© 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 in Rigoletto, Musetta in La bohème, Pamina in Die Zauberflöte and the Italian Singer in Capriccio amongst many others.

More recently, notable debuts have included her house debut at the Metropolitan Opera as Pamina The Magic Flute and as Frasquita Carmen, which was broadcast to theatres around the world as part of the Met’s Live in HD program, as well as her debut as Bess in a new production of Breaking the Waves at the Adelaide Festival Centre in Australia and Edinburgh International Festival, where she was awarded a Herald Angel for her performance. Last season, Sydney returned to English National Opera to sing Musetta in their unique outdoor ‘Drive & Live’ production of La bohéme held at Alexandra Palace, produced in response to the Covid-19 crisis.

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Artist Manager

Camilla Wehmeyer



Evangeline Parker




Orpheus in the Underworld in Berlin


Sydney returns to the Komische Oper Berlin to sing Eurydice in Barrie Kosky's acclaimed production of Offenbach's Orpheus in the Underworld (Orphée aux enfers).

Conducted by Adrien Perruchon, the cast will include Tansel Akzeybek (Orpheus), Hagen Matzeit (Public opinion), Wolfgang Ablinger-Sperrhacke (Pluto), Peter Bording (Jupiter), Karolina Gumos (Juno), Alma Sadé (Diana), Nadine Weissmann (Cupid), Peter Renz (Mercury) and Tim Dietrich (Mars).

Orpheus in the Underworld will open on Tuesday 7 Dec, with further performances on 12, 15, 17, 20, 23, 28 and 31 December 2021. Following this, Sydney will remain at the Komische Oper Berlin to reprise the heroines Antonia/Guilietta/Stella in a revival of Offenbach's Les Contes d'Hoffmann.          

Posted on 30/11/2021.



Repertoire Includes



Fidelio (Marzelline)


Les pêcheurs de perles (Leïla)

Carmen (Frasquita)


A Midsummer Night's Dream (Tytania)

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


Glory Denied (Young Alyce)


Pelléas et Mélisande (Mélisande)


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)

Cosi 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)


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

Liebeslieder Walzer


Symphony No. 9




Die Schöpfung

Nelson Mass


Hear My Prayer


Exsultate, jubilate


Carmina Burana


Mass No. 2 in G Major


Brentano Lieder



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)