She demonstrated impressive artistry in repertoire that ranged from Spanish music to Mozart and Verdi. I only saw her twice at the Met in Mozart but they were both memorable performances.

A drama/trauma-tic soprano in the model of Gencer and Olivero, Martile Rowland sang a brilliant Elisabetta in Roberto Devereux (a last minute replacement for Zampieri, another controversial pick) at a concert, did half a Puritani at the Met, and sang the other “Gencer” roles such as Paolina in I Martiri, the title roles in Caterina Cornaro and Linda di Chamounix, and then retired to teach in the midwest somewhere(?).

Joyce Guyer’s silvery soprano, impeccable musicianship and beguiling stage presence made her an invaluable member of the Met roster in the late 1990s and early 2000s, appearing most frequently in harmony with others in such assignments as Najade in Ariadne auf Naxos, Woglinde in Wagner’s Ring Cycle and as a Parsifal Flower Maiden.

Although not exactly unknown, why she isn’t a big star is mysterious to me.

I first encountered Karina Gauvin in 2003 in the Boston Early Music Festival’s production of Conradi’s Ariadne. It does not happen often that I encounter an unknown singer with such a gorgeous sheen to their voice. Her performance was a knockout.

Eugenia Burzio is the most demented soprano on record, for me at least.

Such clean, beautifully poised technique, rich timbre, gorgeous agility…the anti-Melba

A currently active dramatic coloratura who has the voice and technique for Odabella! how often do we see that?

I first saw her perform with Portland Opera in Lucia. I subsequently saw her in Traviata, also in Portland. Later, I saw her as both Gilda and Juliette as the Met.

Not sure if she’s under-appreciated per se, but hers is my favorite Manon Lescaut with Jussi Björling.

The assumption is that singers, singing in their own language, will be more expressive and idiomatic. The reality is that it often seldom makes a difference.

Diana Soviero, America’s standard-setter in Puccini and verismo — an artist whose vocalism was luminous, and whose inner conviction achieved the ultimate in shattering, profoundly moving emotional intensity.

I first heard Patrizia Ciofi in a production of La traviata from Venice. It was a very modern production set in present day, but still she shown through her performance was just incredible.

East Germany’s Hochdramatische icon, Berlin’s local Nachtigall.

Unfortunately, Barbara Haveman does not perform very much anymore and she did not leave many recordings.

My parents- heroes that they were- used to drive me to Tower Records in Piccadilly Circus (RIP, to both the store and while we’re here, to my parents) after dinner on my birthday, to take advantage of the fact that it was open until midnight.

Many of us of a certain age had the good luck to see Benita Valente frequently at the Met. My memory is that she was treated rather like a house singer at first, and only later was appreciated for her extraordinary gifts.