She successfully played the leading women's roles of soubrette and ingenue for many years, and continued to the category of mere noble after 1823, in which she was also appreciated for her dignity and style.

I am completely taken by her person in this ancient costume: the language she spoke, everything draw a portrait of one of the innocent girls of past times [...] Yes, her action was to remarkable, that I doubt anyone in Sweden can be compared to her.

Her most known parts was Emma in Korsfararne (The Crusaders) by Koetzebue, Hildegard in Joahnna av Montfaucon by Kotzebue, Cherubin in The marriage of Figaro, the deaf and mute boy Jules in Abbe del'Épée by Bouilly, Mrs Dorsan in Den ondsinta hustrun, (The Evil Wife) Elvira in Tartuffe.

She played "a French woman " in Karavanen (The Caravane) by Gretry and Wilhelm in Musikvurmen (Music Craze) by Grenier (season 1796–97), Isabella in Den talande tavlan (The speaking painting) by Gretry (1798–99), Zemire in Panurge på lanterneön (Panurge on the lantern island) by Gretry and Cecile in Hemligheten (The Secret) by Solié (1799–1800), Alexandrine in En fjärdedels timmes tystnad (A quarter of an hour's silence) (1809–10), Regina in De löjliga möterna (Redicoulous encounters) by Isouard (1813–14), Madame Durandiére in Världshuset i Bagniéres (The Inn at Bagnieres) (1817–18) and Barbara in Oxmenuetten (The Ox-menuette) by Haydn (1825–26).

In 1811, she made a study trip to Paris to study the French theater with her lover (likely first time an actress of the Royal Dramatic Theatre made such a trip) which was mentioned by Anders Fredrik Skjöldebrand: "An actor of the higher comedy, Mr Åbergsson, had in the company of his mistress, an excellent actress in her own right, who were later to become his wife, went to Paris to develop himself in his profession", and on their return brought with them the play Cendrillon by Nicolo Isouard, the main women's role of which Åbergsson demanded to be given to Kuhlman.