Michaela Eremiášová is a composer working across opera, concert music, film, television, and interdisciplinary performance. Over the past two decades, her artistic practice has been defined by collaboration across genres and traditions, and by a commitment to creating music that speaks both to the stage and to contemporary media. Her career has been marked by commissions, performances, and recordings worldwide, as well as extensive contributions to film and television scoring for international platforms.

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Born in Prague, she received early training in composition at the Conservatory of Jaroslav Ježek before pursuing advanced studies at Berklee College of Music, Charles University, and ultimately completing a PhD in Composition at the Eastman School of Music. This academic training provided her with both a comprehensive classical foundation and a deep immersion in jazz, media scoring, and contemporary techniques. These influences converge in her compositional voice, which blends clarity of form with stylistic versatility and an openness to hybrid aesthetics.

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Her music has been performed by distinguished organizations including the New York City Opera, the Cincinnati Opera, and the Kurt Weill Festival, and interpreted by ensembles such as the Arabesque Winds, ITB Choir of Indonesia, and Novus Trombone Quartet. Her chamber opera Car Crash Opera was showcased at New York City Opera’s VOX Festival and earned awards including the ASIFA-EAST Excellence in Soundtrack Award and recognition at Boston Metro Opera’s Contempo Festival. Her violin concerto Emblems received the ASCAP Foundation’s Rudolf Nissim Prize, and other concert works such as Bodas de Sangre and Dance of Souls have been commissioned and performed by major institutions.

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Alongside her concert work, Eremiášová has built an extensive portfolio in film and media composition. She has scored feature films (Her Study of a Killer, Red Camaro, Fear of a Black Planet, Between Forever, Brown Paper Bag), short films, and numerous television documentaries for Discovery Channel, National Geographic, FOX TeleColombia, and Netflix. Her work has also appeared in film festivals worldwide, from SIGGRAPH and Anima Mundi in Brazil to European festivals in Weimar and Québec, often in collaboration with experimental filmmakers such as Stephanie Maxwell and Jean Detheux. These collaborations have earned multiple awards for excellence in experimental soundtracks and media arts.

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A significant strand of her career has been collaboration. With Colombian composer Jairo Duarte-López, she has co-composed scores for film, television, and opera, including the orchestral theme for the Toronto Blue Jays broadcast season, as well as Meet John Doe (a Cincinnati Opera commission to complete Daniel Catán’s unfinished opera) and Bodas de Sangre (Blood Wedding), based on García Lorca’s play, for Montclair State University. Together, they also founded Eremia-du-Arte Music, a platform highlighting their collaborative projects across concert, stage, and media works.

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She also co-founded MotiVibes Music with lyricist Elizabeth Breese, a songwriting and production duo whose work emphasizes messages of love, humanity, encouragement, and acceptance. Together they have collaborated with artists including Brian McKnight Jr., Kief Brown, Jackie’s Boy, Jessica Mellott, Nstasia, and Bielfield, with their songs featured in popular Netflix shows such as Temptation Island and The Ultimatum. Their current focus is on expanding into licensing and music libraries, developing partnerships that connect their catalog to both commercial and cultural platforms worldwide. With Bielfield, they are developing the musical project The American Quarter, which is still in progress but has already resulted in over a dozen songs.

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Her contributions extend into education and mentorship. Since 2016 she has been on faculty at The Colburn School in Los Angeles, where she leads composition, theory, and aural skills programs. Previously, she taught film scoring at the Eastman School of Music. Her work as an educator informs her creative practice, deepening her commitment to nurturing emerging voices while continuing to expand her own.

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Throughout her career she has sought to create music that reflects both artistic depth and emotional resonance, whether through opera, chamber music, orchestral scores, or cross-genre collaborations. She remains deeply committed to projects that blur boundaries between concert and media traditions, and to works that address the complexities of human experience in contemporary life.