Italian or Spanish-trained operatic sopranos, mezzo-sopranos, and baritones exhibiting a pronounced vibrato did not escape censure, either, by British and North American arbiters of good singing. Indeed, Adelina Patti and Luisa Tetrazzini were the only Italian sopranos to enjoy star status in London and New York in the late-Victorian and Edwardian eras, while such well-known compatriots and coevals of theirs as Gemma Bellincioni and Eugenia Burzio (among several others) failed to please the Anglophones' ears because, unlike Patti and Tetrazzini, they possessed unsteady, vibrato-laden voices—see Scott for evaluations of their respective techniques. To give an additional female example from a later date, whenever the vivacious mezzo-soprano of the 1920s and '30s, Conchita Supervía, performed in London, she was admonished in print for her exceedingly vibrant and fluttery tone, which was unkindly likened by her detractors to the chatter of a machine-gun or the rattle of dice in a cup.