It is ironic that one of the great conductors of opera would be comparatively unsung.

Victor de Sabata is remembered fondly by collectors largely for a single recording – a classic performance of “Tosca” with Maria Callas. The reasons for this have little to do with De Sabata’s merit. De Sabata was a creature of the theater, as opposed to the recording studio. Also, he happened to flourish at a time before the widespread adoption of stereo recording methods. His most cherished recordings were captured on the wing, which might be viewed as something of a mixed blessing. But while few of his performances were preserved under controlled circumstances, what we do have accurately reflects his volcanic temperament in all its terrible glory.

How much awe did De Sabata inspire? Apparently enough that a young Sergiu Celibidache was moved to hide overnight in the Bayreuth bathroom facilities in order to eavesdrop on his rehearsals of “Tristan und Isolde.”

For decades, De Sabata was principal conductor at La Scala. For a time, he was also its artistic director. One observer described his appearance while conducting as a cross between Julius Caesar and Satan. In 1953, a massive heart attack brought all that to an end. “Tosca” was to have been the first of a series of recordings for HMV which would have documented much of De Sabata’s operatic repertoire. In the event, he would return to conduct only twice more.

We’ll have a chance to hear the results of one of these “comebacks” this afternoon, as we celebrate this firebrand of the podium on this, the anniversary of De Sabata’s birth, with a molten performance of Giuseppe Verdi’s “Messa da Requiem.” This classic 1954 recording features soprano Elisabeth Schwarzkopf, mezzo-soprano Oralia Dominguez, tenor Giuseppe di Stefano, and bass Cesare Siepi. It’s a strikingly broad reading that yet manages to roil and sear.

Like that other titan of the podium, Wilhelm Furtwängler, De Sabata placed more importance on his activities as a composer than as a conductor, which might seem strange to us, given the nature of their legacies. As time allows, we’ll fill in around the edges with some of De Sabata’s original music.

First, on today’s Noontime Concert, I hope you’ll join me for a recital by pianist Xuesha Hu, from a program presented at Merkin Concert Hall at Kaufman Music Center in New York City. She will perform Beethoven’s “Appassionata” Sonata, Liszt’s “Dante” Sonata, and Samuel Barber’s Piano Sonata.

As something of a bridge, we’ll also hear a piano concerto by Barber’s longtime companion, Gian Carlo Menotti, yet another musician of Italian origin, who, like Verdi and De Sabata, contributed much to the vitality of the operatic stage.

The music-making will all be heightened this afternoon, from 12 to 4 p.m. EDT, on WWFM – The Classical Network and wwfm.org.