During her years in New Orleans, Romey is known to have published three pieces of sheet music: “La Marseillaise et le Bonnie Blue Flag: Grand fantaisie de concert” (1864), which is also in the holdings of the Historic New Orleans Collection; “Le chant exile” (1858); and “4 Mars. Souvenir!! À la mémoire de Madame G. T. Beauregard” (1864). The latter piece was a tribute to the second wife of Confederate General P. G. T. Beauregard, Marguerite Caroline Beauregard, whose funeral on March 4, 1864, was a citywide event. After the Civil War, Romey directed and performed in a series of successful benefit recitals for Confederate widows and orphans, often featuring orchestras composed entirely of women.

Romey also organized “monster concerts” in New Orleans. A 19th-century musical vogue popularized by New Orleans–born Louis Moreau Gottschalk, monster concerts featured major works transcribed for multiple pianists performing on stage simultaneously. Romey presented monster concerts at Odd Fellows Hall in 1866 and at Grunewald Hall in 1874, both featuring 24 women on 12 pianos performing her transcriptions of four grand opera overtures.

Romey continued to appear in concerts into the 1870s, and was both the composer and conductor of masses for all-female choirs at Immaculate Conception Church and the St. Louis Cathedral in 1875. She returned to Paris in 1880, where she died the next year. Romey’s lasting legacy was her strong interest in developing and publicly presenting the talents of amateur female musical artists—a very unusual pursuit at a time when the musical skills of women were largely confined to entertaining family and close friends.