While she performed a broad repertoire, she was particularly admired for her interpretations of 20th-century music, including the works of Richard Strauss, Benjamin Britten and Paul Hindemith.

Music critic Ross Parmenter stated in his review that "[Davy is] a singer of unusual technical skill... she has a voice of wide range that is soft, clear, fresh, and warm.

She returned to Broadway the following October to portray Susie in My Darlin' Aida at the Winter Garden Theatre with Elaine Malbin in the title role.

[1][8] After completing its North American tour in Montreal, Davy went with the production to Europe for performances in Venice, Paris, London, and other cities in Belgium, Germany, Greece, Italy, Switzerland, and Yugoslavia.

[10] Davy met composer and conductor Victor de Sabata when the Porgy and Bess tour reached La Scala in Milan in 1955.

Unfortunately, political upheaval in Italy led to the cancelation of her scheduled performance at the opera house, and her first appearance as Aida ended up being at the Opéra de Nice in 1957.

[13][14] In December 1958 she sang with the AOS again as Elcia in Rossini's Mosè in Egitto with Jennie Tourel as Amenofi and Boris Christoff, in his New York debut, singing the title role.

[15] In January 1959 she returned to Carnegie Hall to sing the title role in Gluck's Iphigénie en Tauride with Martial Singher as Orestes, Louis Quilico as Thoas and The Little Orchestra Society (LOS).

[16] She appeared with the LOS again on October 10, 1960 for the United States premiere of Strauss' Daphne in a concert version at Town Hall in which she sang the title heroine.

[17] On February 12, 1958 Davy made her debut at the Met as Aida with Kurt Baum as Radamès, Leonard Warren as Amonasro, Irene Dalis as Amneris and Fausto Cleva conducting.

[21] After Davy left the Met in 1961, her career was no longer centered in New York but in Europe; a decision she made after marrying Swiss stockbroker Herman Penningsfeld in 1959 and making a home with him in Geneva.

She returned there in 1969 to sing the Old Prioress in Poulenc's Dialogues of the Carmelites, a role she performed that same year from a wheelchair at the Grand Théâtre de Genève.