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
"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
“The duet with the Countess Ceprano was also filled with sensual tones as both Beczala and Sylvia D’Eramo’s voices harmonized beautifully together.”
“Sylvia D’Eramo was a flirty Countess Ceprano who had a silky voice. In this production she gets slapped for her behavior with the Count and D’Eramo was able to show her vulnerability towards the Count, who doesn’t seem like the nice man he is painted as in other productions.“