companies: Broome Special Phonograph Label In 1919, George W. Broome of the Broome Special Phonograph label approached her to record with them. She recorded three songs for them, including "Nobody Knows the Trouble I've Seen" and "Villanelle." Black Swan Records She also recorded with Black Swan Records—the first widely distributed label to be owned and operated by and marketed to African Americans—thus becoming the first classical musician to record with them. In 1921, she recorded at least four titles for them, and in 1923, she recorded three titles with them, including "Bell Song" from Lakmé, "Il Bacio" by Luigi Arditi, and "The Last Rose of Summer" from Martha by Friedrich von Flotow. Paramount Records In 1924, she recorded two additional titles for Paramount Records. These included "Homing" by Teresa del Riego and "Swing Echo Song" by Henry Bishop. Aida and Europe From 1925 to 1927, Talbert studied music in Europe—specifically, Italy and France—like many artists of the times. Before she left, The Cosmopolitan Arts Society of Los Angeles organized a farewell reception on June 22, 1925. In Rome, she studied with Delia Valeri and Vito Carnevale at the Summer School for Americans at the Villa d'Este and in Milan, she studied with Julian Quezada. During her two years in Europe, some of her other teachers included Sylvo Puccetti, Mario Bellini, and Marcel Picheran of Opera Comique. One of the breakthrough moments in Talbert's career came in March 1927. It was her debut at the Teatro Communale in Cosenza, Italy in the title role of Giuseppe Verdi's Aida. She is credited with being the first black woman to play Aida with an all white, European professional company to receive critical acclaim and success, that too, in Europe. In fact, she received critical acclaim in Paris, London, and Rome. Due to this performance, she was invited to be a member of the Facista Group of Lyric Artists. Furthermore, she was even offered a five-year contract to sing as Aida in the opera, however, she had to refuse the offer since she needed to return to the U.S. with her mother. After three performances of Aida, Talbert continued doing concerts in Rome, Southern Italy, and Paris, which were also received with critical acclaim. Career in the U.S. When Talbert returned to the U.S. in 1927, she continued her recitals by touring extensively across the U.S. Although she received recognition for her performances in