Oakland East Bay Symphony's Follies

"In a score full of knockout vocal numbers, nothing quite matched the quietly devastating blow that Darla Wigginton delivered near the end of the evening with "Losing My Mind." Standing on the lip of the Paramount stage, as if riveted in place there by the unfulfilled love of a lifetime, the raven-haired Wigginton made this great torch song a murmurous aria of anguish. The house went still. The heat of full-out confession built. Phrases flamed up and flickered into faraway silence. The greatness of Sondheim's art, felt here in the expansive, aching contours of the music paired with the poignant concision of his lyrics, swamped the listener's heart."

Mrs. Soames in Our Town with Festival Opera

"...a splendid production. The cast was first-rate from top to bottom. Darla Wigginton turned in a quietly virtuosic performance as the nosy, officious Mrs. Soames."

"Darla Wigginton was a standout in the small but critical role of Mrs. Soames, mincing about as town busybody and commentator; she has always shown strength in character roles."

Lucretia in The Rape of Lucretia with San Francisco Lyric

"Ravishing Britten . . . how delightful is the experience of an excellent performance with talented young singers, an outstanding orchestra, and sterling musical direction.  Darla Wigginton, in the title role, built her performance steadily, using her powerful voice successfully, peaking just right in Act II.

Old Lady in Festival Opera's production of Bernstein's Candide

"Darla Wigginton's spicy Old Lady and Bruce Brown's vain Maximilian were colorful contributions."

"Darla Wiggington was comfortable playing the raunchy Old Lady, and sailed through her tango and the "We Are Women" duet with ease."

Nefertiti in Philip Glass' Akhnaten - Oakland Opera Theatre

"Some of the most beautiful singing in the entire opera comes in a scene with Akhnaten, Queen Nefertiti (Darla Wigginton) and their four daughters. This group of singers achieves an otherworldly vocal blend that is the highlight of the evening"

"There are magnificent contributions by mezzo-soprano Darla Wigginton (Nefertiti). An intimate production like this -- vital, gripping, technically assured -- is akin to a close-up magic show. There's no room for error, and yet the sorcery proceeds seamlessly and with deceptive simplicity. It's one of the musical highlights of the year."

Gertrude in Festival Opera's Romeo and Juliet

"...memorable contributions from Darla Wigginton as a saucy, knowing Gertrude."

Marthe in Faust with Sacramento Opera

"The role of Marthe, Marguerite's neighbor, was seized by an also-devilish Darla Wigginton and made into a surprising cameo. Hopefully Wigginton, also making her Sacramento Opera debut, will be back, too."

Dvorak's Stabat Mater, Sacramento Choral Society and Orchestra
(Don Kendrick, Conductor)

"Mezzo-soprano Darla Wigginton opened the numbingly painful "Qui Est Homo?" with assurance. Jonathan Mack joined her for a short but beautiful duet in this section. The orchestra never faltered in its capacity as accompanist and solo body, as in the quietly reassuring march of the "Inflammatus Et Accensus" with mezzo Wigginton. The ensemble and soloists were rewarded with an immediate standing ovation at the end of the evening."

Mrs. McLean in Carlisle Floyd's Susannah with Festival Opera, 2002

"Darla Wigginton stood out as a granite-faced, forever indignant, Mrs. McLean."

"....chillingly ferocious"

Tessa in Gilbert & Sullivan's The Gondoliers
with The Lamplighters Music Theatre

"As the wise, savvy seductress Tessa, Darla Wigginton's rich, dramatic mezzo-soprano makes "When a merry Maiden Marries" one of the evening's most pleasurable moments"

"...a particularly torrid Tessa"

Elmire in Kirke Mechem's Tartuffe with West Bay Opera

"Darla Wigginton was outstanding as Elmire, Orgon's wife. She has a fine comic touch, as well as a rich mezzo-soprano"

Carmen with Opera Illinois

"...vocally and visually stunning"

Hänsel in Hänsel and Gretel
with Jefferson Performing Arts Society, New Orleans, LA

"As Hansel, Darla Wigginton sang with gusto and vocal elan, while acting with appropriate child-like glee, fear and mischief. The various set pieces, including the lovely second-act prayer and triumphal final duet, were highlights"

Mrs. McLean in Susannah
with Jefferson Performing Arts Society, New Orleans, LA

"...a particular standout as Mrs. McLean"

Rosina in Rossini'sThe Barber of Seville with South Florida Opera

"Mezzo-soprano Darla Wigginton was charming as the opera's coquettish heroine, Rosina, her voice buttery on the bottom and frilly on top"

Solo Recital, Rutland, Vermont

"Everyone who heard Ms. Wigginton's voice was astonished by its freshness, pure timbre, sultry richness, strength and silvery radiance. Beyond that, there was her infectiously spontaneous musical personality, depth of understanding, character and personal interpretation"

Boulotte in Offenbach's Bluebeard
with Donald Pippin's Pocket Opera

Pippin's cast was uniformly stage worthy - with top vocal honors taken by Darla Wigginton as Boulotte, the rags to riches princess who ends up with a reformed Bluebeard... Wigginton and Barnes have clear, distinctive voices and a nice easiness on stage"

Périchole in La Périchole with Lamplighters Music Theatre

"Darla Wigginton is a saucy Périchole with a sharp tongue, gorgeous eyes and vivid voice"

Elmire in Kirke Mechem's Tartuffe with Opera San Jose

"Darla Wigginton's Elmire, wife of Oregon, projected both vocal refinement and genuine comic timing. Wigginton and Cox made very funny business out of the opera's mock seduction scene, with its coughing fits and starts so rhythmically mined by Mechem from Moliere's comic intent"