From 1921 and onwards Lázaro appeared in a large number of stagings of Aida, becoming a respected and appreciated Rhadames. His repertoire also tended towards Il Trovatore, L'Africana and Gli Ugonotti, operas which were to characterize the latter part of his career, along with the Spanish zarzuela, Arrieta's "Marina" in particular. The presence and popularity of Miguel Fleta, who had assumed many of Lázaros roles, partly forced through the change of repertoire.

While in Philadelphia in 1924, he received a letter from Giordano who was writing on his next opera, La Cena delle Beffe, asking him to create the tenor role. The premiere was held in December 1924 at La Scala with Lázaro, under the baton of Toscanini.

The second part of Lázaros career, stretching from the mid 20's to his retirement in 1950, was comprised of concerts and performances held within Spain, France (Paris) and Italy, apart from his varoius trips to South America and in particular Cuba.

His repertoire was becoming narrower and narrower from the 30's and onwards, and the voice showed clear signs of decline. Yet he conserved some of his glory and acclaim through the zarzuela. During the 30's he performed in La Dolores, Curro Vargas, Doña Francisquita, La Tempestad and starred in the premieres of Vive's Euda d'Uriach (1934) and Gaig's El Estudiante de Salamanca (1935). His prime zarzuela part was in Arrieta's Marina, though, which he recorded in 1929.

Lázaro's career ended in La Habana, Cuba, 1950, with the performances of Marina, Aida and Rigoletto. He died 24 years later in his native Barcelona, on May 14th 1974, at the age of 87.