After 1937, during the "Estado Novo" period when Vargas seized power by decree, Villa-Lobos continued producing patriotic works directly accessible to mass audiences. Independence Day on September 7, 1939 involved 30,000 children singing the national anthem and items arranged by Villa-Lobos. For the 1943 celebrations he also composed the ballet "Dança da terra", which the authorities deemed unsuitable until it was revised. The 1943 celebrations did include Villa-Lobos's hymn "Invocação em defesa da pátria" shortly after Brazil's declaring war on Germany and its allies. Villa-Lobos's demagogue status damaged his reputation among certain schools of musicians, among them disciples of new European trends such as serialismwhich was effectively off limits in Brazil until the 1960s. This crisis was, in part, due to some Brazilian composers finding it necessary to reconcile Villa-Lobos's own liberation of Brazilian music from European models in the 1920s with a style of music they felt to be more universal. Vargas fell from power in 1945. Villa-Lobos was able, after the end of the war, to travel abroad again; he returned to Paris, and also made regular visits to the United States as well as travelling to Great Britain, and Israel. He received a huge number of commissions, and fulfilled many of them despite failing health. He composed concertos for piano, cello (the second one in 1953), classical guitar (in 1951 for Segovia, who refused to play it until the composer provided a cadenza in 1956), harp (for Nicanor Zabaleta in 1953) and harmonica (for John Sebastian, Sr. in 1955–6). Other commissions included his Symphony No. 11 (for the Boston Symphony Orchestra in 1955), and the opera "Yerma" (1955–56) based on the play by Federico García Lorca. His prolific output of this period prompted criticisms of note-spinning and banality: critical reactions to his Piano Concerto No. 5 included the comments "bankrupt" and "piano tuners' orgy", "raked the very depths of banality", "nothing ... but soupy textures or a bedraggled romantic idea", and "truly the kind of music that should never get written, still less performed". His music for the film "Green Mansions" starring Audrey Hepburn and Anthony Perkins, commissioned by MGM in 1958, earned Villa-Lobos , and he conducted the soundtrack recording himself.