During her job, Swiss-born soprano Lisa della Casa was known on her behalf interesting portrayals of Mozart and Strauss roles, particularly Strauss’ Arabella. She started her research at age 15 with Margarete Haeser, who continued to be her only instructor. Della Casa produced her debut as Cio-Cio-san in 1941 in Solothurn-Biel and in 1943 joined up with the Züwealthy City Theatre. In normal occasions she without doubt would quickly have been performing in homes in Germany, Austria, and Italy aswell, but she continued to be in natural Switzerland until after Globe War II finished in 1945. Among her first main appearances outdoors Switzerland was in the Salzburg Event in 1947. Involved for that creation on the suggestion of Maria Cebotari, she sang the component of Zdenka in Strauss’ Arabella. She was involved right away to come back the following 12 months for another Strauss part, that of the Countess in Capriccio. Della Casa joined up with the Vienna Staatsoper in 1947, but continuing performing using the Züwealthy City Movie theater until 1950. In Züwealthy she sang a multitude of jobs: Pamina in The Magic Flute, Gilda in Rigoletto, and, unusually, Serena in Porgy and Bess (the Gershwin estate’s insistance on all-black casting for your opera is not followed in European countries as thoroughly as in america). She also sang a observed globe premiere in Burkhard’s Die schwarze Spinne as “The Youthful Girl” (1949) and developed the triple function of the feminine potential clients in Gottfried von Einem’s Der Prozess (1953). She produced her United kingdom debut as the Countess in Mozart’s Nozze di Figaro at Glyndebourne in 1951, and sang the name function of Strauss’s Arabella for the very first time at her Munich debut the same season. Arabella became her personal role. Her initial appearance at Covent Backyard was for the reason that role on the tour using the Bavarian Staatsoper. Critics within her tone of voice the “springtime and sterling silver” that Strauss stated he needed in such parts, and her appealing and elegant appears and unmannered performing style produced her an viewers preferred. She sang frequently on the Metropolitan Opera from 1953 to 1968, once again showing up as Mozart’s Countess. Of Mozart’s heroines, she excelled in Donna Elvira, Donna Anna, Pamina, and Fiordiligi. She sang Chryothemis in Strauss’s Elektra, in Ariadne auf Naxos, as well as attempted Salome (an effort she accepted was an test). Since she got a variety, she became mostly of the performers to excel, subsequently, in every three from the main parts in Der Rosenkavalier: Sophie, Octavian, and Die Marschallin. In 1952, she received the honorary name of Kammersängerin of Austria. She was asked to sing on the 1952 Bayreuth Festspielhaus, where she made an appearance as Eva in Die Meistersinger. She was, nevertheless, bothered with the lingering feeling from the darker aspect of German nationalism she sensed at that shrine to Richard Wagner and rejected all further demands to sing there. She acquired a reputation being a thoughtful, extremely principled musician and person. She was known on her behalf criticism from the dishonorable areas of the “music business” and loathed the intrigues, jealousies, and cabals that frequently infested the operatic globe. She also sensed that superstar egos prevented main singers from functioning jointly as ensembles. She retired from performing unexpectedly in 1974.