Contessa at Opera Carolina (April, 2018)
"Melinda Whittington... drawing the loudest "Brava"s of the entire performance with a goose-bumping interpretation of "Dove sono" which was the highest point of the evening."
Juliette at Opera Birmimgham (March, 2018)
"Soprano Melinda Whittington gave Juliet a soft vulnerability and youthful fearlessness. Her voice and performance was full of emotion and relatibility. She sang beautifully as love struck adolescent with an old soul sensibility."
Donna Anna at Utah Opera (March, 2017)
"Utah Opera's two Donnas, Anna (Melinda Whittington) and Elvira (Caitlin Lynch), deliver performances of emotional resonance along with their powerhouse vocals"
(Salt Lake City Tribune)
Ada Monroe at North Carolina Opera (October, 2017)
"Her voice was delicate in reveries of the past and soaring in passionate love duets."
(Raleigh News and Observer)
Carmen with Greensboro Opera (January, 2017)
"Rarely is Micaëla’s aria in Act Three, ‘Je dis, que rien ne m’épouvante,’ the zenith of a performance of Carmen, but Whittington’s traversal of the aria, crowned with a phenomenal top B, deservedly received the most enthusiastic ovation of the evening."
(Voix des Artes)
"The Corporal's childhood sweetheart, Micaëla was sung by Melinda Whittington. Her rich, warm soprano stole the show in the gorgeous third-act aria, 'Je dis que rien ne m'épouvante.' "
(Classical Voice of North Carolina)
Rusalka at Arizona Opera (November, 2016)
"Melinda Whittington was a poignant, tragic Rusalka who enchanted the audience and brought them into her world..."
Marie Antoinette at Wolf Trap Opera (July, 2015)
"... tonal warmth to go with her consistently eloquent phrasing" (Opera News)
"... Melinda Whittington, in one of the most moving performances I have seen to date..."
(DC Metro Theater Arts)
"... a number of impressive voices, none more so than Tennessee-born soprano Melinda Whittington, who riveted attention as Marie Antoinette. To this central role Whittington brought a powerhouse voice that more than filled the intimate space of The Barns. But just as importantly, her acting brought to life the queen’s dignity, fragility, and innocence, incarnated musically in the motif from her Act I aria (“Once there was a golden bird”) that runs throughout the score."
(Classical Voice North America)