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In Canada, Greta Kraus is your uncontested doyenne of this early-music revival in general, and harpsichord playing in particular, but her achievements go far past the baroque repertoire. She has coached Canadian singers not only in baroque oratorios but in amorous German opera and lieder, and twentieth-century works. Even the composer R. Murray Schafer studied with her, and so did the keyboard artists Douglas Bodle, Elizabeth Keenan, Patrick Wedd, along with Valerie Weeks and also the 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 of them would accept Kraus's theory that her value to Canadian music would have been slighter had the competition been more powerful when she arrived on the shores. "What brings everyone is her whole immersion in the music; she discovers things that others search for but can't find," says soprano Lois Marshall. "She certainly has more of that ability than anyone else in this town and, I would venture to state, than anyone else in this state or in North America. Even a pianist of the prestige of Murray Perahia hangs on Greta's every word." Kraus's contribution to Canadian music was established in October, 1990, when she had been appointed to the Order of Canada. One of all of the award's recipients, past and current, she's almost surely the only one who can say that she staged for Sigmund Freud: if she was in her teens, she and her older sister were once encouraged by a Freud disciple into serenade the master on his birthdaycake. "We sang and played and had good fun, and only many years later did I hear by Ernest Jones's biography of him which Freud was tone-deaf," she says with a laugh. Vienna now is the cap...