In Canada, Greta Kraus is the undisputed doyenne of the early music revival in general, and of the harpsichordist in particular, but her achievements go far beyond the baroque repertoire. He coached Canadian singers not only in Baroque oratorio but also in German Romantic opera and lieder, and twentieth-century operas. Composer R. Murray Schafer studied with her, as did keyboardists Douglas Bodle, Elizabeth Keenan, Patrick Wedd, and Valerie Weeks, and singers Elizabeth Benson Guy, Mary Morrison, Gary Relyea, Roxolana Roslak, and Teresa Stratas. Countless other musicians have come to her for advice, and few, if any, would accept Kraus' theory that her value to Canadian music would have been less if the competition had been stronger when she arrived on these shores." What attracts everyone is her complete immersion in music and she finds things that others are looking for but can't find,” says soprano Lois Marshall. "She certainly has more of that ability than anyone else in this city and, dare I say, than anyone else in this country or in North America. Even a pianist of Murray Perahia's stature hangs on Greta's lips." Her contribution to Canadian music was recognized in October 1990, when she was made a Member of the Order of Canada. Of all the award recipients, past and present, she is almost certainly the only one who can say she sang for Sigmund Freud: when she was a teenager, she and her older sister were once invited by a disciple of Freud to serenade the master. on his birthday. “We sang and played and had a great time, and it wasn't until many years later that I learned from Ernest Jones' biography that Freud was tone deaf,” he says, laughing. Vienna today is the hat...... middle of paper...... to hold a lecture-recital at the Bach Society. Less than a week before the concert, Kraus received a phone call: Pessl had received an emergency summons to New York and was insisting that Kraus give the recital for her. “You must be out of your mind,” Kraus remembers telling her. "I have never touched a harpsichord." But in the end she accepted, and after the harpsichord was delivered to her home, something extraordinary happened. After studying five hours a day for a week "I realized that this was my instrument. At the piano I had always felt inhibited, because I had never really overcome the problem of using the weight of my arm correctly, but at the harpsichord I didn't I felt inhibited: his technique involves only the fingers, and I've always had good fingers." After the concert, Kraus's only thought was to get a harpsichord. "I also stopped smoking to make a deposit."