from 1792 she returned fully to the stage in the theatres of vicenza, venice, milan again, naples and ferrara. she sang (among others) in the first scala performance of zingarelli’s "artaserse" (1793), in the première of portugal’s "demofoonte" (1794), in bertoni’s "orfeo ed euridice" (euridice), in mayr’s "telemaco nell’isola di calipso" (première, 1797), in cimarosa’s "artemisia regina di caria" (première, 1797) and in the first fenice performance of nasolini’s "la morte di semiramide" (1798, title role). her year of glory, however, was 1796, when she created two roles which remained in the repertoire for some decades and are now famous, in both appearing beside the soprano castrato girolamo crescentini, who was also grassini's master and whose teachings she followed faithfully throughout her life. nicola zingarelli wrote the part of "giulietta" for her in his opera "giulietta e romeo", staged at milan’s la scala on january 30, while domenico cimarosa composed the role of "horatia (orazia)" in "gli orazi e i curiazi", staged instead in northern italy’s second most important theatre, venice’s la fenice, on december 26. in that same year grassini took part moreover in a third première of gaetano marinelli's "issipile", which was by no means as successful as the others.