Her style was marked by the same rare individuality. Her phrasing offered a curious blending of vigor and grace; and she had a trick of employing the portamento when approaching a high note, which in any other singer might have been thought almost ugly, but in Tietjens seemed both natural and artistic. At the same time, her attack was superb. Never have I heard the opening phrase of the 'Inflammatus' in Rossini's 'Stabat Mater' delivered with such magnificent energy and such absolute purity of tone. To hear Tietjens in those days sing 'Let the bright Seraphim' (especially to the trumpet obbligato of Tom Harper) was a treat never to be forgotten.