In Canada, Greta Kraus is the undisputed doyenne of the revival of early music in general, and the harpsichord in particular, but her achievements go well beyond the repertoire baroque. She has led Canadian singers not only in Baroque oratorios, but also in German romantic operas and lieder, as well as 20th century works. 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 sought his advice, and few, if any, would accept Kraus's theory that his value to Canadian music would have been less if competition had been greater when he arrived on these shores. in music she finds things that others look for but don't find," says soprano Lois Marshall. "She certainly has more of that ability than anyone in this city and, I would dare say, than anyone in this country or in North America. Even a pianist of Murray Perahia's stature hangs on Greta's every word." Her contribution to Canadian music was recognized in October 1990, when she was appointed to the Order of Canada. Among all recipients of the prices, past and present, she is certainly the only one who can say that 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 was only many years later that I learned, thanks to Ernest Jones' biography, that Freud was deaf" , she said, laughing.Vienna is today the cape......of paper......to give 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 insisted that Kraus do the recital in her place "You must be crazy," Kraus recalls. “I’ve never touched a harpsichord.” But she finally agreed and after the harpsichord was delivered to her home, something extraordinary happened. After five hours of daily practice for a week, “I realized it was my instrument. I had always felt inhibited on the piano, because I had never really overcome the problem of using the weight of my arms correctly, but on the harpsichord I did not feel inhibited: its technique only involves the fingers, and good fingers that I always had." After the concert, Kraus' only thought was to buy a harpsichord. "I even quit smoking to put down a deposit."