Eric Lara is a Honduran-American composer that has lived his life in the DFW area. After receiving his Bachelor's Degree in Music Composition from the University of Texas at Arlington in 2016, he proceeded to begin his graduate work in Music Theory from UT Arlington as well. He also currently is a member of the Dallas Opera Chorus. Being a singer, his music is very much influenced by Romantic Era Opera, especially those of the Verismo style, but it is also influenced by more contemporary styles such as Jazz and Progressive Metal. The music has been described as "singable melodies, with time signature changes and chord morphing". Eric has always been interesting in politics, and it affects his subject matter choices when writing. He hopes to one day hold public office in the DFW area. He wishes to study the opera form in hopes that he may create the next great opera of the time.

For a few videos, I have part of my Senior Recital. Feel free to contact about opportunities at, or calling 469-955-8648

A Night in the Mind of Eric Lara Part 1: A Night in the Mind of Eric Lara Part 2:


Une Réunion Nocturne(Vous Le Savez)

PDF score

My favorite work of literature in my entire life has been “The Count of Monte Cristo” by Alexandre Dumas, so it was decently easy deciding on what text I wanted to use for my first Opera. Rather than staging the entire Opera for a night, we’re going with an aria from what I assume will be Act 2 or 3 from this work in progress. The scene is set in a conversation between Mercedes and The Count (Edmond Dantes), who had been wrongfully imprisoned as a result of a letter from the man who she had married named Fernand. The Count is a moniker he had adopted after escaping the prison of Chateau d’If, and he chooses to drop the name of Edmond completely, saying that Edmond, who used to be Mercedes’s fiancée, had died in prison. The Count honestly believes that his purpose is to bring good to those who had done well by him, as well as judgement for those who had wronged him. This conversation between Mercedes and the Count begins from Mercedes recognizing him as Edmond, which no one else had done, and the Count explaining what had happened to him as a result of the letter being sent. The Count bought the letter from others for 200,000 francs, and had it in his possession specifically to prove Edmond’s innocence to her. “Vous le savez, madame, a été mon arrestation ; Mais ne ce que vous savez pas, madame, c’est le temps qu’elle a duré, cette arrestation. Ce que vous ne savez pas, c’est que je suis resté quatorze ans à un quart de lieue de vous, dans un cachot du château d’If. Ce que vous ne savez pas, c’est que chaque jour de ces quatorze ans j’ai renouvelé le vœu de vengeance que j’avais fait le premier jour, (et) cependant j’ignorais que vous aviez épousé Fernand, mon dénonciateur, et que mon père était mort, et mort de faim ! Mais voilà ce que j’ai su en sortant de prison, quatorze ans après y être entré, et voilà ce qui fait que, sur Mercédès vivante et sur mon père mort, j’ai juré de me venger de Fernand, et... et je me venge.” “You know, madam. It resulted in my arrest. But what you do not know , ma'am, is the time it lasted, this arrest . You do not know that I remained for fourteen years within a quarter of a league of you, in a dungeon in the Chateau d’If. You do not know that every day of those fourteen years I renewed the vow of vengeance which I had made the first day; …and yet I was not aware that you had married Fernand, my calumniator, and that my father had died of hunger! That is what I heard on leaving my prison fourteen years after I had entered it; and that is why, on account of the living Mercedes and my deceased father, I have sworn to revenge myself on Fernand, and—I have revenged myself.”

Gargoyles of Notre Dame

PDF score

Writing a choir piece has always been an idea in the back of my mind that I always kept putting off due to never having a text that I enjoyed enough to set it for choir. I found myself on a bit of a phase of reading up on Victor Hugo, because I was researching stories of his and Alexandre Dumas’ to possibly set for Opera, and as searches go, one link leads you to another link, and another until I ended up on a page discussing the origins of gargoyles on the Cathedral of Notre Dame. The text that truly spoke to me came from the official website for the Cathedral that read, “The chimeras are used as simple decorations…seated on a gallery, watching the people below and scanning all of Paris. The sculptors really used their imagination on these statues. They are animal and human figures, half-man and half-beast, grotesque, horrific, fantastic creatures…Although some of them may be frightening, they remind us that all creatures are the work of God, so they deserve His love and salvation.” The last line is what inspired me to find a text for these creatures of lore, as misunderstood protectors.