Sandra Piques Eddy

Mezzo-soprano

"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

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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.

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Orfeo ed Euridice, Portland Opera

August 2018

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

Falstaff, Opera Colorado

May 2018

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

May 2018

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

January 2018

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

May 2016

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

March 2016

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

October 2015

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

August 2015

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)

June 2015

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)

April 2015

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)

March 2015

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)

July 2015

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

BELLINI

I Capuleti ed i Montecchi (Romeo)

BIZET

Carmen (title)

GOUNOD

Romeo et Juliette (Stefano)

HANDEL

Semele (Juno/Ino)

JANACEK

Katya Kabanova (Varvara)

MASCAGNI

Cavalleria Rusticana (Lola)

MASSENET

Werther (Charlotte)

MONTEVERDI

L'incoronazione di Poppea (title)

MOZART

Le nozze di Figaro (Cherubino)
Cosi fan tutte (Dorabella)
Don Giovanni (Zerlina)
Idomeneo (Idamante)
La Clemenza di Tito (Sesto)

MUHLY

Two Boys (Fiona)

ROSSINI

La Cenerentola (Angelina)
Il Barbiere di Siviglia (Rosina)
L’italiana in Algeri (Isabella/Zulma)

STRAUSS

The Merry Widow (Olga)

VERDI

Rigoletto (Maddalena)

Sandra Piques Eddy's Concert Repertoire

BACH

Magnificat

Mass in B Minor 

BEETHOVEN

Mass in C

HANDEL

Messiah

MAHLER

Lieder eines fahrenden Gesellen
Ruckert Lieder

MOZART

Mass in C Major
Mass in C Minor 

VIVALDI

Gloria

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