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 (tŏs′kə-nē′nē, tōs′kä-), Arturo 1867-1957.
Italian conductor of the Metropolitan Opera (1908-1915), the New York Philharmonic (1926-1936), and many other orchestras worldwide.


(Biography) Arturo (arˈtuːro). 1867–1957, Italian conductor; musical director of La Scala, Milan, and of the NBC symphony orchestra (1937–57) in New York


(ˌtɒs kəˈni ni)

Arturo, 1867–1957, Italian orchestra conductor.
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Noun1.Toscanini - Italian conductor of many orchestras worldwide (1867-1957)Toscanini - Italian conductor of many orchestras worldwide (1867-1957)
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T'S a foggy November night in the Italian city of Parma and the Auditorium Paganini - home of the city's orchestra, the Filarmonica Arturo Toscanini - is buzzing.
On the night of June 30, 1886, Arturo Toscanini - recently turned 19 - arrived, barely on time, at the imperial opera house in Rio de Janeiro, where the touring company for which he was the principal cellist was about to perform Aida.
Even though his pacemaker Toscanini missed the kick and could not get to the front, he dictated matters under William Buick, winning by nearly four lengths.
After intended pacemaker Toscanini fell out of the stalls, last year's Jersey Stakes hero was forced to make his own running under Will Buick.
Richard Fahey's 7-4 jolly was forced to make the running after pacemaker Toscanini missed the break but was soon well in control under William Buick.
1926: Toscanini conducted the first performance of Puccini's last opera, Turandot, in Milan.
Attn: Cia Toscanini (Vice President, Concert Music)
The book consists of five chapters and can be divided in two main parts: one dedicated to Cantica composition and its reception in Verdi's time, and one dedicated to later appropriations of the work by Italian conductor Arturo Toscanini.
He conducted numerous orchestras including La Scala Phil, Filharmonia London, Hungary State Symphony, Arturo Toscanini Orchestra, Salzburg Mozarteum Orchestra.
Demonet then discusses Gustav Mahler (creator of the modern Vienna Staatsoper, 1898-1907) and Arturo Toscanini (remaker of the Teatro alla Scala, Milan, 1898-1908).
Earlier on the card the Waterford Testimonial Stakes provides Toscanini with a good chance of registering a deserved success at Listed level.
That the various London orchestras of the day (at various times the London Symphony Orchestra, the Royal Philharmonic, and the BBC Orchestras) failed more often than they succeeded to lure Toscanini to London does not intimidate the author.