She was taught by her aunt, Camilla Bombacci, who was the convent organist, and by Ottavio Vernizzi, who was the unofficial music master.
Vizzana's O invictissima Christi martir, along with Sonet vox tua in auribus cordis mei; Usquequo oblivisceris me in finem; O magnum mysterium; Ornaverunt faciem templi; Domine Dominus noster, quam admirabile; and Protector noster can all be found in Martha Furman Schleifer and Sylvia Glickman's Women Composers: Music through the Ages.
However, Vizzana's music also reflects a much older practice of female spirituality stretching back to the later Middle Ages as opposed to the new post-Tridentine religious traditions for women.
Most of her motets were created for feast days, reflecting many liturgical, artistic, and devotional moments in convent life.
It is often believed that the stress of the turmoil led to Vizzana's early retirement from music and mental instability.