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© Coline Jourdana



Described by Opera News as “enchanting […] radiant and glittering,” soprano Sydney Mancasola is quickly establishing herself as one of the most engaging singing actresses of her generation. Sydney trained in the US before becoming member of the ensemble at Oper Frankfurt, where her roles included Gilda Rigoletto, Musetta La bohème, Pamina Die Zauberflöte and Roxana Król Roger. She also retains a close relationship with the Komische Oper Berlin, where her recent roles have Eurydice Orpheus in the Underworld, Cleopatra Giulio Cesare, Servilia La Clemenza di Tito and title role Semele.


Last season Sydney made her house and role debut as Mélisande in David McVicar’s production of Pelléas et Mélisande for Los Angeles Opera and returned to the role of Bess in Missi Mazzoli’s Breaking the Waves for the Opera Comique, the role she performed at both the Adelaide Festival and the Edinburgh International Festival, where she was awarded a Herald Angel for her performance. In the 2023-24 season she sings Tytania A Midsummer Night’s Dream in her company debuts for both the Fondazione Teatro Carlo Felice in Genoa, Italy, and at the Royal Opera House Muscat, the title role of Matthew Aucoin’s Eurydice in a new arrangement of the work for Boston Lyric Opera, and returns to the Metropolitan Opera as Frasquita in their new production of Carmen.

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Artist Manager

Camilla Wehmeyer

Assistant Artist Manager

Oliver Titheridge-Stone

Anchor 1


Sydney sings title role in Eurydice in her Boston Lyric Opera debut


We are delighted to announce that Sydney Mancasola will be singing the title role in Eurydice, in a new arrangement by Matthew Aucoin, for her debut with the Boston Lyric Opera. Based on the play by Sarah Ruhl, this new production is conducted by the composer and directed by Doug Fitch. The opera is a vivid retelling of the myth of Orpheus, which dives into the profound bonds of family and love, and is a powerful tale of the power of music to find us in the dark. The opera will be running from 1-10 March at The Huntingdon Theatre, Boston.

Other upcoming season highlights for Sydney include a return to the role of Frasquita Carmen at the Metropolitan Opera in April and May, and Mélisande Pelléas and Mélisande at Des Moines Metro Opera in July.

For more information about the Boston Lyric Opera production of Eurydice, please visit the BLO’s website here.

Posted on 27/02/2024.



'Weep now my daughter' from Verdi's Rigoletto ǀ English National Opera

'Weep now my daughter' from Verdi's Rigoletto ǀ English National Opera

Rigoletto | 2 – 28 February 2017 | London Coliseum | Tickets from £12, with 500 tickets available at every performance for £20 or less. Find out more: 'Weep now my daughter' (Piangi Fanciulla) from Verdi's Rigoletto, sung by Nicholas Pallesen (Rigoletto), and Sydney Mancasola (Gilda). A tragic story of jealousy, vengeance and sacrifice, Rigoletto is one of Verdi’s most popular operas. Jonathan Miller’s much-loved ‘Mafia’ production makes a welcome return to the ENO stage, relocating the action to New York’s Little Italy in the 1950s. Learn more and book tickets: -- About English National Opera: English National Opera is founded on the belief that opera of the highest quality should be accessible to everyone. Musical storytellers At ENO opera is theatre; expressing drama through the unique combination of music, text, dance and design. We sing in English. We believe that singing in our own language connects the performers and the audiences to the drama on stage, and enhances the experience for all. We collaborate across contemporary art forms, to reflect the growing diversity of our culture. And we take a fresh approach right across the repertoire, from baroque to contemporary, as well as commissioning new works as part of our commitment to the future of the art form. Widening access We bring our productions to the widest possible audience, whether at the London Coliseum, nationally or internationally. We make our work accessible by offering a large proportion of tickets at affordable prices, and by distributing it widely on screen and digital media. We also aim to introduce completely new audiences to the magic of opera through stimulating and creative participation programmes. Nurturing Creative talent We are a national company of internationally recognised standard. We nurture talent across the entire company, whether on stage, backstage, or in the pit. We provide a platform for young singers to develop global careers. We tell the world’s most timeless stories, unforgettably. Subscribe to ENO and never miss another video: Keep up to date with the latest from ENO: ENO on YouTube | ENO on Facebook | ENO on Twitter | ENO on Instagram | More great opera |

Repertoire Includes



Eurydice (Eurydice)


Fidelio (Marzelline)


Les pêcheurs de perles (Leïla)

Carmen (Frasquita)


A Midsummer Night's Dream (Titania)

Peter Grimes (First Niece)
Paula Bunyan (Fido/Goose)


Glory Denied (Young Alyce)


Pelléas et Mélisande (Mélisande)


Don Pasquale (Norina)

L'elisir d'amore (Adina)

La fille du régiment (Marie)


Ezio (Onoria)

Roméo et Juliette (Juliette)


Giulio Cesare (Cleopatra)
Semele (Semele)
Jeptha (Iphis)

Manon (Manon)

Don Quichotte (Pedro)

Breaking the Waves (Bess McNeil)


Die Zauberflöte (Pamina)
La Clemenza di Tito (Servilia)

Così fan tutte (Despina)
Le Nozze di Figaro (Susanna)
La Betulia liberata (Soprano II)

Orphée aux enfers (Eurydice)
Les contes d'Hoffmann (Four Heroines)


La bohème (Musetta)
La Rondine (Lisette)



The Hours (Laura Brown)


Il barbiere di Siviglia (Rosina)
Le comte Ory (Comtesse Adèle)


Die Fledermaus (Adele)

Arabella (Zdenka)
Der Rosenkavalier (Sophie)
Capriccio (Italian Singer)

Król Roger (Roxana)


Pique Dame (Prilepa)

Rigoletto (Gilda)
La Traviata (Violetta)



J.S. BACH      



Knoxville: Summer of 1915


Symphony No. 9

Liebeslieder Walzer




Die Schöpfung

Nelson Mass


Symphony No. 2


Hear My Prayer


Exsultate, jubilate


Carmina Burana


Mass No. 2 in G Major


Brentano Lieder



Aucoin EURYDICE / Boston Lyric Opera

"Sydney Mancasola offered a wonderful Eurydice, credibly bookish and remarkably free and soaring in her Straussian flights."
David Shengold, Opera News (April 2024)

Debussy PÉLLEAS ET MÉLISANDE / Los Angeles Opera

"Sydney Mancasola’s Mélisande takes unusual agency. She may be a character unknowable to others, but as vibrantly sung by this versatile soprano [...], she presents a formidable strength."
Mark Swed, Los Angeles Times (March 2023)

"Soprano Sydney Mancasola is cast as Mélisande, her dulcet tones elegiacally mesmerizing"
Victoria Looseleaf, San Francisco Classical Voice (March 2023)

"Sydney Mancasola’s Mélisande was a shining presence. A versatile soprano, her voice was the perfect instrument for the heroine’s quiet phrases and rising passion. With a naturalness of expression, she brought sweetness and clarity to her singing which focused the drama, setting in motion the ensuing twists and turns of the plot."
Jane Rosenberg, Seen and Heard International (April 2023)

Sydney Mancasola imbues the role with remarkable credibility as she portrays her with skill and nuance.

Victor Riobo / G. Dhalla, Indulge Magazine (March 2023)

Donizetti L'ELISIR D'AMORE / Opéra National De Paris

“Sydney Mancasola is sparkling, mischievous and lively. Every moment is a feast for the ears and eyes. The soprano twirls like an elf, full of charm and mischief and performs vocal wonders in the belcanto register.”

John-Christophe Mary, Toute La Culture (September 2021)

"Sydney Mancasola is a strong and determined Adina with the disarming ability to reach her high range with ease. The very open vowels bring intelligibility to her Italian, as do the well-timed midrange or the refined phrasing."

Tania Bracq, Forum Opera (September 2021)

Handel SEMELE / Komische Oper Berlin

“Sydney Mancasola shone in the title role, the whole performance building up to a bravura performance of her final air, ‘No, no, I’ll take no less/Than all in full excess!’ That full excess, alas, was to be truly hers, but was also seen and heard to characterize an exuberant performance from beginning to end.”

Mark Berry, Seen and Heard International (February 2020)

”The vocal set is dominated by Sydney Mancasola's performance in the title role. The American, who has gained a foothold in Europe in recent years (she was a member of the Frankfurt Opera troupe for three years) and who now flies on her own, signs a performance both stage and vocal that must be warmly saluted. Present on stage almost from beginning to end, she embodies a Semele ravaged by pride, doubt, impossible love, despair and then madness. She holds the distance vocally and strings her four consecutive arias to the III thanks to a confounding energy. She is the fire on stage out of the ashes, and closing her eyes (a feat anyway, as Kosky rivets the viewer's gaze on the stage!), we heard accents that reminded us of Daniele de Niese, who a few years ago was a magnificent Semele at the Tec. Her triumph with the public was well deserved. .”

Thierry Verger, Forum Opera (February 2020) 

“Mancasola communicated her ambitions clearly with a lyrical vulnerability”
Zenaida des Aubris, Bachtrack (February 2020) 


Mozart THE MAGIC FLUTE / Washington National Opera


“Pamina was American soprano Sydney Mancasola making her WNO debut and offering a master class in how to follow the column of sounds p and down the rigorous aria, Ach itch fühl’s…”

Whitney Fishburn, DC Metro Theater Arts (November 2019)

”Pamina, soprano Sydney Mancasola never sounded anything but clear as a bell and winsome as the moon rising behind her.”

Sydney Boyd, Bachtrack (November 2019)

”Sydney Mancasola’s Pamina brings a master class of a performance in “Ach ich fühl’s” fully using the legato lines to demonstrate the character’s sadness and allowing her voice to travel up and down fully and freely, which is not easy to do in that aria.”

Daniella Ignacio, DC Theatre Scene (November 2019)

”No need to go to New York this year; you can hear the same thing here in Washington. Of the three Mancasola sounded the best to me on Saturday night, singing with a rich lyric sound and considerable affect.”

Anne Midgette, The Washington Post (November 2019)


Missy Mazzoli BREAKING THE WAVES/ Edinburgh International Festival

”It’s masterful, and it’s brought to life by an extraordinarily committed cast, led by Sydney Mancasola as Bess. She’s a marvel, extracting every scintilla of possibility from her soprano voice, from euphoria to misery via delirium. This is a total tour de force, and the show is worth seeing for her alone.”

Simon Thompson, Seen and Heard International (November 2019)


Sydney Mancasola’s Bess is a compelling tour de force, encompassing every emotional extreme, forcibly dominating a cast that is equally well-served.”

Ken Walton, The Scotsman (November 2019)

“American soprano Sydney Mancasola gave a towering performance, barely off the stage throughout, her physical journey from vulnerable God-fearing girl through a series of increasingly dangerous on-stage sexual encounters completely wrapped up in her misplaced religious convictions.”

David Smythe, Bachtrack (November 2019)

“As Bess in Missy Mazzoli’s 2016 opera…Mancasola is hardly off stage and charts the descent of her character from shy Skye bride to Christ-like victim with laser-like power and desperate vulnerability. Part of you wants to shake her out of it. Most of you wants to hug her. It’s an extraordinarily gutsy performance.

Neil Fisher, The Times (November 2019)

”…bravely enacted by Sydney Mancasola as Bess, an excellent soprano, who gives her all in a performance of touching sincerity.”

Rupert Christiansen, The Telegraph (November 2019)

“A top-class cast is led by the outstanding American soprano Sydney Mancasola as God-fearing Bess, febrile and loving”

Fiona Maddocks, The Guardian (November 2019)

”Sydney Mancasola is vocally and physically unstinting in attempting to realize the troubled figure of Bess.”

George Hall, The Stage (November 2019)