Jean de Leyde (based on the historical John of Leiden), whose beloved, Berthe, is coveted by Count Oberthal, ruler of Dordrecht, is persuaded by a trio of sinister Anabaptists to proclaim himself king in Münster.
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The musical and theatrical influences of the opera can be felt in, amongst others, Liszt's monumental Fantasy and Fugue on the chorale "Ad nos, ad salutarem undam" for organ which is based on the Anabaptists' chorale, the duet between mother and lost child in Giuseppe Verdi's Il trovatore, and the catastrophic finale of Richard Wagner's Götterdämmerung.
At the later house she was a much admired Berthe in Giacomo Meyerbeer's Le prophète and Arsena in The Gypsy Baron.
Her roles at the Met included Juliette, Marguerite, Marguerite de Valois from Les Huguenots, Micaela from Carmen, Cherubino from Le nozze di Figaro, Donna Elvira from Don Giovanni, Philine from Mignon, Berthe from Le prophète, the Forest Bird from Siegfried, Nedda from Pagliacci, Gilda from Rigoletto, Infanta from Le Cid, Inès from L'Africaine, and Mimì from La bohème among others.
Other arrangements for band by Agoult include the Coronation March from Le prophète by Giacomo Meyerbeer and the Grand March from Aida" by Giuseppe Verdi.
Over eight seasons, she also sang in La bohème (as Musetta), Un ballo in maschera (as Oscar), Le siège de Corinthe, La traviata, Lucia di Lammermoor, Le prophète (as Berthe, in John Dexter's production), and Rigoletto.