[3] A critic stated that she "completely acquire the character of the person she plays", and she was praised for her versatility, her "energy and finesse", her grace and her "seductive gracefullness.

According to critics, she did have great natural talent, but neglected to develop it fully because she had been told that her beauty would be enough, and therefore never reached her full potential.

A contemporary writer stated that Inga Åberg: "... would have become a great singer and an excellent actress, if her unusual beauty and not been an obstacle for her artistic studies, and she had been enticed to regard it as a source of income, richer but in the long term no more secure than art.

"[6] Inga Åberg and Euphrosyne Löf were among the first named Swedish actresses at the Royal Opera to play breeches roles when they had the two leading male parts in August and Theodor eller De bägge kammarpagerna (August and Theodor or The Two Valets), by Kexel inspired by a French theatre comedy, in the 1794–95 season.

She made a success in Olof Åhlström's Tanddoktorn (The Dentist) with Lars Hjortsberg in 1800, and played the leading part in the opera Le calife de Bagdad by Boieldieu with her brother Gustav Åbergsson and Jeanette Wässelius in 1806.

In 1796, she played opposite famous singers such as Christoffer Christian Karsten, Caroline Halle-Müller, Louis Deland and Carl Stenborg in the opera La caravane du Caire by Grétry, which was held to celebrate that the young king had been declared of legal majority.

Among her other parts were "a spirit" in Armide by Gluck and Yngve in Frigga by Gustav III composed by Olof Åhlström (season 1786–87), Carl in Folke Birgersson till Ringstad (Folke Birgersson of Ringstad) by Kexel after a work by Monvel (1792–93), Carl Sjöcrona in Det farliga förtroendet (The dangerous trust) by Grétry (1793–94), Gustafva in De gamla friarna (The old/two suitors) by Dalayrac (1795–96), Agarenne in Panurge dans l'île des lanternes by Grétry (1799–1800), and Madame de Brillon in Monsieur Des Chalumeaux by Pierre Gaveaux (1807–08).