Giulio Cesare
West Edge Opera 2022
“The evening’s standout was Sarah Coit, whose impressive Sesto offered fierce determination and vibrant vocalism.”
- Georgia Rowe, Opera News
“There were strong individual contributions among the cast - above all from mezzo-soprano Sarah Coit, a longtime local treasure who outdid herself with a blazing and tender performance as the young Roman Sesto.”
- Joshua Kosman, San Francisco Chronicle
"As the young, impetuous Sesto, mezzo-soprano Sarah Coit - a West Edge Opera regular - dazzled. Deft in the brilliant fast notes of the boy’s many “action arias,” Coit excelled in conveying the trajectory of anger, sorrow, and resolve that finally leads to Sesto’s killing Ptolemy at the climax.”
- Nicholas Jones, San Francisco Classical Voice
“Coit, let loose in the trouser role Sesto, dazzled with rapid-fire precision in Sesto’s rage arias.”
- Michael Anthonio, Parterre Box
Roméo et Juliette
San Diego Opera 2022
“And as Roméo’s trusted page Stéphano, mezzo-soprano Sarah Coit mesmerized the audience with her charming Act 3 aria “Que fais-tu, blanche tourterelle?””
-Ken Herman, San Diego Story
“Mezzo-soprano Sarah Coit, who performed the trouser role of Stéphano, delivered her Act III aria with lightness and clarity, incorporating an elegant high C in the cadenza.”
-David Gregson, Opera West
“Mezzo-soprano Sarah Coit received an enthusiastic round of applause for her youthful "pants" role as Roméo's page Stéphano.”
- Ron Bierman, Broadway World
“Sarah Coit (was) a lively Stéphano.”
- James Chute, Opera News
Semele
Opera Santa Barbara 2022
“The most thrilling moments included the coloratura arias from soprano Jana McIntyre, singing with ravishing grace and style portraying Semele, and mezzo-soprano Sarah Coit as Juno, a no-nonsense platinum blond goddess that seemed to pull all the strings.”
-Robert F. Adams, VOICE Magazine
The Copper Queen (Film)
Arizona Opera 2021
“Both Becerra and Coit are naturals in front of the camera, each performing her role with a naked sincerity, earnestness, and tough-shelled grit through subtle vocal inflections, facial expressions, and almost imperceptible gestures that reveal fully constructed internal lives.”
- Steven Jude Tietjen, Opera News
“Coit has a warm mezzo that brought out Addison’s vulnerability and inner strength as she tries to communicate with Julia’s ghost and learn her secrets while keeping one of her own.”
- Cathalena E. Burch, Tucson.com
The Barber of Seville
Utah Opera 2021
“As Rosina, Sarah Coit was captivating. Her opening aria “Una voce poco fa” displayed a clear, natural tone and her phrasing was exquisite. Throughout the evening, her voice was in the service of her character, drawing the audience in to empathize with Rosina’s plight…In this production, (Bartolo) was an optometrist and Rosina was his assistant. At one point Shell decided to have them administer an eye exam to a frightened patient as they argue in recitative, and both deftly handled the complicated physical comedy, without losing a note or flourish.”
- Rick Mortensen, Utah Arts Review
“Former Utah Opera Resident Artist Sarah Coit was a strong-willed Rosina whose “Una voce poco fa” flowed with confident legato and beautiful ornamentation.”
- Robert Coleman, Opera News
“Rosina, played wonderfully by Sarah Coit…Coit has amazing dexterity as well as clarity as she sings Rosina’s signature cavatina, “Una voce poco fa”.
-Utah Theatre Bloggers
Katya Kabanova
West Edge Opera 2021
“Sarah Coit was a delight as Varvara, a character who can be a cypher in some productions: In fact, her rebellion is the genuine article; she just hides it better than Katya.”
- Michael Zwiebach, San Francisco Classical Voice
“Sarah Coit’s Varvara and Chad Somers’s Kudrjas exuded charm, making the most of their rustic music and playful interactions.”
- Georgia Rowe, Opera News
“Sarah Coit’s Varvara and Chad Somers’ Kudrjas — whose youthful, uncomplicated love contrasts with the angsty goings-on among the lead characters — brought an element of freshness and wit to the performance.”
- Joshua Kosman, San Francisco Chronicle
Eugene Onegin
Livermore Valley Opera 2019
“Mezzo-soprano Sarah Coit was a very fine Olga, faithfully delivering her character’s insouciant attitude towards life.”
- James Roy MacBean, The Berkeley Daily Planet
The Threepenny Opera
West Edge Opera 2019
“Jenny Diver, performed by Sarah Coit, offered another layer of these, as well as a taste of melancholy, again, sonorous but unsentimental, strong but neither wayward nor affected. Her upper register soared at times – the lower sometimes disappeared into her chest – and her beauty coupled with genuine eros pinged the stage with genuine sensuality. She had something to say, in both words, music and performance: that was a pleasure.”
- Lois Silverstein, Operawire
“Sarah Coit was a splendid presence as the prostitute Jenny Diver, singing with a robustness that matched the character’s fearlessness.”
- Joshua Kosman, San Francisco Chronicle
Carmen
Seattle Opera 2019
“Two performers who got it just right were Madison Leonard and Sarah Coit. As Frasquita and Mercédès they were a perfect pair, musically well-blended yet able to shine in their solo moments. They sang well, moved fluently, looked terrific, and had just the right world-weary yet upbeat attitude.”
- John Carroll, Operawire
“As Carmen’s girl group back-up singers are Madison Leonard (Frasquita) and Sarah Coit (Mercédès). They both play off of each other well and add some much needed levity to the rather bleak second act.”
- Molly Cassidy, Drama in the Hood
PermaDeath
White Snake Projects 2018
“Sarah Coit, as Adonis, projected a bold stage and vocal presence.”
- Aaron Keebaugh, Boston Classical Review
“Sarah Coit’s light but strong soprano imbued Adonis with a naïve bluster.”
-Opera News
George London Competition Finals 2018
"Mezzo-Soprano Sarah Coit showed a firm coloratura in her energetic account of "Agitato da fiere tempeste" from Handel's Riccardo Primo"
-Eric C. Simpson, New York Classical Review
The Marriage of Figaro
Michigan Opera Theatre 2017
“Sarah Coit’s burnished mezzo-soprano gave her Cherubino a seductive tinge. Her pure, lovely “Voi che sapete” confirmed her bright future, made all the more likely by her undeniable aptitude for physical comedy.”
– Jennifer Goltz, Opera News
"Sarah Coit as Cherubino is a star. Her glorious vibrato is richly delicious to the ears. She is also very funny as the young man — her physical comedy and youthful gait are the comedic heartbeat of the production."
- Sam White, Oakland Press
“Kudos are also in order for one of Michigan’s own – mezzo-soprano Sarah Coit, a U of M graduate – who is delightful in the trouser role of the page, Cherubino.”
- David Kiley, Encore Michigan
Lucia di Lammermoor
Santa Fe Opera 2017
"Apprentice singers filled out the rest of the cast, with mezzo-soprano Sarah Coit distinguishing herself as Alisa, especially in the gorgeous sextet."
- Charles T. Downey, The Classical Review
"Sarah Coit was a clear-toned Alisa"
- Ilana Walder-Biesanz, Bachtrack
Don Giovanni
Utah Opera 2017
"The evening’s most satisfying moment was Hopkins’s luscious baritone paired with the creamy voiced Sarah Coit (Zerlina). Their perfectly blended tone, chemistry and dramatic urgency made one secretly wish the seduction would prove successful."
- Robert Coleman, Opera News
"Mezzo Sarah Coit brings spirit and spunk to the role of the young bride Zerlina, singing all three of her flirtatious arias most beguilingly."
- Catherine Reese Newton, The Salt Lake Tribune