Word: salzburger
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...reason that many people went to the Salzburg Music Festival in Austria this year was to watch the excitement that would occur if the Festival had to be called off. Adolf Hitler, whose Bayreuth Festival was no great shakes, did everything he could to spoil Austria's show. He refused to let Richard Strauss, one of the Salzburg Festival founders, conduct a cycle of his operas, grudgingly allowed him to sit in the audience when Clemens Krauss led Elektra. He nearly ruined a performance of Tristan by yanking German Tenor Hans Grahl out of the cast at the last...
...Siam and his Queen were on hand. No Nazis could prevent German Bruno Walter from conducting because they had already exiled him. When the Reich's Chamber of Culture asked Charles Kullman, a U. S. tenor under contract to the Berlin Staatsoper, to decline his invitation to Salzburg, he angrily pointed to his U. S. citizenship, entrained for Austria anyhow...
Geraldine Farrar, motoring from Munich to the Salzburg Music Festival in Austria, was stopped at the frontier by German guards who refused to allow her German chauffeur to leave the country. Miss Farrar offered to pay the extortionate 1,000-mark fee for an Austrian visa for her chauffeur, was turned down. Leaving her car and driver at the border, she hiked five miles into Salzburg, arrived a little late for Beethoven's Fidelio...
Whatever Austria's destiny, the Dollfuss Government got a fresh dose of Nazi terrorism last week. In the marble hall of the Provincial Government Building at Salzburg a bomb went off outside the door of the Provincial Director of Public Safety, blowing a great hole in the wall. In Vienna $5,000 damage to the famed City Hall resulted from a terrorist fire brand...
...marvel at the warm eloquence of Lotte Lehmann's singing, the contralto richness that holds to the high est notes, again complained because they had to wait so long to hear her at the Metropolitan. Chicago had her for a few performances in 1931 and 1932. From Vienna, Salzburg, Paris and London have come ecstatic reports of her Leonore in Fidelia, her Marschallin in Der Rosenkavalier. New Yorkers who had heard her only in Lieder suddenly wanted to know more about this stately youthful person who could act as well as sing. During her first years in opera...