[1] She debuted as an actress at the age of thirteen in the role of Pernille in Ludvig Holberg's Den Stundesløse in the season of 1768-69.

[2] In 1771, she made a debut as an opera singer in the main female part of Tronfølgen i Sidon by Giuseppe Sarti.

[3] She was painted by Jens Juel, praised by the poet Johannes Ewald and the Det norske Selskab, and the critic Peder Rosenstand-Goiske wrote: "The fire and emotion, that she understands to give her action, reveal the great genius of her mind.

In 1780, Caroline Müller was engaged at the Royal Swedish Opera in Bollhuset in Stockholm, where she debuted in Alceste by Glück.

In 1783, she returned to the Royal Swedish Opera when King Gustav III of Sweden offered her an immunity against her contract crime and raised her salary, and her husband was given a position at the Kungliga Hovkapellet.

Her last performance was as Christina Gyllenstierna in Gustav Wasa for the newly elected crown prince Carl Johan Bernadotte in 1810.

In 1791, she visited Denmark and was present at a performance given to the benefit of her mentor, Lisbeth Cathrine Amalie Rose.

From 1812 to 1815, she was the principal of the Royal Dramatic Training Academy in succession to Sofia Lovisa Gråå, which was a period of expansion and development of the school.

Gustav Löwenhielm mentioned her importance in Swedish theater and opera history in the 19th century, during a discussion about the employment of foreign artists, when he pointed out that several of the artists during the foundation of the Royal Swedish Opera and the Royal Dramatic Theatre had been foreigners: "Is it impossible to engage Mr Berg and Miss Schoultz?