R 1"'// Rolls (March 19641

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LETTERS Continued front page 12 SIR: Hurray for Edward Greenfield and his article concerning the art of Maria Cal- las. Fm certain that even she will be proud to read this fair critique. Theo Paul Auhert Shreveport. La. Hurrah for l're . and Rich SIR: Alan Rich is tops in my book for his review of Hermann Prey's "Scliwanenge- sang" (February 1964J. I was getting so sick of reviewers prating on about a blurred tone here or a spread note there. Lieder is not a lugubrious art, regardless of what Herr Fischer -Dieskau has been teaching us all along. I say hurrah for Prey's style, his passionate approach, and his courage in disregarding the current trend towards disassociating music and emotion. Hurrah for Alan Rich too! Stephanie von Dachau Larkspur, Calif. A Vote for Krauss SIR: Thank you for inaugurating the "Reis- sues" section. The late Clemens Krauss, perhaps the finest conductor of Richard Strauss, left us a legacy of splendidly recorded interpretations of Ein Helden- leben, Aus ltuliwl. l)un QuiAute, and most particularly Also sprach Zara- thustra. London Records could do no greater justice to this centennial birth year of Richard Strauss than to reissue these outstanding Vienna Philharmonic Orchestra recordings. Harry Harpoollian Kalamazoo, Mich. Welte- Mignon in Perspective SIR: I was most especially happy to see Har- old C. Schonberg's review of that new FIESTA TIME GOES BEST WITH A BOZAK IIII177=1/ album made from Welte- Mignon piano r 1"'// rolls (March 19641. It is a pretty thor- . d L ./L ough, if gentle, job of debunking. William D. Lynn Falls Church, Va. In garden or patio, on the terrace or at the poolside - wherever you A Bruno Walter Society can run a wire from your main amplifier - the Bozak BARD brings SIR: your favorite music with remarkable fidelity. This weather -proof No doubt there are many music lovers 20 -pound wide -range speaker hangs or stands anywhere, never in- whose lives were enriched by the art- istry of Bruno Walter. The undersigned trudes, never compromises on quality of sound. Modestly priced for would like to hear from any of them such superb performance. Hear it at your Franchised Bozak Dealer. who would be interested in founding a Bruno Walter Society. as suggested by HIGH FIDI nY's own Robert C. Marsh in his recent discography ("The Heritage of Bruno Walter." January 19641. Its purpose might be: (a) to perpetuate Walter's artistic ideals through the com- missioning of new works: (b) to oppose DnRaN, CONN., 0681 the persecution of artists and others for their political and religious beliefs; Continued on page 18 CIRCLE 10 ON READER -SERVICE CARD 16 HIGH FIDELITY MAGAZINE www.americanradiohistory.com.

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Parsifal and Canada: a Documentary Study
Parsifal and Canada: A Documentary Study The Canadian Opera Company is preparing to stage Parsifal in Toronto for the first time in 115 years; seven performances are planned for the Four Seasons Centre for the Performing Arts from September 25 to October 18, 2020. Restrictions on public gatherings imposed as a result of the Covid-19 pandemic have placed the production in jeopardy. Wagnerians have so far suffered the cancellation of the COC’s Flying Dutchman, Chicago Lyric Opera’s Ring cycle and the entire Bayreuth Festival for 2020. It will be a hard blow if the COC Parsifal follows in the footsteps of a projected performance of Parsifal in Montreal over 100 years ago. Quinlan Opera Company from England, which mounted a series of 20 operas in Montreal in the spring of 1914 (including a complete Ring cycle), announced plans to return in the fall of 1914 for another feast of opera, including Parsifal. But World War One intervened, the Parsifal production was cancelled, and the Quinlan company went out of business. Let us hope that history does not repeat itself.1 While we await news of whether the COC production will be mounted, it is an opportune time to reflect on Parsifal and its various resonances in Canadian music history. This article will consider three aspects of Parsifal and Canada: 1) a performance history, including both excerpts and complete presentations; 2) remarks on some Canadian singers who have sung Parsifal roles; and 3) Canadian scholarship on Parsifal. NB: The indication [DS] refers the reader to sources that are reproduced in the documentation portfolio that accompanies this article.
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Gestalten Und Schöpfen
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Strauss During the War Years Author(S): Willi Schuh Source: Tempo, No
Strauss during the War Years Author(s): Willi Schuh Source: Tempo, No. 13 (Dec., 1945), pp. 8-10 Published by: Cambridge University Press Stable URL: http://www.jstor.org/stable/944389 Accessed: 08-11-2017 01:41 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Cambridge University Press is collaborating with JSTOR to digitize, preserve and extend access to Tempo This content downloaded from 70.103.220.4 on Wed, 08 Nov 2017 01:41:41 UTC All use subject to http://about.jstor.org/terms 8 TEMPO STRAUSS DURING THE WAR YEARS By Willi Schuh little in common as with those previous to WJ HEN arrangements the second for the world celebration war of began, it. Strauss has always gone his own way, Strauss's seventy-fifth birthday had as the artist he wanted solely to be, without been. completed despite the shadows cast caring for worldly favours. As a member by the approaching catastrophy. They of an older generation he was unable to culminated in performances of six Strauss perceive that things were happening which operas which, given before an audience were not only at variance with the world he still international in character at the Munich had grown up in, but were alien to the whole State Opera in August 1939, testified to concept of European civilization.
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