FIONA IN TWO BOYS Metropolitan Opera Premiere
"Meanwhile, the mezzo-soprano Sandra Piques Eddy, as the "secret agent" Fiona, urges Brian in dark sultry tones to kill his friend Jake, climbing right into bed with him, rubbing his shoulders and whispering in his ear."
— Eric C. Simpson,
The New Criterion
"Sandra Piques Eddy proved alluring and mysterious as the spy Fiona."
— Lawrence A. Johnson,
New York Classical Review
"Sandra Piques Eddy, as the nefarious Fiona (of course merely a figment of Jake's imagination) is wonderful, her portrayal is vivid."
— Robert Levine,
"Online temptresses, Rebecca and Fiona were well cast with the agile-voiced Jennifer Zetlan and Sandra Piques Eddy."
— James Jordan,
New York Observer
"...the seductive Sandra Piques Eddy as the threatening secret agent Fiona."
— Heidi Waleson,
The Wall Street Journal
"An impeccable cast... Sandra Piques Eddy luxuriated in seductive evil."
— Martin Bernheimer,
The Financial Times
"Conductor David Robertson leads an effective performance, with standout singers Sandra Piques Eddy and Jennifer Zetlan."
— Ronni Reich,
"...Sandra Piques Eddy, who powers assertively through as Jake's wicked Aunt Fiona."
— Leslie Kandell,
Classical Voice North America
"...Fiona, the cyber-seductress, is also pretty intimidating on stage. Sandra Piques Eddy struts out in the role with a real flair, a sinister confidence and a focused purpose."
— Jerome Sehulster,
"The mezzo-soprano role of Isabella was performed by Sandra Piques Eddy in a tour de force that combined a dark, resonant voice, solid bel canto technique, comic talent, and scenery-chewing stage presence. It helps that she is a looker, of course, and here she becomes a credible, highly feminine version of Earhart."
— James L. Paulk,
ISABELLA IN L'ITALIANA IN ALGERI at Atlanta Opera
"This is Atlanta Opera's first production of "Italian Girl" which is set in the 1930's. The costuming and staging present a glamorous backdrop for Sandra Piques Eddy, who performs the lead contralto role more like an American bombshell in Hollywood. Isabella is searching for her shipwrecked lover, Lindoro, who had been captured by Mustafa (Burak Bilgili). Sung with rich expression and fearlessness, Eddy gives that operatic rescue trope some well-needed equal opportunity."
— Jamila Robinson,
The Atlanta Journal-Constitution
"Sandra Piques Eddy sang Isabella with impressive agility, tossing off runs and arpeggios with ease. Her characterization of a confident Isabella was extremely satisfying, most notably during her aria 'Per lui, che adoro' which she sang while lounging in a clawfoot tub."
— Stephanie Adrian,
DORABELLA in COSI FAN TUTTE at Boston Lyric Opera
"Sandra Piques Eddy's Dorabella is the most particularized of the four lovers, and also the most hilarious, as when she shakes out her hair and turns "O cease to torment me" into a mock-tragic-heroine aria."
— Jeffrey Gantz,
"The vocal news was better among the opera's women; local girl-made-good Sandra Piques Eddy stole the spotlight with a mezzo that's simultaneously pure, rich and gloriously agile. "
— Thomas Garvey,
The Hub Review
"Boston Lyric has again assembled an excellent ensemble cast. Not only the voices, but the physical qualities and temperament of the of the four young lovers serve their roles. Sandra Piques Eddy brought movie-star looks to an extroverted and playful Dorabella. Her eventual seducer, Matthew Worth's Guglielmo, has a matching physique and playfulness that made their pairing seem inevitable. Both were vocally impeccable. Worth's baritone is open and incisive, and Eddy's mezzo is strong and colorful, stirring palpable excitement with her act 1 mock-heroic aria Smanie implacabili."
— Angelo Mao,
Boston Classical Review
"The Dorabella of Sandra Piques Eddy was the favorite of the choristers, apparently, and we could see why. She had warmth of tone and vulnerability in stage persona which was entirely consistent with her being the first of the two ladies to yield to her own heart and accept her lover's."
— Lee Eiseman,
The Boston Musical Intelligencer
"The capricious Dorabella-played note perfectly by Sandra Piques Eddy of North Easton-twists her voice from melodrama pain to girly passion to silly mischief with ease."
— Jed Gottlieb,
"As her flirtatious sister Dorabella, mezzo Sandra Piques Eddy was terrific. Her voice was even and rich, and she displayed a true comic flair."
— Ed Tapper,
IDAMANTE in IDOMENEO at Florentine Opera
"Sandra Piques Eddy's sound was robust and confident, perfect for the pants role of Idamante."
— Paul Kosidowski,
"Mezzo Sandra Piques Eddy, in the castrato/trouser role of Idamante, was Jarman and Elettra's worthy foil. Piques Eddy is a slip of a girl, but she sold her manliness in her poised stride and in her vocal power and assertive delivery. Idamante represents Mozart's conservative Enlightenment ideal of a nobleman: Courageous, passionate, but willing to rein in appetites and even sacrifice himself for the public good. In her stance and in a mezzo voice at once rich and brilliant, Piques Eddy embodies that ideal. She and her Idamante were both noble in the best sense of the word."
— Tom Strini,
Third Coast Digest
ROSINA in IL BARBIERE DI SIVIGLIA at Lyric Opera of Kansas City
"Eddy, who was well recieved in her debut with the Lyric Opera as Carmen last season, did not disappoint in this performance, holding her own as the female lead surrounded by the male-heavy cast. Her initial aria, 'Una voce poco fa,' was sweet yet robust, displaying her facility and range."
— Libby Hanssen,
Kansas City Star
"Sandra Piques Eddy brought her beautful mezzo-soprano to the role of Rosina: It has a rich plumy lower register and vibrancy throughout."
— The Independant
ROSINA in IL BARBIERE DI SIVIGLIA at Vancouver Opera
"American mezzo-soprano Sandra Piques Eddy is divine as the vivacious and feisty Rosina. Ms. Piques Eddy demonstrates her own timbre and her character's moral fibre with her showpiece aria Una voce poco fa. Rosina sings, "I am gentle and respectful, sweet and loving" -but she is certainly no pushover."
— John Jane,
"Mezzo-soprano Sandra Piques Eddy, who boasts a wonderfully rich and sensuous voice, embodied Rosina with her wit, stubbornness and beauty- she was also game to gleefully ham it up, as in Act 2, when she and Figaro, sung by baritone Joshua Hopkins, play a cheeky game of dress-up with corsets and bras."
— Jessica Werb,
"Mezzo-soprano Sandra Piques Eddy played the role of Rosina effortlessly and her technique in singing just leaves you in awe. At some points in the show, Eddy sounded like a chirping bird seranading you outside your window. It was pure magic."
— Gian Karla Limcargco,
ZERLINA in DON GIOVANNI at PORTLAND OPERA
"Sandra Piques Eddy (Zerlina) was hugely appealing and Nicholas Nelson (Masetto) was sympathetic....match for her sumptuous mezzo."
— James McQuillen - The Oregonian
ISABELLA in ITALIAN GIRL IN ALGIERS at BOSTON MIDSUMMER OPERA
"As the richly characterized Isabella, the fourth of the flexible roles for the low mezzo voice Rossini cherished, Eddy sang with notable accuracy, and her remarkable beauty was underscored by her comic flair."
— Opera Today
"Excellent singing came also from Stefania Dovhan's Donna Anna....and from the Zerlina of Sandra Piques Eddy, who was the outstanding vocal success of the evening; both of them were also lovely to look at."
— Bernard Jacobson - Seen and Heard International
"The opera demands a very great mezzo-soprano, and on Wednesday, the fabulous Sandra Piques Eddy sang-and acted- the spunky heroine Isabella for all it was worth. Her feisty performance which mixed eroticism with brain power, was alone worth the price of admission. This was a truly extraordinary experience. What a voice! What slithery movement! She made Jay Lo look like a nun. She looked toned, tan and terrific as if she had just emerged from the gym and shopping at Bergdorfs."
— The Boston Music Intelligencer
"Sandra Piques Eddy, in the title role, stepped onto a Middle Eastern shore, seemingly straight from the Italian edition of "Vogue", deploying confidently flirty glamour and down-to-earth impudence in such quantities as to indicate that her battle of wills with the tyrannical Mustafa (Eric Downs) was going to be comfortably one-sided. Eddy's mezzo-soprano was terrific, plenty of power and polish, gunmetal low notes, percolating roulades."
— Boston Globe