She studied at the Conservatory of Madrid and won a prize there in 1948. She made her debut in Madrid the same year and then had her first successes in Spain, ao. at the Granada Festival and the Teatro Liceu in Barcelona. In 1953 she received the first prize at the International Singing Competition in Geneva. In 1954, at Buenos Aires Teatro Colón, she had brilliant successes as Mimi in La Bohème and Eva in Die Meistersinger von Nürnberg. Guest performances and concerts have brought her great success in Italy and France, in Sweden and in Switzerland, in England and Holland. She has performed at the Grand Opéra Paris and at the Aix-en-Provence Festival (Donna Elvira in Don Giovanni, 1958). In 1958 she performed at the Opera of Monte Carlo as Carmen, in 1959 she gave a very successful concert with Spanish and French songs in Los Angeles. In 1959-61 she was a guest in a total of 19 performances at the Viennese Staatsoper (as Dorabella in Così fan tutte, Donna Elvira, in the title role of the opera "Ariadne auf Naxos" by R. Strauss, as Elisabetta in Verdi's "Don Carlos" as Desdemona in Verdi's "Otello" and as the Countess in "Le nozze di Figaro"). At the Grand Theâtre Geneva she first guested in 1959 as Dorabella; she also sang in Honegger's "Le Roi David" there in 1960, and in 1962, at the reopening of the opera house, Eboli, in the "Don Carlos" of Verdi. In 1961, she appeared in the title role of R. Schumann's "Genoveva" in Turin, at the Théâtre des Champs Élysées Paris in 1965 as Carmen. She then added dramatic parts to her repertoire; so she sang in 1958 at the Festival of Glyndebourne the title role in Glucks "Alceste". In 1959, she took the title role in "Beatrice di Tenda" by Bellini at the Teatro Massimo Palermo and the Rosario in "Goyescas" by Granados. In 1962 she was a guest at the Chicago Opera. She was much appreciated as a song singer, notably as an interpreter of the Spanish art song, but she also designed the German and French song with mastery. In a song recital in Paris, the great French singer Charles Panzéra expressed in 1960 admiringly about their interpretations. The stage heroine in Bellini's Norma, the Leonore in La forza del destino, Elsa in the Lohengrin, the title-heroines in "Salome" and "Elektra" by R. Strauss, the Santuzza in "Cavalleria rusticana," the Marguerite in the "Faust" of Gounod, and in the "La damnation de Faust" of Berlioz, the Dido in Dido and Aeneas of Purcell, and the Charlotte in the Werther of Massenet.

And acting next to the best figures of the moment. After a career of success, more abroad than in Spain itself, Consuelo Rubio retired from the stages in the mid-sixties. As regards the characteristics of his voice, the criticisms were unanimous in his time, dramatic temperament, the pasty and brilliant voice and clarity in the diction were emphasized regardless of the language in which the work was sung, which It denoted a perfect knowledge of the language in which he interpreted.

She died in 1981 in Madrid.