When word of her success in Turin reached Britain, she was invited to sing the British premiere of La Traviata at Her Majesty's Theatre in London, where she appeared for the first time on May 24, 1856.
In spite of the doubts raised by music critics about her technical skills as a singer, audiences received her exceedingly well and she "was adopted at once as the pet (and afterwards how much petted!)
child of Her Majesty's Theatre".
On June 26, Piccolomini appeared for the first time as Maria, in La figlia del reggimento, and on July 26 in Don Pasquale.
Although these performances revealed her inexperience, critics praised her dramatic ability.
Following her season in England, Picolomini sang in Dublin with great success.

Piccolomini's appearance in Paris in Traviata on December 6, 1856 was the first time the opera had been heard in France.
Verdi tried to stop the opera from being performed at Théâtre des Italiens owing to lack of copyright for his operas in France at the time, also supporting the claims of the French holder of the rights on Alexandre Dumas's La Dame aux camélias (whence the opera is drawn), but without success.
Again, while critics remarked on the limitations of her voice and singing, they praised her natural talent and stage presence.
When the Empress Eugénie heard that she had missed the most talked-about premiere in Paris, she sent word to Calzado, the director of the theatre, and a command performance was arranged for the Emperor and her.

Piccolomini returned to the United Kingdom on April 21, 1857, and performed in La figlia del reggimento again and also in Don Giovanni (Zerlina), Lucia di Lammermoor and Le Nozze di Figaro (Susanna).
She had been working hard to improve her technique as a result of the criticism she had received the year before.
 She then made a provincial tour which included Liverpool, Manchester, Birmingham, Glasgow, Edinburgh, Bath, Bristol, Cheltenham, Brighton, and other places.
Then she repaired again to Dublin.
In November and December she went with Giuglini on a starring tour through Holland and Germany.

In 1858 Mademoiselle Piccolomini took part both in the first experimental winter season of Her Majesty's Theatre and in the ordinary one, revisiting some of her repertoire roles and presenting for the first time in London La zingara, a highly successful Italian version of Balfe's The Bohemian Girl (with all recitatives set to music), and Verdi's Luisa Miller, which was not however so warmly welcome.
She also debuted the roles of Amina in La sonnambula by Vincenzo Bellini and Serpina in La serva padrona by Giovanni Paisiello.

After her usual tour around  the provinces and in Dublin, in October she left for the United States, where she debuted at the New York Academy of Music with her favourite La Traviata, and then moved to Philadelphia  and several other large American cities, proposing her repertoire of operas by Verdi, Donizetti, Paisiello and Mozart, and enjoying almost as much success as in London.

In June 1859 she returned to London, appearing at the Theatre Royal, Drury Lane in sixteen or seventeen performances, the last of which being her London debut in Il trovatore.
After touring around the provinces as  usual, she finally returned to Italy.
When word of her success in Turin reached Britain, she was invited to sing the British premiere of La Traviata at Her Majesty's Theatre in London, where she appeared for the first time on May 24, 1856. In spite of the doubts raised by music critics about her technical skills as a singer, audiences received her exceedingly well and she "was adopted at once as the pet (and afterwards how much petted!) child of Her Majesty's Theatre". On June 26, Piccolomini appeared for the first time as Maria, in La figlia del reggimento, and on July 26 in Don Pasquale. Although these performances revealed her inexperience, critics praised her dramatic ability. Following her season in England, Picolomini sang in Dublin with great success.
Piccolomini's appearance in Paris in Traviata on December 6, 1856 was the first time the opera had been heard in France. Verdi tried to stop the opera from being performed at Théâtre des Italiens owing to lack of copyright for his operas in France at the time, also supporting the claims of the French holder of the rights on Alexandre Dumas's La Dame aux camélias (whence the opera is drawn), but without success. Again, while critics remarked on the limitations of her voice and singing, they praised her natural talent and stage presence. When the Empress Eugénie heard that she had missed the most talked-about premiere in Paris, she sent word to Calzado, the director of the theatre, and a command performance was arranged for the Emperor and her.
Piccolomini returned to the United Kingdom on April 21, 1857, and performed in La figlia del reggimento again and also in Don Giovanni (Zerlina), Lucia di Lammermoor and Le Nozze di Figaro (Susanna). She had been working hard to improve her technique as a result of the criticism she had received the year before.  She then made a provincial tour which included Liverpool, Manchester, Birmingham, Glasgow, Edinburgh, Bath, Bristol, Cheltenham, Brighton, and other places. Then she repaired again to Dublin. In November and December she went with Giuglini on a starring tour through Holland and Germany.
In 1858 Mademoiselle Piccolomini took part both in the first experimental winter season of Her Majesty's Theatre and in the ordinary one, revisiting some of her repertoire roles and presenting for the first time in London La zingara, a highly successful Italian version of Balfe's The Bohemian Girl (with all recitatives set to music), and Verdi's Luisa Miller, which was not however so warmly welcome. She also debuted the roles of Amina in La sonnambula by Vincenzo Bellini and Serpina in La serva padrona by Giovanni Paisiello.
After her usual tour around  the provinces and in Dublin, in October she left for the United States, where she debuted at the New York Academy of Music with her favourite La Traviata, and then moved to Philadelphia  and several other large American cities, proposing her repertoire of operas by Verdi, Donizetti, Paisiello and Mozart, and enjoying almost as much success as in London.
In June 1859 she returned to London, appearing at the Theatre Royal, Drury Lane in sixteen or seventeen performances, the last of which being her London debut in Il trovatore. After touring around the provinces as  usual, she finally returned to Italy.
Marietta Piccolomini