[1] She wrote surtitles or subtitles for the Washington National Opera, La Scala in Milan, and the Public Broadcasting Service's series Great Performances.

Brian Kellow said of her in an obituary in Opera News that "As a titlist, her standards were high: she took pains to avoid the cute, the coy, the anachronistic; her titles were as precise and elegant and clearly thought out as her own prose.

"[2] William Romano, in an article partly based around documentation supplied by Haddad, said of her work that "by extending the text's exposure in live performance by a fraction of a second, the titleist imperceptibly adjusts the viewer's engagement with the words'.

[4] He goes on to argue that Titling challenges titleists and the houses that employ them not only to translate but to make the best case for awkward and weak librettos.

[4]Operas for which Haddad did the translation and surtitling in the course of her career include: Tchaikovsky's The Queen of Spades in 1995;[2] Prokofiev's War and Peace; Verdi's Falstaff[5] and I vespri siciliani;[6] Richard Strauss's Capriccio;[7] Rossini's La donna del lago;[8] Mozart's Così fan tutte and Don Giovanni; Pergolesi's Lo frate 'nnamorato and Conrad Susa's The Dangerous Liaisons.