It’s hard to imagine that Verdi’s Otello might almost have never existed. The opera came about after a depressed Verdi was coaxed out of retirement by celebrity singers, genius librettists, socialites and even Verdi’s own wife. They hunted for tempting subject matter, planned “chance” encounters and even tried to make Verdi believe that the salvation of theater lay in his hands. All plots failed.

What finally did the trick was a night of wining, dining and sneaking Shakespeare—whom Verdi worshiped—into the conversation. The characters of one particular tragedy…Othello with the Moor’s jealous anguish and Iago’s malevolent schemes… proved too tempting for Verdi to resist.

The audience at the 1887 premiere at Teatro alla Scala in Milan had demanded 20 curtain calls. What they didn’t know yet was that the one who would carry on the magic of that performance to future generations was a cellist in the orchestra pit—the now legendary Arturo Toscanini.

The phenomenal career of this conductor began in a serendipitous way. A few months before the Otello premiere, Toscanini had been the principal cellist of an opera company whose South American tour erupted into chaos.

The company was set to perform Verdi’s Aida in Rio de Janeiro, but the local conductor had such a poor grasp of the score that the singers and musicians threatened to strike. The conductor resigned just hours before the performance, and both men who tried to replace him that night were chased off the podium by the audience. In desperation, someone remembered that Toscanini—a kid so young he had needed parental permission to join the tour—knew Verdi’s score by heart. Although he had no experience conducting, a 19-year-old Toscanini picked up the baton and became an overnight sensation.

Toscanini’s understanding of Verdi’s music was unmatched—an opinion held not just by audiences. The composer was notorious for grumbling at conductors for misinterpreting his scores. Toscanini was one of the few Verdi had praised.

Fast forward to the apocalyptic madness of World War II when Toscanini’s Swiss-born assistant Walter Ducloux pauses his career to become the personal interpreter for General Patton. Throughout campaigns that claimed countless lives, Ducloux did far more than just survive. He won five battle stars and a Bronze Star from the US Army and was awarded the Bronze Medal from the Italian government for his productions of Verdi operas.

Ducloux became a professor and music director at the University of Texas in Austin. When he advertised for an assistant, another bit of serendipity fell into place. You might even call it the force of destiny.

That’s because the person Ducloux hired wasn’t originally interested in becoming a conductor. He was a trumpet student looking for an apprenticeship that would pay for his studies so he applied to the only one he could find. But Ducloux needed only five minutes to recognize something special in the student, and so Carl St.Clair got the job.

St.Clair emerged from his years of study with Ducloux as a polished conductor. His final task before receiving his Master’s degree was to conduct Otello.

The final twist of destiny came into play when St.Clair and Pacific Symphony brought back opera to Orange County. In 2008, Opera Pacific fell victim to a wave of opera company closures that was sweeping the nation. But members of the opera-loving community rallied alongside St.Clair and worked tirelessly to fill that void with unique concert stagings of opera with Pacific Symphony.

The Symphony’s performances of Otello in April will mark the 10-year anniversary of opera’s return to Orange County. Good tickets are still available. You can find them here. And as you experience Verdi’s operatic masterpiece, keep in mind that Carl St.Clair conducts the work as someone who is only three degrees of separation from the great composer himself.

Guest blogger Sonia Levitin is a freelance writer and opera enthusiast based in Orange County.