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CONF IBGNTIAL Even thongh it is possible to notice a few meager efforta for “mification” of the opera by the Fascists it is impossible to point out even ope successful attempt along this line. Recently several opera premieres were produced in Germany, but not one of them aroused any enthusiasm even on the part of the most ardent petriots of Fascism, The libretto of the new Wagner-Regeni cpera “The Favorite” which is based on material from the works of Victor Hugo, is the most typical example of imitating (if not outright copying) models of so-called “neo-classic® mesic, cultivated by certain groups of musicians before Hitler‘se rise to power. In any case this opera contains nothing more original than the latest opera by Richard Strauss "The Taciturn Woman" which almost provoked a scandal, as the libretto vas written by a "non-Arian,” Stephan Zweig. After all it can be said without hesitation that everything platitudinous, hackneyed and vulgar found e niche for iteelf in Fescist production, fhe degeneration to which the artistic youth of Germany is doomed was not escaped by the great artist Hindemith. His latest work, the symphony "Kaudorknik Metiss” reveale in the author an epigonus composer who produces astoundingly veek pieces for a man like he is. Does this fact not serve as striking proof of that indisputable truth thet Fasciam is only capable of leading music, as well as any other art, to degradation! The Pascisteare earnestly endeavoring to find musical forms which they could give out for new ones present only in Fascist art. In this they strive to utilize the renowned “classical” heritage of the ancient Germans not restraining to add to this the masa compositions of revolutionary German composers. I am referring to the musical festivale on public squares (TIE PLATZE) an attempted revival of ancient German gems. Incapable of creating something original Fascism also ruthlessly suppresses all experiments and withdraws further from contemporariness. Ve the revolutionary musicians, are not the only ones who make this assertion. Whenever mention is made of present-day German music, the musical experts only shake their head sympathetically. An Amer ican bourgeois journalist interviewed me in Hollywood end while questioning me about Hitler asked whether the Fascist leader is a -2.-