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She was admired for the touching sincerity of her acting and the lyrical warmth of her voice, in such roles as Susanna (The Marriage of Figaro), Pamina (The Magic Flute), Marzelline (Fidelio), Micaela (Carmen), Antonia (The Tales of Hoffmann), Marenka (The Bartered Bride), and Blanche in the British premiere of Poulenc's Dialogues of the Carmelites in 1958.
In the 1950s, she began concentrating on "character roles" such as the Countess in The Queen of Spades, Mistress Quickly in Falstaff, Madame Flora in The Medium, and took part in the creation of Dialogues of the Carmelites at La Scala, in 1957.
He made his La Scala debut in 1953, in a contemporary work Leonore 40/45 by Rolf Liebermann, and took part in the premiere of the Dialogues of the Carmelites in 1957.
Her repertory included Mozart's Donna Elvira from Don Giovanni, and First Lady from The Magic Flute; Monteverdi's L'incoronazione di Poppea and Rameau's Aricia; Jean-Baptiste Lully's Climène from Phaëton, Leclair's Circé in Scylla et Glaucus; Arthur Honegger's Diane from Les aventures du roi Pausole and Francis Poulenc's Madame Lidoine from Dialogues of the Carmelites.