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

    He secured a top post at the Vienna State Opera in 1943, eventually becoming music director. On the occasion of the 80th birthday of Richard Strauss, on 11 June 1944, he conducted the Vienna State Opera performance of Ariadne auf Naxos. After World War II

  2. Böhm began to move steadily up the ladder through provincial opera houses and in 1927 he went on to become music director at the Staatstheater Darmstadt and then, in 1931, was appointed music director at Hamburgische Staatsoper serving until 1934 when he left for the prestigious post at Dresden.

  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. In 1921, with the support of Bruno Walter, he moved to Munich; in 1927 he was appointed general music director in Darmstadt, and in 1931 he moved to the corresponding position in Hamburg. In 1933 he joined the National Socialist party, which enabled him to succeed Fritz Busch at the Dresden opera house in 1934 when Busch was forced to leave ...

  5. May 23, 2018 · From 1931 to 1933 Böhm held the post of Generalmusikdirektor of the Hamburg Opera; from 1934 to 1943 he was music director of the Dresden State Opera, where he gave the first performances of Die Schweigsame Frau (June 24, 1935) and Daphne (Oct. 15, 1938), which Strauss dedicated to him.

  6. In 1917, he became rehearsal assistant at the Opernhaus Graz as rehearsal assistant making his debut as a conductor later that year. He became the assistant director of music in 1919, and the following year, the senior director. Father of Karlheinz Böhm .

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  8. Oct 9, 1994 · Bohm was only 55 when Strauss died in 1949. With the passage of time, the music world eventually came to regard the conductor as the composer’s alter ego.

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