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      <image:caption>Alisa - Lucia di Lammermoor Santa Fe Opera 2017 Photo by Ken Howard</image:caption>
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      <image:caption>Mercédès (left) - Carmen Utah Opera 2016 Photo by Dana Sohm</image:caption>
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      <image:caption>Varvara - Katya Kabanova West Edge Opera 2021 Photo by Cory Weaver</image:caption>
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      <image:caption>Rosina - The Barber of Seville Utah Opera 2021 Photo by Dana Sohm</image:caption>
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      <image:caption>Maria Stuarda - Maria Stuarda Opera Baltimore 2025 Photo by Bart Debicki</image:caption>
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      <image:title>Press - The Harmonic Labyrinth</image:title>
      <image:caption>American Bach Soloists 2026 On Domenico Scarlatti’s Salve Regina: “Within a rich soundscape, mezzo-soprano Sarah Coit’s supple and compelling voice captured the varying moods of this prayer, supported by American Bach’s exceptional string players and the sensitive leadership of conductor Jeffrey Thomas. Especially memorable was Coit’s quietly emotional delivery of the ancient attributes of the Virgin Mary: O clemens, o pia, o dulcis (“O merciful, O pious, O sweet”).” – Nicholas Jones, San Francisco Classical Voice  “Mezzo-soprano Sarah Coit sang the 15-minute work in a creamy, seamless fashion that had everyone in the church pews melting in pleasure.” – SF Civic Center Blog  On Pergolesi Stabat Mater: “In American Bach’s performance, Coit was joined by soprano Maya Kherani, whose pinpoint clarity and no-holds-barred declamation contrasted beautifully with the mezzo-soprano’s dark urgency. When Kherani and Coit sang together in their frequent duets, the effect was little short of miraculous.” – Nicholas Jones, San Francisco Classical Voice  “Maya Kherani and Sarah Coit interweaved their voices with such perfection that the audience floated out in pure happiness.” – SF Civic Center Blog</image:caption>
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      <image:title>Press - The Barber of Seville</image:title>
      <image:caption>Knoxville Opera 2026  “Coit was the perfect Rosina, her performance showing plenty of sparkle and vocal agility, backed up with power as needed, as evidenced in Act II’s “Contro un cor” sung with Almaviva in disguise as Don Alonso. This was in service to a character that, thankfully, had real intelligence and wit, a character that had a believable chemistry with the Count.” – Alan Sherrod, Arts Knoxville   “Sarah Coit’s Rosina balanced sweetness with steel, vocally agile and fully aware she’s steering more of this plot than the men realize. A quick crinkle of her nose signals she’s already three steps ahead.” – Leslie Bateman, Inside of Knoxville</image:caption>
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      <image:title>Press - Daphne in Concert</image:title>
      <image:caption>Seattle Opera 2026  “Mezzo-soprano Sarah Coit (Second Maid), whose career is also on the ascent, blended exquisitely with Dominguez.” – Jason Victor Serinus, Classical Voice North America  “Though their appearance onstage is briefer than that of Daphne, Strauss’s vocal writing for the two maids is still demanding. Debuting Soprano Meryl Dominguez and mezzo-soprano Sarah Coit made every note sparkle and could not have been more charming dramatically.” – Erica Miner, Broadway World  “The two Maids, sung by Meryl Dominguez and Sarah Coit, contributed delicately entwined lines that evoked distant echoes of Rhinemaidens and Flowermaidens, nostalgic figures in a score shadowed by the composer’s anxieties about Germany’s cultural legacy.” – Thomas May, Bachtrack</image:caption>
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      <image:title>Press - Maria Stuarda</image:title>
      <image:caption>Opera Baltimore 2025 “But Maria Stuarda is nothing without Maria, and Sarah Coit holds the audience in her grasp from the first moment she steps onto the stage. Coit’s mezzo-soprano is clear, natural, and precise, her work here absolutely steeped in character. We see flashes of hopeful youth even in Mary’s deepest despair — Coit’s first aria in the prison’s garden soars with lightness while also laced with vulnerability. In a showstopping Act II scene, a duet with the loyal Talbot (Eric McKeever, his honeyed, smooth baritone a deep and mournful contrast) Coit brought me to tears, not with theatrics, but with storytelling, her expressive face holding us fast as her eyes look beyond, pleading for absolution from the ghosts of her past.” – The Bad Oracle, Medium</image:caption>
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      <image:title>Press - Hansel and Gretel</image:title>
      <image:caption>Utah Opera 2025 “Coit’s mezzo-soprano has a silky-smooth richness that is fluid and lyrical. She and McKay blended wonderfully together in their duets, and through their singing and acting both lent credibility to their respective roles.” – Edward Reichel, Utah Arts Review</image:caption>
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      <image:title>Press - L’incoronazione di Poppea</image:title>
      <image:caption>West Edge Opera 2023 “There’s a dark irony about the opera’s famous concluding love duet, “Pur ti miro,” whose chaste luster seems to wink obliquely at the horrors that have preceded it. For soprano Shawnette Sulker and mezzo-soprano Sarah Coit, it was a crowning glory of an evening full of vocal splendor. Coit’s Nero was a wonderfully complex figure, by turns assertive and craven, and always presented in vividly precise musical terms.” – Joshua Kosman, San Francisco Chronicle  “Mezzo-soprano Sarah Coit sang the part of Nerone, delivering the mentally unstable emperor’s thin veneer of power in his gloating songs of triumph over his perceived enemies. Nerone’s love scenes with Poppea were vocally pleasing and often remarkably tender, especially the couple’s final duet, “Pur ti miro” (I gaze at you).”  - Nicholas Jones, San Francisco Classical Voice</image:caption>
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      <image:title>Press - The (R)evolution of Steve Jobs</image:title>
      <image:caption>Utah Opera 2023 “Rich-toned mezzo Sarah Coit invests Laurene Powell Jobs with intelligence and clear-eyed resolve.” – Catherine Reese Newton, Utah Arts Review</image:caption>
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      <image:title>Press - A Thousand Splendid Suns</image:title>
      <image:caption>Seattle Opera 2023 “All the singers in the large cast were of high caliber, but mezzo-soprano Sarah Coit made a special impression. As Fariba, Laila’s mother and Mariam’s friendly neighbor, Coit sang with an uncommonly warm tone and natural musicality. Hers was a completely realized character that earned our empathy. Fariba is a bright energy amidst the drama, and Coit manifested her with grace.” – John Carroll, Operawire</image:caption>
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      <image:title>Press - Giulio Cesare</image:title>
      <image:caption>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</image:caption>
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      <image:title>Press - Roméo et Juliette</image:title>
      <image:caption>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</image:caption>
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      <image:title>Press - Semele</image:title>
      <image:caption>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</image:caption>
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      <image:title>Press - The Copper Queen (Film)</image:title>
      <image:caption>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</image:caption>
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      <image:title>Press - The Barber of Seville</image:title>
      <image:caption>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</image:caption>
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      <image:title>Press - Katya Kabanova</image:title>
      <image:caption>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</image:caption>
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      <image:title>Press - Eugene Onegin</image:title>
      <image:caption>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</image:caption>
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      <image:title>Press - The Threepenny Opera</image:title>
      <image:caption>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</image:caption>
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      <image:title>Press - Carmen</image:title>
      <image:caption>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</image:caption>
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      <image:title>Press - PermaDeath</image:title>
      <image:caption>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</image:caption>
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      <image:title>Press - George London Competition Finals 2018</image:title>
      <image:caption>"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</image:caption>
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      <image:title>Press - The Marriage of Figaro</image:title>
      <image:caption>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</image:caption>
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      <image:title>Press - Lucia di Lammermoor</image:title>
      <image:caption>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</image:caption>
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      <image:title>Press - Don Giovanni</image:title>
      <image:caption>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</image:caption>
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      <image:caption>S. Richards Photography</image:caption>
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