[2] She performed in a concert with a musician of the royal Hovkapellet, Francesco Antonio Uttini on 22 February 1767 in Gothenburg, where she made a success.

[3] On 12 February 1788, the same year as her colleagues Caroline Halle-Müller and Franziska Stading, she was inducted to the Royal Swedish Academy of Music on chair number 106.

Her most well-known roles were her portrayal of Apollo (and later the part of Eurydice) in Orpheus and Eurydice by Glück in 1775, the part of Love in Adonis (the season 1775–76), Astrild in Silvie by Berton (1773–74), the Joy in Amphion by Adlerbeth, Anna Eriksdotter (Bielke) in Gustaf Vasa by Gustav III (1785) and Märta Banér in Gustaf Adolf and Ebba Brahe by Gustav III (1787–1788).

Other parts were Amphitrite in Neptun and Amphitrite by Gallodier with Johan Filip Lising (1774–1775), Aeglé in Aeglé by Adlerbeth with Carl Stenborg (1774–75), Zelis in Aline, drottning av Golconda by Uttini, (1775–76), Lucile in Lucile with Carl Stenborg (1775–76), Lovisa in Desertören (1776–77), and Jealousy in Procris and Cephal by Gretry (1777–78).

Gustav Löwenhielm mentioned her importance in Swedish theater and opera history in the 19th century, during a discussion about the employment of foreign artists, when he pointed out that several of the artists during the foundation of the Royal Swedish Opera and the Royal Dramatic Theatre had been foreigners: "Is it impossible to engage Mr Berg and Miss Schoultz?