James Zehm wrote:
>... Imagine now to find your own gebiet after having tried to make
>career in the fascist party of Italy...Could anyone provide detailed
>information on this period in Toscanini's life?
From The New Grove (David Cairns):
"....Toscanini began his professional life as a cellist (while still
a student he had played in the orchestra of the Teatro Regio, Parma),
and was second in the cello section for the premiere of Verdi's
*Otello* at La Scala in 1887 [when T was 20]. But by that time he
had already embarked on the career of conductor, for which a prodigious
musical memory and ear, insatiable curiosity, great powers of
concentration, and a dominating and uncompromising character alike
destined him. At the age of 19, on tour in Brazil with an Italian
troupe, a series of accidents led to his being promoted from the
cellos to take over a performance of *Aida* in Rio de Janeiro (30
June 1886). He conducted, without a score, in masterly fashion, and
achieved a success from which there could be no turning back."
Regarding T's flirtation w/ Fascism:
"....Toscanini's regime [as artistic director of a reorganized Scala]
culminated in 1929, when he took the company on a triumphant tour to
Vienna and Berlin. His resignation the same year was due to a number
of different factors: La Scala's financial crisis, his own exhaustion,
growing defects in the repertory system he had created, and perhaps
a final recognition of the impossibility of realizing his ideals in
an opera house. He must also have felt the need to provide for his
coming exile from Italy, with whose Fascist regime he was in
increasingly open conflict. Toscanini had been at first attracted
to Mussolini's ideas, and in 1919 had stood, unsuccessfully, as a
Fascist candidate in Milan. Before long, however, he had become a
passionate opponent of Fascism, on numerous occasions (including the
premiere of *Turandot* in 1926) refusing to conduct the Fascist hymn
*Giovenezza*. In 1938 Roosevelt had to intervene with Mussolini to
have his passport restored (Toscanini never renounced his Italian
citizenship).
"Politics played a decisive part in Toscanini's career in the 1930s.
Having conducted at Bayreuth in 1930 and 1931 (the first non-German
to do so), he broke with the festival in 1933 over Hitler's ban on
Jewish artists and never returned there. Similarly, his appearances
at the Salzburg Festival (1934-7; *Falstaff*, *Fidelio*, *Die
Meistersinger*, *Die Zauberfloete*) ended abruptly with the Anschluss;
in 1938 and 1939 he went to the Lucerne Festival instead, conducting
an orchestra largely composed of refugees from Nazism."
(David Cairns)
Walter Meyer
|