Jolana Fogašová J. Bělohlávek, M. Venzago, S.A. Reck, J. Fiore, I. Fischer, O. Lenárd, S. Lano, A. Eschwé, R.Štúr, L. Langrée, G. Korsten, H. Wolf, B. Gregor, A. Ligeti and others. Her melodramatic soprano repertiore covers a wide area od operatic parts, which are enabled by her voice type "soprano spinto d'agilita": Tosca, Manon Lescaut, Elza (Lohengrin), Salome, Venuss (Tannhauser), Eglantine (Euryanthe), Lucrezia Contarini (Due Foscari), Abigaille (Nabucco), Joan of Arc (Joan of Arc), Judith (Bluebeard’s Castle), Santuzza (Cavelleria Rusticana), Marina (Boris Godunov), Lucrezia Borgia (Lucrezia Borgia), Kostelnicka (Jenufa), Witch and the Foreign Princess (Rusalka), The Fox (The Cunning Little Vixen) and
Baby Doe Tabor her husband's death, Baby Doe was still an attractive woman in her mid-forties. After her husband's death, Baby Doe stayed in Denver for a period, according to her diaries and correspondence. Why she decided to leave Denver and the society there to make a return to Leadville, in the high mountains with its cold winters, is unknown, but it almost certainly had to do with the Matchless mine. For two years she unsuccessfully tried to find investors to bring the Matchless back into production. The family may have tried to regain ownership to the Matchless mine, but documentation is fragmented,