 This negative view is supported to some extent by her repeated interpolation of flute/voice cadenzas, sometimes twice during the same aria, that often have no relation to the original piece.Such practices were fairly common in her era, however, when performers often took a less literal view of the written notes of a composer's score.In addition, the natural timbre of Galvany's upper register did not record well, which often results in an irritating, wiry sound that is unappealing to most modern ears.