Italian conductors of Arturo Toscanini's time. The legendary arturo toscanini - incidents from his life and his deity - music
During a tour of the Italian troupe in Rio de Janeiro (1886), where Toscanini worked as a cello accompanist, he made his debut as a conductor in Aida, replacing the ill maestro. In 1887-98 he worked in various theaters in Italy. Participated in the world premieres of the operas Pagliacci (1892), La bohème (1896). In 1898-1903 and 1906-08 he was chief conductor at La Scala, where he performed for the first time in Italy Siegfried (1899), Eugene Onegin (1900), Weber's Euryanta (1902) and others. In 1901 he appeared in famous production"Mephistopheles" by Boito, where a huge success fell to the lot of Chaliapin (Caruso and Carelli also sang in the performance). In 1908-15 he was chief conductor of the Metropolitan Opera. Among the productions in this theater: the world premiere of Puccini's "Girl from the West" (1910), the first American production of "Boris Godunov" (1913).
In 1921-29 he was again chief conductor of La Scala. In 1926 he participated in the world premiere of Puccini's last (unfinished) opera Turandot. He performed at the Bayreuth Festival in 1930-31 ("Tristan and Isolde", "Parsifal"), at the Salzburg Festival (1934-37). From 1926 he worked with a number of symphony orchestras in the United States, in 1937-53 he was chief conductor of the US National Radio Symphony Orchestra (NBC).
After the war, Toscanini performed a number of operas on American radio (Aida, Falstaff, and others). Among the best productions are also the operas "Valli" by Catalani (one of his favorite composers), "André Chénier", "Nero" by Boito (1924, La Scala, world premiere) and others.
Toscanini is one of the most outstanding conductors of the 20th century. One of the first in Italy began to pay attention to directing, attached great importance to the preservation author's intention works, opposing the aspirations of some opera stars to demonstrate their own vocal abilities to the detriment of the musical and dramatic integrity of the composition. Among the recordings (with the NBC Orchestra) of the opera La bohème, Aida, Un ballo in maschera, Othello, Falstaff (among the soloists are E. Nelly, Waldengo, Stich-Randal, Vinay, J. Pierce, Tucker, Albanese and others, all RCA Victor).
E. Tsodokov
1. this is a memory!
Memory was one of the most outstanding gifts of nature that Arturo Toscanini possessed. On that day, when he stood at the conductor's stand from the place of an ordinary cellist, the first thing he did was close the score that lay in front of him: "Aida", which was playing that evening, was already completely stored in his memory, despite the fact that he has never stood at the conductor's stand. Moreover, he remembered not only the notes, but also all the signs set by Verdi for the expressiveness of the sound of music...
2. "F-sharp!"
Once the maestro was preparing "Tristana", rehearsing with the performers to the piano. Together with the singers, he was on stage. As the second act was being played out, Toscanini half-turned towards the piano and said shortly:
- F-sharp!
Hearing the remark, the accompanist was a little taken aback. The scene was repeated once more, and again, when they reached the same place, Toscanini again shouted, this time more loudly: "F-sharp!"
But there was no F-sharp on the sheet music! On the third occasion, Toscanini jumped up from his chair in a rage and roared:
- F-sharp!
The frightened accompanist timidly remarked:
- Forgive me, maestro, but F-sharp is not written here ...
Toscanini was a little embarrassed and ... immediately went to his office. After some time, the accompanist found another edition of the score of "Tristan", ran to the maestro in the office and saw Toscanini leafing through the score of "Tristan", he wanted to see with his own eyes whether it contained the ill-fated F-sharp or not. - Maestro, - the accompanist joyfully turned to Toscanini, - you were absolutely right, there was a typo in the score!
Toscanini answered rather coldly, but it was felt that notes of victorious joy slip through his outward restraint:
- You know, I almost had a stroke: it turns out that all my life I was a donkey if I always played this F-sharp.
- I'm an ass, maestro, because I didn't notice a typo, - the accompanist answered.
3. E-flat is not needed
In San Luis before the concert, at the very last moment, the second bassoon found that the valve in E-flat was damaged. The musician was in complete despair: "What will the maestro say if he does not hear this note!" Knowing the tough temper of Toscanini, it was decided to inform him of the failure of the valve before the start of the concert. When Toscanini was explained what happened, he instantly went over in his memory all the works that were in the concert program, and said:
“Maybe I’m wrong, but I don’t think this E-flat will ever have to be taken in an evening.
Toscanini was right: the second bassoon never needed the damaged valve.
4. the conductor is a tamer!
Toscanini liked to repeat with an affectionate but insidious smile that the orchestra was like an unbroken horse that needed to be tamed. If the horse feels that a good-natured man is sitting on it, then he will simply throw off the rider-conductor. The orchestra always understands from the very first measures whether the conductor knows his business or not.
5. Blots for memory...
When Toscanini studied the scores, he memorized all the ink spots and marks that were on the pages. These blots, while conducting, flashed before his inner eye with the same speed and graphic clarity as the notes. He told his friends:
- On a wager, I can reproduce almost all my scores from memory, and I will certainly put all ... ink spots in their places!
6. "cold" violin
Toscanini was extremely sensitive to timbre colors in the orchestra.
Once, at a rehearsal for the New York orchestra, Toscanini suddenly stopped a musical phrase and pointed sternly at one of the violinists:
- What about your instrument?!
- But am I not exactly playing? - the violinist was frightened. - I'm asking not about how you play, but what about your instrument! I have the impression that your violin has caught a sore throat. Do you have another instrument today?
- Quite right, my violin was left at home.
- The rehearsal is over for today. And you to have your violin tomorrow. Now, because of your "cold" violin, I can not correctly hear the sound of the entire violin group.
7. shameless household members
Toscanini was extremely demanding of himself and the performers. He endured the slightest setbacks very painfully. He could go to a concert in the best of spirits, and three hours later leave the hall in utter despair, shouting curses at the orchestra or himself. Once in Milan, after a performance at La Scala, Toscanini returned home extremely depressed and went to the dining room, where the table was set for a late dinner. Stopping at the door, the maestro attacked his household:
- How can you eat after such a performance, be ashamed! - slamming the door, Toscanini left. And everyone went to bed hungry that night.
8. let's play louder, gentlemen!..
Once Toscanini devoted the entire rehearsal of the orchestra to working on the fortissimo.
- Why are we only dealing with this nuance today? the concertmaster asked the conductor.
- Because yesterday at our concert during the performance of "Ride of the Valkyries" the audience in the front row slept peacefully, and I do not intend to allow such a disgrace to happen again! ..
9. neighbors will appreciate
A girl comes to Toscanini and asks if he needs choristers. Toscanini replies that there are no vacancies and does not want to listen to the girl, but adds:
- However, you probably have good recommendations?
- No, - the girl was confused.
- Then you brought good performance You didn't come from the street, did you?
“Unfortunately, I don’t have any stats either. But I can bring feedback from my family. They really like the way I sing, they are fans of the famous maestro.
Toscanini thought for a moment, a sly smile flickered on his lips:
- Then come back next week and don't forget to grab your neighbors' testimonials. If they are favorable, perhaps I will listen to you.
10. explained!
During an orchestral rehearsal symphonic poem Debussy "The Sea" Arturo Toscanini wanted to achieve a gentle, as if soaring sound of the instruments. He tried to explain to the orchestra what he wanted, this way and that, but to no avail. In the end, having come to complete despair, but still unable to find enough convincing words, the conductor took a thin silk handkerchief from his pocket, raised it high above his head and unclenched his fingers...
The orchestra members looked in bewilderment at the handkerchief, which hovered lightly and smoothly in the air and finally landed noiselessly.
- Well, now you understand me, gentlemen? Toscanini said seriously. - I beg you, play me exactly like this!
11. who is this scoundrel?!
Over the years artistic views Toscanini changed markedly.
One day the orchestra led by Arturo Toscanini was returning from a tour of South America. To pass the time, a group of orchestra members invited the maestro to listen to a shortwave broadcast from London. The radio was switched on in the middle of Beethoven's Heroic Symphony. As Toscanini listened, his face darkened more and more.
- What kind of scoundrel takes such a pace! - he was indignant. - It's just impossible! What does he allow himself! By the end of the performance, Toscanini, overcome with rage, was ready to throw the radio out the window. Then the unperturbed voice of the English announcer was heard: "You have listened to the recording of the BBC Orchestra conducted by Arturo Toscanini."
12. Let this be our little secret...
Arturo Toscanini, once conducting in New York, remarked to a singer who was performing with an orchestra. “But I am a great artist,” the offended diva exclaimed, “do you know about this?
Toscanini politely replied:
Don't worry, I won't tell anyone about this...
13. oh them!
Once the famous maestro was asked why there was never a single woman in his orchestra.
- You see, - answered the maestro, - women are very disturbing. If they are beautiful, then they interfere with my musicians, and if they are ugly, they interfere with me even more!
14. it can't be, but... it was
Once Toscanini conducted a symphony in which the harpist had to play one single note only once. And the harpist managed to get out of tune! Toscanini decided to repeat the entire symphony, but when the harp's turn came, the musician stumbled again.
Enraged Toscanini left the room. There was a concert in the evening. The unlucky harpist takes his place in the orchestra, removes the case from the harp. And what does he see? All strings have been removed from the harp. There is only one left: the right one.
15. expensive gift
Toscanini was extremely impulsive and quick-tempered. A wrong note would drive him into a frenzy immediately. Angry at the rehearsal, the great maestro used to break all the objects that came his way. One day, losing his temper, he threw his expensive watch on the floor and trampled it under his heel... After this trick, the orchestra members, who loved their mad conductor, decided to give him two cheap watches. Toscanini gratefully accepted the gift and pretty soon used the watch "for its intended purpose"...
16. Who knows...
On the day of his birth, Toscanini refused all honors and spent it in hard work, rehearsing the program of the upcoming concert with his orchestra. Despite Toscanini's strict prohibition, one of his friends nevertheless came to the maestro with congratulations and, as if by the way, asked:
- Arturo, do not hide how old you are - 86 or 87?
“I don’t know for sure,” Toscanini replied, “I keep a record of all the scores, all the rehearsals, all the records of my orchestra’s performances. Do I really have to keep an accurate record of my years besides all this?!
Biography
Born in the family of a tailor. At the age of nine he was admitted to the Royal School of Music in Parma. Studying cello, piano and composition, he received a scholarship at the age of eleven, and at thirteen he began to perform as a professional cellist. In 1885, at the age of 18, he graduated with honors from the Conservatory in Parma, cello class with L. Carini; while still a student, he led a small orchestra organized by him from fellow students. After graduating from the conservatory, he was accepted into the mobile Italian opera troupe as cello accompanist, assistant choirmaster and corporator. In 1886 the troupe went to Rio de Janeiro for the winter season; during these tours, on June 25, 1886, due to squabbles between the permanent conductor of the troupe, managers and the public, Toscanini had to stand at the conductor's stand during the performance of Giuseppe Verdi's Aida. He conducted the opera by heart. That's how it started conductor career, which he gave about 70 years.
Toscanini received his first Italian engagement in Turin. Over the next 12 years, he conducted in 20 Italian cities and towns, gradually gaining a reputation as the best conductor of his time. He conducted the world premiere of Pagliacci by Ruggero Leoncavallo in Milan (1892); he was invited to conduct the first performance of La bohème by Giacomo Puccini in Turin (1896). Since 1896, he also performed in symphony concerts; in 1898 he performed Tchaikovsky's 6th Symphony for the first time in Italy.
In 1897 he married the daughter of a Milanese banker, Carla de Martini; four children were born of this marriage, but one son died in infancy.
For 15 years, Toscanini was the leading conductor of Milan's La Scala Theatre. From 1898 to 1903 he divided his time between the winter season at La Scala and the winter season at the theaters in Buenos Aires. Disagreement with the artistic policy of La Scala forced Toscanini to leave this theater in 1904, in 1906 he returned there for another two years. In 1908 another conflict situation prompted the conductor to leave Milan again. So he first ended up in the United States, where for seven years (1908-1915) he was the conductor of the Metropolitan Opera. With the advent of Toscanini, a legendary era in history began opera house in USA. But here, too, Toscanini expressed disagreement with the artistic policy and in 1915 left for Italy, where, after the end of the war, he again became the chief conductor of La Scala. This period (1921-1929) was the era of the brilliant heyday of La Scala. In 1929, Toscanini left Italy for a long time, not wanting to collaborate with the Fascist regime.
Since 1927, Toscanini has simultaneously worked in the United States: he was the chief conductor of the New York Philharmonic Orchestra, with whom he performed during the previous two seasons as a guest performer; after the merger of the orchestra in 1928 with the New York Symphony Orchestra, until 1936 he led the combined New York Philharmonic Orchestra. In 1930 he went on his first European tour with the orchestra. In Europe, he twice conducted at the Bayreuth Wagner Festivals (1930-1931), at the Salzburg Festival (1934-1937); founded his own festival in London (1935-1939) and also conducted at the Lucerne Festival (1938-1939). In 1936, he helped organize the Palestine Orchestra (now the Israel Philharmonic Orchestra).
The final and most famous period of Toscanini's life, captured in numerous recordings, began in 1937, when he held the first of 17 seasons of radio concerts with the New York Radio Symphony Orchestra (NBC). With this orchestra, he toured South America in 1940, and in 1950 toured the United States with an ensemble of orchestral musicians.
After the 1953-1954 season, Toscanini left the New York Radio Orchestra. He died in his sleep at his home in Riverdale, New York on January 16, 1957. He was buried in Milan in the family vault. At the funeral of the conductor, the audience sang the famous choir Va, pensiero from the opera Nabucco by Giuseppe Verdi.
Confession
Based on a November 2010 poll by the British Classical Music Magazine BBC Music Magazine among a hundred conductors from different countries, Arturo Toscanini ranked eighth in the list of the twenty most outstanding conductors of all time. In addition to Toscanini, this "twenty" included Herbert von Karajan, Evgeny Mravinsky, Leonard Bernstein, Bernard Haitink, Claudio Abbado, Pierre Boulez, Wilhelm Furtwangler and others. Inducted into the Gramophone Magazine Hall of Fame.
To the cinema
- Young Toscanini / Il giovane Toscanini (Italy, France), 1988, directed by Franco Zeffirelli
- Toscanini in His Own Words / Toscanini in his own words (documentary), www.imdb.com/title/tt1375659/
- The Art of Conducting: Great Conductors of the Past, www.imdb.com/title/tt0238044/?ref_=fn_al_tt_2
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Literature
- Stephen, Paul. Arturo Toscanini. - Wien/Leipzig/Zurich: Herbert Reichner, 1935.
- Stefan Zweig. Arturo Toscanini.
Notes
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An excerpt characterizing Toscanini, Arturo
- J "ai apporte mon ouvrage [I grabbed the job]," she said, unfolding her purse and addressing everyone together.“Look, Annette, ne me jouez pas un mauvais tour,” she turned to the hostess. - Vous m "avez ecrit, que c" etait une toute petite soiree; voyez, comme je suis attifee. [Don't play a bad joke on me; you wrote to me that you had a very small evening. See how badly I'm dressed.]
And she spread her hands to show her, in lace, an elegant gray dress, girded with a wide ribbon a little below her breasts.
- Soyez tranquille, Lise, vous serez toujours la plus jolie [Be calm, you will be the best], - answered Anna Pavlovna.
- Vous savez, mon mari m "abandonne," she continued in the same tone, referring to the general, "il va se faire tuer. Dites moi, pourquoi cette vilaine guerre, [You know, my husband is leaving me. Going to his death. Say , why this nasty war,] - she said to Prince Vasily and, without waiting for an answer, turned to the daughter of Prince Vasily, to the beautiful Helen.
- Quelle delicieuse personne, que cette petite princesse! [What a charming person this little princess is!] - said Prince Vasily quietly to Anna Pavlovna.
Shortly after the little princess, a massive, stout young man with a cropped head, spectacles, light trousers in the fashion of the time, with a high frill, and in a brown tailcoat, entered. This fat young man was the illegitimate son of the famous Catherine's nobleman, Count Bezukhoi, who was now dying in Moscow. He had not served anywhere yet, had just arrived from abroad, where he had been brought up, and was for the first time in society. Anna Pavlovna greeted him with a bow, which belonged to the people of the lowest hierarchy in her salon. But, despite this inferior greeting, at the sight of Pierre entering, Anna Pavlovna displayed anxiety and fear, similar to that which is expressed at the sight of something too huge and unusual for a place. Although, indeed, Pierre was somewhat larger than the other men in the room, but this fear could only relate to that intelligent and at the same time timid, observant and natural look that distinguished him from everyone in this living room.
- C "est bien aimable a vous, monsieur Pierre, d" etre venu voir une pauvre malade, [It is very kind of you, Pierre, that you came to visit the poor patient,] Anna Pavlovna told him, exchanging frightened glances with her aunt, to which she let him down. Pierre murmured something incomprehensible and continued to look for something with his eyes. He smiled joyfully, cheerfully, bowing to the little princess as if he were a close acquaintance, and went up to his aunt. Anna Pavlovna's fear was not in vain, because Pierre, without listening to his aunt's speech about her majesty's health, left her. Anna Pavlovna stopped him in fright with the words:
"You don't know Abbe Morio?" he is very interesting person… - she said.
Yes, I heard about his plan. eternal peace, and this is very interesting, but hardly possible ...
“Do you think? ...” said Anna Pavlovna, in order to say something and turn again to her occupations as a mistress of the house, but Pierre did the reverse impoliteness. First, he, without listening to the words of his interlocutor, left; now he stopped his interlocutor with his conversation, who needed to leave him. Bending his head and spreading his big legs, he began to prove to Anna Pavlovna why he believed that the abbot's plan was a chimera.
"We'll talk later," said Anna Pavlovna, smiling.
And getting rid of young man unable to live, she returned to her occupations as a mistress of the house and continued to listen and look, ready to give help at the point where the conversation was weakening. Just as the owner of a spinning shop, having seated the workers in their places, paces around the establishment, noticing the immobility or the unusual, creaking, too loud sound of the spindle, hurriedly walks, restrains or sets it in its proper course, so Anna Pavlovna, pacing around her drawing room, approached the silent or a mug that was talking too much, and with one word or movement would start up again a regular, decent conversational machine. But among these worries, one could still see in her a special fear for Pierre. She looked at him solicitously as he approached to hear what was being said about Mortemart, and went to another circle where the abbe was speaking. For Pierre, brought up abroad, this evening of Anna Pavlovna was the first he saw in Russia. He knew that all the intelligentsia of St. Petersburg were gathered here, and his eyes widened like a child in a toy shop. He was afraid of missing the smart conversations he might overhear. Looking at the confident and graceful expressions of the faces gathered here, he kept waiting for something particularly clever. Finally, he approached Morio. The conversation seemed interesting to him, and he stopped, waiting for an opportunity to express his thoughts, as young people like it.
Anna Pavlovna's evening was started. The spindles from different sides evenly and incessantly rustled. Apart from ma tante, beside which sat only one elderly lady with a weepy, thin face, somewhat a stranger in this brilliant society, the society was divided into three circles. In one, more masculine, the center was the abbot; in the other, young, the beautiful Princess Helen, daughter of Prince Vasily, and the pretty, ruddy, too plump for her youth, little Princess Bolkonskaya. In the third Mortemar and Anna Pavlovna.
The viscount was a pretty young man, with soft features and manners, who obviously considered himself a celebrity, but, out of good manners, modestly allowed himself to be used by the society in which he found himself. Anna Pavlovna, obviously, treated her guests to them. Just as a good maître d’hotel serves as something supernaturally beautiful that piece of beef that you don’t want to eat if you see it in a dirty kitchen, so this evening Anna Pavlovna served her guests first the viscount, then the abbot, as something supernaturally refined. Mortemart's circle immediately started talking about the murder of the Duke of Enghien. The viscount said that the Duke of Enghien died from his generosity, and that there were special reasons for Bonaparte's bitterness.
- Ah! voyons. Contez nous cela, vicomte, [Tell us this, viscount,] - said Anna Pavlovna, feeling with joy how this phrase echoed something a la Louis XV [in the style of Louis XV], - contez nous cela, vicomte.
The viscount bowed in humility and smiled courteously. Anna Pavlovna made a circle around the viscount and invited everyone to listen to his story.
“Le vicomte a ete personnellement connu de monseigneur, [the viscount was personally acquainted with the duke],” Anna Pavlovna whispered to one. “Le vicomte est un parfait conteur,” she said to another. - Comme on voit l "homme de la bonne compagnie [As a person of good society is now visible]," she said to the third; and the viscount was served to society in the most elegant and favorable light for him, like roast beef on a hot dish sprinkled with herbs.
Biography
Born in the family of a tailor. At the age of nine he was admitted to the Royal School of Music in Parma. Studying cello, piano and composition, he received a scholarship at the age of eleven, and at thirteen he began to perform as a professional cellist. In 1885, at the age of 18, he graduated with honors from the Conservatory in Parma, cello class with L. Carini; while still a student, he led a small orchestra organized by him from fellow students. After graduating from the conservatory, he was accepted into a traveling Italian opera troupe as cello accompanist, assistant choirmaster and corporator. In 1886 the troupe went to Rio de Janeiro for the winter season; during these tours, on June 25, 1886, due to squabbles between the permanent conductor of the troupe, managers and the public, Toscanini had to stand at the conductor's stand during the performance of Giuseppe Verdi's Aida. He conducted the opera by heart. Thus began his conducting career, to which he gave about 70 years.
Toscanini received his first Italian engagement in Turin. Over the next 12 years, he conducted in 20 Italian cities and towns, gradually gaining a reputation as the best conductor of his time. He gave the world premiere of The Pagliacci by Ruggiero Leoncavallo in Milan (1892); he was invited to conduct the first performance of La bohème by Giacomo Puccini in Turin (1896). From 1896 he also performed in symphony concerts; in 1898 he performed Tchaikovsky's 6th Symphony for the first time in Italy.
In 1897 he married the daughter of a Milanese banker, Carla de Martini; four children were born of this marriage, but one son died in infancy.
For 15 years, Toscanini was the leading conductor of Milan's La Scala Theatre. From 1898 to 1903 he divided his time between the winter season at La Scala and the winter season at the theaters in Buenos Aires. Disagreement with the artistic policy of La Scala forced Toscanini to leave this theater in 1904, in 1906 he returned there for another two years. In 1908, another conflict situation prompted the conductor to leave Milan again. So he first ended up in the United States, where for seven years (1908-1915) he was the conductor of the Metropolitan Opera. With the advent of Toscanini, a legendary era began in the history of the opera house in the United States. But here, too, Toscanini expressed disagreement with artistic policy and in 1915 left for Italy, where, after the end of the war, he again became the chief conductor of La Scala. This period (1921-1929) was the era of the brilliant heyday of La Scala. Although at one time he agreed to support the adventure of Gabriele d'Annunzio and even accept the post of "Minister of Culture" of the Republic of Fiume proclaimed by the same, in 1929 Toscanini left Italy for a long time, not wanting to cooperate with the fascist regime.
Since 1927, Toscanini has simultaneously worked in the United States: he was the chief conductor of the New York Philharmonic Orchestra, with which he performed as a guest performer for the previous two seasons; after the merger of the orchestra in 1928 with the New York Symphony Orchestra, until 1936 he led the combined New York Philharmonic Orchestra. In 1930 he went on his first European tour with the orchestra. In Europe, he twice conducted at the Bayreuth Wagner Festivals (1930-1931), at the Salzburg Festival (1934-1937); founded his own festival in London (1935-1939) and also conducted at the Lucerne Festival (1938-1939). In 1936, he helped organize the Palestine Orchestra (now the Israel Philharmonic Orchestra).
The final and most famous period of Toscanini's life, captured in numerous recordings, began in 1937, when he held the first of 17 seasons of radio concerts with the New York Radio Symphony Orchestra (NBC). With this orchestra, he toured South America in 1940, and in 1950 toured the United States with an ensemble of orchestral musicians.
After the 1953-1954 season, Toscanini left the New York Radio Orchestra. He died in his sleep at his home in Riverdale, New York on January 16, 1957. He was buried in Milan in the family vault at the Monumental Cemetery. At the funeral of the conductor, the audience sang the famous choir Va", pensiero from the opera
- January 16, Riverdale, New York) - Italian conductor.
Biography
Born in the family of a tailor. At the age of nine he was admitted to the Royal School of Music in Parma. Studying cello, piano and composition, he received a scholarship at the age of eleven, and at thirteen he began to perform as a professional cellist. In 1885, at the age of 18, he graduated with honors from the Conservatory in Parma, cello class with L. Carini; while still a student, he led a small orchestra organized by him from fellow students. After graduating from the conservatory, he was accepted into a traveling Italian opera troupe as cello accompanist, assistant choirmaster and corporator. In 1886 the troupe went to Rio de Janeiro for the winter season; during these tours, on June 25, 1886, due to squabbles between the permanent conductor of the troupe, managers and the public, Toscanini had to stand at the conductor's stand during the performance of "Aida" by Giuseppe Verdi. He conducted the opera by heart. Thus began his conducting career, to which he gave about 70 years.
Toscanini received his first Italian engagement in Turin. Over the next 12 years, he conducted in 20 Italian cities and towns, gradually gaining a reputation as the best conductor of his time. He gave the world premiere of Ruggero Leoncavallo's Pagliacci in Milan (1892); he was invited to conduct the first performance of La bohème by Giacomo Puccini in Turin (1896). From 1896 he also performed in symphony concerts; in 1898 he performed Tchaikovsky's 6th Symphony for the first time in Italy.
In 1897 he married the daughter of a Milanese banker, Carla de Martini; four children were born of this marriage, but one son died in infancy.
For 15 years, Toscanini was the leading conductor of Milan's La Scala Theatre. From 1898 to 1903 he divided his time between the winter season at La Scala and the winter season at the theaters in Buenos Aires. Disagreement with the artistic policy of La Scala forced Toscanini to leave this theater in 1904, in 1906 he returned there for another two years. In 1908, another conflict situation prompted the conductor to leave Milan again. So he first ended up in the United States, where for seven years (1908-1915) he was the conductor of the Metropolitan Opera. With the advent of Toscanini, a legendary era began in the history of the opera house in the United States. But here, too, Toscanini expressed disagreement with the artistic policy and in 1915 left for Italy, where, after the end of the war, he again became the chief conductor of La Scala. This period (1921-1929) was the era of the brilliant heyday of La Scala. In 1929, Toscanini left Italy for a long time, not wanting to collaborate with the Fascist regime.
Since 1927, Toscanini has simultaneously worked in the United States: he was the chief conductor of the New York Philharmonic Orchestra, with which he performed as a guest performer for the previous two seasons; after the merger of the orchestra in 1928 with the New York Symphony Orchestra, until 1936 he led the combined New York Philharmonic Orchestra. In 1930 he went on his first European tour with the orchestra. In Europe, he twice conducted at the Bayreuth Wagner Festivals (1930-1931), at the Salzburg Festival (1934-1937); founded his own festival in London (1935-1939) and also conducted at the Lucerne Festival (1938-1939). In 1936, he helped organize the Palestine Orchestra (now the Israel Philharmonic Orchestra).
The final and most famous period of Toscanini's life, captured in numerous recordings, began in 1937, when he held the first of 17 seasons of radio concerts with the New York Radio Symphony Orchestra (NBC). With this orchestra, he toured South America in 1940, and in 1950 toured the United States with an ensemble of orchestral musicians.
After the 1953-1954 season, Toscanini left the New York Radio Orchestra. He died in his sleep at his home in Riverdale, New York on January 16, 1957. He was buried in Milan in the family vault. At the funeral of the conductor, the audience sang the famous choir
Arturo Toscanini (Italian: Arturo Toscanini, 1867 - 1957) - was not only the chief conductor of La Scala and the Metrapolitan Opera, but also a real knight of music, each time speaking on the side of protecting its perfection. His figure is a symbol of true devotion to art.
For over 50 years, Toscanini was king and god in the world classical music, taking on the debut performance of numerous famous operas and symphonies. He did more than any other artist could do - significantly increase the circle of listeners classical works. But he was remembered by the world rather for his uncompromising striving for the ideal, unusual demands on others. Now it is difficult to assess whether it was ordinary perfectionism in modern understanding or something more, but if something interfered with the fulfillment of his desires, he was ready to throw sharp objects. With an orchestra, he could be extremely rude, and many other conductors adopted this cult of rudeness from him. So today, if popular culture there is an image of a conductor, he certainly, albeit remotely, but reminds us of Toscanini.
The brilliant conductor was born on March 25, 1867 in Parma in the family of an Italian tailor who took part in the national liberation struggle of the Italian people on the side of Giuseppe Garibaldi. Despite the fact that his family was not connected with art, his musical future was already predetermined in childhood, when at the age of nine he entered the Royal music school of his city, where he began to study cello, piano and composition, and at thirteen he already performed as a professional cellist. At the age of eighteen, he had already graduated from the conservatory and began to combine the activities of assistant choirmaster, cello accompanist and corporator in an Italian traveling opera troupe.
A year after the conservatory, an event occurred that changed quite a lot in his life: during the winter season in Rio de Janeiro, a conflict broke out between the troupe conductor and the manager, and in order to somehow save Aida, Toscanini stands at the conductor's stand. He conducted without notes, from memory, thus demonstrating a phenomenal musical memory. Nearsighted since childhood, he memorized hundreds of complex operas, symphonies and concertos, playing them as often as possible in rehearsals.
Toscanini's rehearsals were something special. The musicians were afraid of him, because he demanded constant and complete dedication. But it was thanks to his flame that he turned even the most dubious music into a treasure - this was his gift. The conductor, not the composer, became the main thing in music. Toscanini always followed the score, for he believed that everything that the composer wanted to say was already contained in it.
Over the next 10 years, he conducted in two dozen Italian cities, over and over again gaining a reputation as the best conductor of the first half of the 20th century. So, in 1892 he held the premiere of Leoncavallo in Milan, and in 1896 he conducted the first performance of La bohème in Turin and began performing in symphony concerts. Two years later he performed the 6th symphony of P.I. Tchaikovsky.
Arturo Toscanini devoted a lot of time and effort to his work, it was inseparable and haunted him even at home. On June 21, 1897, he married Carla Martini, who at that time was not even twenty years old. The couple had four children: two sons and two daughters, but one of the sons died of diphtheria when he was 5 years old. Another son, Walter, went on to become a well-known Italian-American broadcaster. Arturo Toscanini loved his family very much, but due to his character he was able to present anything to loved ones.
Once, after an unsuccessful performance, he returned home not in the best mood, and going straight to the dining room, where the table was set for dinner and his family was waiting for him, he did not even think to join the meal, but froze at the door and said indignantly: “How can you eat after this performance? Be ashamed!" ? and slammed the door and left. Everyone went to bed hungry that night.
During his career he worked with many great singers and musicians, but only Vladimir Horowitz, with whom they worked on recordings of Brahms's Second Piano Concerto and Tchaikovsky's First Piano Concerto with the participation of Symphony Orchestra NBC. Gradually, Horowitz became close to Toscanini and his family, and in 1933 he married Wanda, his youngest daughter.
In 1898-1903 and 1906-1908. Toscanini? chief conductor theater La Scala. Under his leadership, Siegfried, Eugene Onegin, Evryanta and many other operas are performed for the first time in Italy. In 1901, he discovered the talent of Fyodor Chaliapin and skillfully selected parts that fully corresponded to his high bass. In the production of "Mephistopheles" by Boito, Chaliapin has a huge success. At the same time, he also works with Enrico Caruso, who will make his debut in Donizetti's Love Potion.
In 1908-1915 he was chief conductor of the Metrapolitan Opera. Subsequently, Toscanini did not speak very warmly about the theater, but, nevertheless, his work in the production of Boris Godunov was very successful. Returning to Italy, he is faced with a new misfortune - the fascist regime, and after a while he moves to the United States, where he becomes the head of NBC (National Broadcasting Corporation), and travels to Europe only for tours. From that moment on, he conducted at the Bayreuth, Salburg festivals, and even founded his own in London, which he held for five years. In 1936, he took an active part in the organization of the Palestine Orchestra, now known as the Israel Philharmonic Orchestra.
The heyday of Toscanini's life begins in 1937, when he begins to conduct radio concerts with NBC. With this orchestra, he made a tour of South America, traveled all over the United States.
There are many stories associated with his radio appearances, but perhaps the most interesting one occurred on his return from a tour of South America. In order to somehow pass the time, a group of orchestra members invited Toscanini to listen to a broadcast from London. Beethoven's Eroica Symphony was playing on the radio. While Toscanini listened, his face became more and more gloomy, finally, unable to stand it, he declared: “Yes, what kind of scoundrel takes such a pace! It's just impossible! What does he allow himself! By the end of Toscanini's performance, furious, he was already preparing to throw the radio out the window, but then the calm voice of the announcer rang out: "You have just listened to the recording of the BBC orchestra conducted by Arturo Toscanini."
Toscanini left the New York Radio Orchestra after the 1953-1954 season. He died in the USA, at his home in Riverdale on January 16, 1957, but was buried in Italy in the family vault.
Elizabeth Sysoeva
