The Metropolitan Opera Guild does many things well, and one of them is: stage a memorial tribute. In May 2005, the Guild put on a beautiful one for Renata Tebaldi, the great Italian soprano who died in December 2004. The host of that evening was Anna Moffo, the beloved Italian-American soprano. She did her job in a tasteful, low-key way.

And it was because of her that the Guild staged a tribute on Wednesday night, in the same Alice Tully Hall. Anna Moffo died last March 9.

The program booklet included a lengthy bio, which began with this remarkable line: “Anna Moffo was quite simply one of the most beautiful and talented women ever to grace an opera stage, a film set, or a television studio” — and that is true. Because she was a cultural celebrity for so long, it can be hard to remember that she sang very, very well.

But the audio and video clips played on Wednesday night left no doubt of that.

As usual at such an event, the stars were out, and I could easily turn this article into a society column. The first person I saw, upon entering the hall, was Kitty Carlisle Hart. May I simply remind readers that George Gershwin proposed to her?

And several opera legends were on hand to speak about their colleague. Host of the evening was Sherrill Milnes, the American baritone. He still looks like a million bucks, with the mane of hair and the lantern jaw — lantern face, actually. Dudley Do-Right, in the flesh.

And he speaks beautifully, as an opera star should. Like others, he zeroed in on Moffo’s signature role, Violetta in “La traviata.” He said that no one had “captured the essence” of that character as she had. I’m not sure I’d rate anyone over Callas, but it was an appropriate thing to say on such an occasion. And, really, maybe Mr. Milnes is right.

We learned — or relearned — a lot about Anna Moffo Wednesday night. She was born in Philadelphia, in 1932. Her dad was an Italian immigrant, and her mom was American-born. At age three, Anna won a beauty contest (of course).When she was in kindergarten, her teacher issued a complaint: Anna sang with such volume, the other kids were intimidated!

As a youth, Anna was quite a jock, participating and excelling in a variety of sports. She wanted to be a professional tennis player. She also wanted to be a fighter pilot. Or to do missionary work with Albert Schweitzer (a formidable musician, to boot).

But, she said, everyone expected her to be a singer — and indeed she became one.

She attended the Curtis Institute, the famed conservatory in her hometown. Then she went to Italy, for further study.While in Venice as a tourist, she was approached by a film producer. “Hey, kid, want to be in a movie?” Sure, said Anna.

Next day, she was an extra in “Summertime,” starring Katharine Hepburn. We saw a clip: Anna is the pretty girl seated at a table near Kate, for about 15 seconds.

Before long, Moffo was a significant star herself. She cut a swath through movies, television, and of course opera. She was one in a handful: a golden girl, gliding through everything with a captivating grace. You got the feeling she could win a tennis tournament in the afternoon and triumph in Bellini that night. And she would never break a sweat.

She was thought tall: 5 foot 7. The tenor George Shirley spoke of her, at Alice Tully. (He remains his handsome, dignified self, by the way.) The first time he saw her, he said, she was rehearsing “Traviata” with Jan Peerce (another American tenor). And the disparity in height between them was great! Moffo kept having to lean down, said Mr. Shirley. Peerce was a bantam.

Also paying tribute was Marilyn Horne, who is a master at such events. She did not know Moffo intimately, but well enough. She quoted a mutual friend of theirs: Anna, said this friend, “never said a bad word about anyone.” And this is extremely rare, added Ms. Horne. She referred to Moffo as “a good gal,” in addition to everything else.

She also talked about hearing Moffo on the radio, not long ago. The opera was “La rondine” (Puccini) — and, you know, Moffo could really sing!

Oh, yes: It bears repeating that she was more than just pretty and starry.

I suggest two recordings: The first is the famous one with Leopold Stokowski and the American Symphony Orchestra. It contains Rachmaninoff’s “Vocalise,” Villa-Lobos’s well-known “Bachianas” bits, and some of Canteloube’s Auvergne songs. Stoki’s musicality is fantastic, of course, but so is Moffo’s. It is a special album.

And a “Traviata” has just been reissued on the RCA Living Stereo line: Moffo, Tucker, and Merrill, conducted by Fernando Previtali. Not too shabby, my friends.

And how lucky for musicians that recordings give them a kind of immortality! Lucky for anyone with ears, actually.