Her first operatic performance in Canada came on 13 February 1883 in Toronto, at the Grand Opera House where she performed in Lucia di Lammermoor.

Her mother, a former operatic contralto, was a successful women's clothier.

Her operatic repertoire comprised the title roles in Lucia di Lammermoor, Maria di Rohan, Norma, La sonnambula and La vestale, as well as Susanna in The Marriage of Figaro, Adina in L ' elisir d ' amore and Alice in Robert le diable.

Her first major breakthrough came when her singing ability was recognized by Igor Stravinsky ; her operatic career began when he invited her to perform in the 1956 Venice festival.

Her primary area of study was education, particularly educational psychology, but she has also undertaken study in operatic singing and film production.

Her self-titled second album also included operatic, religious and traditional tracks.

Her operatic career spanned from 1960 ( her debut in Paris as Amneris ) to 1997 ( as Klytämnestra, in Lyon, France ).

Her last operatic appearance was as Klytämnestra in Richard Strauss's Elektra in Lyon in 1997.

Her last operatic appearance was as Dido in Oslo on June 5, 1953.

Her Edison recordings, however, represent not only some of the best operatic recordings released by that company, but also Muzio's power and ability to project her personal intensity through the difficult acoustic recording process.

Her mature voice, of splendid quality and large volume, gained for her the reputation of being not only one of the greatest Wagnerian singers of her day but also an ideal interpreter of Bellini's Norma and the operatic music of Mozart.

Don Giovanni, with Clara Louise Kellogg as Zerlina and Santley as Leporello, proved to be the final operatic performance of that season: Santley had been due to play Pizarro, when the news came to him, while he was appearing in concert in Brighton, that Her Majesty's Theatre had been burnt to the ground.

Her strong, steady and well-trained voice was renowned for its clarion power in Italian and German operatic roles.

Her plans for an operatic career were sidelined when she was cast in a staged musical review, Fun for the Money.

Her voice was known for its power and extension used in operatic roles such as Turandot in a career spanning four decades.

The Devil Take Her is not part of the standard operatic repertory.

Her repertoire of operatic roles reveals an artist who has an accurate and smart sense of her own musicianship.

Her operatic debut, in 1982, was as Sandrina in Haydn's L ' infedeltà delusa with the Mostly Mozart Festival.

Her career started in the 1970s and she has sung a wide range of classical and operatic roles.

Her father Benjamin Bayot had been an operatic tenor, her mother Esperanza Dimalanta was a coloratura soprano, sister May is a band vocalist, sister Karlyn is an actress ( Munting Paraiso ) who also plays violin and flute, while brothers Novi and Osi play guitar and piano.

Her operatic appearances and recordings quickly propelled her to the forefront of European singers and earned her the nickname " The Berlin Nightingale ".

" Her operatic musical writing is sometimes compared to Britten's, and has been described as alternating " twee rhyming couplets and inert blank verse ".

Her contributions are mainly on the roles of antibodies directed against ion channel at the nerve-muscle junction in the pathogenesis of above mentioned diseases.

Her movie career included a bit part in It Happened One Night ( 1934 ) and roles in Outlaw Women ( 1952 ), Glen or Glenda ( 1953 ), Body Beautiful ( 1953 ), The Blue Gardenia ( 1953 ), Count the Hours ( 1953 ), Mesa of Lost Women ( 1953 ), College Capers ( 1954 ), Jail Bait ( 1954 ), The Raid ( 1954 ), This Is My Love ( 1954 ), The Opposite Sex ( 1956 ), The Ironbound Vampire ( 1997 ), and Dimensions in Fear ( 1998 ).

Her almost 60-year career crossed most media frontiers with both supporting and leading roles, but she may be best-remembered for playing the sardonic but engaging title character, a high school teacher, on Our Miss Brooks, and as the Rydell High School principal in the films Grease and Grease 2.

Her Stage Door portrayal of a fast-talking, witty supporting character, gained Arden considerable notice and was to be a template for many of Arden's future roles.

Her many memorable screen roles include a supporting role as Joan Crawford's wise-cracking friend in Mildred Pierce ( 1945 ) for which she received an Academy Award nomination as Best Supporting Actress, and James Stewart's wistful secretary in Otto Preminger's then-explicit murder mystery, Anatomy of a Murder ( 1959 ).

Her debut at Teatro alla Scala took place in 1842 as " Neocle " in the Italian version of Le siège de Corinthe, which was followed by roles in operas by Marliani, Donizetti ( as " Maffio Orsini "), Salvi and Pacini.

Her subsequent roles in the 1990s and 2000s included Open Your Eyes ( 1997 ), The Hi-Lo Country ( 1999 ), The Girl of Your Dreams ( 2000 ) and Woman on Top ( 2000 ).

Her other television roles include recurring appearances as Marelene on Dharma & Greg, and Penny in two episodes of Dead Like Me.

Her one scene role as pregnant checkout girl Nancy in 1991's City Slickers earned her " more attention than all previous roles combined ," and taught her that " that it's far better to have small parts in big movies that everyone sees.

Her other roles include parts in Barry Levinson's Toys and James L. Brooks ' As Good as It Gets.

Her best known film roles were " Susanne Wallner " in Wolfgang Staudte's film Die Mörder sind unter uns ( The Murderers Are Among Us ), the first film released after the Second World War in East Germany and produced by DEFA ); and in 1950, " Marina " in Die Sünderin ( The Sinner ), in which she performed a brief nude scene, the first in German film history, causing a scandal.

Her other notable film roles include Sara in Runaway Train in 1985, Helen McCaffrey in the thriller Backdraft in 1991, her portrayal of the chillingly twisted nanny Peyton Flanders in the popular 1992 thriller The Hand That Rocks the Cradle and as Wendy Torrance in Stephen King's 1997 television adaptation of The Shining.

Her best known roles include starring as Jacy in The Last Picture Show, as Betsy in Taxi Driver, as Madeleine Spencer in Psych, as Maddie Hayes in Moonlighting, as Cybill Sheridan in Cybill, and as Phyllis Kroll in The L Word.

Her friend Miriam Cooper helped Lombard land small roles in her husband Raoul Walsh's films.

Hawn is known for her roles in Rowan & Martin's Laugh-In, Private Benjamin, Foul Play, Shampoo, Overboard, Bird on a Wire, Death Becomes Her, The First Wives Club, and Cactus Flower, for which she won the 1969 Academy Award for Best Supporting Actress.

With increasing interest in the war in Europe, the film performed well at the box office, but Shearer made errors in judgment, passing up roles in the highly successful films Now, Voyager and Mrs. Miniver, in order to star in We Were Dancing and Her Cardboard Lover ( 1942 ), which both failed at the box office.

Although Caine also took better roles, including a BAFTA-winning turn in Educating Rita ( 1983 ), and an Oscar-winning one in Hannah and Her Sisters ( 1986 ) and a Golden Globe-nominated one in Dirty Rotten Scoundrels ( 1988 ), he continued to appear in notorious duds like the thinly veiled skin flick Blame It on Rio, the Dick Clement and Ian Le Frenais comedy Water and the critical-commercial flop Jaws: The Revenge ( 1987 ) ( in which he had mixed feelings about the production and the final cut ) and Bullseye!

Garbo had successfully made the transition to talkies and after three less profitable films, Romance ( 1930 ), Inspiration ( 1931 ), and Susan Lenox ( Her Fall and Rise ) ( 1931 ), she performed two of her most famous roles.

Her final years were marred by a long period of ill health, but she continued acting until shortly before her death from breast cancer, with more than 100 films, television and theater roles to her credit.

Her image was considered with more care ; although she continued to play character roles, she was often filmed in close-ups that emphasized her distinctive eyes.

Her film choices were often unconventional ; she sought roles as manipulators and killers in an era when actresses usually preferred to play sympathetic characters, and she excelled in them.

* Her notoriety intersected with the criminal obsessions and camp sensibilities of filmmaker John Waters, who has used Hearst in numerous small roles in films including Cry-Baby, Serial Mom, Pecker, Cecil B. DeMented, and A Dirty Shame.

Her other film roles included the Queen of Hearts in Alice in Wonderland ( 1972 ), Livia in the abortively-attempted I, Claudius ( 1937 ), Miss Milchrest in Murder at the Gallop ( 1963 ).

Rossellini is noted for her 14-year tenure as a Lancôme model, and for her roles in films such as Blue Velvet and Death Becomes Her.

Some other notable film roles include her work in Cousins, Death Becomes Her, Immortal Beloved, and Fearless.