Critics worldwide consider that there is a Rosina before and after Teresa Berganza . With the great Giulini, the character returned to its original tessitura, cleansing of everything that was not in the score of Rossini. Teresa is must for all the Rosinas who came after her and the world fell at his feet from the Met to Covent Garden.

From 1958-1972 she hardly missed any year commitment to the role, sometimes two or three times in the same year and is, next to Cherubino in Le Nozze di Figaro, his work fetish repertoire.