Acclaim
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.” 

Bruce and Daryl Browne, Oregon ArtsWatch

”In Portland Opera’s production, Sandra Piques Eddy conveyed the distraught emotional state of Orfeo with conviction, smearing dirt from Euridice’s grave all over his white outfit and melting the audience with heartfelt cries of ‘Euridice!’ Piques Eddy sang the many filigree passages with ease, shaping each line with finesse.” 

James Bash, Northwest Reverb

“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. “

Ilana Walder- Biesanz, San Francisco Classical Voice

“..musically it’s magnificent, particularly Sandra Piques Eddy as Orfeo, whose body is as eloquent as her voice.” 

Martha Ullman West, Oregon Arts Watch
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.”

Daniel J. Kushner, City Newspaper
DIDO AND AENEAS Florentine Opera

“Sandra Piques Eddy, the clear guest star of the event,  is a mezzo of the top caliber, which includes a lower range that pins you to the back wall.  In looks as well as insight, she flourished as Dido, the doomed queen, a role that responds to control, power and in Eddy’s approach a realistic base that adds dimension to the baroque manner.”

Dominique Paul Noth, Urban Milwaukee

“Sandra Piques Eddy matched her costars with a rich dramatically grounded performance as the tragic Dido.”

Steven Spice, Shepherd Express
CARMEN Austin Opera

“Sandra Piques Eddy is utterly brilliant as the passionate gypsy heroine.  Her voice has the depth to shake your soul and make you love her every moment on stage.”

Lynn Beaver, Broadway World BWW Opera world.com
CARMEN Spokane Symphony

”That this production successfully met the challenges posed by the sprawling plot and profusion of musical ideas was due in great measure to the performance by Sandra Piques Eddy in the title role.  From her opening line, sung before we could see her onstage, it was plain where much of the evening’s dramatic voltage would come from.   Her warm, evenly produced mezzo-soprano displays that rare element of individual color and vibrancy that distinguishes the star soloist from the capable trouper.  Add to that her considerable beauty and riveting dramatic presence, and you get what we witnessed this weekend: an ideal Carmen.  She entered, wreathed in impudence, and we listened as she wove together kittenish sexuality and darker self-knowledge in the famous Habanera.  More impressive and more significant was the vocal and dramatic technique she employed in allowing Carmen to grow from a self-indulgent coquette intona fierce defender of feminine autonomy. “

Larry Lapidus, The Spokesman-Review
CARMEN Greensboro Opera

"Among the ranks of notable Carmens, it was Teresa Berganza's portrayal that was brought to mind by the feisty Carmen of mezzo-soprano Sandra Piques Eddy. Her singing of her first recitative in Act 1...introduced a Carmen who teased without malice: her barbs were made for eliciting reactions, not for drawing blood.   Piques Eddy purred... The well known Habanera, her F#'s and G's at the top of the stave secure and the quality of the voice as superlative at piano as at forte....the seductive Seguidille, was in Piques Eddy's performance like the piping of a snake charmer: deaf men might well have been hypnotized by the serpentine lilt of this siren's song.  ...the singer gave the character a vulnerability that she often lacks...Like her colleagues, she sang extraordinarily well, but hers ultimately was not a performance in which the notes were the emphasis.  When she was on the UNCG Auditorium stage, she was Carmen, and the notes came not from her throat but from her heart."

Joseph Newsome, Voix des Arts

"The Greensboro Opera's Carmen for this production was Sandra Piques Eddy, slender and sexy with a rich and colorful voice, especially in the dark lower register. We first see her as a feisty disruptive worker in a cigarette factory in Seville.   She eventually joins a band of smugglers on the open road, living from day to day and moving from place to place, her dusky beauty always her calling card.  She becomes stubborn and passionate at the end of the opera as she approaches the death predicted by the cards in the smoldering third act trio." 

Peter Perret, Classical Voice North Carolina (CVNC)
NAGA (Ouroboros Trilogy) Beth Morrison Projects

"Rounding out the principals...mezzo-soprano Sandra Piques Eddy, moving and sultry voiced as the Monk's wife in Naga. "

Charles Geyer, La Scena Musicale

"Sandra Piques Eddy brought intelligence and a pleasing dark mezzo to the wife."

James Matthew Daniel, Opera News

"Mezzo soprano Sandra Piques Eddy (the Monk's wife in Naga) and Heather Buck (Ku, Ming's wife in Gilgamesh) both conveyed Jacob's message depicting both joy and pain of motherhood. Eddy, in the midst of a swirling psychological quasi-dream sequence, offered a tender and heart wrenching moment in her rich tone."

Justin Casinghino, Boston Musical Intelligencer
ROMEO ET JULIETTE at Atlanta Opera

"Supporting roles...  A nice lyric turn by mezzo-soprano Sandra Piques Eddy in the trouser role of Stephano, are likewise flawlessly executed. "

Andrew Alexander, Atlanta Journal-Constitution
WERTHER at Boston Lyric Opera

"Both voices were beautifully suited to the roles, Richardson gaining power and confidence as the evening progressed, and Eddy, a lyric instrument with surprising power, thoroughly captivating musically and dramatically.  Eddy brought nobility and believability to her Charlotte, with both her acting and her singing.  Some arias were breathtaking-the bereaved "Va! Laisse couler mes larmes," for instance.   The unwavering strength in her large family as part of Goethe's story, Eddy served a similar role in this cast." 

Keith Powers, The Artery

"Sandra Piques Eddy is an outstanding lyric mezzo with a rich, plummy voice, evenly and smoothly produced, and responsive to whatever demands she makes of it including an appropriate use of chest voice in her moving Act III tour de force."

Kevin Wells, Bachtrack

"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."

Aaron Keebaugh, Boston Classical Review

"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

"Singing throughout was really top-notch.   Sandra Piques Eddy as Charlotte has a rich contralto that oozes out like butter and works incredibly well with Alex Richardson's appealingly smooth, smoky tenor. "

Charles Munitz, Boston Arts Diary

"This change of perspective turned out to be extremely successful : Charlotte's confessions in Act III shone as the highlight of the show.  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."

Tianxing V. Lan, The Harvard Crimson

"Another singer with local connections, mezzo Sandra Piques Eddy performs the role of Werther's beloved, Charlotte.  Her rich, evenly placed voice suits the part well.  She is a fine actress, and truly excelled in the demanding Act 3 Letter Scene.  When the situation demanded, she was not reticent about utilizing her dramatic chest register; and her high notes were ample and dead-on with respect to pitch.  Ms. Eddy's talents have brought her to the Metropolitan Opera in NYC where she already has several performances, as well as some HD broadcasts to her credit." 

Ed Tapper, The Edge
THE BARBER OF SEVILLE at 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 World-Herald

"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
LA CENERENTOLA at Greensboro Opera

"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, The News and Record

"The pair of lovers is ideal. Mezzo-soprano Sandra Piques Eddy as Angelina sings the socks off Rossini's bravura coloratura passages!   Her lower voice is so firmly supported it suggests an alto but when she soars seamlessly up her range-wow! Her intonation was exact and her execution of fast runs and ornamentation was breathtaking."

William Thomas Walker, CNVC Arts Journal

"Sandra Piques Eddy is incredibly charming in the title role.  She seduced the public with a luminous, vivacious stage presence helped by her striking good looks, expressive eyes, and the ability to manage her facial features with sophisticated acting.  Her singing was superb, with a very powerful upward extension after the passagio resulting in great projection, and easy navigation of the role's range of two and a half octaves, with no trouble whatsoever with the low notes-she didn't lose any volume in both ends of the range,and her timbre of voice was lush and pleasant.   What an artist!"

Luis Gazzola, Opera Lively
LA CENERENTOLA at 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."   

Joseph Dalton, Times Union
KATYA KABANOVA at Boston Lyric Opera

"Sandra Piques Eddy's Varvara was a standout-charming, pretty, with an ample mezzo and a marvelous fluency.  Although Varvara's role in engineering Katya and Boris's affair speaks to her vast underestimation of the ramifications, in Eddy's portrayal it is not stupidity but compassion for Katya that propels the opera into tragedy."

Angelo Mao, Boston Classical Review

"Yet the show was nearly stolen, and horrors of the story nearly redeemed, by Eddy's Varvara and Omar Najmi as Vanya her beau.  Eddy was throughout a shaft of light and delight, her voice warm and inviting.   The couple provided a glimmer of hope in the work.   For Vanya the river that will ultimately consume Katya is a marvel of nature...  Varvara is blind to the neurosis of the primary pair; she is so happy around Vanya that her brightness washes their dark currents off the stage."

Brian Schuth, The Boston Musical Intelligencer
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