Soprano Sylvia D’Eramo is a graduate of the Yale School of Music and was a 2019 National Semifinalist in the Metropolitan Opera National Council Auditions. She is the 2019 recipient of the Munday Encouragement Award from the Jensen Foundation.

During the summer of 2019, she returns to Santa Fe Opera, where she will cover the role of Mimì in La bohème and sing Barena in Jenufa as a second year Apprentice, before joining Los Angeles Opera’s Domingo-Colburn-Stein Young Artist Program for the 2019-2020 season. The season also promises her debut with Lyric Opera of Kansas City as Musetta in La bohème.

During the 2018-2019 season, she was a member of Palm Beach Opera’s Benenson Young Artist Program, where she appeared in the Rising Stars Concert and covered Zerlina in Don Giovanni. Also that season, Ms. D’Eramo joined the Glenn Falls Symphony as the soprano soloist in Beethoven’s Ninth Symphony, which she has previously sung with the Yale Philharmonia under the baton of Marin Alsop.

Recent engagements include Gretel in nsel und Gretel, Fiordiligi in Così fan tutte and Pamina in Die Zauberflöte with Yale Opera, and Verdi’s Requiem with the Marvin Concert Series in her home state of Texas. Ms. D’Eramo can be heard on Albany Records’ 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.

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