Perhaps this was because she wasn’t a glamorous presence. But she was a singer of great generosity. One example that I remember was the way she shared the stage in Zauberflöte with the three boys, as though they were her adult colleagues and the obvious thrill that gave them was palpable. I got to know her very slightly one summer at Marlboro (she was there as a wife and mother, not performing) and she was the same lovely, gracious person offstage as on.

She was terrific in the Mozart, Händel, and Gluck operas I saw her do, but it was in Lieder that she truly excelled. The recording she made with Rudolf Serkin of Der Hirt auf dem Felsen is justly celebrated (and the live performance with Richard Stoltzman and Robert Goode that I caught at the 92nd Street Y in 1981 was marvelous, too) but I’ve chosen the less familiar Auf dem Stromm, also with Serkin and with Myron Bloom on French Horn. You may need more than one hanky.