{"id":1516,"date":"2022-06-10T10:57:35","date_gmt":"2022-06-10T08:57:35","guid":{"rendered":"https:\/\/centrestagemanagement.com\/?p=1516"},"modified":"2026-09-15T15:27:21","modified_gmt":"2026-09-15T13:27:21","slug":"sylvia-deramo","status":"publish","type":"post","link":"https:\/\/centrestagemanagement.com\/en\/artists\/soprano\/sylvia-deramo\/","title":{"rendered":"Sylvia D\u2019Eramo"},"content":{"rendered":"

American soprano Sylvia D\u2019Eramo\u2019s voice is praised for its \u201cpurity of timbre, the brilliance of its highs and the powerful lyricism of its line\u2026sonorous nuances that give way to sumptuously ethereal pianissimi\u201d (Olyrix<\/em>). Having already made debuts in leading roles at the Metropolitan Opera, The Santa Fe Opera, Dutch National Opera, Houston Grand Opera, and The Philadelphia Orchestra, D\u2019Eramo is in demand internationally for her rich, shimmering instrument and in-depth dramatic interpretations.<\/p>\n

Three role debuts mark D\u2019Eramo\u2019s 2026\/27 season, beginning with Antonia in a new production of Offenbach\u2019s Les contes d\u2019Hoffmann<\/em><\/strong> at Theater St. Gallen. She subsequently takes on the title role in Carlisle Floyd\u2019s Susannah<\/em><\/strong> and Desdemona in Verdi\u2019s Otello<\/em><\/strong>, both in new productions at Theater St. Gallen, where she remains an ensemble member. Later in the season, D\u2019Eramo returns to The Atlanta Opera as Anna S\u00f8rensen in Kevin Puts\u2019s Silent Night<\/em><\/strong> and reprises one of her signature roles, Mim\u00ec in Puccini\u2019s La boh\u00e8me<\/em><\/strong>, with Seattle Opera. On the concert stage, D\u2019Eramo appears as soprano soloist in Beethoven\u2019s Symphony No. 9<\/em><\/strong> with the Sinfonieorchester St. Gallen under Cornelius Meister and gives a recital in Crans-Montana, Switzerland.<\/p>\n

Among D\u2019Eramo\u2019s most recent operatic highlights are her acclaimed house and role debut as Marta in Weinberg\u2019s Die Passagierin<\/em><\/strong> at Dutch National Opera, and role debuts as Chrysothemis in Elektra<\/em><\/strong> at Theater St. Gallen and Gutrune in Wagner\u2019s G\u00f6tterd\u00e4mmerung<\/em><\/strong> with The Atlanta Opera. She returned to the role of Gerda Wegener, which she created in the world premiere of Tobias Picker\u2019s Lili Elbe<\/em><\/strong> at Theater St. Gallen, for the work\u2019s American premiere at Santa Fe Opera. D\u2019Eramo\u2019s Mim\u00ec in La boh\u00e8me<\/em><\/strong> has been heard at Dallas Opera under Emmanuel Villaume, Santa Fe Opera in James Robinson\u2019s production with Iv\u00e1n L\u00f3pez-Reynoso, the Verbier Festival under James Gaffigan, and most recently Theater St. Gallen. Also at St. Gallen, she has appeared as Elvira in Verdi\u2019s Ernani<\/em><\/strong> under Modestas Pitrenas and Maddalena in Andrea Ch\u00e9nier<\/em><\/strong>. Further highlights include Kitty\/Vanessa in the world premiere of Kevin Puts\u2019s The Hours<\/em><\/strong> at the Metropolitan Opera, Musetta in La boh\u00e8me<\/em><\/strong> under Yannick N\u00e9zet-S\u00e9guin at the Met, Donna Elvira in Don Giovanni<\/em><\/strong> at North Carolina Opera, and Mica\u00ebla in Carmen<\/em><\/strong> at Santa Fe Opera and with Jacksonville Symphony.<\/p>\n

On the concert stage, D\u2019Eramo has performed Strauss\u2019s Vier letzte Lieder<\/em><\/strong> in St. Gallen under Modestas Pitrenas and appeared in Puccini programmes with the PKF \u2013 Prague Philharmonia at Prague\u2019s Rudolfinum and with the Tivoli Copenhagen Phil in Copenhagen. She has also performed with the Philadelphia Orchestra in Kevin Puts\u2019s The Hours<\/em><\/strong> under Yannick N\u00e9zet-S\u00e9guin, appeared at Musikfest Bremen in a concert performance of Verdi\u2019s Il trovatore<\/em><\/strong> under J\u00e9r\u00e9mie Rhorer, and sung programmes of Verdi, Puccini and Bizet with the SNG Maribor Symphony Orchestra in Maribor and Ljubljana.<\/p>\n

A graduate of the Yale School of Music, D\u2019Eramo sang Gretel in H\u00e4nsel und Gretel<\/em><\/strong> and Pamina in Die Zauberfl\u00f6te<\/em><\/strong> during her studies. She was subsequently an Apprentice Artist at Santa Fe Opera, where her appearances included Barena in Jen\u016ffa<\/em><\/strong> and Cugina in Madama Butterfly<\/em><\/strong>, and later joined Los Angeles Opera\u2019s Domingo-Colburn-Stein Young Artist Program before becoming a member of the Metropolitan Opera\u2019s Lindemann Young Artist Program in 2020\/21.<\/p>\n

D\u2019Eramo can be heard as Abigail Williams on Albany Records\u2019 2017 recording of Robert Ward\u2019s The Crucible<\/em><\/strong>. Her accolades include the 2021 Thierry Mermod Prize for top singer at the Verbier Festival, the Dallas Opera\u2019s Maria Callas Artist of the Year Award, the Lois Alba Aria Competition, and an encouragement award from the Career Bridges Foundation.<\/p>\n

\u00a9 CSAM, August 2026<\/p>","protected":false},"excerpt":{"rendered":"

American soprano Sylvia D\u2019Eramo\u2019s voice is praised for its \u201cpurity of timbre, the brilliance of its highs and the powerful lyricism of its line\u2026sonorous nuances that give way to sumptuously ethereal pianissimi\u201d (Olyrix). Having already made debuts in leading roles at the Metropolitan Opera, The Santa Fe Opera, Dutch National Opera, Houston Grand Opera, and The Philadelphia Orchestra, D\u2019Eramo is in demand internationally for her rich, shimmering instrument and in-depth dramatic interpretations.<\/p>\n","protected":false},"author":4,"featured_media":1535,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[3],"tags":[],"class_list":["post-1516","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-soprano"],"acf":[],"_links":{"self":[{"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/posts\/1516","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/comments?post=1516"}],"version-history":[{"count":32,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/posts\/1516\/revisions"}],"predecessor-version":[{"id":12862,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/posts\/1516\/revisions\/12862"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/media\/1535"}],"wp:attachment":[{"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/media?parent=1516"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/categories?post=1516"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/centrestagemanagement.com\/en\/wp-json\/wp\/v2\/tags?post=1516"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}