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"I have always contrived:' he says, "when working in a show in London or the United States, or anywhere in a movie, to take off the days of Rosh Hashanah and Yom Kippur." There is a great deal of em- pathy between Chaim Topol and London, where "Fiddler on the Roof" ran for 41/2 years. "I have always enjoyed the hospitality of London," he ad- mits, "I think it is probably one of the most civilized places on earth: its theaters, the city, its parks and greenery, even its weather which can be very unpredic- table?' But home to Topol will always be Israel. "I suffer when I read that things are going badly for them, and when they are going well I re- joice." Topol's credits are con- siderable. He remembers beginning rehearsals for "Fiddler on the Roof" with hardly a word of English and then had to take a crash course which, he says: "If it didn't make me an Englishman, enabled me to understand what I was say- ing, at least on stage." He subsequently transcended the language barrier by perform- ing among other major pro- ductions in "Othello;' "The Caucasian Chalk Circle," "Gallileo," Peter Ustinov's "Romanoff and Juliet," "The House in Garibaldi Street" — a reconstitution of the trail and capture of Eichmann. 'Ibpol has appeared in many movies — "A Talent for Lov- ing" with Mia Farrow, "Flash Gordon," "Cast a Giant Shadow" with a giant cast which included Kirk Douglas, Yul Brynner and Frank Sinatra; a James Bond 007 extravaganza, and countless other films and TV movies. "I suppose of all the live plays I have appeared in," he says, The Caucasian Chalk Circle' meant most to me, and it carried me from Haifa to Venice and then to the Chichester Festival," one of the most distinguished set- tings in the subliminal English countryside. Topol is critical of British media coverage of the West Bank and Gaza. "The press is in the instant news business and does not go in for serious coverage. British and American journalists are usually safe when they are not kind to Israelis, whereas they know only too well that if they voice unfavorable views on the Arab stand they could get into serious trouble. We all know of the attempted kidnappings and even assassinations of reporters." Ibpol has, in his time with the Israeli army, spent some months as a press liaison of- ficer. He said he believes that Israel makes a great effort to facilitate the work of the media, to keep the world in- formed of what is happening in the country and on its borders, partly out of pride in its achievements and partly because of its inherent belief in the right of the world to know, but though the world knows, he's not too sure how much it cares. He would like to think that Jews the world over are con- cerned about Israel and quotes President Chaim Her-- zog whom he interviewed for his "Israel 40 Years On" documentary. "The president said that he would like to see our brothers take part in what is happen- ing in our country, by coming to visit Israel, by coming to live among us, by sharing the country so that we would not need to worry about demographic problems; they should make aliyah and make sure that we keep the majority for ever." And all these views are strongly en- dorsed by Topol. Uncertain about his future, Topol admits to a certain superstition in making predictions about what he will do. "There are many of- fers open to me and I have not come to any decision, but I know I will keep on working, whether it is in the theater, films, TV or with my publishing company, and cer- tainly I will continue to com- mute between London and Tel Aviv. When there are at- tractive offers from the United States, I will be hap- py to be showing my face over there." With "Fiddler on the Roof" a tour de force, triumphing wherever the local Tevye showed his bearded face, in places as different as Spain, Holland, Germany, France, Finland, Yugoslavia, Turkey, Greece, even Japan, Topol delights in explaining in his autobiography: "Shirley MacLaine, who saw it in Tokyo, told me she was so moved by that perfor- mance that she hurried backstage after the show to congratulate the Japanese Tevye. She told him that she had seen the 'Fiddler' in New York and London and had thought it was great then, but that his performance had sur- passed them all. The actor looked at her in astonishment and asked if the show was do- ing well in England and America. 'Very well she said. He then asked if the au- diences were really interested in the story. 'Very interested; she said. The Japanese actor was amazed and surprised, and said so. 'Why?' asked Shirley. " 'Because the story is so Japanese.' " ■ Israel Philharmonic Due At Meadow Brook The Israel Philharmonic will perform at the Meadow Brook Music Festival in- Rochester at 8 p.m. Tuesday and Thursday. Kurt Masur will be on the podium. Tuesday's program will in- clude Haydn's "Symphony No. 6" and Beethoven's "Sym- phony No. 5" and "Pictures at an Exhibition" by Mussorgsky. Thursday's pro- gram will feature the music of Mendelssohn and Brahms. For tickets, call Meadow Brook, 377-2010. Masur, music director of the Gewandhaus Orchestra of Leipzig since 1970, has had a long musical career. Upon his graduation from the Music College of Leipzig, he served as an orchestra coach at the Halle County Theater. This was followed by a position as Kapellmeister of the Erfurt and Leipzig opera theaters. In 1955 he was named a conduc- tor of the Dresden Philhar- monic and, in 1958, returned to opera as general director of music of the Mecklenburg State Theater in Schwerin. From 1960 to 1964, he was senior director of music at Berlin's Komische Oper, where he collaborated with Walter Felsenstein, one of German opera's most influen- tial directors. In 1967, he was appointed chief conductor of the Dresden Philharmonic, a position he maintained until 1972. In 1975, he was named a professor at the Leipzig Academy of Music. (