Word: toscanini
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When Issai Dobrowen (pronounced Do-bro-vane) sat worshipfully listening to one of the Parsifal performances Arturo Toscanini conducted in Bayreuth last summer, he had no notion that he would ever be invited to conduct Toscanini's New York orchestra. In his 38 years the crinkly-haired, wiry little Russian has gone far. He has conducted in Moscow. Dresden, Berlin, Sofia, Oslo. Last year he was chosen along with British Basil Cameron to succeed hulking Alfred Hertz in San Francisco. Last week it was announced that he would conduct the Philharmonic-Symphony for four weeks next winter, after Toscanini...
...travel from Italy to Manhattan to conduct just one concert, reflected Arturo Toscanini, one really should select the Perfect Program. Last week he announced that when he leads the Philharmonic Symphony for the benefit of unemployed musicians April 28, his idea of perfection will be Parsifal, the Prelude and the Good Friday music, followed by Beethoven's Ninth Symphony with its soaring Ode to Joy. Toscanini also cabled his choice of soloists: Soprano Elisabeth Rethberg, Contralto Margaret Matzenauer, Tenor Giovanni Martinelli, Basso Ezio Pinza...
...from Italy (some 4,500 mi.) Arturo Toscanini will travel next month to conduct in Manhattan a single concert for the benefit of unemployed musicians. The news put Philharmonic subscriptions back at a premium last week. Ordinary reassurance had failed to down the rumor that he might never return...
...treatments for his "glass arm" had not kept Conductor Toscanini so long in Italy (TIME, March 14 et ante), the world première of his friend Ottorino Respighi's Maria Egiziaca might have caused more stir last week. Toscanini planned to direct the production. But instead Composer Respighi came. He relegated Philharmonic Symphony players to a dark corner of the Carnegie Hall stage. In their usual place a great gilt-framed triptych stood, spattered with stars and angels. Angels opened the triptych, disclosed three panels rudely painted to suggest a ship docked in the harbor of Alexandria...
Respighi meant his Maria Egiziaca to be mounted simply so as to suggest the old mystery plays. Mary of Egypt (German Charlotte Boerner) sang capably last week but, for the rest, the Philharmonic production was amateurish to a degree that Toscanini would never have tolerated. In his own miraculous fashion Toscanini might even have made the drab, derivative music take on color, sound significant...