[1][5] During the early 1950s, along with Busk Margit Jonsson and Daisy Schörling she formed the three-woman vocal group the 'Melody Girls', which made several recordings.

[6] Her debut was at the Royal Swedish Opera in 1952 as Azucena in Verdi's Il trovatore, with Set Svanholm, 34 years her senior, playing her son Manrico, followed soon by the title role of Bizet's Carmen,[7] in a brand new “starkly realistic” production at the house, in Swedish, which used the original dialogue for the first time in Sweden and where Meyer played a major role in its huge success.

[2] Engaged at the Royal Opera from 1952 to 1962, and again from 1969,[7] she performed more Verdi roles – Maddalena in Rigoletto, Ulrica in Un ballo in maschera, Eboli in Don Carlo, and Amneris in Aida –, Dalila in Samson et Dalila, and the Wagner roles Fricka, Erda and Waltraute in Der Ring des Nibelungen and Brangäne in Tristan und Isolde,[3] the latter two at Bayreuth in the early 1960s.

[2] She appeared in several Swedish premieres, including as Didon in Les Troyens by Berlioz in 1958, Baba the Turk in Stravinsky's The Rake's Progress in 1961[1] in a production staged by Ingmar Bergman,[9] and Geschwitz in Alban Berg's Lulu in 1977.

[3] In 1960, Meyer made her debut at the Royal Opera House in London as Didon in Les Troyens, alongside Jon Vickers and Josephine Veasey,[7] and the same year as Ulrica and as Bradamante in Alcina during a short residency by the Stockholm company.

Her career also included regular visits to other major opera houses of Europe and the U.S. and a number of concert tours to Australia, the Far East, and the Americas.

[7] Early in her career Meyer had realized her vocation; "I was supposed to give these people [the audience] pleasure, so that made me realise what my job was.

[11] She appeared as Iocasta in Stravinsky's Oedipus rex conducted by Georg Solti in the Royal Festival Hall in London, and subsequently recorded the role for Decca.

She also gave a recital of songs from Sweden, Spain and France, and German lieder by Gustav Mahler and Hugo Wolf at the Theatre Royal as part of the Wexford Festival Opera in 1977.

[7][16][17] Meyer left few commercial studio recordings; a number of her radio broadcasts have been subsequently issued (by Caprice, Swedish Society, and BBC Legends).