in The Bartered Bride (1940), Minni in Die Fledermaus (1940), Giulietta in The Tales of Hoffmann (1941), the Marschallin in Der Rosenkavalier (1941), a young girl in Spiel oder Ernst (1941), and Dorabella in Così fan tutte (1942). Work in New York City In May 1944 Lewis made her Manhattan, New York City debut on Broadway with the New Opera Company as Hanna Glawari in Lehar's The Merry Widow opposite Jan Kiepura. With that company she was also seen on Broadway in 1944 as the title heroine in Ermanno Wolf-Ferrari's Il segreto di Susanna. In 1948 she returned to Broadway to portray the role of the Female Chorus in the United States premiere of Britten's The Rape of Lucretia. The following year she created the role of Birdie Hubbard in the world premiere of Marc Blitzstein's Regina. She later portrayed the title role in that opera at the New York City Opera (NYCO) in 1953 and 1958. She returned to Broadway twice more during her career, both in musicals: as Lotta Leslie in The Girl in Pink Tights (1954) with French ballet star Zizi Jeanmaire and soprano Marni Nixon and as Mme. Cole in Cafe Crown (1964). In late 1944/early 1945 Lewis performed the role of Saffi in The Gypsy Baron in the NYCO's United States tour which was the brain child of impresario Sol Hurok. She then made her Lincoln Center debut with the NYCO as Santuzza in Cavalleria rusticana. She went on to sing several more roles with the NYCO over the next 20 years, including Cio-Cio-San in Madama Butterfly, Donna Elvira in Don Giovanni, Idiomantes in Idomeneo, Marenka in The Bartered Bride, Marguerite in Faust, and the title roles in Carmen and Salome among others. In 1959 she portrayed Zinida in the original production of Robert Ward's He Who Gets Slapped. Her final role with the NYCO was in another world premiere: the title role in Jack Beeson's Lizzie Borden in 1965. That production was filmed by WGBH in Boston and broadcast nationally on PBS in 1967. While more frequently seen at the NYCO, Lewis was also a regular performer at the Metropolitan Opera during the 1950s and 1960s. She made her Met debut on January 24, 1952 as Musetta in La bohème with Bidu Sayão as Mimi, Eugene Conley as Rodolfo, and Alberto Erede conducting. In 1953 her Met performance of Rosalinde in Die Fledermaus was