Erin Brittain


Erin Brittain has performed over 30 different roles in opera, operetta, and musical theater and sung for audiences both regionally and overseas. Often playing roles that go against the grain of the soprano archetype in her performances, Erin reveals a flair for quirky comedic roles like Miss Pinkerton, the frantic nosy neighbor in The Old Maid and the Thief and gypsy sidekick Mercédès in Carmen, while bringing an extra dimension to her interpretation of ingénue roles like Susanna in The Marriage of Figaro and Serafina in Il Campanello di Notte, as well as in more dramatic roles like Beatrice in Jake Heggie’s Three Decembers.

Erin’s career has given her the opportunity to work with numerous companies throughout the East Coast and beyond, including Opera Fayetteville, Princeton Festival Opera, ARE Opera (now City Lyrica Opera), Opera Delaware, Dicapo Opera, Hubbard Hall Opera, Chelsea Opera, Garden State Opera, Eastern Opera of New Jersey, Liederkranz Opera, Opera Vivente and Opera Manhattan. As a fellowship artist with Hubbard Hall Opera, Erin appeared as Miss Pinkerton in The Old Maid and the Thief, and as The Countess Ceprano in Rigoletto, drawing attention from for her “clear soprano and expressive acting.” Her performance as the Dew Fairy in Hansel and Gretel with Opera Manhattan was described as “evanescent and beautifully sung as well as gracefully danced” by the Mozart to Motorhead Radio Show.

As a concert soloist and recitalist Erin has been a similarly prolific performer. As an Artist in Residence with the Canton Symphony Orchestra in Ohio, she performed various works including Bach’s Jauchzet Gott in allen Landen and Mozart’s Missa Brevis in D. Erin made her Boston debut in a staged version of Schütz’s Christmas Oratorio, Weinachtshistorie, with The Weckmann Project/Musica Nuova.She has sung the Mozart Coronation Mass, Fauré Requiem, and Stanford Magnificat in G with the Festival Orchestra in Princeton, and overseas sang in performances of Mozart’s Laudate Dominum and the Stanford Magnificat at Howard Castle in York, and the Agnus Dei from the Mozart Coronation Mass at the Gendarmenmarkt in Berlin.

An enthusiastic performer of contemporary and new music, Erin has appeared as the Mad Mermaid, one of three split personalities in Ophelia Forever, a chamber opera examining the tragic character from Shakespeare’s Hamlet by the award-winning composer Amy Beth Kirsten and in premiere performances of new chamber music compositions as part of the Rhymes with Opera summer workshop at the National Opera Center in New York. While covering the role of Diana in Henry Mollicone’s Emperor Norton, she had the opportunity to work directly with the composer and perform in an open dress format. Erin had the good fortune to be a part of the well-received world premiere production of Stefania de Kenessey’s Bonfire of the Vanities, based on Tom Wolfe’s classic novel. She joined two colleagues in concert to premiere a new song cycle by Michael Leibowitz using the poetry of Megan Kruse, first in New Jersey, and again in the fall at the 2016 Philly Fringe Arts Festival. In 2019 she premiered a new mini-opera by the same composer inspired by the real life story of a Russian spy infiltrating the NRA with The Perspective Collective at the Asheville Fringe Festival in North Carolina.

Erin received a Bachelor’s degree from New York University and a Master’s degree from the Peabody Conservatory in Baltimore, both in Classical Voice. Outside of music, she has a great enthusiasm for critically acclaimed horror movies, afternoon tea, point-and-click computer/video games, public radio, unfashionably 90s dance moves, and The Great British Baking Show (she has a recurring nightmare in which she is a contestant, whose best efforts are met by Mary Berry’s raised eyebrow as she delivers the final blow: ”that icing looks a bit…informal”).


Composer Role Work Company Year
Leibowitz The Spokeswoman (Dana Loesch) For Love of Country (world premiere) The Perspective Collective 2019
Mozart Despina (cover) Così fan tutte Palisades Opera 2018
Gilbert & Sullivan Ghost of Christmas Present Gilbert and Sullivan Scrooge Amore Opera 2018
Winslow Sapphire A Metamorphosis Christman Opera 2018
Rossini Clorinda La cenerentola ARE Opera 2017
Rossini Berta Il barbiere di Siviglia Christman Opera 2017
Heggie Beatrice Three Decembers Opera Fayetteville 2016
Puccini La Conversa, Genovieffa (cover) Suor Angelica Chelsea Opera 2016
Menotti Miss Pinkerton The Old Maid and the Thief Hubbard Hall Opera Theatre 2015
Verdi Countess Ceprano, Giovanna (cover) Rigoletto Hubbard Hall Opera Theatre 2015
Mozart Susanna The Marriage of Figaro Stony Hill Players 2014
Bizet Mércèdes Carmen Eastern Opera 2014
Mollicone Diana (cover/open dress performance) Emperor Norton Chelsea Opera 2014
Copland Young Guest/Mrs. Jenks (cover/open dress performance) The Tender Land Chelsea Opera 2014
Donizetti Serafina Il campanello Garden State Opera 2013
Mozart Auretta L’Oca del Cairo Garden State Opera 2012
Composer Role Work
Adams Pat Nixon Nixon in China
Cipullo Younger Alyce Glory Denied
Donizetti Marie La fille du régiment
Duprez/Idle The Lady of the Lake Spamalot
Harbison Daisy The Great Gatsby
Lerner & Loewe Eliza Doolittle My Fair Lady
Loesser Sarah Brown Guys and Dolls
Porter Lilli Vanessi Kiss me, Kate
Sondheim Beggar Woman Sweeney Todd
Stravinsky Anne Trulove The Rake’s Progress
Composer Work
Adams El Niño
Bach Jauchzet Gott in allen Landen
Bach St. John Passion
Bach St. Matthew Passion
Barber Knoxville, Summer of 1915
Fauré Requiem
Handel Messiah
Mozart Coronation Mass
Mozart Laudate Dominum
Mozart Requiem
Orff Carmina Burana
Poulenc Gloria
Schütz Weihnachtshistorie
Stanford Magnificat
Vivaldi Gloria

In The Press


“…rousing vocalist had dynamic operatic range, reach, and a quietly theatrical éclat.” -Broad Street Review (Art Song Concert Soloist)


“Soprano Erin Brittain shone in Berta’s aria, lamenting her character’s loneliness. She has a fine clear tone and an expressive manner.” –


“Erin Brittain…sings the role of the Countess in Rigoletto with a clear soprano and expressive acting” –


“Her Dew Fairy was suitably evanescent and beautifully sung as well as gracefully danced” Mozart to Motorhead Radio Show


“[She] showed good command of her alternately fragmented and lyrical part, incorporating the hissing of the text with disarming, rapid movements of her eyes.” – Opera News