At the Metropolitan Opera with Jan Peerce in 1959	In the 1961 Tokyo production of which there is a film	Forsaken in Tokyo, 1961	A studio portrait in one of her greatest roles, Santuzza

• 1940 VICTOR (as Mamma Lucia) - Bruna Rasa, Gigli, Bechi, Marcucci; Mascagni
• 1952 CETRA - Braschi, Tagliabue, Cadoni; Basile
• 1960 DECCA - Del Monaco, MacNeil, Satre; Serafin
• 13  or 18 June 1950 - Palacio de Bellas Artes - Filippeschi, Morelli, De Los Santos; Mugani
• 10 May 1955 - La Scala, Milan - Di Stefano, G. Guelfi, Beggiato; Votto
• 16 November 1959 - Metropolitan Opera, New York - Bjorling, Cassel, Elias, Votipka; Verchi
• 21 October 1961 - Metropolitan Hall, Tokyo - Lo Forse, D'Orazi, Di Stasio; Morelli
• 7 December 1963 - La Scala - Corelli, G. Guelfi, Carturan, Allegri; Gavazzeni
• 9 December 1963 - La Scala - Corelli, G. Guelfi, Carturan, Allegri; Gavazzeni

Reviews

• November 1962 "Giulietta Simionato returned to the Metropolitan Opera last night after a seasons absence, reaffirming her stature as a major artist...once again she created an impressive characterisation through her acting and brilliant singing...[she] moves with simplicity and a tight restraint that suggests her intense inner tragedy, and when the sudden passionate outbursts, with their large gestures, appear, they seem to erupt naturally against the character's will. Her voice is not particularly large, but it has beauty and cutting strength, and every phrase she sings is shaped and coloured to the words she is uttering. There is a solid compactness to her total conception of the role that emphasises her focal point in the melodramatic events happening on stage." Raymond Ericson, New York Times, November 14, 1962
• December 1963 "Simionato's voice doesn't suit the role of Santuzza...[but] the only fascinating, artistically exciting artistic emotions came from Simionato...who will ever forget her dragging herself on the ground, clawing Turiddu's hands - ah, those hands she loved to caress - and the tender way she told him, 'Your Santuzza is crying and begs you...'? Who wasn't terrified by her curse? Who didn't feel joy to hear her intimate, inspiring singing?" Aleco Toni, La Notte, September 8, 1963

Anecdotes

• In 1949, Toscanini who had been so moved by Simionato while conducting her in Boito's Nerone, heard that she was singing in Cavalleria, and the maestro did not approve. A few days later the two ran onto one another and Toscanini warned her that the role of Santuzza was a voice ruiner. Simionato maintained that she loved the character because she is so tremendously emotional.  
• In December 1963 Simionato opened the La Scala season with Cavalleria Rusticana and L'amico Fritz to honour Mascagni's 100th birthday. The ovation after the performance was fervent and the performers where showered with red carnations. After the performance Simionato was to receive something more remarkable than applause or flowers, an honorary title from the Italian Republic, a truly great occasion that was celebrated in the presence of many of operas luminaries and official dignitaries.