After the fall of the Iron Curtain she returned as a guest to her home country, starring as Emilia Marty in a Wilson production of The Makropulos Case at the National Theatre in Prague.

[2] Her roles at the State Opera included Handel's Dalinda in Ariodante and Onoria in Ezio, Orpheus in Gluck's Orpheus und Eurydike, Cherubino in Mozart's Die Hochzeit des Figaro, Frau Reich in Nicolai's Die lustigen Weiber von Windsor, Kontschakowna in Borodin's Fürst Igor, Olga in Tchaikovsky's Eugen Onegin, Erda and Rossweisse in Wagner's Der Ring des Nibelungen, the Second Maid in Elektra by Richard Strauss, a Kurtisane in Dessau's Die Verurteilung des Lukullus, and the title role of Jean Kurt Forest's Tai Yang erwacht.

[12] Červená made several appearances at the Bayreuth Festival, including as Floßhilde in Der Ring des Nibelungen in 1960, Rossweisse in 1966 and 1967, and as a Flower Maiden in Parsifal (1962–63 and 1966–67).

[17] She appeared as Countess Geschwitz in Alban Berg's Lulu in a 1966 production of the Staatsoper Stuttgart, directed by Wieland Wagner and alongside Anja Silja in the title role.

[18] It was also presented at the Edinburgh Festival, where she also performed as Baba the Turk in Stravinsky's The Rake's Progress in 1967, and as Carolina in Henze's Elegy for Young Lovers several times.

[13] She returned almost annually to San Francisco through 1971 in roles in which she transformed from the dark-haired beauty Anna in Les Troyens by Berlioz, to the impish Quickly in Verdi's Falstaff, the provocative Innkeeper in Mussorgski's Boris Godunov, and to Countess Geschwitz again,[6] which was described as an "ideal interpretation" by the Oakland Tribune.

[2][25] Other roles she performed in San Francisco included Azucena in Verdi's Il trovatore, Clairon in Capriccio by Richard Strauss, Countess de Coigny in Giordano's Andrea Chénier, as Rossweiße, Fricka and the First Norn in Wagner's Ring, Herodias in Salome by R. Strauss, Marcellina in Mozart's Le nozze di Figaro, the Marquise of Birkenfeld in Donizetti's La fille du régiment, Marthe Schwertlein in Gounod's Faust, and the mother in Charpentier's Louise.

[26] Martin Bernheimer on the other hand, described Červená's Orlofsky as missing the essential tone for the caricature and noted her trouble with vocal descents and the English text.

[27] After a nine-year absence, Červená returned to San Francisco in 1980 to portray Countess Waldner in Arabella by R. Strauss, Flora in Verdi's La traviata, Mamma Lucia in Mascagni's Cavalleria Rusticana, and Starenka Buryjovka in Janáček's Jenůfa.

[3] After the fall of the Iron Curtain she returned to her home country and starred as Emilia Marty in Karel Čapek's play The Makropulos Case, directed by Wilson, at the National Theatre in Prague.

[3][8][13] Červená performed on 29 September 2022 in Jan Zástěra [de]'s oratorio Saint Ludmila at the Lateran Basilica in Rome on the occasion of the Czech presidency of the Council of the European Union.

[12] Červená authored a memoir, published in 1999, Heimweh verboten – Mein Stück Theater- und Weltgeschichte (Homesickness Forbidden: My Piece of Theatre and World History).

She also wrote a biography of her great-grandfather Václav František Červený, one of the most important brass instrument makers of the 19th century, entitled "Grüß Gott, Herr Cerven".