist, singing Cugina in Madama Butterfly, and performed Gretel in nsel und Gretel and Pamina in Die Zauberflöte, both with Yale Opera. In concert, she joined the Marvin Concert Series in her home state of Texas for Verdi’s Requiem, and Yale Philharmonia for Beethoven’s Ninth Symphony under the baton of Maestro Marin Alsop.

In 2017, Sylvia appeared as Fiordiligi in Così fan tutte with Yale Opera. Ms. D’Eramo can be heard on Albany Record’s 2017 recording of The Crucible by Robert Ward, singing the role of Abigail Williams. She was a winner in the Lois Alba Aria Competition and won an encouragement award from the Career Bridges Foundation. Sylvia is a graduate of the Yale School of Music.

Verbier Festival – La bohème

Sylvia’s Eramo displays vocals here that hold great promise for the future. The American soprano plays here a believable and touching Mimi from start to finish in her role as a lover at first naive and touching, then painfully delivered to death by illness. By the purity of its timbre, the brilliance of its highs and the powerful lyricism of its line of song, the artist loves the attention and the light from one end of the show to the other, fortissimo sonorous nuances that can also give way to sumptuously ethereal pianissimi.

Pierre Géraudie, Olyrix

Palm Beach Opera – Rising Stars Concert

D’Eramo had the dipped-in-honey soprano timbre for the Vienesse gemütlich of “Marietta’s Lied” fromDie tote Stadt by Erich Wolfgang Korngold. She caressed Strauss’s long-breathed phrases in the sisters’ duet from Arabella with well-matched soprano Emily Blair.”

Lawrence Budmen, South Florida Classical Review

Albany Records – The Crucible

As Abigail Williams, she of the false accusations and faked possessions, the very promising soprano Sylvia D’Eramo sings with an acute instinct for both the passion and the treachery at the character’s core. She’s especially good in the turbulent Act III scene with Murray’s John Proctor, in which she sings with great beauty but is as frightening as any zealot. “But if your sniveling Elizabeth dies, remember—it is you who kill her,” she warns, her words dripping with contempt.”

Joshua Rosenblum, Opera News