Evita, Corpus Evita with West Bay Opera
"With clarion soprano notes that excite and energize both the gathered crowd and us as audience, Jessica Sandidge is fabulously suited in her glowing radiance and in her magnetic vocals to be the mythical Evita who accurately predicts, 'When I’m gone … I will live in a million souls.'"
-Eddie Reynolds, Theatre Eddys, SF Bay Area Theater Reviews, February 17, 2024
-Eddie Reynolds, Theatre Eddys, SF Bay Area Theater Reviews, February 17, 2024
"In her soliloquy, soprano Jessica Sandidge cuts a striking and authentic figure as she powers through the high passages with grace and authority."
-Victor Cordell, Berkshire Fine Arts, February 17, 2024
https://www.berkshirefinearts.com/02-17-2024_corpus-evita.htm
-Victor Cordell, Berkshire Fine Arts, February 17, 2024
https://www.berkshirefinearts.com/02-17-2024_corpus-evita.htm
"Jessica Sandidge, soprano, was captivating as Eva Peron. Her credits are numerous and span the country, which is no surprise. Her strong vocals and amazing range were perfect for this strong character in the story. Sandidge made you believe that she was the embodiment of Eva Peron."
-Jeryl Moy, Splash Magazine, February 19, 2024
splashmags.com/index.php/2024/02/19/corpus-evita-at-west-bay-opera-is-a-compelling-performance-no-one-should-miss/#gsc.tab=0
-Jeryl Moy, Splash Magazine, February 19, 2024
splashmags.com/index.php/2024/02/19/corpus-evita-at-west-bay-opera-is-a-compelling-performance-no-one-should-miss/#gsc.tab=0
"Soprano Jessica Sandidge handles the role of Evita with grace and an even, clear tone, even though playing a goddess can be an unrewarding job."
-Michael J. Vaughn, The Almanac February 22, 2024
https://www.almanacnews.com/ae/2024/02/22/review-corpus-evita-explores-cults-of-personality/
-Michael J. Vaughn, The Almanac February 22, 2024
https://www.almanacnews.com/ae/2024/02/22/review-corpus-evita-explores-cults-of-personality/
Marie, La Fille du Régiment with Sarasota Opera
"The daughter, Marie, is the perfect role for an ingenue soprano with an agile voice. Jessica Sandidge...seems born to the role of Marie, head to toe. Every line, interaction and full-out showpiece is an absolute delight. Sandidge has a voice you could listen to all day as she negotiates florid coloratura with great ease up and down her range. Her first act "Chacun le sait” ("Everyone knows it"), sparkled with the soldiers while we felt her pain saying farewell in “ll faut partir” ("I must leave you")."
-Gayle Williams, Sarasota Herald-Tribune February 20, 2022
www.heraldtribune.com/story/entertainment/arts/2022/02/20/sarasota-operas-daughter-regiment-2022-season-must-see/6843161001/
Atalanta and Apollo, La Corona and Il Parnaso Confuso with Pacific Opera Project
"As Atalanta and later as Apollo, soprano Jessica Sandidge offered silvery high notes, decorated runs, and a dramatic middle range that made her characters come to life."
-Maria Nockin, Broadway World November 22, 2020
www.broadwayworld.com/los-angeles/article/BWW-Review-LA-CORONA-AND-IL-PARNASO-CONFUSO-at-Methodist-Church-In-Camarillo-20201122
"Jessica Sandidge brought her gentle soprano to a lithe performance of Atalanta's scintillating aria "Quel chiaro rio."
-James C. Taylor, Opera Magazine February 2021
https://www.opera.co.uk/issues/february-2021/
"As Atalanta and later as Apollo, soprano Jessica Sandidge offered silvery high notes, decorated runs, and a dramatic middle range that made her characters come to life."
-Maria Nockin, Broadway World November 22, 2020
www.broadwayworld.com/los-angeles/article/BWW-Review-LA-CORONA-AND-IL-PARNASO-CONFUSO-at-Methodist-Church-In-Camarillo-20201122
"Jessica Sandidge brought her gentle soprano to a lithe performance of Atalanta's scintillating aria "Quel chiaro rio."
-James C. Taylor, Opera Magazine February 2021
https://www.opera.co.uk/issues/february-2021/
Musetta, La Bohème with Sarasota Opera
"Sandidge, as a seductive and feisty Musetta, had an effective partner in Filippo Fontana’s Marcello; both artists loved and fought with rampant emotion."
-Edward Alley, Opera News June 2020 VOL. 84, No. 11
www.operanews.com/Opera_News_Magazine/2020/6/Reviews/SARASOTA__La_Boh%C3%A8me.html
"Jessica Sandidge clearly performed the two sides of Musetta. The selfish coquette abusing the clueless Alcindoro (Joseph Beutel) and teasing Marcello would have been harsh had her voice not been so lovely in the famed 'Musetta's Waltz.' Yet when she brought the dying Mimì back to Rodolfo and sold her earrings for medicine and a muff, we saw a heart of gold. Together the bickering couple, Sandidge and Fontana we brilliant. They fought in counterpoint to Mimì and Rodolfo's sweet reunion."
-Gayle Williams, Herald Tribune February 9, 2020
www.heraldtribune.com/story/entertainment/arts/2020/02/09/opera-review-moving-la-bohegraveme-opens-new-sarasota-opera-season/1740674007/
"Sandidge, as a seductive and feisty Musetta, had an effective partner in Filippo Fontana’s Marcello; both artists loved and fought with rampant emotion."
-Edward Alley, Opera News June 2020 VOL. 84, No. 11
www.operanews.com/Opera_News_Magazine/2020/6/Reviews/SARASOTA__La_Boh%C3%A8me.html
"Jessica Sandidge clearly performed the two sides of Musetta. The selfish coquette abusing the clueless Alcindoro (Joseph Beutel) and teasing Marcello would have been harsh had her voice not been so lovely in the famed 'Musetta's Waltz.' Yet when she brought the dying Mimì back to Rodolfo and sold her earrings for medicine and a muff, we saw a heart of gold. Together the bickering couple, Sandidge and Fontana we brilliant. They fought in counterpoint to Mimì and Rodolfo's sweet reunion."
-Gayle Williams, Herald Tribune February 9, 2020
www.heraldtribune.com/story/entertainment/arts/2020/02/09/opera-review-moving-la-bohegraveme-opens-new-sarasota-opera-season/1740674007/
...and Jessica Sandidge is appropriately seductive and tempestuous as Musetta, singing her waltz song with great aplomb, loving and fighting with Marcello, then revealing her true and loving nature in the final act."
-Edward Alley, Your Observer February 9, 2020
www.yourobserver.com/article/sarasota-operas-la-boheme-rises-to-the-penthouse
"California soprano Jessica Sandidge showed the complex personality of Marcello's girlfriend Musetta-flirtatiously performing Musetta's signature aria 'Quando me'n vo' in the Café Momus scene, fighting with Marcello at the Barrière inn, and taking on the role of empathetic caregiver, bringing Mimì to the garret to spend her final moments with Rodolfo. Sandidge alternated the role of coquettish Musetta with that of a young boy in 'La Wally.'"
-William Burnett, Opera Warhorses March 20, 2020
operawarhorses.com/2020/03/
-Edward Alley, Your Observer February 9, 2020
www.yourobserver.com/article/sarasota-operas-la-boheme-rises-to-the-penthouse
"California soprano Jessica Sandidge showed the complex personality of Marcello's girlfriend Musetta-flirtatiously performing Musetta's signature aria 'Quando me'n vo' in the Café Momus scene, fighting with Marcello at the Barrière inn, and taking on the role of empathetic caregiver, bringing Mimì to the garret to spend her final moments with Rodolfo. Sandidge alternated the role of coquettish Musetta with that of a young boy in 'La Wally.'"
-William Burnett, Opera Warhorses March 20, 2020
operawarhorses.com/2020/03/
Walter, La Wally with Sarasota Opera
"The trouser role of Walter, Wally’s young companion, was well delivered by Jessica Sandidge, whose “Song of the Edelweiss,” sung early in Act I, with the orchestra’s harp substituting for a zither, set a high vocal standard for the evening. Her portrayal was consistent and most convincing."
-Edward Alley, Opera News June 2020 VOL. 84, NO. 11
www.operanews.com/Opera_News_Magazine/2020/6/Reviews/SARASOTA__La_Wally.html
"The trouser role of Walter, Wally’s young companion, was well delivered by Jessica Sandidge, whose “Song of the Edelweiss,” sung early in Act I, with the orchestra’s harp substituting for a zither, set a high vocal standard for the evening. Her portrayal was consistent and most convincing."
-Edward Alley, Opera News June 2020 VOL. 84, NO. 11
www.operanews.com/Opera_News_Magazine/2020/6/Reviews/SARASOTA__La_Wally.html
"Jessica Sandidge, this season's Musetta, sang the trouser role of Walter, Wally's young companion. Her first act 'Song of the Edelweiss' set a high vocal standard for the evening."
-Edward Alley, Your Observer March 8, 2020
www.yourobserver.com/article/sarasota-opera-in-rare-air-with-la-wally
"The young Walter, Wally's platonic friend, provides a juicy trouser role for soprano Jessica Sandidge who is given the honor of the first key aria that foreshadows what's to come. With agile sure-footedness, Sandidge negotiates the leaping intervals, a gentle nod to yodeling."
-Gayle Williams, Herald Tribune March 8, 2020
www.heraldtribune.com/story/entertainment/arts/2020/03/08/la-wally-returns-to-sarasota-opera-after-31-years/1562756007/
"California soprano Jessica Sandidge sang the lyric coloratura trouser role of Walter, La Wally's young companion and admirer. Sandidge's Walter, who like Crabill's Wally and Davila's Hagenbach, appears in all four acts, displayed vocal virtuosity (including a touch of Tyrolean yodeling) in a vivid portrait of a young adolescent boy."
-William Burnett, Opera Warhorses March 10, 2020
operawarhorses.com/2020/03/10/review-caitlin-crabill-and-rafael-davila-lead-strong-cast-for-catalanis-la-wally-sarasota-opera-march-7-2020/
-Edward Alley, Your Observer March 8, 2020
www.yourobserver.com/article/sarasota-opera-in-rare-air-with-la-wally
"The young Walter, Wally's platonic friend, provides a juicy trouser role for soprano Jessica Sandidge who is given the honor of the first key aria that foreshadows what's to come. With agile sure-footedness, Sandidge negotiates the leaping intervals, a gentle nod to yodeling."
-Gayle Williams, Herald Tribune March 8, 2020
www.heraldtribune.com/story/entertainment/arts/2020/03/08/la-wally-returns-to-sarasota-opera-after-31-years/1562756007/
"California soprano Jessica Sandidge sang the lyric coloratura trouser role of Walter, La Wally's young companion and admirer. Sandidge's Walter, who like Crabill's Wally and Davila's Hagenbach, appears in all four acts, displayed vocal virtuosity (including a touch of Tyrolean yodeling) in a vivid portrait of a young adolescent boy."
-William Burnett, Opera Warhorses March 10, 2020
operawarhorses.com/2020/03/10/review-caitlin-crabill-and-rafael-davila-lead-strong-cast-for-catalanis-la-wally-sarasota-opera-march-7-2020/
Mimì, La Bohème with Pittsburgh Festival Opera
"The roles of the tragic couple, Mimì and Rudolph (or Rodolfo) were well taken by Jessica Sandidge and Jonathan Tetelman. They were believable in appearance, and both possess voices of much power and beauty. Ms. Sandidge’s soprano is infused with a great deal of beauty, warmth, and brilliancy, and in solo, duet and ensemble passages it rang out with a lovely fluency."
-onStage Pittsburgh July 7, 2018
https://onstagepittsburgh.com/2018/07/07/pittsburgh-festival-opera-off-fun-start-la-boheme-warhola/
"The roles of the tragic couple, Mimì and Rudolph (or Rodolfo) were well taken by Jessica Sandidge and Jonathan Tetelman. They were believable in appearance, and both possess voices of much power and beauty. Ms. Sandidge’s soprano is infused with a great deal of beauty, warmth, and brilliancy, and in solo, duet and ensemble passages it rang out with a lovely fluency."
-onStage Pittsburgh July 7, 2018
https://onstagepittsburgh.com/2018/07/07/pittsburgh-festival-opera-off-fun-start-la-boheme-warhola/
Violetta, La Traviata with St Petersburg Opera
"Sandidge comes to the table loaded with technical ability, handling the birdlike patter in her opening aria with aplomb. She took on Violetta’s vivaciousness and empathy, particularly in a lengthy duet with Giorgio...His fullness in the duet coupled with her precision marked a turning point in the show, the first moment when the singing approached the kind of opera that keeps us coming back for more."
-Andrew Meachum, Tampa Bay Times, June 4, 2018
www.tampabay.com/things-to-do/stage/St-Petersburg-Opera-s-La-Traviata-has-its-moments-but-still-falls-short-_168797409/
"Sandidge comes to the table loaded with technical ability, handling the birdlike patter in her opening aria with aplomb. She took on Violetta’s vivaciousness and empathy, particularly in a lengthy duet with Giorgio...His fullness in the duet coupled with her precision marked a turning point in the show, the first moment when the singing approached the kind of opera that keeps us coming back for more."
-Andrew Meachum, Tampa Bay Times, June 4, 2018
www.tampabay.com/things-to-do/stage/St-Petersburg-Opera-s-La-Traviata-has-its-moments-but-still-falls-short-_168797409/
Galatea, Donizetti's Il Pigmalione with New York City Opera
"Jessica Sandidge’s belated entrance as Galatea came as something of a relief, all the more so for the loveliness of her singing."
-James R. Oestreich, The New York Times March 26, 2018
www.nytimes.com/2018/03/26/arts/music/review-my-fair-lady-pygmalion-new-york-city-opera.html
"When soprano Sandidge finally made her appearance as the statue come to life, her lovely, sweet voice provided a good contrast to the tenor's."
-Richard Sasanow, Broadway World March 27, 2018
www.broadwayworld.com/bwwopera/article/New-York-City-Opera-Presents-IL-PIGMALIONE-By-Donizetti-And-PIGMALION-By-Rameau-20180302
"Jessica Sandidge’s belated entrance as Galatea came as something of a relief, all the more so for the loveliness of her singing."
-James R. Oestreich, The New York Times March 26, 2018
www.nytimes.com/2018/03/26/arts/music/review-my-fair-lady-pygmalion-new-york-city-opera.html
"When soprano Sandidge finally made her appearance as the statue come to life, her lovely, sweet voice provided a good contrast to the tenor's."
-Richard Sasanow, Broadway World March 27, 2018
www.broadwayworld.com/bwwopera/article/New-York-City-Opera-Presents-IL-PIGMALIONE-By-Donizetti-And-PIGMALION-By-Rameau-20180302
"And when Pigmalione finally sees his creation made flesh, his Galatea, he is joined by another voice of both power and beauty, Soprano Jessica Sandidge. And while this one–act opera doesn’t give Sandidge a great deal to sing, when she does sing to her creator, the opera definitely foreshadows the Donizetti works and classic soprano parts to come.The young composer will clearly go on to learn to use such a beautiful voice, to shape the extended duets."
-Matt Costello, Opera Wire March 28, 2018
operawire.com/new-york-city-opera-2017-18-review-il-pigmalione-and-pigmalion-an-unusual-exciting-double-bill/
"In Donizetti’s opera the cloak lifted to reveal a statue, to which Pygmalion directed his elation, ignoring its womanly personification (Jessica Sandidge, in appealing voice) standing to the side..."
-George Loomis, Financial Times March 28, 2018
www.ft.com/content/1085a792-3273-11e8-b5bf-23cb17fd1498
-Matt Costello, Opera Wire March 28, 2018
operawire.com/new-york-city-opera-2017-18-review-il-pigmalione-and-pigmalion-an-unusual-exciting-double-bill/
"In Donizetti’s opera the cloak lifted to reveal a statue, to which Pygmalion directed his elation, ignoring its womanly personification (Jessica Sandidge, in appealing voice) standing to the side..."
-George Loomis, Financial Times March 28, 2018
www.ft.com/content/1085a792-3273-11e8-b5bf-23cb17fd1498
Micaëla, Carmen with Heartbeat Opera
"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
parterre.com/2017/05/29/fixing-the-fan/
"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
parterre.com/2017/05/29/fixing-the-fan/
"Micaëla, the good girl from home who comes with a message from José’s mother (here the plush soprano Jessica Sandidge), emerges as a strong, self-aware young woman."
-Anthony Tommasini, New York Times May 23, 2017
www.nytimes.com/2017/05/23/arts/music/butterfly-and-carmen-in-bold-and-vivid-cuts.html
"Jessica Sandidge’s lyric sound furnished contrast as Micaëla."
-David Shengold, Opera News May 25, 2017
-Anthony Tommasini, New York Times May 23, 2017
www.nytimes.com/2017/05/23/arts/music/butterfly-and-carmen-in-bold-and-vivid-cuts.html
"Jessica Sandidge’s lyric sound furnished contrast as Micaëla."
-David Shengold, Opera News May 25, 2017
Margaret Hughes ("Peg"), Prince of Players, by Carlisle Floyd with Little Opera Theater of New York
"Jessica Sandidge, as the actress who imitates and then swipes his leading role—but hauls him into bed to soften the blow—had rather more of the physique du role."
-John Yohalem, Parterre Box February 27th, 2017
parterre.com/2017/02/27/cross-fit/
"Jessica Sandidge, as the actress who imitates and then swipes his leading role—but hauls him into bed to soften the blow—had rather more of the physique du role."
-John Yohalem, Parterre Box February 27th, 2017
parterre.com/2017/02/27/cross-fit/
"Soprano Jessica Sandidge was an equally three-dimensional presence, marshaling a gorgeous tone and an exquisitely controlled quiet register as the lovelorn but resourceful proto-feminist Margaret, “resigned to worship him from the wings” but meanwhile learning every one of Ned’s lines (Desdemona is the role featured here): “I know your every gesture.” Dressing Ned’s wounds to the strains of the oboe after Sedley’s thugs beat him up, she opens her heart to us even as he remains cool to her."
-Jon Sobel, Blog Critics, March 1, 2017
blogcritics.org/opera-review-nyc-prince-of-players-by-carlisle-floyd/
-Jon Sobel, Blog Critics, March 1, 2017
blogcritics.org/opera-review-nyc-prince-of-players-by-carlisle-floyd/
"His female dresser Margaret Hughes is not only in love with him but wants very much to be him and to strut the boards. She copies his every gesture. Soprano Jessica Sandidge created a most believable character, carefully balancing her love for him with her competitiveness."
-Meche Kroop, Voce di Meche, February 25th, 2017
www.vocedimeche.reviews/2017/02/
-Meche Kroop, Voce di Meche, February 25th, 2017
www.vocedimeche.reviews/2017/02/
Mimì, La Bohème, Prelude to Performance with the Martina Arroyo Foundation
"My guess is that it didn’t take too much work to help 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..."
-Anthony Tommasini, New York Times July 8, 2016
www.nytimes.com/2016/07/09/arts/music/review-puccini-la-boheme-martina-arroyo-foundation.html
"My guess is that it didn’t take too much work to help 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..."
-Anthony Tommasini, New York Times July 8, 2016
www.nytimes.com/2016/07/09/arts/music/review-puccini-la-boheme-martina-arroyo-foundation.html
"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."
-Patrick Clement James, Parterre Box July 8th, 2016
parterre.com/author/patrick-james/page/3/?doing_wp_cron=1484983631.2033870220184326171875%20%3A
-Patrick Clement James, Parterre Box July 8th, 2016
parterre.com/author/patrick-james/page/3/?doing_wp_cron=1484983631.2033870220184326171875%20%3A
Paolina, Poliuto, Amore Opera NYC
"...Soprano Jessica Sandidge sang beautifully as Paolina, her dynamic control and expressive gesture notable throughout."
-Vivien Schweitzer, New York Times March 16, 2016
www.nytimes.com/2016/03/17/arts/music/review-poliuto-exposes-a-love-triangle-most-tragic.html
"Jessica Sandidge made the most of the somewhat smaller role of Paolina. Her very finest moment also came in Act II, in her confrontation with Severo. And Sandidge offered a beautiful rendition of the sweet aria in Act I, “Di quai soavi lagrime,” in which she envisions a joyful future."
-Arlo McKinnon, Opera News March 15, 2016
"...Soprano Jessica Sandidge sang beautifully as Paolina, her dynamic control and expressive gesture notable throughout."
-Vivien Schweitzer, New York Times March 16, 2016
www.nytimes.com/2016/03/17/arts/music/review-poliuto-exposes-a-love-triangle-most-tragic.html
"Jessica Sandidge made the most of the somewhat smaller role of Paolina. Her very finest moment also came in Act II, in her confrontation with Severo. And Sandidge offered a beautiful rendition of the sweet aria in Act I, “Di quai soavi lagrime,” in which she envisions a joyful future."
-Arlo McKinnon, Opera News March 15, 2016
" Jessica Sandidge’s Paolina entered with a lengthy scena analyzing her plight but her voice had not warmed to the work. In Act II she revealed an exciting top expressive of her anguish as the wheels of the two plots, religious and amorous, ground her in their complications, and her long duet with Poliuto was delectable. The voice has beauty, strength and some agility, and she is a tender actress."
-John Yohalem, Parterre Box March 18, 2016
parterre.com/author/john-yohalem/page/6/
"As Paolina, the lovely Jessica Sandidge unfurled a vibrant, richly colored soprano that opened up on high."
-Eli Jacobson, Gay City News, March 21, 2016
"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."
-David Browning, Taminophile, March 20, 2016
-John Yohalem, Parterre Box March 18, 2016
parterre.com/author/john-yohalem/page/6/
"As Paolina, the lovely Jessica Sandidge unfurled a vibrant, richly colored soprano that opened up on high."
-Eli Jacobson, Gay City News, March 21, 2016
"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."
-David Browning, Taminophile, March 20, 2016
Soprano soloist, Fauré Requiem, Manhattan Concert Productions
“The two soloists handled their work admirably, with the soprano Jessica Sandidge wisely not scaling her lovely voice into anything “boy”-sounding in the Pie Jesu, even though the premiere was a boy soprano.”
-Frank Daykin, NY Concert Review May 2015
“The two soloists handled their work admirably, with the soprano Jessica Sandidge wisely not scaling her lovely voice into anything “boy”-sounding in the Pie Jesu, even though the premiere was a boy soprano.”
-Frank Daykin, NY Concert Review May 2015
Micaëla, Carmén, Regina Opera
“Micaëla, the country girl who loves Don José, was ravishingly sung by Jessica Sandidge, whose sumptuous and radiant soprano in both her duet with José and her prayerful aria Je dis stole the collective hearts of the audience. It was hard not to be swept away by the giant, almost tsunami-like waves of purity and beauty in her voice and character.”
-Nino Pantano, Brooklyn Daily Eagle May 2015
“Jessica Sandidge stood out as Micaëla, particularly in the first act. Her voice is lovely, but has a robustness we are not accustomed to in the role (Frittoli, Caballé). Sandidge satisfied in making the role more robust and less whiny.”
-Susan Hill, Berkshire Fine Arts May 2015
Colette, L’Ivrogne Corrigé (The Reformed Drunkard), Little Opera Theater of New York
“Jessica Sandidge, a soprano, was an appealing Colette.”
-Steve Smith, NY Times 2013
www.nytimes.com/2013/03/23/arts/music/the-reformed-drunkard-by-the-little-opera-theater.html
Janthe, Der Vampyr (Liederkranz Opera Theater)
“Janthe gets killed off straightaway, but Jessica Sandidge sang her one scene with lovely, gleaming sound, and fine agility.”
-Lucy, Opera Obsession, 2011
“Micaëla, the country girl who loves Don José, was ravishingly sung by Jessica Sandidge, whose sumptuous and radiant soprano in both her duet with José and her prayerful aria Je dis stole the collective hearts of the audience. It was hard not to be swept away by the giant, almost tsunami-like waves of purity and beauty in her voice and character.”
-Nino Pantano, Brooklyn Daily Eagle May 2015
“Jessica Sandidge stood out as Micaëla, particularly in the first act. Her voice is lovely, but has a robustness we are not accustomed to in the role (Frittoli, Caballé). Sandidge satisfied in making the role more robust and less whiny.”
-Susan Hill, Berkshire Fine Arts May 2015
Colette, L’Ivrogne Corrigé (The Reformed Drunkard), Little Opera Theater of New York
“Jessica Sandidge, a soprano, was an appealing Colette.”
-Steve Smith, NY Times 2013
www.nytimes.com/2013/03/23/arts/music/the-reformed-drunkard-by-the-little-opera-theater.html
Janthe, Der Vampyr (Liederkranz Opera Theater)
“Janthe gets killed off straightaway, but Jessica Sandidge sang her one scene with lovely, gleaming sound, and fine agility.”
-Lucy, Opera Obsession, 2011