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  1. en.wikipedia.org › wiki › Karl_BöhmKarl Böhm - Wikipedia

    The historian Michael H. Kater records that while Böhm was music director in Dresden (1934–43) he "poured forth rhetoric glorifying the Nazi regime and their cultural aims".

  2. www.encyclopedia.com › people › literature-and-artsKarl Bohm | Encyclopedia.com

    May 23, 2018 · In 1943 he became director of the Vienna State Opera, but his tenure was a brief one due to its closure by the Nazis in 1944 and by its destruction by Allied bombing during the closing weeks of World War II in 1945. The rumors were rife of his at least passive adherence to the Nazis, although he categorically denied that he was ever a member of ...

  3. Apr 17, 2024 · Böhm became musical director at Darmstadt in 1927, at Hamburg in 1931, and at Dresden in 1934. He made his London debut at Covent Garden in 1936. Böhm came under public criticism for taking the Dresden position because he had replaced Fritz Busch, who had been forced to resign by the Nazis; Böhm replaced Bruno Walter at Salzburg in 1938 ...

    • The Editors of Encyclopaedia Britannica
  4. Jun 14, 2017 · Orchestras and Nazis. he story of European classical music under the Third Reich is one of the most squalid chapters in the annals of Western culture, a chronicle of collective complaisance that all but beggars belief. Without exception, all of the well-known musicians who left Germany and Austria in protest when Hitler came to power in 1933 ...

  5. After leaving Dresden for Vienna, Böhm served two terms as music director of the Wiener Staatsoper in 1943-45 and 1954-56. Böhms dedicated relationship with the Nazi Party remains a controversial one and following the conclusion of World War Two in 1945 the Soviet Russian authorities prohibited him from undertaking employment of any kind ...

  6. Jul 27, 1997 · Karl Boehm was a firm supporter of Nazism, publicly and privately, and would open concerts with the Nazi salute.

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  8. Blech was Jewish, so those works were removed from the catalogue of the German label. This large gap in the catalogue of its bestselling recordings had to be filled with recordings by conductors considered suitable by the Nazis, a policy of which Böhm was a major beneficiary.

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