She is a Miracle Worker – I was directing a musical and my leading lady was having vocal problems. I was afraid she would lose her voice before opening night. I brought her to Diana who immediately knew what was wrong and was quickly able to help my singer change it. She came to the show with a great voice, but after a couple of lessons with Diana her voice improved dramatically! The entire cast noticed the difference.” - Becky Henrikson
“I knew I was in vocal trouble, and thought there was something physically wrong with my voice. I am so grateful I was able to work with Diana, she saved my life and my voice. It was amazing!” - Dacia Gray
“I had a Bachelor’s Degree in Voice Performance, but I was very confused and my voice was not working well. It didn’t take long to realize I had found the Master Teacher. She didn’t just teach me the song, Diana taught me how to sing. I am now working on my Master’s degree. She is the best kept secret around!!” - Kirstan Thomas
“In the last few years I had almost given up singing. My voice would consistently become gravelly and sound tired after only a few minutes. Then I found Diana. Her method of teaching has helped me to learn to sing with the proper technique to overcome this issue. Now, after only a few months of lessons, my voice has become much stronger and clearer. I know that as I continue studying with her this struggle will become a thing of the past. Thanks Diana for all of your help!” - Joseph Erickson
“You cannot know how much it has meant to take lessons from Diana. So many dreams are put on hold, I am so fortunate to take my “5 year old self ” off the shelf and give her a voice.” - Mary Lamb
“…when you see the way her Carlotta (in The Phantom of the Opera) has developed through the run, you realize she will indeed eventually carve herself a niche in Musical Theatre. She does her own Carlotta and she does it amazingly well.” - Michael Eisenstadt (Vancouver Sun) British Columbia
“Diana Walker sang the role of Kathie – and must have made some sort of operetta history. Unlike the movies, it’s commonplace for singers not to live up to the physical attributes of the roles…not so in THE STUDENT PRINCE. A group of students set up Kathie’s first entrance by singing a rousing beer ditty that sings praises to her great beauty. And there is absolutely no letting down when the striking redhead steps onto the stage. Here’s a girl students would sing about. Walker’s voice is just as impressive, with beautiful tone, and near flawless breath control.” - Scott Duncan (The Evening Sun) – Baltimore
“Diana Walker sang Adele with a sweet soprano and a sure comedic sense.”(New York City Opera-FLEDERMAUS) - Bernard Holland (The New York Times)
“Miss Walker gave depth of character to her role as the virtuous wife of the baron. Everything she sang in this production was a joy.” (THE MERRY WIDOW) - Donna Nicely (Chattanooga News Free Press)
“David Del Tredici’s score is pompous and banal but saved by the glorious singing of Diana Walker. When she took her curtain call, radiant and with a mane of Titian hair that would make Fergie twitch with envy, you realize that for once a beautiful soprano voice matches te appearance of the singer.” - Jan Murray (The London Times) England
“She made a dazzling presence on stage… Miss Walker knocked us out of our seats.” - R. C. Hammerich (Morning Union) Amherst, MA.
“…captivating, one who gains you total attention when she comes on stage… she is definitely a singer to watch.” - Maurice Abravanel, Jurist International American Music Competition at Carnegie Hall
“Her voice is an individualistic instrument, combining an intriguing blend of fragility and steely strength; of golden-hued brilliance, sweet, utterly clear and true, and crowned by pealing high notes that scale the rafters. It carries beautifully, whether loud or soft, and never sounds pushed out of shape.” (review of recital) - Dorothy Stowe (Deseret News) Salt Lake City
“Walker’s performance was marked by a pleasing simplicity, even naivety, which were appropriate to a text that would be ruined by a warm, sexy delivery. Walker’s bouquet was delivered by a little boy, who to the delight of the audience was rewarded with a kiss from the soprano.” (MAHLER 4th) - Seth Williamson (Roanoke Times and World News)
“Soprano Diana Walker, who possesses a light, clearly focused voice was the most liberal of the four in her approach to ornamentation, and she crafted a performance that was both pleasing to the ear and stylistically interesting.” (Messiah) - Paul Wetzel (The Salt Lake Tribune)
“Diana Walker sang with considerable appeal the role that Beverly Sills had made famous after the New York City Opera took BABY DOE into its repertory. Walker’s tone was warm, true and affecting. She showed a fine fluid technique for the coloratura fillips that appear decoratively, stuck in the arias like flowers on icing. Walker acted convincingly, best when Baby Doe first appears, sets her cap for Tabor and snares him. She showed warmly the evolution of Baby Doe’s genuine love for him, unswerving through the Tabor’s downward course to tragedy.” - Robert Commanday (San Francisco Chronicle)
“Diana Walker made her New York City Opera debut as the priestess Leila. Miss Walker’s fresh coloratura soprano voice is most appealing and well trained.” - Tim Page (The New York Times)
“Diana Walker, in the title role, was an attractive heroine. Her voice is light and clear, with great agility; Walker is at once lovely and extremely fragile in appearance–the perfect Lucia.” - Louise Kincaid (Seattle Post-Intelligencer)
“Diana Walker is slim and lovely as the Princess Ninette, and has the dancers grace to bring off a balletic parody of ‘The Sleeping Beauty’.” (L’AMOUR DES TROIS ORANGES) - Robert Kimball (New York Post)
“Diana Walker makes a striking Queen of the Night, singing the coloratura with crystal clear accuracy and a lovely tone. She gives a tour de force performance of the famous aria “Der Hoelle Rache”. (DIE ZAUBERFLOTE) - Dorothy Stowe (Deseret News) – Salt Lake City
“Then there is Diana Walker’s Abigail, a purebred seductress, blackmailer, racist alleycat. She’s a regular 17th century Sable Colby, if you happen to watch television’s `The Colbys’.” (THE CRUCIBLE). - Blake A. Samson (The Kansas City Times)
“Soprano Diana Walker played the dotty title role expertly, and sang for the most part brilliantly.” (Miss Havisham’s Wedding Night) - Bill Zachariasen (New York Daily News)
“To have a splendid LAKME you need two strong leads and (Chicago) Opera Theatre has them in Diana Walker and Mark Thomsen. Walker, in reality a creamy skinned redhead, miraculously becomes a toast-colored beauty with flowing black hair and the body of a centerfold. With a bright, clear coloratura, Walker artfully manages the famous second act `Bell Song’.” - Robert Marsh (Chicago Sun-Times)