“The mezzo was introduced again by the bass to sing the first aria, Liber Scriptus. Wright's mezzo-soprano is full in the low range and balanced throughout with no apparent limit at top. She showed the intensity and drama the music demands and sings with sensitivity.”
"Another singer, Abigail Wright, nude, also performs extensively throughout and ends the piece alone with Offenbach's 'C'est l'amour vainqueur.'"
“Mezzo Abigail Wright delivered an aria from Ravel's L'Heure Espagnole with delicious flair backed up by splendid diction.”
“Abigail Wright was acidicly funny and in impressively good voice as Concepción, in "Oh! la pitoyable aventure" from Ravel's L'Heure Espagnole.”
“Abigail Wright as Zerlina and Matt Osifchin as Masetto were well-matched and wonderfully sympathetic.”
“There are some standouts in the rest of the cast. Most notably… Abigail Wright, as a hotblooded and sensuous Mary Boleyn…”
"Also worthy of note were Abigail Wright and Lauren Christopher-- in a show primarily about one woman, they still made their presence felt as past and future love-interests of Henry."
The New York Times released a moving review, including a detailed description of Abigail Wright's role as model and solitary singer to end the May 2011 performance of Tableau Vivant.
April in Paris, Abigail Wright's solo recital on April 16, 2011, received featured articles and event recommendations from both the Teaneck Patch (online) and the Teaneck Suburbanite (in print and on northjersey.com)
The Opera Insider published Abigail Wright's review of Soprano Natalie Mann's Carnegie Hall debut as an online article in February 2011.