Perfetta (Harriet US) - Where Angels Fear to Tread - San Jose Opera: February 2015
Second Secretary - Nixon in China: San Diego Opera; March 2015
Soloist - Continent's End (selection movements): Sonoma State University, Composer's Concert: March 28
Mrs. Lovett - Sweeney Todd: Hawaii Opera Theater; April 2015
Countess Geschwitz - Lulu: West Edge Opera; July/August 2015
"In Eleanor's Words:
Music of Stacy Garrop"
Spring 2011 Cedille Records
Buffy and her dog Franny are appearing in Opera San Jose's World Premiere of "Where Angels Fear to Tread."
Some of their excellent reviews:
"There were eloquent contributions too from Buffy Baggott as the housekeeper Perfetta... as well as Baggott’s talented dog Franny, whose vocal participation in the Act 1 finale came as a wondrous surprise."
SF Chronicle, Joshua Kosman
"...mezzo-soprano Buffy Baggott, a radiant presence, as Perfetta, Gino's governess... There is even a barking dog that joins in the sextet finale to the opening act: her name is Frances (Franny) Baggott."
SJ Mercury News, Richard Scheinin
"One of the most popular attendees at the reception? Franny, the little dog who absolutely stole the end of the first act with her perfectly-timed "singing" and arrived to the party fashionably late accompanied by owner Buffy Baggott, a mezzo-soprano also in the show. Hancock told me the dog hit her cue at every rehearsal, and even longtime Opera San Jose patron David W. Packard stopped by to say hello to the pooch."
SJ Mercury News, Sal Pizarro
"Yet in their addition of one particular character to the chaos, Lanz Weiser and Brunyate rushed in where Mozart and Da Ponte never dared to tread — a singing dog.
Seriously. With the arrival of an Italian prima donna on the scene (played with Musetta-like exaggeration by soprano Jennie Litster), an endless parade of luggage was hauled in, including a basket containing a tiny, pink-collared mutt. When the ensemble reached its climax, the dog actually joined in, repeatedly howling two distinct pitches about a third apart that seemed to be in tune with the singers. The moment was hilarious, adorable, and awe-inspiring all at once."
SFCV, Joe Cadagin
"You need to listen to the heart-wrenching and human-affirming arias like “Shall We Ever See?” sung magnificently by Mother (Buffy Baggott)..."
- Joseph Miller, Santa Barbara Independent
"Mezzo-soprano Buffy Baggott was a tonally lustrous and dramatically adept Miss Jessel."
- Joshua Kosman, San Francisco Chronicle
"Buffy Baggott's plush mezzo-soprano was an asset as the insinuating and uncommonly glamorous Miss Jessel."
- Georgia Rowe, San Jose Mercury News
"In Buffy Baggott and Peter Kendall Clark, this cast has a Mrs. Lovett and Sweeney Todd who not only sang gorgeously (especially Clark) but also displayed the dramatic range and comic timing (especially Baggott) to turn the blackness of the tale into something transcendent. Everything came together in the pair's madcap tour de force, A Little Priest, in which unspeakable material (Mrs. Lovett's pies made from entrails of Todd's murder victims) became the stuff of exhilarating song and dance."
- John Fleming, Tampa Bay Times
"Mao's three secretaries, Ginger Costa-Jackson, Buffy Baggott, and Nicole Birkland, were wonderful in their rendition of Adams's score, conveying a physical and aural sense of claustrophobia and adoration around the Chairman."
- Marina Romani, AP
"Ginger Costa-Jackson, Buffy Baggott and Nicole Birkland showed apt unsmiling efficiency as well as strong voices as the echoing chorus of Mao’s secretaries. "
- Lawrence A Johnson, Classical Review
"In the role of the seductress Maddalena, mezzo-soprano Buffy Baggott gave a sizzling account of the role, which only appears in the last act. It's not a large one, but Baggott gave her Maddalena a sense of sexual gravitas, and the effect was a curious three dimensionality."
- Edward Ortiz, Sacramento Bee
"The cast was first-rate, beginning with mezzo-soprano Buffy Baggott's superlative turn as the Composer. Baggott's local performances have been reliable treasures for years now, in both traditional and new repertoire, but I don't think I've ever heard her sing with such finely controlled urgency, such tonal brilliance or such theatrical flair. The fact that the Composer sings only during the prologue has rarely come as such a disappointment."
– Joshua Kosman, San Francisco Chronicle