the climax of the programme was the nine-year-old Yehudi Menuhin's first performance of the Beethoven Violin Concerto. Busch was so impressed that he arranged for Menuhin to come to Dresden, where he played the Beethoven concerto, the Bach E major and the Brahms. In 1932 Busch was invited to conduct Mozart's Die Entführung aus dem Serail at the Salzburg Festival. Having recently been much impressed by Carl Ebert's staging of that opera in Berlin, Busch accepted the invitation on condition that Ebert should be engaged as director. The success of the production led Ebert to invite Busch to Berlin to conduct a new staging of Verdi's Un ballo in maschera, a celebrated and long-remembered production. Though not generally concerned with national or international politics, Busch had watched the rise of the Nazi Party with dismay and disgust. Not himself Jewish, he counted many Jews among his friends, valued democracy and hated dictatorship. He made no secret of his contempt for the Nazis, and after Adolf Hitler came to power in 1933, Busch was dismissed by the Nazi-dominated Saxon Landtag. Among those outraged by the affair was Strauss, whose new opera Arabella, dedicated to Busch, was to have been premiered at the Dresden opera under its dedicatee. Busch was replaced by Karl Böhm, a more congenial figure to the régime. Although Busch was forced out of Dresden by the local Nazis, the historian Michael Kater writes that senior party figures in Berlin, notably Hermann Göring, had a high regard for Busch and hoped to secure him as general director of the Staatsoper. According to Kater, Wilhelm Furtwängler, chief conductor of the Berlin Philharmonic, did not want so eminent a rival as Busch in the city; as Furtwängler had the backing of Hitler, the post went instead to Clemens Krauss. The last offer from the Nazis was a return to Bayreuth to replace Toscanini, who refused to work under the régime. Busch too refused. Buenos Aires, Copenhagen, Stockholm and Glyndebourne From 1933 Busch's career was mostly outside Germany. In May of that year he accepted the musical directorship of the Teatro Colón in Buenos Aires for a season. Returning to Europe at the end of the year he began a long association with the Danish Radio Symphony Orchestra and the Stockholm Philharmonic. In the early 1930s an English landowner, John Christie, and his wife, the singer Audrey Mildmay, conceived the idea of