Meantime, Maria Callas’s example had created a regular fanaticism for the Italian operas of the early Nineteenth century. It looked as though, after the “Callas phenomenon” the verismo repertory, or, to be more precise, the composers of the late Nineteenth century – the so called Young Italian School - had nothing more to say to a sophisticated audience.

Kabaivanska was able to overcome all blasé prejudice, interpreting the Art Nouveau heroines – Desdemona in Otello, Wally, Tosca, Adriana Lecouvreur, Butterfly, Francesca da Rimini – with sovereign musicianship, with strictly controlled style and taste, and with the charisma of a great actress. The operas she resurrected and the style with which she presented them are clear evidence that she was conscious she was operating on a high cultural level, just as high as rediscovering belcanto; and obtaining popular acclaim. At every performance our artist offers a physical and stage presence of dazzling glamour, just as the operatic stage demands - and very seldom gets.

She has resurrected the fascinating figure of the time-honoured singing-actress, in the wake of Emma Calvé and Lina Cavalieri, of Geraldine Farrar and Maria Jeritza, of Gilda Dalla Rizza and Claudia Muzio. In Italy Raina’s exquisite vocal and scenic creations in the late “Ottocento” and Art Nouveau repertory, that might have appeared outdated in the ‘70’es , have obtained praise from the strictest musicologists. And she is forever in the heart of a most fervent audience. Some performances of Verdi operas by this great singing-actress are memorable.

In ’73 she interpreted Duchess Elena in I Vespri Siciliani , which inaugurated the new Teatro Regio in Turin with Maria Callas as a producer. Soon after a moving and lovely Violetta was presented in the cities of Emilia and at the Sferisterio in Macerata with the expert guidance of Mauro Bolognini.