The Santa Fe Opera Kraft was also highly active with The Santa Fe Opera during the 1960s. In 1965 she made her debut with the company as Adelaide von Waldner in Richard Strauss's Arabella. Her other performances with the company during these years included Marcellina (1965); Thisbe in Rossini's La cenerentola (1966); Madame de Croissy in Poulenc's Dialogues of the Carmelites (1966); Mother Goose in Stravinsky's The Rake's Progress (1966); Maddalena in Verdi's Rigoletto (1966); Margret in Alban Berg's Wozzeck (1966); Giannetta in Donizetti's L'elisir d'amore (1968); the Third Lady in Mozart's The Magic Flute (1968); Annina in Strauss's Der Rosenkavalier; and Ninon in the United States premiere of Penderecki's The Devils of Loudun (1969) among others. Performances in New York and elsewhere While mostly busy performing in operas in New York City and Santa Fe during the 1960s, Kraft also performed with other opera companies and in concerts throughout the United States during these years. In May 1962 she gave her New York City recital debut at Carnegie Recital Hall with pianist and composer Yehudi Wyner accompanying her in a program that included the premieres of several pieces by Wyner. In Philadelphia Kraft sang the roles of The Monitress in Puccini's Suor Angelica (1962) and Rossweisse in Wagner's Die Walküre (1963) with the Philadelphia Lyric Opera Company. In April 1964 she sang in the New York City premiere of Jack Gottlieb's Tea Party at the Donnell Library Center for the New York Composers Forum. Metropolitan Opera: 1970–1989 In 1969 Kraft was offered a contract by Rudolf Bing to join the roster of singers at the Metropolitan Opera. She leapt at the opportunity after recently having turned down a number of similar offers from a few different European opera houses. She made her Met debut on February 7, 1970, as Flora in La Traviata with Gabriella Tucci as Violetta, Nicolai Gedda as Alfredo, Robert Merrill as Germont, and Francesco Molinari-Pradelli conducting. Thus was the beginning of a nineteen-year-long artistic relationship which resulted in several CD recordings, eight "Live From the Met" recordings for television and video release, and well over 80 Saturday Texaco "Met" Broadcasts. Kraft became a favorite at the Met very quickly in roles like Emilia in Verdi's Otello, the drug-addicted Mrs. Sedley in Britten's Peter Grimes, and Mamma Lucia in Franco Zeffirelli's production of Mascagni's Cavalleria Rusticana. She was also an admired Mother Jeanne of the Holy