"Sandra Piques Eddy...was superb. Her voice is rich and full from top to bottom and she knocked off the technical stuff with almost effortless mastery."

"The cast is consistently excellent with voices suited to the style. Sandra Piques Eddy as Cenerentola is a mezzo-soprano with an apparently endless range, warm in the middle and lower registers, yet well-focused at the top."

“Sandra Piques Eddy was a finely ferocious Romeo"

"Glimmerglass Opera's production of Bellini's "I Capuleti e i Montecchi " on Saturday night had some of the best singing of the season. Based generally on Shakespeare's "Romeo and Juliet" the two act opera was a showpiece for mezzo-soprano Sandra Piques Eddy in the pants role of Romeo and Soprano Sarah Coburn as Giulietta. Both are powerhouse singers with big voices who navigated the long, arduous but lyrical beautiful lines of the several arias with strength, conviction, strong phrasing and passion. In Eddy's solo arias, her lower range, with its strongly edged chest tones, was particularly impressive. Together their chemistry was one of tenderness and charm, which underpinned their supple techniques most notably in "Si, fuggire."

"In the traditional trousers role of Romeo, mezzo-soprano Sandra Piques Eddy swaggered her way through the assembled Capulets to produce a clear-voiced conciliatory cavatina to Cappellio ("Se Romeo t'uccise un figlio"). By contrast her angry cabaletta reply ("La tremenda ultrice spada") to the hositle Capulets was beautifully sung with a well-ornamented repeat and a seamless drop into chest voice. Eddy's second scene plea ("Si, fuggire; A noi non resta") to the superb Giulietta of Sarah Coburn was marked by a striking control of dynamics in the cabaletta, and the andante aria in the tomb scene exhibited a flawlessly effective diminuendo."

"…the music is vintage Bellini—long, sinuous melodies that wind around the heart—and what is most important in any performance is having the singers who can do bel canto any sort of justice. This was the case here as Sandra Piques Eddy (Romeo) and Sarah Coburn (Giulietta) amply demonstrated, weaving their spells through the opera to the inevitable tomb scene, where they obliterated sets, costumes (modern again) and cast to illumine the stage with voice, voice, voice."

"Sandra Piques Eddy, a mezzo with a lustrous voice, proved a defiant Angelina from her first notes, not so much lamenting her stepsisters' bossiness as rebuking them for it."

"The brightest sparkle belonged to Ms. Piques Eddy, a swan-necked mezzo with fine technique, a range of colors from honeyed to bright and charm to burn."

"Sandra Piques Eddy is a Cinderella whose goodness comes through from the very start, simply in the grace she bestows on the little song that introduces her. As Cinderella blossoms in the face of good fortune, Eddy's rich voice and ready smile radiate far into the Gailliard Auditorium."

"Another onstage performer earned well-deserved praise- Sandra Piques Eddy in the title role. Wanting to hear and see more of the mezzo-soprano after her performance as the maid in Lakme, I felt lucky to listen to her sing in one of the few leading roles on Friday night. Eddy has done wonderful things with the character, who is strong and feisty, never a victim. She stands out in an almost uniformly superior group of actor-singers who are capable of bringing great emotion as well as humor to the opera."

"As the title character, mezzo-soprano Sandra Piques Eddy looked great and sounded even better. She proved to be a brilliant vocal acrobat, with strength and even tone in all parts of her broad range."

"Mezzo Soprano Sandra Piques Eddy took the title role and brought down the house with her final aria "Non Piu Mesta" full of vocal acrobatics when she forgives all and marries her prince."

"The title role of La Cenerentola is written for that rare bird, a coloratura contralto. Possessing a deep, strong and flexible lower range, mezzo-soprano Sandra Piques Eddy was an ideal Angelina. She tossed off Rossini's florid fioriture fearlessly, brilliantly decorating her vocal line."

"The productions' most dashing voice belonged to mezzo Sandra Piques Eddy. As the gender-reversed, sex-crazed pageboy, she sang Cherubino on overdrive, sparkling in voice, floating glorious tones."

"Mezzo-Soprano Sandra Piques Eddy earned lots of laughs as Cherubino, winning over the audience with her distinctive physical comedy."

"Mezzo Soprano Sandra Piques Eddy, as courageous but over confident page Stephano, also gives a terrific performance in the third act, with her (his) provoking "turtle-dove" song.

"Sandra Piques Eddy showed plenty of spunk as Isabella and had a good comic touch. She is a great Rossini singer who exudes style."

"Blessed with physical beauty and a luxurious voice that nailed the many low notes of Isabella's role, Eddy, cracking a whip at times was completely believable as a woman who could tame a mob of testosterone-rich men with a single glance."

"American mezzo-soprano Sandra Piques Eddy stepped into the title role of Isabella at short notice. She's a find: Piques Eddy has a voice remarkably like Cecilia Bartoli's in her sultry lower register and warm, creamy upper notes. Piques Eddy tosses off Isabella's opening salvo "Cruda sorte" with panache, easily rising above the orchestra. Yet her coloratura can send shivers up your spine in the delicate long lines of "Per lui, che adoro." Like the rest of the cast, she suits her role physically, and she's a deft comedian."