his desire to be married to his mother. These fantasies coincide with the disappearance of his phobia. Freud follows the case history with a 40-page assessment of the case in which he links it to his theory of sexuality. He claims that he has learned nothing from this case that he already had not deduced from his analysis of adults, but he is nonetheless "tempted to claim a typical and exemplary importance" for the case in view of the direct and immediate proof of his theories that it appears to provide. In 1922, Freud wrote a short postscript to the case study, in which he reported that "Little Hans" had appeared in his office as a "strapping youth of nineteen", who "was perfectly well and suffered from no troubles or inhibitions". Minor revisions and additions to the case material were made in 1923–1924. The conclusions drawn by Freud were strongly criticized by Joseph Wolpe and Stanley Rachman in the essay "A Little Child Shall Lead Them" published first as "Psychoanalytic Evidence: A Critique Based on Freud's Case of Little Hans." in Critical Essays on Psychoanalysis, edited by Stanley Rachman, Macmillan (1963) which maintains that most of the material provided by Herbert was planted in his mind by Freud and Herbert's father. Career in opera In 1930, in Frankfurt, Herbert Graf directed the world premiere of Arnold Schoenberg's Von heute auf morgen. In 1936, after holding operatic posts in Münster, Breslau (now Wrocław, Poland), Frankfurt (where he was director of the Opera School at the Hoch Conservatory, 1930–1933; when the Nazis came to power he was released from his duties) and Salzburg, the 33-year-old Graf emigrated to the United States, where he became a successful and popular opera producer at New York's Metropolitan Opera (1936–1960, debuting with Samson and Delilah). He staged new famous productions in the French (The Tales of Hoffmann 1937), Italian (Otello 1937, La forza del destino 1943), then German (Der Ring des Nibelungen 1947, Der Rosenkavalier 1949), repertoires. Graf had a strong sense of tradition and encouraged young operatic talent. In the late 1950s, he returned to Europe, where he produced opera at London's Royal Opera House, Covent Garden, (1958–1959). After another year in New York, Graf settled in Switzerland, working at the Zürich Opera (1960–1963), and Geneva's Grand Théâtre (1965–1973). Graf staged several operas for the Salzburg Festival: Otello (1951, with Wilhelm Furtwängler conducting, 1952 with