Sandra Piques Eddy
"Sandra Piques Eddy's magnificently sung Poppea has the feline presence of a young Sophia Loren."
Alfred Hickling, The Guardian
"Sandra Piques Eddy most certainly can sing the part of Carmen — and sing it well. Her voice has something of a smokey quality, especially in the lower register. It is a part that suits her well both vocally and in terms of her portrayal on the stage."
Kenneth Delong, Calgary Herald
"Mezzo-soprano Sandra Piques Eddy plays the extraordinarily demanding title role with shattering impact...Not only is her voice luxuriantly radiant, she effortlessly combines magnificent singing with spectacular dancing."
Kelly Dean Hansen, Daily Camera
American mezzo-soprano Sandra Piques Eddy begins the 2017-18 season in the title role Carmen at Opera Coeur d’Alene and then at Austin Lyric Opera. She travels to Wisconsin to appear with Florentine Opera Company in the title role of Dido and Aeneas. The artist then appears at the Metropolitan Opera of New York in the role of Dorabella (cover) Così fan tutte followed by Meg Page Falstaff at Opera Colorado and finishes the season in the title role of Orfeo ed Euridice at Portland Opera.
Recent highlights include the contemporary role of Naga Ouroboros Trilogy for the avant garde Beth Morrison Productions with performances in Boston. She appeared in the title role Carmen at Michigan Opera Theatre, followed by the Metropolitan Opera of New York for the role of The Pilgrim (cover) L’amour de Loin. The role of Carmen claimed her again for performances at Greensboro Opera as well as in Japan where she sang the role under the baton of Seiji Ozawa. Again in Japan she returned to the role of Cherubino Le Nozze di Figaro for performances at the Hyogo Performing Arts Centre in Japan.
Past highlights include the artist’s role debut as Charlotte Werther at her home company Boston Lyric Opera; Stefano Romeo et Juliette at Atlanta Opera, Rosina Il Barbiere di Siviglia at Opera Omaha (a role she has made her own at Nashville Opera, Lyric Opera of Kansas City, Austin Lyric Opera and at Vancouver Opera), and at Greensboro Opera, Angelina La Cenerentola, a role she previously sang to great acclaim at Austin Lyric Opera, at Spoleto Festival (USA), at Opera Saratoga, at Atlanta Opera and at Arizona Opera.
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Dido and Aeneas, Florentine Opera
Sandra Piques Eddy matched her costars with a rich dramatically grounded performance as the tragic Dido.
Shepherd Express, Steve Spice, 29 January 2018
Romeo and Juliet, Atlanta Opera
Supporting roles,... a nice lyric turn by mezzo-soprano Sandra Piques Eddy in the trouser role of Stephano, are likewise flawlessly executed
Atlanta Journal-Constitution, Andrew Alexander, 9 May 2016
Werther, Boston Lyric Opera
Sandra Piques Eddy was affecting and sympathetic as the love-torn Charlotte. Eddy possesses a dark, rich mezzo-soprano that had just the right ring in her mellow middle range. Her acting captured her character’s desperation as she worried over Werther’s well being. Her performance of the letter aria, “Werther! Qui m’aurait dit,” in Act 3 was particularly impressive, giving the impression that Werther’s despair was also her own. As the two would-be lovers, Eddy and Richardson had fine chemistry in their Act 1 duet, Eddy’s upper range taking on a ringing quality. And the two sang beautifully in Werther’s death scene.
Aaron Keebaugh, Boston Classical Review, 12 March
Sandra Piques Eddy delivers a sympathetic and well-sung Charlotte, conveying her character’s increasing anguish as she is torn between her pledge to honor her mother’s deathbed wish and her sincere love for Werther.
Jeremy Eichler, Boston Globe, 13 March
...Eddy, [whose voice is] a lyric instrument with surprising power, thoroughly captivating musically and dramatically.
Keith Powers, The Artery, 15 March
Eddy, who is on the Metropolitan Opera’s roster this year, gave a convincing performance that could melt even a heart made of stone. When she read Werther’s letters in a beautiful, trembling voice, it was not hard to believe, as Albert tells Werther, that any man would fall in love with her. When she finally saw her lover at the end of the act, the couple unleashed their passion in one of the few times in the opera when multiple characters sing together.
The Harvard Crimson, Tianxing V. Lan, 22 March
Il Barbiere di Siviglia, Opera Omaha
Mezzo-soprano Sandra Piques Eddy is sparkling as Rosina. Her voice has a sprightly and lithe quality that beautifully fills the Orpheum. She plays innocent and conniving in perfect balance and brings a sense of grounding to the accelerating manic looniness unfolding around her.
Kim Carpenter, Omaha.com, 15 October 2015
The beautiful Sandra Piques Eddy is delightful as Rosina. In addition to her marvelous voice, the mezzo-soprano proves her mettle as a comedic actress.
Katrina Markel, The Daily Nonpareil, 16 October 2015
La Cenerentola, Greensboro Opera
The stars of the evening were of course Sandra Piques Eddy as Angelina (Cinderella)...
With several Metropolitan Opera roles to her name and countless worldwide performances, Eddy is a most welcome guest in Greensboro. This mezzo’s voice is powerful yet sweet and liquid, a perfect fit for the title role.
Nicholas Rich, Greensboro.com, 29 August
Recital (members of the New York Philharmonic)
This event, warmly applauded...began with Respighi's sadly sentimental "Il tramonto", aka The Sunset. The expansive solos were dispatched with smooth tone, broad dynamics and textual sensitivity by Sandra Piques Eddy, a mezzo-soprano allowed mostly secondary roles at the Met and mostly primary roles elsewhere. Last year she triumphed as Monteverdi’s Poppea with Opera North.
Martin Bernheimer, Financial Times
Carmen, title role (Calgary Opera)
Sandra Piques Eddy most certainly can sing the part of Carmen — and sing it well. Her voice has something of a smokey quality, especially in the lower register. It is a part that suits her well both vocally and in terms of her portrayal on the stage. Avoiding the overstatement presented by the battle-axe Carmens of some productions, Piques gave the audience a more playful, girlish Carmen, one aware of her obvious charms, but less overtly manipulative and overbearing. Still, she was a Carmen who will not be swayed by Don Jose’s entreaties, and the cumulative effect of these scenes was telling.
Kenneth Delong, Calgary Herald
Katya Kabanova, Varvara (Boston Lyric Opera)
Sandra Piques Eddy’s Varvara was a standout—charming, pretty, with an ample mezzo and a marvelous fluency.
Angelo Mao, Boston Classical Review
Sandra Piques Eddy’s sly, confident, healthy-sounding Varvara won an ovation...
David Shengold, Opera June 2015
La Cenerentola, Angelina (Opera Saratoga)
Best of all was mezzo soprano Sandra Piques Eddy in the lead role of Angelina. Though she appeared in drab costume for most of the first act, Eddy’s singing outshined the rest of the cast at every turn. Her legato phrasing could suggest a demure presence but the rich bloom of her upper range revealed the princess in waiting. At the opera’s conclusion, as Angelina forgave her stepsisters, Eddy’s voice carried a new warmth and dignity. The rest of the cast was more than capable, though none rose to the standard set by Eddy.
Joseph Dalton, Times Union blog
Sandra Piques Eddy's Concert Repertoire
Mass in B Minor
Mass in C
Lieder eines fahrenden Gesellen
Mass in C Major
Sandra Piques Eddy's Operatic Repertoire
I Capuleti ed i Montecchi (Romeo)
Romeo et Juliette (Stefano)
Katya Kabanova (Varvara)
Cavalleria Rusticana (Lola)
L'incoronazione di Poppea (title)
Le nozze di Figaro (Cherubino)
Two Boys (Fiona)
La Cenerentola (Angelina)
The Merry Widow (Olga)