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 2018-19 season by returning to Florentine Opera to sing the role of Mistress Revels in the Carlisle Floyd opera Prince of Players. The artist travels to the Metropolitan Opera to perform the role of the Novice and cover The Abbess in Puccini’s Suor Angelica. Having made a huge impact in Japan in recent seasons, the artist returns to Hyogo Performing Arts Center for a New Year's Eve Concert of timeless classic show tunes before stepping once again into her signature role of Carmen at Seiji Ozawa Music Academy. On the Boston concert platform, the artist joins Harry Christophers and the Handel and Haydn Society in performances of Mozart’s Requiem, before heading south to sing the role of Rosina Il barbiere di Siviglia at New Zealand Opera.
Recent highlights include Meg Page Falstaff at Opera Colorado and the title role of Orfeo ed Euridice at Portland Opera. She joined the Beth Morrison Productions for the contemporary role of Naga in their avant garde Boston production of Ouroboros Trilogy. She appeared in the title role Carmen at Michigan Opera Theatre and at Austin Opera, and at the Metropolitan Opera she covered the roles of The Pilgrim L’amour de Loin and Dorabella Cosi fan tutte. She returned to the role of Cherubino Le Nozze di Figaro for performances at the Hyogo Performing Arts Centre in Japan.
This biography is for information only and should not be reproduced.
Il barbiere di Siviglia, New Zealand Opera
Sandra Piques Eddy's first and famous aria makes it clear, early on, that she's a force to be reckoned with. Her comedic playing, especially with John Tessier's cleverly characterised Count, is a delight, particularly in a flirting singing lesson.
NZ Herald, William Dart, 3 June 2019
Sandra Piques Eddy was a pert, flirtatious Rosina displaying a rich mezzo voice that was even throughout the range and a delight to listen to.
The Opera Critic, Michael Sinclair, 6 June 2019
Mozart Requiem, Handel and Haydn Society
Mezzo-soprano Sandra Piques Eddy sang her lines with a dark, plush tone...
Boston Classical Review, Aaron Keebaugh, 4 May 2019
Orfeo ed Euridice, Portland Opera
Sandra Piques Eddy in the role of Orfeo was a marvel of vocal color, acting and facial expression. Hers is a major mezzo-soprano instrument with an afterburner in the chest register, which fit perfectly with Gluck’s (original) casting of Haute-contra tenor (a very high but full tenor voice). It is common practice in the twentieth century for the role to be played by a mezzo. Ms. Eddy’s voice fulfilled the musical intent brilliantly.
Oregon Artswatch, Bruce & Daryl Browne, 2 August 2018
...musically it’s magnificent, particularly Sandra Piques Eddy as Orfeo, whose body is as eloquent as her voice.
Oregon Artswatch, Martha Ullman West, 1 August 2018
The female-sung part of Orfeo marked a role debut by mezzo Sandra Piques Eddy. She checked all the boxes: lively coloratura, the perfect tessitura for the part, graceful gestures, and convincing despair...She sang “Che farò senza Euridice?” (What will I do without Euridice?) with ravishing delicacy.
San Francisco Classical Voice, Ilana Walder-Biesanz, 30 July 2018
Sandra Piques Eddy conveyed the distraught emotional state of Orfeo with conviction, smearing dirt from Euridice's grace all over his white outfit, shaping the many filigree passages with finesse.
Opera Magazine, James Bash, November 2018
Falstaff, Opera Colorado
Sandra Piques Eddy (Meg) and Cynthia Clayton (Alice) seemed to relish the playfulness in their roles.
Opera News, Marc Shulgold, May 2018
Carmen, Rochester Philharmonic
Sandra Piques Eddy was more than up to portraying the seductive anti-heroine. An unstoppable force in the title role, Eddy sang with a fiery and alluring tone, akin to burnt honey. Her charisma and gravitas carried the opera.
City Newspaper, Daniel J. Kushner, 25 May 2018
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 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)
Sandra Piques Eddy's Concert Repertoire
Mass in B Minor
Mass in C
Lieder eines fahrenden Gesellen
Mass in C Major