Monte Carlo | Don Quixote | Don Giovanni | Don Cherry | Don | Carlo Goldoni | Don (honorific) | Don Cheadle | Rostov-on-Don | Don Williams | Don Juan | Gian Carlo Menotti | Don Knotts | Don Imus | Don Carlos | Don Rickles | Don Omar | Don Henley | Salesians of Don Bosco | Don Johnson | Don Drysdale | Carlo Maria Giulini | Carlo Gesualdo | Teatro di San Carlo | Don Pasquale | Don Messick | Don Bluth | Don King (boxing promoter) | Don King | Don Shula |
Her vast repertory eventually grew to encompass Princess Eboli in Don Carlo which she sang at La Scala in Milan, in Salzburg and in Vienna, the title-role in Carmen, Ulrica (Un ballo in maschera), Monteverdi's Octavia (L'incoronazione di Poppea), Dido (Les Troyens), Kundry (Parsifal), Klytemnestra (Elektra) and contemporary roles by von Einem and Orff.
His roles have included most of the major bass roles of the Verdi and Wagner repertories, such as: Miller, Sparafucile, Ferrando, Padre Guardiano, Phillip II, Landgrave, Hans Sachs, Gurnemanz, etc.
He later returned to the Met in spring 1960 in several roles, including Don Carlo di Vargas in La forza del destino (which he had recorded under Molinari-Pradelli in 1956 for Decca Records, followed a few years later by a portrayal of the villain Barnabas in La Gioconda under Gavazzeni on the same label).
During her career Bogacheva has performed at the Mariinsky Theatre and elsewhere in the Soviet Union the key mezzo roles in the Russian repertoire: the countess in The Queen of Spades, Marfa in Khovanshchina, Lyubasha in The Tsar's Bride, Marina in Boris Godunov as well as the title role in Carmen, Verdi's Eboli (Don Carlo), Amneris (Aida), Azucena (Il trovatore) and many others.
The year 1979 sees his debut at the Covent Garden, London, in Don Carlo (Luchino Visconti’s historical production).