Examples include numerous works by Girolamo Frescobaldi (for instance, Fantasia seconda of 1608) and ricercares attributed to Jacques Brunel (the first recorded systematic use of inganno); it has been suggested by scholar Roland Jackson that the technique played an important part in the development of the late Italian madrigal, including the famous works of Carlo Gesualdo.
She sang the title role in the revival of Simon Mayr's Medea in Corinto in 1823, and Isabella in the first performance of L’inganno felice in Venice in 1812.