Berlioz, she was Béatrice in concert performances of Béatrice et Bénédict in Boston (1977) and Carnegie Hall (1977) and in a fully staged production at Tanglewood (1984). In Offenbach, she sang the title role in La Grande-Duchesse de Gérolstein in Los Angeles (2005). In Thomas, she starred in Mignon in Santa Fe (1982) after undertaking the smaller trouser part of Frédéric in the recording of the opera conducted by Antonio de Almeida (1977). But the composer most important in her French operatic repertory was Massenet. "I didn't like Charlotte in Werther at first", she says. "She seemed cold. I don't think so at all now. … She's seeking freedom of expression. … She's been trained within an inch of her life, trained by the period in which she grew up, by an ill parent. … For Charlotte, responsibility is the message. … Every woman who has a child is never the same, in the most awesome way. It's a privilege, but it's heavy. Since Charlotte has had motherhood passed on to her, she feels it with a certain sense of burden. She's still so young." "It takes courage for her to permit herself to experience the kind of passion she has for Werther." Von Stade sang in her first Werther in Houston (1979), revisiting the opera at Covent Garden (1980), in Vienna (1987) and at the Met (1988). (Excerpts from the Houston production were included in Call Me Flicka, an hour long BBC television profile of von Stade, first aired on January 18, 1980, that followed her over two years in America, France and England. The programme also included sequences of her singing music by Mozart, Rossini, Gershwin, Canteloube, Poulenc and Joni Mitchell.) Von Stade describes Cendrillon, Massenet's Cinderella opera, as "the musical embodiment of the fairy tale as I remember it as a child. The characters are nicely defined and have great humanity." "Pretty party dresses and ball gowns and glass slippers and long hairoh, it couldn't be more fun." In playing Lucette (Cinderella), she felt obliged to exercise a degree of restraint: "I find that with Massenet so much is stated musically, so much romanticism is there, that if you echo it too much in the musical line, it's like being tickled to death. It's too much." She was first seen in Cendrillon in a televised production in Ottawa (1979), and then in Washington (1979, 1988) and, again