She was highly respected for her professionalism, and according to director Gustav Löwenhielm, she never allowed neither her physical health nor her personal feelings ever to effect her work.
[2] She is however known to have been caricatured in the press and given the sobriquet "Miss Cucumber" because of her flat figure, a fact which was further highlighted by the fashionable Empire silhouette.
[2] Jeanette Wässelius has been referred to as the successor of the prima donna Caroline Frederikke Müller and the leading lady of the Swedish opera stage in the early 19th-century.
One such occasion was when she performed a cantata with Christoffer Christian Karsten at a grand ball hosted at the Royal court in celebration of the Union of Sweden and Norway in 1814.
She was succeeded as the prima donna by Henriette Widerberg who, despite having benefited by the retirement of Wässelia, claims that Jeanette Wässelius was unjustly dismissed.
Her most noted parts were the interpretations of Armide by Gluck, Laura in Léon, ou Le château de Monténéro by Dalayrac, Sophie in Sargino, ossia L'allievo dell'amore by Paër, Antigone in Oedipe uti Athen (Oidipus in Athens)[citation needed] by Sacchini, Constance in Les deux journées, ou Le porteur d'eau by Cherubini and Juliet in Roméo et Juliette composed by Daniel Steibelt (opposite Karl Gustaf Lindström), (1814–15 season) and Iphigénie in Iphigénie en Aulide by Gluck.
Among her other parts were Lisette in Musikvurmen (Music craze) by Grenier[citation needed] during the 1796–97 season, Melisse in Renaud by Haeffner, (1800–01), Lina in L'opéra comique by F. P. Della Maria (1803–04), Amelina in Léhéman by Dalayrac (1804–05), Madame de Villeroux in Monsieur Des Chalumeaux by Pierre Gaveaux (1807–08), Elise in Une heure de mariage by Dalayrac (1808–09), Clorinde in Nicolas Isouard's Cendrillon opposite Elisabeth Frösslind (1810–11), Emilie in Les maris garçons by Berton (1812–23), Konstanze in Die Entführung aus dem Serail by Mozart, and Mathilda in Joconde by Isouard (1819–20).