"D’ERAMO HAD THE DIPPED-IN-HONEY SOPRANO TIMBRE FOR THE VIENESSE GEMÜTLICH OF “MARIETTA’S LIED” FROM DIE 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

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"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

  

SYLVIA D'ERAMO AS MUSETTA WAS A SCENE STEALER AS WELL SHE IS MEANT TO BE IN ACT 2. HER VOICE WAS DISTINCTIVE – HIGHLY FLORID AND EXCITABLE – BUT IT SEEMED ENTIRELY APT FOR THE PART OF THE DEMI-MONDAINE, INTENT ON PLAYING ONE MAN OFF AGAINST THE OTHER. WATCHING HER, I THOUGHT “POWER AND PUERILITY”, THAT CAPACITY TO FLAUNT HER FEMININE CHARMS EDGED BY THE TINGE OF DESPERATION. WHO DID SHE BELONG TO? IT WAS PLAYED JUST RIGHT, AND THE GESTURE OF DEPOSITING THE BILL WITH THE “RESPECTABLE” HOMME D’AFFAIRES MET ITS TARGET.

 Hilary Stroh, Bachtrack

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Photography by Gillian Riesen

 

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