Her voice and sympathetic personality created a great effect as Desdemona and in the Verdi Requiem, under Victor de Sabata. In 1950, she came with the Scala company to the Edinburgh Festival and Covent Garden. Elsewhere she was heard in Verdi's Giovanna d'Arco, Spontini's Fernando Cortez and Rossini's Stabat Mater.
At the Florence May Festival, she sang Pamira in Rossini's L'Assedio di Corinto, Spontini's Olimpia and Matilde in Rossini's Guglielmo Tell.
She went on to sing Mimi, Desdemona, Maddalena in Andrea Chénier, Tosca, Violetta and Aida she also undertook several Wagner roles, Elsa, Eva and Elisabetta in Tannhäuser, which she sang in Italian, a convention that looked back to prewar days.īut she also looked forward, and between 19, she starred in some of the first bel canto revivals. Her reputation grew rapidly and two years later she sang the prayer from Rossini's Mosé and Verdi's Te Deum in the concert conducted by Toscanini to mark the reopening of La Scala, Milan. She returned to Pesaro in 1940 to study with the noted soprano of the verismo (realism) school, Carmen Melis, and made her debut at Rovigo on as Elena in Boito's Mefistofele. "I started singing when I was a young girl, but my family wanted me to study piano my overwhelming need to express myself with my voice made me choose the art of singing," she once said.
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