"And as his Mimì, the original Manic Pixie Dream Girl, Jessica Sandidge spun luminous strands of silver vocalism, creating a subtle characterization that was not overwrought, yet deeply complex."
"The typical Donizetti soprano heroine requires range, power, agility, and expression, and we were pleased with all of these in Jessica Sandidge's Paolina. As with her other two triangle-mates, she started in a good place vocally and improved as the performance continued and she warmed up even more. She has a genuinely beautiful sound throughout her voice and is also a beautiful young woman."
Jessica Sandidge’s soprano voice has been described as “plush” by The New York Times. She first joined the Metropolitan Opera in their 2016/17 season as Jano(c) in Janácek's Jenufa. In 2017 she returned as Sylvainne(c) in The Merry Widow, and again last season as Dawn(c) in the premiere of Nico Muhly's Marnie. Of her recent New York City Opera debut in Donizetti's Il Pigmalione, The New York Times wrote: "Jessica Sandidge's belated entrance as Galatea came as something of a relief, all the more so for the loveliness of her singing." In the 2019-2020 season, Ms. Sandidge debuted the role of Cio-Cio San (Madama Butterfly) with Long Island Lyric. She also reprised the role of Hanna Glawari (The Merry Widow) in Hong Kong with Musica Viva. She will also make her Sarasota Opera company and role debuts as Musetta (La Bohème) and Walter (La Wally). This past Summer she closed the 2018/19 season by making a role and company debut with Angels Vocal Arts in their production of Il Trittico as Giorgetta (Il Tabarro).
Other performances in 2018 included her company debut with St Petersburg Opera as Violetta (La Traviata), a role she had previously covered in 2015 with Martina Arroyo’s Prelude to Performance, and performed, with New Jersey Festival Orchestra in 2017. In 2018 she also conquered her first Norma (Bellini) with New Jersey Verismo Opera, and she debuted Strauss’ Vier letzte Lieder with the Shelter Rock Orchestra. Jessica also reprised Mimì (Bohème) with Pittsburgh Festival Opera, a role she had previously sung with Prelude to Performance in 2016 and Long Island Lyric Opera in 2017.
“Of her performance as Mimì with Martina Arroyo's Prelude to Performance, Anthony Tommasini of the New York Times wrote: "...these young singers understand Puccini’s characters, especially Jessica Sandidge, who brings a melting soprano voice and vulnerability to Mimi, the winsome seamstress stricken with tuberculosis.”
In 2017 she was the second soprano to ever perform the role of Margaret Hughes in Carlisle Floyd’s latest work, Prince of Players, which made its New York debut with Little Opera Theater of New York, a company she had previously sung with in Gluck’s rarely performed The Reformed Drunkard. Other performances that year included Micaëla in Heartbeat Opera's edgy production of Carmén, and her role debut as Hannah Glawari in Léhar's The Merry Widow with The Muses Project.
"The surprise of the evening was soprano Jessica Sandidge’s Micaëla, who delivered a floating, sensitively phrased “Je dis que rien ne m’épouvante” that elicited the show’s first bravos from the audience. Encountering her also reminded me why these delicate moments are so vital to Bizet’s original score: they give us a chance to breathe between set pieces, and help us appreciate the dark emotional places the story goes."
-Joel Rozen, Parterre box May 29th, 2017
Jessica has also given several concert performances such as, Soprano in A Prayer for Mother Earth, by Ivo Antogninni with The New England Symphonic Ensemble in a world premiere performance at Carnegie Hall. This concert also included solos in Requiem for the Living by Dan Forrest. Her Carnegie Hall debut was Soprano in Fauré's Requiem with Manhattan Concert Productions in 2015. Her Lincoln Center debut was in 2016 when she performed Violetta's aria, Ah, forse è lui...Sempre libera in Rose Hall with the ISO of New York. She then performed as Soprano in the National Chorale's
Messiah (Händel) Sing-in later that year in David Geffen Hall.
Another notable performance in 2016 was singing the role of Paolina in the resurrection of Donizetti's Poliuto with Amore Opera, in which The New York Times wrote she: "... sang beautifully as Paolina, her dynamic control and expressive gesture notable throughout."
Other past performances include Countess Almaviva (Le nozze di Figaro), Donna Anna (Don Giovanni), Nedda (Pagliacci), Freia (Das Rheingold), Janthe (Der Vampyr), Valencienne (The Merry Widow), Pamina (Die Zauberflöte), and Gilda (Rigoletto). She has performed with such companies as New York City Opera, Opera New Jersey, Martina Arroyo's Prelude to Performance, St Petersburg Opera, Pittsburgh Festival Opera, Manhattan Concert Productions, MidAmerica Productions, Long island Lyric Opera, New York Grand Opera, Opera Ischia, SongFest, Chelsea Opera, Lowell House Opera, Regina Opera, and the Liederkranz Opera Theater.