Though internationally her career was relatively overshadowed with the various other lyric sopranos of her day, probably because of an frequently understated presentation, her silvery voice, not really huge but focused more than enough to transport through a good Verdi and light Wagner orchestra, and her charm, winsome however, not overly kittenish, made her a popular in many Western european houses, especially in Germany. She researched music on the Barcelona Conservatory, and like many Spanish performers, she started her profession in zarzuela, producing her stage debut (like a mezzo) in 1949. While she remaining the zarzuela stage pretty soon, she managed her ties compared to that genre, and throughout her profession often documented or performed zarzuela music in recitals. Her traditional debut is at Barcelona in 1952, like a soloist in Beethoven’s Ninth. Her operatic debut was as Cherubino in 1955 at Aix-en-Provence. She also produced her Covent Backyard debut that 12 months as Violetta in La traviata, and her Glyndebourne debut another 12 months as Pamina within the Magic Flute. In 1958, she 1st appeared in the Deutsche Oper in Berlin, starting a link that lasted over 30 years. She was probably one of the most much loved performers at that home, and was granted the name of Kammersangerin after simply five years there, in 1963. She produced her Salzburg Event debut in 1961, in Idomeneo, and her Metropolitan Opera debut not really until 1966, as Donna Elvira. Early in her profession she centered on the lighter lyric functions, specifically Mozart, but as she matured vocally, she could add substantially heavier functions, including Eva in Der Meistersinger and Elizabeth in Verdi’s Don Carlo without taxing her tone of voice beyond its assets. She produced fairly few recordings, but among those, her Violetta in La traviata (London 443 000-2) is among the few that catches the beauty and design of the popular courtesan along with the feverishness of her doomed romance.