In 26/27, McDermott joins the roster of The Metropolitan Opera for the world premiere of Lincoln in the Bardo (Bevins cover) and Silent Night (Nikolaus Sprink cover).

In 25/26, McDermott made his house and South American debut at Teatro Municipal de Santiago in La bohème (Rodolfo). He returned to Houston Grand Opera for his third season as a Butler Studio artist, appearing in Il trittico (Young Lover), Silent Night (Nikolaus Sprink), and Of Mice and Men (Carlson). On the concert stage, he made his debut with The Florida Orchestra in Handel’s Messiah and appeared at the Verbier Festival in La traviata (Alfredo), conducted by James Gaffigan.

In 24/25, McDermott appeared with Houston Grand Opera in La bohème (Rodolfo) and Il trovatore (Un messo) and made his Spoleto Festival USA debut in Thaïs (Nicias). On the concert stage, he made his Kansas City Symphony debut in Handel’s Messiah, conducted by Patrick Summers. In the summer of 2025, he joined the Apprentice Program for Singers at The Santa Fe Opera, where his assignments included The Turn of the Screw (Peter Quint cover).

In 23/24, his first season as a Houston Grand Opera Butler Studio artist, McDermott appeared in Falstaff (Bardolfo) and Parsifal (Vierter Knappe) and covered Don Giovanni (Don Ottavio). He made his international debut in the summer of 2024 at Glyndebourne Festival in Cal McCrystal’s new production of The Merry Widow (Camille de Rosillon), conducted by John Wilson.

Earlier engagements include Idomeneo (Arbace) at the Aspen Music Festival, directed by Francesca Zambello and conducted by Robert Spano.

McDermott’s honors include third prize in Houston Grand Opera’s Eleanor McCollum Competition for Young Singers, first prize in the Schmidt Vocal Competition, and first prize in the Scholarship Division of the National Opera Association’s Carolyn Bailey Argento Competition.

A native of Huntington Beach, California, McDermott holds a Bachelor of Music from The Juilliard School and pursued graduate studies at Rice University.

2026-2027