Sandra Piques Eddy
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 then 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, Sandra Piques Eddy return 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 concert platform the artist joins Harry Christophers and the Handel and Haydn Society in performances of Mozart Requiem.
Last season saw her in the title role Carmen at Opera Coeur d’Alene and then at Austin Lyric Opera. In Wisconsin she appeared with Florentine Opera Company in the title role of Dido and Aeneas before appearing 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 finished 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.
Leading her past great successes is Miss Eddy’s debut in the title role L’incoronazione di Poppea at Opera North (UK), which sparked The Guardian to proclaim: ‘Sandra Piques Eddy’s magnificently sung Poppea has the feline presence of a young Sophia Loren.’ In the title role of Carmen: she made her European debut as the fiery temptress in a new Daniel Kramer production at Opera North (UK) and has since sung the role at Portland Opera, Calgary Opera, Opera Colorado and Lyric Opera of Kansas and appears in the role in future seasons.
Highly adept in Rossini/Mozart repertoire, Miss Eddy appeared as Cherubino Le Nozze de Figaro at Canadian Opera Company, Los Angeles Opera, Atlanta Opera and at Austin Lyric Opera; Dorabella Così fan tutte at Hyogo Performing Arts
Center in Japan, Zerlina Don Giovanni at Portland Opera and Opera Omaha, Idamante Idomeneo and Juno/Ino Semele at Florentine Opera, and as Isabella L’italiana in Algeri.
Ms Eddy graduated from Boston University with a master’s degree in Vocal Performance, and was an apprentice artist at the Boston Opera Institute where various roles included her signature Cherubino in a production by Thomas Allen, Tieresias in the staged premiere of Merryman’s Antigone, and, most memorably, Sesto La Clemenza di Tito. She made her professional debut with Boston Baroque in Vivaldi’s Gloria, where further invitations included Messagiera/Speranza L’Orfeo, and Valletto /Amore L’incoronazione di Poppea. Boston Lyric Opera roles include Dorabella (also at Pittsburgh Opera) and Idamante Idomeneo. She sang the role of Dinah Trouble in Tahiti with Boston Midsummer Opera.
Sandra Piques Eddy was the New England Regional Winner of the 2000 Metropolitan Opera National Council Auditions and a National Semi-finalist, leading to her Met debut in 2001 with further appearances as Cherubino, Lola Cavalleria rusticana, Zulma L’italiana in Algeri, Rosette Manon and Olga The Merry Widow.
Other New York appearances include at Glimmerglass Festival Opera the roles of Romeo I Capuleti ed i Montecchi and Meg Little Women (also at Fort Worth Opera and Kentucky Opera); her Avery Fisher Hall debut in The Messiah with the National Chorale; at New York City Opera as Charmian Antony and Cleopatra, Dorabella, and Don Ramiro La finta giardiniera which she also sang at Florida Grand Opera.
Further roles in Ms Eddy’s repertoire include Hänsel Hänsel und Gretel (Portland Opera); the title role in Peter Brook’s La Tragédie de Carmen and the title role Béatrice et Bénédict (Chicago Opera Theater) and Varvara Katya Kabanová (Boston Lyric Opera).
Major symphonic engagements include Beethoven’s Ninth Symphony and Mass in C; Mozart’s Mass in C Major and Mass in C Minor; Bach’s Magnificat and Mass in B Minor; Mahler’s Rückert Lieder and his Lieder eines fahrenden Gesellen among other works. She has shared the stage with such eminent conductors as Yannick Nézet-Séguin, Laurence Cummings, Julius Rudel, Jane Glover, Marco Armiliato, James Levine and Valery Gergiev.
Headshot photo credit: Cory Weaver