She also sang there as Amneris in Aida, Madalena in Rigoletto, Uta in Sigurd, Fricka in Die Walküre and Thérèse.

[3] She had a close association with the late operas of Massenet, creating roles in Ariane (Perséphone), Thérèse (title role), Bacchus (Queen Amahelli), Don Quichotte (Dulcinée) in Monte-Carlo and Paris, Roma (Postumia), and Panurge (Colombe).

[2] She had a close relationship with Massenet as well; the critic Rodney Milnes describes Arbell as "gold-digging", charging that her blatant exploitation of the composer's honourable affections caused his wife considerable distress and even strained Massenet's devotion (or infatuation as Milnes characterises it).

After the composer's death in 1912, Arbell pursued his widow and publishers through the law courts, seeking to secure a monopoly of the leading roles in several of his late operas.

[2] She may have been a talented actor, but her voice was considered by some critics to be mediocre; the roles created for her included extensive passages of declamation, something not usually seen in the operas of the period.