Herbert Graf
While not rejecting these explanations, Freud gradually encourages the father also to understand Herbert's disorder in terms of the anxiety caused by the arrival of his younger sister and an inadequately satisfied curiosity as to the origin of babies.
Herbert's fear was thought to be the result of several factors, including the birth of a little sister, his desire to replace his father as his mother's sexual mate, emotional conflicts over masturbation, and others.
The anxiety was seen as stemming from the incomplete repression and other defense mechanisms being used to combat the impulses involved in his sexual development.
Herbert's analysis falls into two distinct stages, the first concerning the fear of horses themselves, and the second of the boxes and containers that they transported around Vienna.
From this moment on we had conquered the summit of his condition, the material flowed abundantly, the young patient showed courage in communicating the details of his phobia and soon intervened independently in the course of the analysis.
Herbert's treatment is taken to be complete when he expresses two new fantasies: one which shows that he has overcome his castration anxiety, and one which consciously acknowledges his desire to be married to his mother.
[2]: 4, 118 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".
[4] In 1930, in Frankfurt, Herbert Graf directed the world premiere of Arnold Schoenberg's Von heute auf morgen.
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 Mario Rossi conducting; both times with Ramón Vinay as Otello), The Marriage of Figaro (1952, with Rudolf Moralt conducting, with Erich Kunz, George London, Elisabeth Schwarzkopf, Irmgard Seefried, Hilde Gueden; 1953 revival conducted by Furtwängler and Paul Schöffler replacing London), a legendary Don Giovanni conducted by Furtwängler and designed by Clemens Holzmeister (1953, with Cesare Siepi, Elisabeth Grümmer, Anton Dermota, Schwarzkopf, Otto Edelmann, Walter Berry, Raffaele Arié, Erna Berger; revival 1954, with Dezsö Ernster replacing Arié; 1956 with Dimitri Mitropoulos conducting), Gottlob Frick replacing Ernster, Léopold Simoneau replacing Dermota, Lisa Della Casa replacing Schwarzkopf, Fernando Corena replacing Edelmann, Rita Streich replacing Berger) an equally legendary The Magic Flute conducted by Georg Solti and designed by Oskar Kokoschka (1955, cast included Gottlob Frick, Dermota, Schöffler, Kunz, Grümmer, Erika Köth, Peter Klein; revival in 1956 with Berry replacing Kunz); Elektra (1957, conducted by Mitropoulos, with Inge Borkh, Della Casa, Jean Madeira, Max Lorenz, Kurt Böhme), Simon Boccanegra (1961, with Gianandrea Gavazzeni conducting, with Tito Gobbi, Leyla Gencer, Giorgio Tozzi, Rolando Panerai), and finally La rappresentazione di anima e di corpo by Emilio de' Cavalieri (the production premiered in 1968 and was shown each year until 1973).
