For her mother has had eight years of residence in the United States while Alberta stayed in Milan with her maternal grandmother to finish her studies.

[14] In the early 1940s Masiello performed in clubs with Bertlies Weinschenk (also known by her married name as Lys Simonette, and after 1945 Kurt Weill’s assistant) as the two-piano team, "Yola and Lisa" (the Mexican sisters).

Osie Hawkins, Met executive stage manager, referred to her as 'an orchestra in herself', "for she had the reputation of being able to play the score of Pelléas et Melisande note perfect, not to mention a very convincing hot jazz repertory".

In 1979 Masiello received the Award for Professional Excellence from the National Opera Institute (San Francisco).

[25] During her lifetime Masiello prepared singers and conductors, such as Franco Corelli, Renée Fleming, Marko Lampas (Lamas),[26] Paul Plishka[27] and Marilyn Horne.

[28] Masiello was instrumental in coaching Maria Callas during a vocal crisis, teaching her daily in her studio at the Juilliard School.

[29][30][31] As a pianist, she worked with June Anderson, Karan Armstrong[32] Gilda Cruz-Romo,[33] Gianna Rolandi, Katherine Ciesinski, Mario del Monaco, Jessye Norman, Samuel Ramey, Renata Tebaldi[34] and Christine Weidinger.

[38] Among her coaching students are David Leighton, Ann Lewin,[39] Ben Malensek,[40] Anthony (Toni) Manoli,[41] Nic Muni[42] and Eytan Pessen.

[43] She kept this habit to the end of her life, sitting in a wheelchair giving master classes in her studio, located a block away from the Juilliard School.

She also insisted that all pianists have a fine understanding of the orchestral scores of the opera you were coaching or playing for her that day.

[45] Masiello was also a strict stylist, bandying the vast Zingarelli Italian dictionary to check open and closed vowels, and fighting for clean portamento-free singing.