Jessica Sandidge
Biography
Experience
Musetta in La Bohème
Eva Perón in Corpus Evita
Tosca
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Jessica Sandidge
Marie
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Elizabeth Novella
Marie
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Abigail Raiford
The Duchess of Krakenthorp
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Jake Stamatis
Performer
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JoAnna Pope
Marquise de Berkenfeld
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Lindsay Woodward
Chorus Director/Master
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Jessé Martins
Conductor
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Description
Letters is a Chamber Opera composed by Kirsten Volness for six female voices and string quintet. Co-librettists Susan Werbe and Kate Holland wove together a moving libretto from letters written by wives, mothers, nurses, and artists during WWI.
Jessica Sandidge
Woman 2
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Caitlin McKechney
Associate Producer
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Kate Bergstrom
Performer
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Biography
Jessica Sandidge
Jessica Sandidge’s soprano voice has been described as “plush” by The New York Times and as a "voice of both power and beauty" by Opera Wire. 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 in the 2018/19 season as Dawn(c) in the premiere of Nico Muhly's Marnie. Of her recent performance as Musetta with Sarasota Opera, Your Observer described her as "appropriately seductive and tempestuous as Musetta, singing her waltz song with great aplomb." This same season, she also debuted the trouser role Walter in La Wally. In 2020 she also made role and company debuts with Pacific Opera Project singing in a Gluck double bill of La Corona (Atalanta) and Il Parnaso Confuso (Apollo), of which Broadway World wrote: “…soprano Jessica Sandidge offered silvery high notes, decorated runs, and a dramatic middle range that made her characters come to life.” Upcoming performances this season include the one act one woman opera La Voix Humaine by Poulenc with Angels Vocal Arts. In the 2019-2020 season, Ms. Sandidge debuted the role of Cio-Cio San (Madama Butterfly) with Long Island Lyric in New York, then reprised the role of Hanna Glawari (The Merry Widow) in Hong Kong with Musica Viva. In the 2018-2019 season she made her company debut with New York City Opera in their production of Donizetti's Il Pigmalione, of which 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."
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