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Iturbi's private life was as hectic as his work schedule. He had\nmarried in 1916, but his wife died tragically just 12 years later. From\nthe 1930's, he frequently dated movie stars even before his own\ninvolvement with Hollywood. He was a man of contradictions. The story\ngoes, that a producer handed him a cheque for $35,000 in 1933 to appear\nin his picture, but Iturbi tore it up, declaring, that kissing girls on\nscreen was just so much 'foolishness'.

A speed freak, Iturbi used to ride his motor bike and assorted sports\ncars with reckless abandon. When they weren't fast enough, he would get\naboard his own aircraft, 'El Turia'. By 1946 he had logged 1500 flying\nhours, frequently travelling across entire continents between recitals.\nHe had several close shaves which earned him the sobriquet 'the flying\nfool'. Iturbi's fiery temper manifested itself when he walked off the\nstage during a performance in Cleveland, because audience members were\ntoo audible in their consumption of hot dogs and soda pop. Earlier,\nwhile conducting the Philadelphia Orchestra, he had thrown a chair\nacross the stage in disgust at the disturbance caused by the late\narrival of the mayor and his entourage. This earned him yet another\nnickname,\n'Turbulent Iturbi'. There were many other such incidents. He\nrefused to appear with Benny Goodman\non the same radio show, ostensibly because he disagreed with the idea\nof mixing jazz and classical music. Later, he also brashly refused to\nperform with Rosemary Clooney on\ntelevision.

Ironically, Iturbi's screen career was spent playing not only classical\nbut also popular music, from boogie-woogie to honky tonk. After being\npersuaded by producer Boris Pasternak to\nappear in musicals for MGM, Iturbi's adaptation to the new medium was\neffortless. Of course, in all of his screen roles he simply played\nhimself. Films like\nGönül Kimi Severse (1945) (in which he\nconducted a 100-piece band for the opening march) and\nKırmızı Güller (1948),\ndid, however, allow him a fair measure of self-expression. His sister\nAmparo Iturbi (1899-1969), who in earlier\nyears had frequently accompanied him in duo piano recitals, appeared in\nthree of his pictures, including\naşk Bestesi (1949).

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Born in Valencia, he\nwas a child prodigy, giving piano recitals by the age of seven and\nsupplementing the family income by playing for up to 14 hours daily at\na silent cinema theatre. He was an honours graduate from the\nConservatoire de Musique in Paris, and, by the age of 24, occupied\nFranz Liszt's former post as leader of the\npiano department of the Geneva Conservatory. In 1928, he made his\nLondon debut as a concert pianist and the following year played\nBeethoven's G Major Concerto to great critical and audience acclaim\nunder Leopold Stokowski's direction in\nPhiladelphia. Not content with his triumphs, he branched out into\nconducting from 1933, eventually fronting the Rochester Philharmonic\nand conducting his first opera in 1959. Iturbi enjoyed an almost pop\nstar-like status (even converting 1950's bobby-soxers to classical\nmusic) and became the only classical artist of his day to win two gold\nrecords. 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Iturbi's private life was as hectic as his work schedule. He had\nmarried in 1916, but his wife died tragically just 12 years later. From\nthe 1930's, he frequently dated movie stars even before his own\ninvolvement with Hollywood. He was a man of contradictions. The story\ngoes, that a producer handed him a cheque for $35,000 in 1933 to appear\nin his picture, but Iturbi tore it up, declaring, that kissing girls on\nscreen was just so much 'foolishness'.

A speed freak, Iturbi used to ride his motor bike and assorted sports\ncars with reckless abandon. When they weren't fast enough, he would get\naboard his own aircraft, 'El Turia'. By 1946 he had logged 1500 flying\nhours, frequently travelling across entire continents between recitals.\nHe had several close shaves which earned him the sobriquet 'the flying\nfool'. Iturbi's fiery temper manifested itself when he walked off the\nstage during a performance in Cleveland, because audience members were\ntoo audible in their consumption of hot dogs and soda pop. Earlier,\nwhile conducting the Philadelphia Orchestra, he had thrown a chair\nacross the stage in disgust at the disturbance caused by the late\narrival of the mayor and his entourage. This earned him yet another\nnickname,\n'Turbulent Iturbi'. There were many other such incidents. He\nrefused to appear with Benny Goodman\non the same radio show, ostensibly because he disagreed with the idea\nof mixing jazz and classical music. Later, he also brashly refused to\nperform with Rosemary Clooney on\ntelevision.

Ironically, Iturbi's screen career was spent playing not only classical\nbut also popular music, from boogie-woogie to honky tonk. After being\npersuaded by producer Boris Pasternak to\nappear in musicals for MGM, Iturbi's adaptation to the new medium was\neffortless. Of course, in all of his screen roles he simply played\nhimself. Films like\nGönül Kimi Severse (1945) (in which he\nconducted a 100-piece band for the opening march) and\nKırmızı Güller (1948),\ndid, however, allow him a fair measure of self-expression. His sister\nAmparo Iturbi (1899-1969), who in earlier\nyears had frequently accompanied him in duo piano recitals, appeared in\nthree of his pictures, including\naşk Bestesi (1949).

From the 1950's until just prior to his death in 1980, Iturbi continued\nto draw large audiences worldwide. He regularly went on tour (his last\nfrom 1976 to 1977), travelling up to 50,000 miles a year between\ncontinents. He conducted orchestras from Calgary to Albuquerque and\nrecorded through his own company, Turia Records. 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