Word: toscaninis
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Ideas & Ideals. But all the bravos in South America and in Turin, where he conducted next, couldn't have kept Toscanini from a job he had his eye on. With his cello under his arm, he scurried to Milan to join the orchestra-as second cellist-that was preparing the premiere of Verdi's new opera, Otello...
Words & Music. Last week, Maestro Toscanini was busy brewing one of his favorite prescriptions in his own precise and painstaking way. Next week in Carnegie Hall he will conduct the Verdi Requiem in a charity performance for the New York Infirmary. And at $5 to $25 a seat and $250 a box, Carnegie Hall is already sold out, for the biggest gross in its history...
...ever had to beg Toscanini to play for charity-although he has refused to play for dictators. And he venerates Verdi above all other composers. For the past two months he has been teaching Verdi's score to his soloists. In his long, low-ceiling dressing room on the eighth floor of the RCA Building, he has sat at the piano, croaking and gesticulating at red-haired Soprano Herva Nelli, while a picture of Verdi stared at her from the piano's littered top. "Nelli," he pleaded, "please do use the expression on your face that you feel...
...audience settled down to enjoy at least a good laugh. This little scarecrow figure who closed the score before he started to play looked as if he might furnish some fun. But by the end of Act I, they were on their feet, cheering. At 19, Arturo Toscanini had won his first ovation as a conductor...
...this day Toscanini thinks of Verdi with the same mixture of fear, awe, love and respect with which his own musicians now regard him. From Verdi, he got most of his ideas and ideals of conducting. Verdi, like most composers, was outspoken against conductors who felt they had to "interpret" (i.e., change) his music. Said he: "My manuscripts are clear enough, but I have practically never heard my works interpreted as I imagined them...