After retiring from performance in 1952, Panvini and her husband, the operatic baritone Curtis Rice, worked jointly as voice teachers out of a studio in New York City during the 1950s and 1960s.

The couple co-established the Young Artist Program at the Florida Grand Opera, a company Panvini had performed with during her career.

[11] In 1937 she gave a national concert tour in conjunction with baritone Conrad Mayo with stops in Pennsylvania,[12] Maryland, Alabama, North Carolina, New Hampshire, and Maine.

[14] In 1938 Panvini created the role of the Marquis in Frederick Loewe's short-lived Broadway musical Great Lady at the Majestic Theatre.

[15] That same year she performed the aria "Una voce poco fa" in concert with the Toronto Symphony Orchestra under conductor Reginald Stewart, recording the work with them for broadcast on NBC Radio.

[16] In 1939 she was a soloist in Toronto's Promenade Symphony Concerts, performing "The Bell Song" from Léo Delibes's Lakmé under the baton of Adrian Boult.

[19] A petite woman of just 4 ft 11.75 in (151.77 cm),[20] the Washington Evening Star critic felt her short stature was a particular advantage in her portrayal of Gilda, adding credibility to the youthful appearance of the character.

[21] In August 1942 the SCOC debuted a new version of The Barber of Seville that used contemporary American English in a new libretto by Laszlo Halasz.

[38] In November 1943 she sang the title role of Donizetti's Lucia di Lammermoor at the Broadway Theatre with SCOC with Stefano Ballarini as Lord Enrico Ashton.

[44][45] For the fall of 1945 Panvini was once again with SCOC, this time as Rosina in The Barber of Seville with Morelli as Figaro, Palermo as Almaviva, and Mario Valle as Bartolo.

Several of their students were able to obtain professional contracts with companies like the New York City Opera after scouts saw them in productions staged by the LAOI.