In 2026, Sarah sings Rosina in Il barbiere di Siviglia with Knoxville Opera, Strauss’ Daphne in Concert with Seattle Opera, Pergolesi’s Stabat Mater and Domenico Scarlatti’s Salve Regina with American Bach Soloists, Verdi’s Requiem with the University of Massachusetts Amherst, Cherubino in Le nozze di Figaro with Raylynmor, a return to A Baroque New Year’s Eve at the Opera with American Bach Soloists, and a role and company debut as Arbate in Mitridate with Opera Philadelphia.
The mezzo’s busy 2027 engagements include a return to Opera Tampa as Rosina in Il barbiere di Siviglia and the role of Laurene Powell Jobs in The (R)evolution of Steve Jobs with Utah Opera.
In 2025, Sarah Coit sang Hansel in Humperdinck’s Hansel and Gretel with Utah Opera, made a house and role debut as Maria in Donizetti’s Maria Stuarda at Opera Baltimore, and joined Wichita Grand Opera as Angelina in Rossini’s La Cenerentola. Additional role debuts this season included Cendrillon in Massenet’s Cendrillon with Vashon Opera, the title role in Handel’s Rinaldo with Pacific Northwest Opera, and Miss Jessel in Britten’s The Turn of the Screw with Opera Tampa. She concluded the year as alto soloist in Handel’s Messiah with the Glacier Symphony and in concert with American Bach Soloists for A Baroque New Year’s Eve at the Opera.
In 2024 she joined the San Francisco Opera as the Rosmira cover in Partenope and Second Lady cover in The Magic Flute. She made a role and company debut as Diana in Cruzar la Cara de la Luna with San Antonio Opera, and workshopped Peggy & Jackson, a new opera about Peggy Guggenheim and American painter Jackson Pollock. Sarah finished the year as the alto soloist in Messiah with Portland Baroque Orchestra. She returned to Seattle Opera in 2023 as Fariba and Wife #3 in the world premiere of Sheila Silver and Stephen Kitsakos’ A Thousand Splendid Suns, sang Mercedes in Carmen with the Reno Philharmonic, and reprised the role of Laurene Powell Jobs in The (R)evolution of Steve Jobs with Utah Opera. She also offered her first Nero in L’Incoronazione di Poppea with West Edge Opera, sang Angelina in La Cenerentola with Toledo Opera, created the role of Polly Thompson in the world premiere of Touch with Opera Birmingham, and sang Hansel in Hansel and Gretel with Opera Tampa and Rosina in Il barbiere di Siviglia with Tri-Cities Opera.
Other recent engagements include Juno in Handel’s Semele with Opera Santa Barbara, Stephano in Roméo et Juliette with San Diego Opera, Sesto in Giulio Cesare with West Edge Opera, Daniel in Handel’s Belshazzar with American Bach Soloists, concerts with Sag Harbor Song Festival and The Neave Trio in Boston, and a role debut as Komponist in Ariadne auf Naxos with Arizona Opera.
Sarah enjoyed an exciting year of operatic and symphonic debuts in 2021 incuding Varvara in Katya Kabanova with West Edge Opera, Addison Moore in the film premiere of The Copper Queen by Clint Borzoni with Arizona Opera, and Rosina in Utah Opera’s Il barbiere di Siviglia, where Utah Arts Review stated “As Rosina, Sarah Coit was captivating. Her opening aria “Una voce poco fa” displayed a clear, natural tone and her phrasing was exquisite.” Sarah was also the alto soloist in Handel’s Messiah with appearances at Symphoria, Winston-Salem Symphony, Indianapolis Symphony, and the American Bach Soloists.
In previous seasons she performed Mercédès in Carmen with Opera Tampa, sang Nancy in Albert Herring, Sister Helen Prejean in Dead Man Walking, and Cherubino in Le nozze di Figaro, Adonis in the world premiere of Dan Visconti and Cerise Jacobs’ ‘Interactive video game opera’ PermaDeath with White Snake Projects in Boston, the title role in Giulio Cesare, and the Waitress in the world premiere of Michael Ching’s Speed Dating Tonight. She made her Seattle Opera debut as Mercédès in Carmen, performed at the Ravinia Festival as a soloist in Bernstein’s Songfest, joined West Edge Opera as Jenny Diver in The Threepenny Opera, sang Olga in Eugene Onegin with Livermore Valley Opera, as well as the Vivaldi Gloria and Bach Magnificat with the Master Chorale of South Florida.
Sarah Coit was a Gerdine Young Artist with Opera Theatre of St. Louis where she covered Richard in the American premiere of Handel’s Richard the Lionheart. She spent two years as a Resident Artist with Utah Opera, where she sang the Shepherd, White Cat, and Squirrel in L’Enfant et les sortilèges with the Utah Symphony and performed the roles of Mercédès in Carmen and Zerlina in Don Giovanni on the mainstage. As an apprentice artist at the Santa Fe Opera, she covered the roles of Erika in Barber’s Vanessa and Laurene Powell Jobs in the world premiere of Mason Bates’ The (R)evolution of Steve Jobs. As Alisa in Lucia di Lammermoor, Classical Review remarked “…mezzo-soprano Sarah Coit distinguished herself as Alisa, especially in the gorgeous sextet.”
A 2017 National Semi-Finalist in the Metropolitan Opera National Council Auditions, she has received prizes from the George London Foundation, Handel Aria Competition, and the Lyndon Woodside Oratorio Solo Competition.
