Her career was cut short in 1935 due to political pressures and prejudice exerted against her for being married to a Jewish man.
[1] In her early career, Gentner-Fischer sang only smaller parts, but by 1910 she was performing leading roles in the soubrette and lyric soprano repertoire.
She soon moved into heavier repertoire, excelling in parts like Countess Almaviva in The Marriage of Figaro, Donna Anna in Don Giovanni, the Empress in Die Frau ohne Schatten, the Marschallin in Der Rosenkavalier, Santuzza in Cavalleria rusticana, and the title roles in Aida, Carmen, and Tosca.
In Frankfurt she notably created roles in the world premieres of Hermann Wolfgang von Waltershausen's Oberst Chabert (1912, the Countess), Franz Schreker's Die Gezeichneten (1918, Carlotta Nardi), Ernst Krenek's Der Sprung über den Schatten (1924), and Arnold Schoenberg's Von heute auf morgen (1930, the Wife).
In 1923 she performed the role of Myrtocle in the United States premiere of Eugen d'Albert's Die toten Augen at the Auditorium Theatre in Chicago.
She suffered under the political conditions in her country during World War II and lived the remaining years of her life in seclusion in Upper Bavaria.