Vintage OPERA POSTER Israel BARBER Of SEVILLE Hebrew ALBERTO ZEDDA - LA SCALA

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Vintage OPERA POSTER Israel BARBER Of SEVILLE Hebrew ALBERTO ZEDDA - LA SCALA:
$115.00

DESCRIPTION : Here for sale is a genuine authentic vintage original 45 years old Jewish - Hebrew - Israeli ILLUSTRATED OPERA POSTER , Advertising a production of \"THE BARBER OF SEVILLE\" ( AKA Il barbiere di Siviglia ) by GIOACHINO ROSSINI which took place in 1970 Israel. The conductor was the ROSSINI\'s Italian Master ALBERTO ZEDDA with a group of OPERA SINGERS from LA SCALA in Milan Italy. The LA SCALA Italian group was a visitor of the Israeli IPO . A colorfulillustrated LITHO-OFFSET Printing. The poster SIZE is around 27.5\" x 19.5\" . Printed onthin stock. Very good condition. ( Please look at scan for actual AS IS images ) Poster will be sent rolled in a special protective rigid sealed tube. PAYMENTS : Payment method accepted : Paypal .SHIPPING : Shipp worldwide via registeredairmail is $14 . Poster will be sent rolled in a special protective rigid sealed tube.Handling within 3-5 days after payment. Estimated duration 14 days.

The Barber of Seville, or The Futile Precaution (Italian: Il barbiere di Siviglia, ossia L\'inutile precauzione) is an opera buffa in two acts by Gioachino Rossini with an Italian libretto by Cesare Sterbini. The libretto was based on Pierre Beaumarchais\'s French comedy Le Barbier de Séville (1775). The première of Rossini\'s opera (under the title Almaviva, o sia L\'inutile precauzione) took place on 20 February 1816 at the Teatro Argentina, Rome.[1]Rossini\'s Barber has proven to be one of the greatest masterpieces of comedy within music, and has been described as the opera buffa of all \"opere buffe\". Even after two hundred years, its popularity on the modern opera stage attests to that greatness.[2]Rossini\'s opera recounts the first of the plays from the Figaro trilogy, by French playwright Pierre Beaumarchais, while Mozart\'s opera Le nozze di Figaro, composed 30 years earlier in 1786, is based on the second part of the Beaumarchais trilogy. The first Beaumarchais play was originally conceived as an opéra comique, but was rejected as such by the Comédie-Italienne.[3] The play as it is now known was premiered in 1775 by the Comédie-Française at the Théâtre des Tuileries in Paris.[4]Other operas based on the first play were composed by Giovanni Paisiello (Il barbiere di Siviglia (1782), by Nicolas Isouard (1796), and by Francesco Morlacchi (1816). Though the work of Paisiello triumphed for a time, only Rossini\'s version has stood the test of time and continues to be a mainstay of operatic repertoire. On 11 November 1868, two days before Rossini\'s death, the composer Costantino Dall\'Argine (1842–1877) premiered an opera based on the same libretto as Rossini\'s work,[5] bearing a dedication to Rossini.[6] The premiere was not a failure, but critics condemned the \"audacity\" of the young composer and the work is now forgotten.[6][7]Rossini was well known for being remarkably productive, completing an average of two operas per year for 19 years, and in some years writing as many as four. Musicologists believe that, true to form, the music for Il Barbiere di Siviglia was composed in just under three weeks,[8] although the famous overture was actually recycled from two earlier Rossini operas, Aureliano in Palmira and Elisabetta, regina d\'Inghilterra and thus contains none of the thematic material in Il Barbiere di Siviglia itself.Performance historyThe premiere of Rossini\'s opera was a disastrous failure: the audience hissed and jeered throughout, and several on-stage accidents occurred.[8] However, many of the audience were supporters of one of Rossini\'s rivals, Giovanni Paisiello, who played on mob mentality to provoke the rest of the audience to dislike the opera.[8] Paisiello had already composed The Barber of Seville and took Rossini\'s new version to be an affront to his version. In particular, Paisiello and his followers were opposed to the use of basso buffo, which is common in comic opera.[9] The second performance met with quite a different fate, becoming a roaring success.[8] The original French play, Le Barbier de Séville, endured a similar story: poorly received at first, only to become a favorite within a week.The opera was first performed in England on 10 March 1818 at the King\'s Theatre in London in Italian, soon followed on 13 October at the Covent Garden Theatre by an English version translated by John Fawcett and Daniel Terry. It was first performed in America on 3 May 1819 in English (probably the Covent Garden version) at the Park Theatre in New York.[10] It was given in French at the Théâtre d\'Orléans in New Orleans on 4 March 1823,[11] and became the first opera ever to be performed in Italian in New York, when Manuel Garcia (who played Almaviva) and his Italian troupe opened their first season there with Il barbiere on 29 November 1825 at the Park Theatre. The cast of eight had three other members of his family, including the 17-year-old Maria-Felicia, later known as Maria Malibran.[12]The role of Rosina was originally written for a contralto. According to Richard Osborne, because of its popularity, singers have sometimes distorted Rossini\'s intentions. The most serious distortion has been transposition of the role to a higher pitch, \"turning her from a lustrous alto into a pert soprano.\"[13] In addition, the singing lesson in act 2 has often been turned into \"a show-stopping cabaret.\"[13] Adelina Patti was known to include Luigi Arditi\'s \"Il bacio\", the Bolero from Verdi\'s I vespri siciliani, the Shadow Song from Meyerbeer\'s Dinorah, and Henry Bishop\'s \"Home! Sweet Home!\". Nellie Melba followed suit, accompanying herself on the piano in the final song.[13] Pauline Viardot began the practice of inserting Alabiev\'s \"Nightingale\". Maria Callas sang a cut-down version of Rossini\'s own \"Contro un cor.\"Once after Patti had sung a particularly florid rendition of the opera\'s legitimate aria, \'Una voce poco fa\', Rossini is reported to have asked her: \"Very nice, my dear, and who wrote the piece you have just performed?\"[14]As a staple of the operatic repertoire, Barber appears as number nine on the Operabase list of the most-performed operas worldwide.[15] Because of the increasing scarcity of good contraltos,[16] the role of Rosina has most frequently been sung by a coloratura mezzo-soprano (with or without pitch alterations, depending on the singer), and has in the past, and occasionally in more recent times, been sung by coloratura sopranos such as Marcella Sembrich, Maria Callas, Roberta Peters, Gianna D\'Angelo, Victoria de los Ángeles, Beverly Sills, Lily Pons, Diana Damrau, Kathleen Battle and Luciana Serra. Famous recent mezzo-soprano Rosinas include Marilyn Horne, Teresa Berganza, Lucia Valentini Terrani, Susanne Marsee, Cecilia Bartoli, Joyce DiDonato, Jennifer Larmore, Elīna Garanča, and Vesselina Kasarova. Famous contralto Rosinas include Ewa Podleś. The Barber of Seville, Italian Il barbiere di Siviglia, comic opera in two acts by Italian composer Gioachino Rossini (libretto in Italian by Cesare Sterbini) that was first performed under the title Almaviva o sia l’inutile precauzione (Almaviva; or, The Useless Precaution) at the Teatro Argentina in Rome on February 20, 1816. With a plot based on Pierre-Augustin Caron de Beaumarchais’s 1775 play Le Barbier de Séville, Rossini’s opera remains one of the most frequently performed comic operas in the repertoire. The barber of the title is Figaro, whose impressive entrance aria (“Largo al factotum”)—with its repeated proclamations of his own name—is one of the best-known of all opera arias. The Barber of Seville was commissioned by the impresario of the Teatro Argentina at the end of 1815, when Rossini was nearly 24 years of age. In deference to Giovanni Paisiello, a popular Italian composer who in 1782 had himself based an opera on the Beaumarchais play, Rossini called his own work Almaviva. (The title was permanently changed to Il barbiere di Siviglia for the Bologna revival August 10, 1816, after Paisiello’s death.) Nonetheless, the production was viewed by Paisiello’s supporters as an affront; a group of them came to Rossini’s premiere, and they booed and hissed throughout the performance. The work was barely ready, and the performers were underprepared. Overall, the opening night was plagued by mishaps and pranks.Not surprisingly, for the opera’s second performance Rossini decided to stay home. But this time the audience—presumably lacking Paisiello’s disruptive fans—was wildly enthusiastic; afterward they took to the streets and gathered outside the composer’s house to cheer. Before long, productions were mounted across Europe and beyond; in 1825 the opera became the first to be sung in Italian in New York City.During the 19th and 20th centuries, performances of the opera reflected common changes in fashion, some of which can be heard in recordings that remain in circulation. In the 19th century it was common for operas to be split into additional acts so that elaborate scene changes could be accomplished. The Barber of Seville was turned into a three-act production by splitting Act I between the outdoors serenade scene and the interior scene at Bartolo’s house. The most frequent change to the opera was the transposition of Rosina’s part from the original mezzo-soprano into a higher soprano range to accommodate the usual leading singers; when that was done, Berta’s range was lowered to mezzo-soprano so that contrast between the women’s voices was preserved. (Rossini’s use of highly ornamented mezzo-soprano coloratura roles is distinctive and rare in the repertoire.) In addition to these large-scale changes, the opera became laden with errors and changes in orchestration and structure that accumulated to become performance tradition. For example, in published scores Rossini’s piccolo part was changed to a flute part, extra bass and percussion parts were added, and copyists’ errors were perpetuated. There was nothing approaching an authoritative score—that is, one based on evidence from the composer’s original materials Alberto Zedda (born in Milan, 2 January 1928) is an Italian conductor and musicologist, a specialist of the 19th-century Italian repertoire. Zedda studied in his native Milan with Antonino Votto and Carlo Maria Giulini, and made his debut there as conductor in 1956, with Il barbiere di Siviglia. He was quickly invited to conduct at most of the opera houses of Italy and began an international career, appearing in Bordeaux, Paris, Vienna, Berlin, London, New York, etc. He was for a time musical director of the Festival della Valle d\'Itria in Martina Franca and currently of the Pesaro Festival. As a musicologist, he is responsible for the revision of numerous works by Vivaldi, Handel, Donizetti, Bellini, Verdi, but most notably Rossini. He is, with Philip Gossett, responsible for the complete critical edition of the operas by Rossini and is a committee member of the Rossini Foundation in Pesaro, Italy. He is also renowned for his research on vocal ornamentation and his aim at authentic performing style. Italian conductor and musicologist Alberto Zedda is widely recognized as one of the world\'s most prominent authorities on the operas of Gioachino Rossini. Zedda was educated at Milan Conservatory, studying conducting with Carlo Maria Giulini and Alceo Galleria. Zedda made his debut in 1956, leading the Polytechnic chamber group of Milan. After a few years spent teaching at the Cincinnati College of Music, Zedda began his international concert career in earnest, holding posts at the Deutsche Oper in Berlin and the New York City Opera, among other places; he made his Covent Garden debut in 1975. In 1969, Zedda published the first-ever critical edition of Rossini\'s Il barbière di Siviglia, and since then he has been personally responsible for at least three more (La cenerentola, La gazza ladra, and Semiramide, co-edited by Philip Gossett). At the time when Zedda brought out Il barbière, most conductors did not see the need for a comparative text for such a work, of which the well-worn, standard editions were common and plentiful. Zedda helped make the case that the work of Rossini needed editorial assistance to the same degree as older composers such as Handel and J.S. Bach. Zedda has also proved instrumental in reviving lesser-known operas of Rossini, and at one time or another has either mounted productions of, edited, recorded, or presented workshops on nearly all of them. In 2000, Zedda was named honorary president of the Deutsche Rossini Gesellschaft. Although his work on behalf of Rossini remains widely appreciated, Zedda\'s handling of early opera composers has drawn criticism, particularly as he eschews period instruments and prefers to devise modern orchestrations for seventeenth century operas. By virtue of the nature of their work, conductors blessed with longevity are able to sustain their careers for much longer than singers or even instrumentalists. Even so, many eventually find themselves slowing down their activities, their movements and sometimes even their tempos. At 83, is Alberto Zedda the exception who proves the rule? Despite being the artistic director of the Rossini Festival, he does not conduct very often at Pesaro, though he will direct a concert performance of Il barbiere di Siviglia this month; but he makes guest appearances all over Europe, above all to celebrate the composer who has played such a major part in his life over the past 50 years. And when this slight man (whose wrinkles prompt certain singers to call him ‘Master Yoda’) enters the pit, he exudes energy, strength and dynamism throughout the performance. This is true even when the work in question is being given in its complete version, which, if it is from Rossini’s maturity, can mean something of a marathon: Semiramide, in the critical (and determinedly complete) edition Zedda prepared in collaboration with Philip Gossett, can last more than five hours with intervals, as was the case last winter when the Vlaamse Opera staged the new production by Nigel Lowery, which Zedda will again conduct at this summer’s Edinburgh Festival.Born in Milan on 2 January 1928 to a family of Sardinian origin, Zedda found his musical destiny shaped by three women, the first being his mother. Though not a musician, she was a woman of sensibility who believed that culture in any form could prove beneficial to personal development. ‘My mother understood that for people of modest means, as we were, culture could open up all sorts of possibilities.’ Second, his elder sister, for whom his parents bought a piano, was given lessons, but also gave her brother access to the instrument so that he could, as Zedda says, pasticciare (mess around). ‘I became friends with that piano. I didn’t take lessons, but I played, I composed, I invented things, drew sounds from it.’ Third, when he was 16 or so, his first love was a girl from a wealthier family and a true musician. The young Alberto could get together with her only at concerts, when she was able to escape the supervision of her parents, who were not in favour of the teenagers’ relationship. ‘It is really thanks to her that I discovered music. And I fell in love with music. The girl in question went off with someone else, but music remained with me.’While Zedda’s mother encouraged him to take every opportunity to broaden his cultural horizons, his father, a deeply religious office worker who saw artists as a dubious breed, was less enthusiastic about a possible musical career for his son. Finally, he came round to his son’s vocation, because he was a man who had his passions too: ‘My father was passionate about mountains, even becoming a mountain guide. When I was four, he put me on skis, and when I was 17 we climbed the Matterhorn together at a time before everyone started doing it. Mountains give you a different sense of scale, which helped me a great deal when it came to music.’Zedda is himself a man driven by passions. ‘Even today I still have the enthusiasm of a neophyte. All music excites me, not just my own repertoire. At home, I play Bach, Chopin, Ravel on the piano. This enthusiasm is in me and it becomes energy: that is how I can still conduct today with the same energy I had 40 years ago. I need music, both physically and intellectually. Sometimes people ask me if I take cocaine, but it is music that gives me my strength. The downside is that it makes me a bit disorganized … rather like my education—disorganized, but eclectic.’While at secondary school, Zedda—who says he was a combination of ‘a child and a research student’ at the time—preferred older company and threw himself into a series of enthusiasms, with varying success. It was hardly surprising that philosophy became his chosen study at university. ‘I would read a book of 300 or 400 pages in a day. I probably didn’t read very thoroughly, but something remained with me. I would like to re-read those books today, but I don’t have time.’ In the postwar years Zedda became one of the few musicians to have a real literary culture, versed as he was in the works of Goethe, Shakespeare, Cervantes and the great philosophers.In the end, his passion for music won through. After considering a thesis on Heidegger’s Sein und Zeit (‘My tutor was keener to steer me towards Hegel,’ he says), Zedda undertook a change of direction. ‘Obviously, I was too old to do anything of value as an instrumentalist, so my options as a musician were to become a composer, a conductor or an impresario. But for any of those I needed to go and study at a conservatory. Now, according to Italian law at the time, I could not get into a conservatory because I was past the age of 18. I went to see the director of the Milan Conservatory, Giorgio Federico Ghedini, who was very pleasant, but very firm: he could not accept my application … I was desperate.’ A few days later, Zedda went to see Ghedini again and threatened to kill himself if he couldn’t become a musician. Ghedini promised to sort something out for him.The solution came in the form of the organ class, then facing closure because its sole student was reaching the end of his course. To fill the lacuna, Ghedini requested special ministerial permission to enrol Zedda. ‘I had never even seen an organ! But Ghedini told me: “It doesn’t matter! Once you’re in the organ class, you’re in here, and then I’m the one making the decisions. You can spend a year in the organ class, you won’t be wasting time, and then you can transfer to the composition class”.’Fate would have it that the man in charge of the organ class was not only an organist, but also a conductor. As a refugee in Switzerland during the war, Alceo Galliera, himself the son of an organist, had conducted concerts in Lugano, where he was spotted by Walter Legge, who entrusted him with some of the first recordings made by the Philharmonia Orchestra. Teacher and student established a good relationship, and Zedda learned as much about conducting as about the organ—maybe more. In fact by the end of his first year he no longer wished to leave the organ class, but he also undertook to attend two ‘real’ conducting classes: orchestral conducting, led by Antonino Votto, and orchestral exercises with Carlo Maria Giulini.In Votto’s class, the students, lacking an orchestra on which to practise, had to resign themselves to a purely theoretical training, but the conductor would take them to his rehearsals at La Scala. Zedda remembers Callas in La sonnambula (presumably the sessions for the 1957 recording, since there is no trace in the theatre’s archives of a staged performance involving both Votto and La Divina). An orchestra was provided in Giulini’s class, but Zedda, as an organ student, was permitted to be present only as an observer—looking but not touching, so to speak—until one day, when Zedda was alone, Giulini let him take over the podium. So impressive was Zedda that it was once again time for a request for special permission; this time, it was made to the director of the conservatory by Giulini. Zedda’s years at the conservatory were a happy and enriching time for him. Among the friends he made there were the composers Luciano Berio and Niccolò Castiglioni, several of whose works he later premiered (even today he would still like the opportunity to work on contemporary music), and also Claudio Abbado, whom he has now known for more than 50 years and who has on several occasions played a decisive role in his career. They were friends and also, on many occasions, comrades, since Zedda was for a long time one of the most prominent artistic figures aligned with the Italian Communist Party; like Abbado and Pollini, he made it a mission to take classical music into factories. Another of Zedda’s striking encounters was with Igor Stravinsky in the summer of 1951, when the composer was at La Scala to prepare for the premiere in Venice that September of The Rake’s Progress. The students of the conservatory did not yet have their passes for La Scala, so the young Zedda staked out Stravinsky’s hotel in Milan until he spotted him one morning. With the score of Petrushka under his arm, Zedda approached Stravinsky and told him of his passion for his music. The composer seemed to be convinced and invited Zedda to go with him. The young conductor attended all the subsequent rehearsals, even chatting with the composer during the breaks. When Stravinsky left for Venice, Zedda still managed to find his way into as many rehearsals as he could at La Scala until, a few weeks later, he was spotted and thrown out by a less tolerant maestro—Herbert von Karajan, visiting to conduct Fidelio and Der Rosenkavalier.Opera was not, however, the focus of Zedda’s early career. Trained as an organist, with Bach and Franck as his points of reference, he even felt a certain scorn for lyric theatre, and particularly for Rossini. In 1957, when he participated in the RAI’s conducting competition, he took first prize for his interpretation of Petrushka, and the first ten years of his career were spent almost exclusively in the symphonic repertoire; but opera, with Rossini at the top of the bill, was waiting for him. was born in Italy, where he completed his humanistic and musical studies. In 1957 he won the RAI International Competition for conductors, which allowed him to conduct symphonic music with the most important Italian orchestras (La Scala, Santa Cecilia, Maggio Musicale Fiorentino, Rai Orchestras of Rome, Turin, Milan and Naples) and in major foreign theaters (Germany, USA, Israel, France, Spain, Russia and other countries). His activity in opera productions is also vast and he conducts regularly at La Scala, San Carlo, La Fenice, Teatro Massimo, Royal Opera House Covent Garden, Vienna, Hamburg, Berlin, Prague, San Francisco, Los Angeles, Paris, Munich, Amsterdam, Warsaw, Madrid, Barcelona, Lisbon and many other houses. Musicological activity plays an important role in his career. He has completed critical editions of operas, oratorios and cantatas, especially from the first half of the 19th century but also L\'incoronazione di Poppea (Monteverdi) which he has conducted at La Scala. He has been director of the Italian repertoire at the Deutsche Oper Berlin and at the New York City Opera; a member of the Editorial Board of the Rossini Foundation of Pesaro; Music Director of the Festival della Valle d\'Itria in Martina Franca and artistic director of the Carlo Felice Theater in Genova and La Scala in Milan; director of the Rossini Academy of Pesaro and artistic director of Festival of Baroque Musical in Fano. He is currently artistic director of the Rossini Opera Festival in Pesaro. He has taught History of Music at the University of Urbino and applied musicology at the Accademia of Osimo. He has recorded numerous albums of symphonic music, chamber music and opera. At the Israeli Opera he conducted La cenerentola (Rossini). La Scala (abbreviation in Italian language for the official name Teatro alla Scala) is a world-renowned opera house in Milan, Italy. The theatre was inaugurated on 3 August 1778 and was originally known as the New Royal-Ducal Theatre alla Scala (Nuovo Regio Ducale Teatro alla Scala). The premiere performance was Antonio Salieri\'s Europa riconosciuta.Most of Italy\'s greatest operatic artists, and many of the finest singers from around the world, have appeared at La Scala during the past 200 years. Today, the theatre is still recognised as one of the leading opera and ballet theatres in the world and is home to the La Scala Theatre Chorus, La Scala Theatre Ballet and La Scala Theatre Orchestra. The theatre also has an associate school, known as the La Scala Theatre Academy (Italian: Accademia Teatro alla Scala), which offers professional training in music, dance, stage craft and stage management.La Scala\'s season traditionally opens on 7 December, Saint Ambrose\'s Day, the feast day of Milan\'s patron saint. All performances must end before midnight, and long operas start earlier in the evening when necessary.The Museo Teatrale alla Scala (La Scala Theatre Museum), accessible from the theatre\'s foyer and a part of the house, contains a collection of paintings, drafts, statues, costumes, and other documents regarding La Scala\'s and opera history in general. La Scala also hosts the Accademia d\'Arti e Mestieri dello Spettacolo (Academy for the Performing Arts). Its goal is to train a new generation of young musicians, technical staff, and dancers (at the Scuola di Ballo del Teatro alla Scala, one of the Academy\'s divisions).A fire destroyed the previous theatre, the Teatro Regio Ducale, on 25 February 1776, after a carnival gala. A group of ninety wealthy Milanese, who owned palchi (private boxes) in the theatre, wrote to Archduke Ferdinand of Austria-Este asking for a new theatre and a provisional one to be used while completing the new one. The neoclassical architect Giuseppe Piermarini produced an initial design but it was rejected by Count Firmian (the governor of the then Austrian Lombardy).A second plan was accepted in 1776 by Empress Maria Theresa. The new theatre was built on the former location of the church of Santa Maria alla Scala, from which the theatre gets its name. The church was deconsecrated and demolished, and over a period of two years the theatre was completed by Pietro Marliani, Pietro Nosetti and Antonio and Giuseppe Fe. The theatre had a total of \"3,000 or so\" seats[1] organized into 678 pit-stalls, arranged in six tiers of boxes above which is the \'loggione\' or two galleries. Its stage is one of the largest in Italy (16.15m d x 20.4m w x 26m h).Building expenses were covered by the sale of palchi, which were lavishly decorated by their owners, impressing observers such as Stendhal. La Scala (as it came to be known) soon became the preeminent meeting place for noble and wealthy Milanese people. In the tradition of the times, the platea (the main floor) had no chairs and spectators watched the shows standing up. The orchestra was in full sight, as the golfo mistico (orchestra pit) had not yet been built.Above the boxes, La Scala has a gallery where the less wealthy can watch the performances, called the loggione. The loggione is typically crowded with the most critical opera aficionados, who can be ecstatic or merciless towards singers\' perceived successes or failures. La Scala\'s loggione is considered a baptism of fire in the opera world, and fiascos are long remembered. (One recent incident occurred in 2006 when tenor Roberto Alagna was booed off the stage during a performance of Aïda, forcing his understudy, Antonello Palombi, quickly to replace him mid-scene without time to change into a costume.)As with most of the theatres at that time, La Scala was also a casino, with gamblers sitting in the foyer.[2] Conditions in the auditorium, too, could be frustrating for the opera lover, as Mary Shelley discovered in September 1840:At the Opera they were giving Otto Nicolai\'s Templario. Unfortunately, as is well known, the theatre of La Scala serves, not only as the universal drawing-room for all the society of Milan, but every sort of trading transaction, from horse-dealing to stock-jobbing, is carried on in the pit; so that brief and far between are the snatches of melody one can catch.[3]La Scala was originally illuminated with 84 oil lamps mounted on the palcoscenico and another thousand in the rest of theatre. To prevent the risks of fire, several rooms were filled with hundreds of water buckets. In time, oil lamps were replaced by gas lamps, these in turn were replaced by electric lights in 1883.The original structure was renovated in 1907, when it was given its current layout with 2,800 seats. In 1943, during WWII, La Scala was severely damaged by bombing. It was rebuilt and reopened on 11 May 1946, with a memorable concert conducted by Arturo Toscanini—twice La Scala\'s principal conductor and an associate of the composers Giuseppe Verdi and Giacomo Puccini—with a soprano solo by Renata Tebaldi, which created a sensation.La Scala hosted the prima (first production) of many famous operas, and had a special relationship with Verdi. For several years, however, Verdi did not allow his work to be played here, as some of his music had been modified (he said \"corrupted\") by the orchestra. This dispute originated in a disagreement over the production of his Giovanna d\'Arco in 1845; however the composer later conducted his Requiem there on 25 May 1874 and he announced in 1886 that La Scala would host the premiere of what was to become his penultimate opera, Otello.[4] The premiere of his last opera, Falstaff was also given in the theatre.In 1982, the Filarmonica della Scala was established, drawing its members from the larger pool of musicians that comprise the Orchestra della Scala.Principal conductors/Music directors of La Scala Franco Faccio, (1871–1889)[10] Arturo Toscanini, (1898–1908) Tullio Serafin, (1909–1914, 1917–1918) La Scala closed from 1918 to 1920 Arturo Toscanini, (1921–1929) Victor de Sabata, (1930–1953) Carlo Maria Giulini, (1953–1956) Guido Cantelli, (1956)[11] Gianandrea Gavazzeni, (1966–1968) Claudio Abbado, (1968–1986) Riccardo Muti, (1986–2005) Daniel Barenboim, (2006–2011, Maestro Scaligero; music director effective December 2011)