This also includes a well known caricature of the singer from 1742 by the Venetian artist Antonio Maria Zanetti which emphasized her girth and is now part of the Royal Collection at Windsor Castle.

[8] At that same theatre she performed the title role in a 1729 production of Leonardo Vinci's 1726 opera Didone abbandonata with the composer creating a new aria specifically for her: "Son regina e sono amante".

[12] In October 1734 Turcotti returned to the Teatro San Bartolomeo to create the role of Emirena in the world premiere of Pergolesi's Adriano in Siria which was written to celebrate the birthday of the Spanish Queen Elisabeth Farnese.

[13] The following December she appeared at that opera house again as Viriate in the premiere of Giuseppe Sellitto's setting of Metastasio's Siface, re di Numidia; a pastiche work which also contained music by other composers like Porpora, Geminiano Giacomelli, and Johann Adolph Hasse among others.

[16] In a 1742 letter from Aranjuez, Farinelli enquired after Turcotti's fate, wondering if she had lost weight or if she retained her enormous fatness, and affectionately wishing her all the best, "because her manners are different from the other prima donnas'".

The artist's brother, critic Girolamo Zanetti of the publication Archivio Veneto, wrote in his review of that production that Turcotti "sang very well but was fat to the point of deformity".

[22] Music written for Turcotti by Pescetti and Corselli indicates that she was a singer who could execute difficult coloratura passages with complex rhythms and wide leaps in pitch.