But she also distinguished herself across Lincoln Center plaza as Gilda with New York City Opera and at regional U.S. companies and festivals in a myriad of such virtuosic roles as Mozart’s Konstanze in Die Entführung aus dem Serail with both Washington National Opera and The Dallas Opera. Although never showcased in a starring role in an entire run at the Met, she often covered starrier colleagues in new productions and was granted one planned performance with virtually no stage rehearsal. It is exceedingly difficult to sing only one Anne Trulove (1997) in The Rake’s Progress or a single Susanna in Figaro (1998) under such circumstances. Guyer did and killed it both times. (I was there to bear witness.)