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Teatro alla Scala 2024-2025 Review: La Forza del Destino

Francisco Salazar — Sat, 21 Dec 2024 17:45:47 +0000

(Credit: Brescia – Amisano © Teatro alla Scala)

Legend has it that “La forza del destino” is a cursed opera, associated with tragedies that seem to haunt every new production. From companies falling into bankruptcy after staging it, to severe technical and production errors arising after the famous overture, and even the deaths of artists linked to the work—this reputation seems to have marked its history. This year, however, Teatro alla Scala defied that superstition by choosing this opera to open its 2024-25 season, an especially significant event since “La forza” hadn’t inaugurated a Scala season since 1965. Fortunately, this year’s production avoided major misfortunes, save for one minor incident which, though anecdotal, had no significant consequences.

The “mini-misfortune” revolved around the tenor role, marked by unexpected instability. Originally, Jonas Kaufmann was announced to play Don Alvaro, but he canceled weeks before the premiere due to family reasons. In an intriguing coincidence, the Gran Teatre del Liceu in Barcelona was staging the same opera with Brian Jagde in the leading role, which facilitated his emergency inclusion at La Scala and allowed him to perform at the traditional Dec. 7th opening night. However, the birth of Jagde’s child forced him to cancel some of the scheduled performances in Milan. In his absence, Luciano Ganci once again came to the rescue of the Milanese theater, recalling his impromptu recital appearance after the cancellation of the Hommage to Puccini on Nov. 29th, which had involved the opera’s leading stars. For the Dec. 19th performance, which is the subject of this review, Jagde returned to the stage, portraying the ill-fated Spanish lover.

In terms of media impact, La Scala’s new production was a resounding success. The opening night on Dec. 7th, broadcast live on Italy’s main television channel Rai1, achieved a 10.2% audience share during its four-hour runtime, equivalent to over 1.6 million viewers. This percentage surpasses last year’s results, when “Don Carlo” was viewed by 1.4 million people, though the 2019 “Tosca” record, with 2.85 million viewers, remains unbeaten. A common denominator among these three productions—besides Riccardo Chailly’s musical direction—is the presence of Russian soprano Anna Netrebko in the leading role. It is likely that her figure significantly contributed to capturing such a vast audience.

Thoughtful Production

The stage direction of this renowned title was entrusted to the experienced Leo Muscato, who delivered a meticulous and thoughtful interpretation of the theme of war, reimagining the work through a timeless historical perspective. The Italian director set the scenes across different eras, ranging from the 18th century in the first act to contemporary times in the fourth. This decision underscores the universal and tragic message of the opera: war is a constant in human history, regardless of the period in which it is set. While this choice might seem dramaturgically confusing, it proved to be an effective way to reinforce the central concept. The bold reinterpretation of this Verdi classic in a modern key resulted in a spectacular production, possibly the most impressive at La Scala in the past five years.

The success of this creative proposal also lies in the talent of Federica Parolini, who designed a visually striking set that stood out for both its beauty and functionality. A giant halo floated above the revolving stage, seamlessly transforming scenes and facilitating a continuous narrative flow. Among the most memorable visual moments were the candlelit forest backdrop behind the convent in the second act and the raw, contemporary battlefield of the fourth act, which was especially poignant. Silvia Aymonino successfully met the challenge of designing costumes that spanned different eras for the same characters. From the Napoleonic-style soldiers’ uniforms in the third act to a modern representation in the fourth, where characters wore contemporary uniforms or Red Cross paramedics’ characteristic red overalls, her attention to detail added coherence and realism to the staging. Complementing these elements, Alessandro Verazzi provided carefully crafted lighting, using chiaroscuro effects to heighten the dramatic intensity of each scene.

Excellent Vocals

On the vocal front, Anna Netrebko shone as Donna Leonora, delivering an intense and emotive interpretation. The Russian soprano demonstrated her usual mastery of acting, supported by solid vocal technique. With a robust timbre and powerful high notes, her rendition of “Me, pellegrina ed orfana” was noteworthy, though slightly swallowed in the low register at times. Her “Son Guinta” showed her intensity and commitment to the role each time crescendoing with the musical phrase while her “La Vergine Degli Angeli” displayed a pure piano sound that easily floated into the theater. However, it was in the iconic “Pace, pace mio Dio” of the fourth act where Netrebko left her most lasting impression, showcasing remarkable histrionic intensity and technical control, particularly in her beautiful floating high notes and enviable fiato, which exemplified her dominance of the repertoire.

In the role of Don Alvaro, Brian Jagde displayed a convincing stage presence. While his performance in the fourth act duet “Le minacce, i fieri accenti” was respectable, the aria “O tu che in seno agli angeli” revealed his interpretive skill showcasing an expressive quality to his voice. Also notable was the final trio which showed Jagde’s dynamic nuances and legato phrases. However, his passaggio remains unresolved, as the shift between registers is quite noticeable. Although his powerful high notes pose no difficulty, the initial notes above the passaggio lack proper placement. Perfecting the “alla italiana” style could elevate his performance to another level.

The undisputed triumph of the evening belonged to Ludovic Tézier as Don Carlo di Vargas. With an impeccable vocal and dramatic performance, the celebrated French baritone delivered a Don Carlo of great emotional depth and timbral richness. His aria “Urna fatale del mio destino” was a magical moment that reaffirmed his status as one of the world’s most in-demand baritones. His upper register is imposing, possessing a nearly hypnotic squillo. His vocal power was so pronounced that, during the third act, his exceptionally well-placed and studied high notes overshadowed Jagde’s melodic lines—an exceedingly rare phenomenon where the baritone outshines the tenor musical line.

Standing out for his vocal authority and the quality of his lower register, Alexander Vinogradov triumphed as Padre Guardiano, particularly in the second act duet with Netrebko and the final scene “Non imprecare, umiliata,” where his acting ability and stage presence deeply moved the audience. Meanwhile, Marco Filippo Romano brought a touch of lightness to Verdi’s drama with a Fra Melitone full of energy and comedic flair, excelling in his soliloquy “Toh! Toh! Poffare il mondo!” which earned him enthusiastic applause from the audience.

With a slightly opaque yet beautiful timbre and some projection details to refine, Vasilisa Berzhanskaya delivered an extroverted and characterful Preziosilla. Her energetic stage presence culminated in an apotheotic third act, closing with the vibrant “Rataplan della gloria.” Tenor Carlo Bosi and bass Fabrizio Beggi contributed solid performances in their roles as Mastro Trabuco and Marchese di Calatrava, respectively, leaving a memorable impression despite their brief appearances.

Riccardo Chailly’s musical direction, the cornerstone of this production, stood out for its ability to masterfully capture the orchestral nuances and dramatic contrasts of Verdi’s score. From the frenetic and iconic overture to delicate instrumental passages like “Attenti al gioco, attenti” and the pianissimo finale, Chailly’s baton masterfully balanced dramatic tension and lyricism, guiding the Teatro alla Scala Orchestra to an extraordinarily rich interpretation. The Teatro alla Scala Chorus, under Alberto Malazzi, reaffirmed its habitual excellence, shining particularly in “Olà, olà, olà!” and the vibrant Rataplan. The energy and precision of the large cast of extras and dancers further contributed to the resounding vitality of this unforgettable production.

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Brian Jagde to Return to Teatro Alla Scala’s ‘La Forza Del Destino’ on Dec. 19

Francisco Salazar — Tue, 17 Dec 2024 00:39:23 +0000

Brian Jagde is set to return to “La Forza del Destino” at the Teatro alla Scala on Dec. 19.

After missing performances on Dec. 13 and 16 due to the birth of his first son, the tenor said, “Unfortunately I will not be back in Milano yet for tonight’s performance of ‘Forza’ at the Teatro alla Scala, but I will return for our show on the 19th & can’t wait to reunite with my colleagues then. In bocca al lupo tutti!”

He added, “Welcome to the world Baby Jagde, you are loved beyond measure! Thank you all for your messages and well wishes over the last few days. It’s been a whirlwind, and he will be leaving the hospital today per their standard protocol. We are not only grateful to finally have him with us, but also for the loving and supportive community who helped us bring this big (and little!) dream to life.”

Jagde opened the production on Dec. 7 and performed on the 10th. Luciano Ganci however, took over the following two performances.

“La Forza Destino” is also starring Anna Netrebko,Vasilisa Berzhanskaya, Alexander Vinogradov, Marco Filippo Romano, and Ludovic Tézier. Riccardo Chailly conducts the new production by Leo Muscato.

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Best of 2024: OperaWire’s Team on the Best Performances of the Year

OperaWire — Mon, 16 Dec 2024 05:00:14 +0000

There’s been a lot of opera in 2024. And quite frankly, there’s been a lot of good opera.

So as has become our tradition, here is a look at some of OperaWire’s editorial team’s picks for their personal favorite performances of 2024.

Matt Costello: Act three of “Götterdämmerung” – Tanglewood

It’s always a tricky thing to think about one’s “Performance of the Year.” Especially challenging when there were a great number of remarkable performances – for which, at this end of year – I am certainly thankful.

But for this exercise, I used some helpful criteria. First, was it extraordinary? Obvious one that. Then: were all the elements of the performance at the same or similar wonderful level? And finally, is there something perhaps surprising about it….even unexpected? And with that, it was easy to make a choice. This year, during their always fantastic summer season, Tanglewood and the Boston Symphony Orchestra programmed Act three of Wagner’s tetralogy finale, “Götterdämmerung.”

Extraordinary? Well, the BSO, under Andris Nelsons, always hits that mark. And the performers, remarkable as well, led by Christine Goerke’s Brünnhilde and Michael Weinius’s Siegfried. But the entire ensemble was simply wonderful.

And the surprise? That in a summer concert series, people picnicking on the lawn, candles and bubbly often spotted, such a weighty piece was scheduled, and then pulled off. And with such intense drama…despite no sets and mostly minus props, and yet riveting. Totally compelling – and I say this having been to the mecca of Wagner performances, Bayreuth.

Bernardo Gaitan: “Il cappello di paglia di Firenze” – Teatro alla Scala

This is undoubtedly one of the best shows of 2024, showcasing a fresh revitalization of a little-known gem from the operatic repertoire. This hilarious contemporary farce by Nino Rota—a prolific yet often unperformed composer in the operatic realm—shone brightly in an impeccable production that perfectly captured the work’s light and sophisticated essence.

The true triumph lay in the extraordinary cast of young singers from the Accademia della Scala, who dazzled not only with their vocal prowess but also with their acting skills. They managed to master the complex art of comic timing, offering performances full of charisma and precision that fully convinced despite not having any famous names on the marquee, but only promising students.

Moreover, Teatro alla Scala brilliantly merged the nostalgic charm of this piece with a modern and dynamic staging, resulting in a vibrant and unforgettable experience. This production not only celebrated Rota’s operatic brilliance but also left audiences with an enduring smile.

Mike Hardy: “Andrea Chénier” – Royal Ballet & Opera

2024 was a wonderfully opera-enriched year for me, making it very difficult to pick a single outstanding moment. The amazing Aigul Akhmetshina performed two brilliant stagings of “Carmen,” at the ROH and at Glyndebourne and the incredible Aida Garifulina performed a breathtaking Violetta in the ROH’s “La Traviata.”

Alas, pride of place must fall to the ROH’s production of “Andrea Chenier.” It saw superstar tenor Jonas Kaufmann return to something like his former best after a series of illnesses, not least one which clearly rendered him struggling just two weeks prior to this performance when he took part in the concert celebrating 22 years of Sir Antonio Pappano at the ROH. But this night surely must belong to the wonderful Sondra Radvanovsky who sang the most heart-rending Act three aria, “La mamma morta,” where her character, Maddalena, recounts the death of her mother. Her genuinely tear-inducing rendition was made all the more poignant by virtue of Radvanovsky still mourning the loss of her own Mother in 2022. After the performance, she told me that the last time she had sung it, her mother had been in the audience, and that getting through the aria was a huge, personal struggle.

Alan Neilson: “Il Trionfo del Tempo e del Disinganno” – Göttingen International Händel Festival

By chance, all the best performances I attended during 2024 occurred over a couple of months during the summer. All were festival productions. It was a production of Händel’s oratorio “Il Trionfo del Tempo e Disinganno,” however, that stood out. The work, although being defined as an oratorio, has received many fully staged performances over the years, albeit with mixed results; the main problem is that its lack of physical action often leads to uninteresting, static productions. Göttingen’s Händel Festival opted for a concert performance, yet the innovative approach of director Ilka Seifert and Folkert Uhde’s staging managed to create a dramatically strong reading through the use of live intimate video projections that captured the emotional depths of the characters. There were no costumes or scenery, but it did not matter; the large screen behind the orchestra focused the audience’s attention on the emotions etched on the singers’ faces in a way that was far more convincing than one finds in a normal staged performance.

The four soloists, sopranos Anna Dennis and Emöke Baráth, countertenor Xavier Sabata and tenor Emanuel Tomljenovic, produced superb readings that captured the stunning beauty of Händel’s music while revealing the essence and emotional dimensions of their characters. The Festspielorchester Göttingen, under the masterful direction of George Petrou, produced a sensitive and exquisitely fashioned performance that brought out the work’s elegant beauty along with its full emotional charge. All the elements came together perfectly to create a truly memorable performance.

Jennifer Pyron: “El Niño” – The Metropolitan Opera

Metropolitan Opera debuted John Adams’s “El Niño,” with libretto based on original sources by Peter Sellars and John Adams, to a sold out house of past, present, and future opera goers on Tuesday, April 23rd, 2024. “El Niño” is unlike anything John Adams has done before and the historical timing of this debut is uncanny. This was his fourth work to be performed at Met Opera, including “Doctor Atomic” (2008), “Nixon in China” (2011), and “The Death of Klinghoffer” (2014).

History was made on this night because the majority of the cast made their own debuts, including director Lileana Blain-Cruz, conductor Marin Alsop, soprano Julia Bullock, baritone Davóne Tines, countertenors Key’mon W. Murrah and Siman Chung, set designer Adam Rigg, lighting designer Yi Zhao, projection designer Hannah Wasileski, puppet designer James Ortiz and choreographer Marjani Forté-Saunders.

Director Lileana Blain-Cruz’s dedication to building her own creative team took this production to the new heights that Met Opera dreams about, making this the best performance of 2024. Met Opera will debut John Adams’s newest opera in 2024-25, “Antony and Cleopatra” (2022), which also stars Julia Bullock in the titular role of Cleopatra.

David Salazar: “Ainadamar” – Metropolitan Opera

Some quick shoutouts to Lisette Oropesa in “La Sonnambula” in Rome and Benjamin Bernheim in “Roméo et Juliette” at the Met Opera – two of the most vocally exquisite performances I heard all year. After watching a rather shockingly messy opening performance of “La Gioconda” at Napoli, I was not looking forward to round two. But the team came together and delivered a true knockout, a testament to the beauty of live theater and the second chances it provides. Then there’s the cast of “Die Frau ohne Schatten” at the Met, a true miracle of modern opera. Finally, Teatro Grattacielo’s production of “Beyond the Horizon” was emblematic of how new opera can truly flourish an independent scale.

But as far as THE performance of the year… I saw three of them. And they were all “Ainadamar.” Every single one of these three shows was truly mesmerizing and special. All of them different experiences. All of them revelatory. If you wanted to show people what opera could be and is, this is the perfect piece with which to do it. Because it’s more than opera. It’s a work that pushes the boundaries of what the artform can do. An opera that is truly inclusive not only in its content but in its form – it is opera, theater, flamenco, experimental art, poetry, all wrapped into one. Given the times we live in, we need the Met to champion more works like this.

Francisco Salazar: “La Forza Del Destino” / “Die Frau Ohne Schatten” – Teatro alla Scala / Metropolitan Opera

Picking a best performance is always hard, especially when there are so many memorable performances in a year. How could I forget Lisette Oropesa’s show-stopping “Sonnambula” in Rome and Asmik Grigorian’s heartbreaking “Madama Butterfly” in her Met debut? And what about the amazing production of “La Gioconda” at the Teatro San Carlo directed by Romain Gilbert, who brought opera back to its glory days? And then there was Ailyn Perez and Lucas Meachem giving it their all at the Houston Grand Opera in “Il Trovatore.” And of course, there was Freddie De Tomasso’s Met debut as Cavaradossi. But the best of the year was by far “La Forza del Destino” at the Teatro alla Scala and “Die Frau Ohne Schatten” at the Metropolitan Opera, reminding us that there is still a golden age of singers and opera.

At La Scala, Riccardo Chailly led a skillful and heartfelt performance demonstrating the many colors of Verdi’s music while Leo Muscato gave us a production of Verdi’s work that connected many periods and showed how war is essentially similar no matter the time. Anna Netrebko demonstrated a sincere musicality that was enhanced by her expressiveness, especially in her arias “Son Guinta” and “Pace Pace Mio Dio,” while Ludovic Tezier gave us a Don Carlo that was both virtuosic in its technique but also musically incisive. Brian Jagde demonstrated some gorgeous high notes and true chemistry with his colleagues, while Vasilisa Berzhanskaya, Alexander Vinogradv, and Marco Filippo Romano were exceptional in their supporting roles

At the Met, Lise Lindstrom, Elza Van den Heever, and Nina Stemme were just spectacular as the trio of divas. Nothing could prepare you for the power of these voices and the naturalism they have for this repertoire. By contrast, Micahel Volle gave a subtle and moving performance as Barak, while Russell Thomas showed that he is a tenor to look out for in this repertoire. Ryan Speedo Green was fantastic in his role and Yannick Nezet-Seguin proved to be a worthy conductor of Strauss’ music. Finally, the production by Herbert Wernicke continues to be the masterpiece of the Met and the only production this season that really deserved an HD and sadly is still not recorded for the history books.

Rudolph Tang: “The Savage Land” – China Conservatory of Music

Rudolph submitted a video in which he explains why he loves “The Savage Land.”

John Vandevert: “Khovanshchina” – Berwaldhallen

My favorite performance of 2024 would have to be Berwaldhallen’s “Khovanshchina.” With a highly adept taste for sophistication, each and every one of the soloists performed with exceptional degrees of nuance and tact. However, the star of the night was undoubtedly Nadezhda Karyazina, a brilliant actress and singer who did not express empty gestures for the sake of drama, vocal or otherwise. A stupendous performance and one that was as marvelous as it was inspiring, it was my favorite of the year.

Mauricio Villa: “Adriana Lecouvreur” – Teatro Real

I had the unique opportunity of not only attending what I consider the best performance of the year, but one of those performances which will never be forgotten. What’s the reason of this magical theatrical achievement? The combination of two astounding artists who stole the show completely and electrified the audience.

I have said many times that due to her impressive characterizations and vocal portrayal I could never be sure if Jaho is an excellent opera singer with extraordinary acting skills or an impressive dramatic actress with a depurated vocal technique and a unique personal timbre. Elīna Garanča is just beautiful – her voice, her looks, her phrasing – making her one of the best mezzo sopranos of this generation. Her stage presence is hypnotic.

And despite all the difficult singing numbers the highlight of the performance was in Act three, when the countess (Garanča) is mocking and teasing Adriana (Jaho) with signs of indifference and hate, while Adriana stands up to this attack. There was ballet happening at the back of the stage, which was crowded with the choir and soloist, but the two female artists attracted all the attention. Furthermore, they were not singing, which is even more incredible considering they were performing an opera. It was just pure acting. The strong connection and the deep realistic interpretation is something rarely achieved and very difficult to see. The confrontation of these two theatrical monsters during the whole opera was magical, hypnotic, and moving.

Christina Waters – “Partenope” – San Francisco Opera

San Francisco Opera’s production of George Frideric Handel’s “Partenope” showcased the electrifying coloratura of French soprano Julie Fuchs. In a season of operatic hits, e.g. SFOpera’s “Carmen,” as well as misses, e.g. the Stefan Herheim “Der Ring des Nibelungen” in Berlin, the Partenope production was almost flawless. In elegant 1920s costuming, in visually playful performative hijinks, and in diamond-edged vocals giving fresh energy to this comedic caper by Handel. The updated Baroque creation, featuring a trio of lovers vying in stealthy fashion for the hand of the Queen of Naples, provided virtuosic trills, runs, leaps, and embellishments with apparent and impossible ease.

At the center of the manic stage action was Fuchs, elegant and sexy in the Armani-inspired suits and satins with which she wiped the floor with her many suitors. Fuchs was joined by a brilliant ensemble, notable Alek Shrader as a Man Ray-style photographer, and superb countertenor Italian countertenor Carlo Vistoli, who made his company debut a romantic package of physical drama and liquid velvet timbre. A resounding success in this, and any season.

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Anna Netrebko to Receive Premio Puccini

Francisco Salazar — Fri, 13 Dec 2024 19:22:03 +0000

(Credit: Olga Rubio Dalmau)

Anna Netrebko has been named the 56th Premio Puccini recipient.

The Puccini festival announced that on Dec. 20, the soprano will receive the award in Torre del Lago.

In a statement, the organization said, “The most famous soprano in the world Anna Netrebko, “unique voice in the world” will be in Torre del Lago on Friday 20 December to receive the Puccini prize, the highest recognition of the City of Viareggio and Fondazione Festival Pucciniano awarded every year to performers, artists, and personalities of the world of opera, who have distinguished themselves for their interpretation, promotion or contribution to the work of Giacomo Puccini and to opera culture in general.”

Netrebko has performed Puccini around the world as Turandot, Mimì, Manon Lescaut, Tosca, and Musetta and has sung 28 productions in 15 different theatres/festivals in eight countries on four continents.

Of Puccini, Netrebko said, “he wrote extraordinary scores for soprano.”

The ceremony will be held at the Auditorium Enrico Caruso and will showcase Alberto Mattioli as well as Domenico Pierini and Silvia Gasperini.

Netrebko joins past winners Gianadrea Noseda, Jonas Kaufmann, Anna Pirozzi, Angela Gheorghiu, Vittorio Grigolo, Barbara Frittoli, Maria Guleghina, José Carreras, Maria Callas and Mirella Freni, among others.

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Teatro Alla Scala Announces Cast Change for ‘La Forza del Destino’ Performance

Francisco Salazar — Fri, 13 Dec 2024 14:05:32 +0000

The Teatro Alla Scala has announced a cast change for its production of “La Forza del Destino” for the Dec. 13 performance.

Brian Jagde will not perform the role of Don Alvaro due to the birth of his first child. Teatro alla Scala, though saddened by his absence, extends its warmest wishes for happiness to him and his family and as a result, Luciano Ganci will take over the role.

Ganci is already scheduled to perform in the opera as part of the second cast on Dec. 28 and Jan. 2, 2025. He is well known for performing Verdi and Verismo roles. He performed “La Forza del Destino” for the first time in 2019.

Ganci will join a cast that includes Anna Netrebko, Ludovic Tezier, Vasilisa Berzhanskaya, Marco Filippo Romano, and Alexander Vinogradov. Riccardo Chailly conducts the production by Leo Muscato.

Jagde returns to the production on Dec. 19, 2025.

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Lucerne Government Explains Why it Canceled Anna Netrebko’s Concert

Francisco Salazar — Thu, 12 Dec 2024 00:04:43 +0000

(© 2023 Olga Rubio Dalmau)

Months after canceling Anna Netrebko’s concert in Lucerne, the KKL and teh Lucerne government have released a new reason for canceling the concert.

Back in May, the concert hall said that “The KKL Lucerne was not available for Anna Netrebko’s concert” due to “public perception of the soloist” and her close ties to Putin. Additionally, the concert hall noted that there was a “Ukraine peace conference” in the weeks that followed.

Now the concert hall and the Lucerne government are changing their tune noting that if Netrebko performed it would cause “damage and reputational risks.” According to “Luzerner Zeitung”, the council states that the city and canton only communicated their positions by letter to the KKL. The culture and congress center then made the decision itself. The Lucerne government noted that Netrebko performed, disruptive maneuvers, demonstrations, rallies, and protests would have been expected. Among other things, from human rights activists or cultural activists.

Netrebko was supposed to perform on June 1, 2024 and at the time Netrebko’s management said they “regretted the decision” especially since the concert had been scheduled years before and was almost sold out.

Netrebko is currently performing at the Teatro alla Scala in “La Forza del Destino” and is scheduled to return to Zurich in 2025.

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Dominque Meyer Condemns Jeering Against Anna Netrebko; Opening Night Also Sees Pro-Palestinian Protest

Francisco Salazar — Sun, 08 Dec 2024 03:35:57 +0000

General Director of the Teatro alla Scala Dominque Meyer has condemned the booing against soprano Anna Netrebko at the opening of the Teatro alla Scala in “La Forza del Destino.”

Following a performance that was met with healthy applause after the soprano’s three arias, Netrebko was met with boos at her curtain call. Meyer responded that it was “ridiculous to boo because she was Russian.” He added, “We need to understand something, that singers like Anna Netrebko come once in a generation.”

The soprano said, “No one booed after my arias.″

Before the performance, a dozen Ukrainian activists protested Netrebko’s inclusion in the opening night and said she was Putin’s accomplice, citing that the soprano was no longer performing at the Paris Opera (she performed last season), the Metropolitan Opera, and the Royal Opera House. Netrebko has condemned the war in Ukraine on three occasions and opened the Teatro alla Scala’s 2023-24 season in “Don Carlo.”

The evening also saw pro-Palestinian protests outside La Scala with manure thrown on the street with photos of Prime Minister Giorgia Meloni, Prime Minister of Israel Benjamin Netanyahu, President of the Senate Ignazio La Russa, and the Minister for Infrastructure Matteo Salvini. There were also signs reading, “War is a shit show” and “Genocide is a shit show.” Meloni, who was set to attend the performance decided to attend the reopening of Notre Dame and as a result, was not in Italy.

The opening night, however, did get a 12-minute standing ovation. “La Forza del Destino” is set to run through Jan. 2, 2025.

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Wiener Staatsoper to Stream ‘Ariadne Auf Naxos’ Featuring Anna Netrebko & Michael Spyres

Francisco Salazar — Thu, 05 Dec 2024 19:04:39 +0000

(Credit: Olga Rubio Dalmau)

On Jan. 28, 2025, the Wiener Staatsoper will stream Strauss’ “Ariadne Auf Naxos.”

The production by Sven-Eric Bechtolf will be conducted by Cornelius Meister and will showcase Anna Netrebko in her role debut as Ariadne, her first Strauss role.

She will be joined by Kate Lindsey, Bernhard Schir, Adrian Eröd, Michael Spyres, Sara Blanch, and Jusung Gabriel Park.

The stream will begin at 1 p.m. local time and will be available on the company’s platform.

“Ariadne auf Naxos” will open on Jan. 21 and run for four performances until Jan. 31, 2025.

This is the latest stream from the Wiener Staatsoper following performances of “Palestina” and “Die Fledermaus.”

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5 Key Points to Enjoy the “Prima della Scala”

Francisco Salazar — Wed, 04 Dec 2024 18:28:04 +0000

The “Prima della Scala” is more than just an opera performance; it’s a quintessential Italian event that intertwines art, history, and tradition, captivating global audiences every December 7th. This year, Teatro alla Scala inaugurates its 2024/2025 season with Verdi’s “La Forza del Destino.” Here are five essential insights to help you fully appreciate this extraordinary occasion—whether you’re attending in person or tuning in from afar.

1. Why is the ‘Prima della Scala’ on December 7th?

For the first 150 years of La Scala’s history, the opera season traditionally began on Boxing Day (December 26), aligning with the Carnival Season when primarily serious operas were staged. The season would conclude just before the week of Carnival festivities. However, in 1951 Maestro Victor de Sabata introduced a new tradition: inaugurating the opera season on December 7th, the Feast of Sant’Ambrogio, patron saint of Milan. Since then, this date has become a cornerstone of Milanese culture, with the opening night serving as a cultural, institutional, and social highlight of the year.

This year’s title, Verdi’s “La Forza del Destino,” will be conducted by La Scala’s musical director, Riccardo Chailly, marking his tenth season opening at this iconic venue. Chailly will lead the 1869 version of the opera, revised by Verdi specifically for La Scala, based on the critical edition by Philip Gossett and William Holmes. The evening promises to be a memorable celebration for opera enthusiasts and cultural aficionados alike.

The production boasts a stellar cast of some of the most acclaimed voices in contemporary opera. Anna Netrebko takes the lead as Donna Leonora, alongside Brian Jagde, stepping in for Jonas Kaufmann, who recently canceled due to family reasons, as Don Álvaro. Ludovic Tézier embodies Don Carlo di Vargas, with Vasilisa Berzhanskaya as Preziosilla and Alexander Vinogradov as Padre Guardiano. Supporting roles are performed by Marco Filippo Romano (Fra Melitone), Fabrizio Beggi (Marchese di Calatrava), and Carlo Bosi (Mastro Trabuco). The creative vision for this production is helmed by stage director Leo Muscato, with set design by Federica Parolini, costumes by Silvia Aymonino, and lighting design by Alessandro Verazzi. This cohesive team aims to bring Verdi’s dramatic vision to life, blending tradition with modern artistry.

2. A rare manuscript: Insights into Verdi’s creative process

A historic discovery recently has captivated the opera world: the original manuscript of the libretto for the first version of the title. Written by Francesco Maria Piave in 1861 and extensively revised by Verdi himself, the document offers rare insights into the composer’s meticulous creative process. Featuring 85 handwritten pages with indications from Piave and a lot of red-pencil corrections by Verdi himself, it reveals significant changes to key scenes, including drafts of the first act and alternative versions of the iconic “Rataplan.” The manuscript highlights Verdi’s pursuit of clarity and brevity in his operas, as seen in his collaboration with Piave and his own dramatic instincts.

The manuscript, recently digitized to ensure its preservation, will be exhibited at the Theatre Museum until January 2, coinciding with La Scala’s performances of “La Forza.” In mid-2025, a facsimile edition of the manuscript will be published to make this invaluable resource accessible to scholars and enthusiasts, underscoring the lasting impact of Verdi’s artistry on the operatic canon.

3. A complex relationship with La Scala and the supposed curse of the title.

“La Forza del Destino” has a nuanced history with La Scala. On the positive side, it marked Verdi’s reconciliation with the theatre after years of estrangement. The revised 1869 version premiered at La Scala on Feb. 27 of that year, with Verdi himself overseeing the production. However, despite its grandeur, the opera has not been as frequently performed at this Milanese venue compared to other Verdi masterpieces. The last time “La Forza” opened a season at La Scala was in 1965 conducted by Gianandrea Gavazzeni, while its most recent staging was in 2001, a co-production with the Mariinsky Theatre under Valery Gergiev’s baton.

“La Forza” is often called a “cursed opera” due to a history of accidents and misfortunes linked to its performances. From its challenging premiere to various technical mishaps and even fatalities during productions, these incidents have fueled its ominous reputation. The opera’s dark themes of fate, tragedy, and death further reinforce the superstition, as its storyline mirrors the misfortunes associated with it. Additionally, theater lore and media sensationalism have amplified the “curse,” much like Shakespeare’s “Macbeth” in the theater world. Despite this, most of the so-called curse is likely coincidence or the result of staging challenges, adding an aura of mystique to this masterpiece that continues to intrigue audiences and performers alike. Let’s hope that nothing happens this year!

4. Distinguished Guests Expected

As is customary for such an illustrious occasion, the opening night will attract high-profile national and international figures. Traditionally, the President of Italy attends, but this year, President Sergio Mattarella has announced he will not be present, as he has accepted an invitation from French President Emmanuel Macron to attend the reopening ceremony of Notre Dame Cathedral in Paris, scheduled for the same day.

Meanwhile, Prime Minister Giorgia Meloni, who initially declined her invitation, is now expected to represent Italy’s highest office following Mattarella’s absence.

Confirmed attendees include Giuseppe Sala, Mayor of Milan and Chairman of La Scala’s Board of Directors, as well as Alessandro Giuli, the recently appointed Italian Minister of Culture. Among the prominent artists walking the red carpet will be tenors Plácido Domingo and José Carreras, soprano Raina Kabaivanska, and La Scala’s étoile, dancer Roberto Bolle. Tickets for the premiere, as well as subsequent performances, have sold out in all categories, from the orchestra to the upper galleries. Prices for the opening night are a testament to the event’s prestige, with seats costing up to €3,200!

5. Where to Watch?

For opera fans in Milan, numerous cultural venues, music schools, and theaters will host live broadcasts of the performance, accompanied by pre-show talks, listening guides, and related activities. For those outside Milan, the premiere will be broadcast live on Italian television via Rai1 HD, directed by Arnalda Canali, and will also be available on RAI-Radio3.

International viewers can access the performance through the RaiPlay app. The nearly four-hour-long broadcast, starting at 6:00 p.m. Italian time, will include subtitles and remain available for streaming on the app for 15 days after the premiere, free of charge. This ensures that opera lovers worldwide can experience the magic of Verdi’s masterpiece on one of the world’s most iconic stages. Here are other ways to watch and listen.

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Rai5 to Broadcast Teatro Alla Scala’s Puccini Concert with Anna Netrebko & Jonas Kaufmann

Francisco Salazar — Wed, 04 Dec 2024 01:43:38 +0000

Rai5 is set to broadcast the Teatro alla Scala’s Puccini concert on Dec. 5.

The concert, which was recorded on Nov. 29, will be shown at 7:15 p.m. and will include Jonas Kaufmann, Anna Netrebko, Mariangela Sicilia, and Luciano Ganci accompanied by pianist James Vaughan. The evening saw the soloists perform arias and duets from “Gianni Schicchi,” “Le Villi,” “Edgar,” “La Boheme,” “Manon Lescaut,” “Turandot” and “Tosca.”

The concert was dedicated to Giacomo Puccini, on the centenary of his death.

Originally scheduled to be conducted by Riccardo Chailly and feature the Teatoro alla Scala orchestra, the concert was altered due to a national strike and the theater improvised a new concert.

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