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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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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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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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Teatro San Carlo Announces New ‘Attila’

Francisco Salazar — Wed, 04 Dec 2024 01:34:01 +0000

The Teatro San Carlo has found its Attila for Verdi’s Opera of the same name.

Giorgi Manoshvili will take over the role, which Ildar Abdrazakov was originally set to perform.

The Georgian bass has performed at the Teatro delle Muse, Teatro dell’Opera di Roma, Israeli Opera, Rossini Opera Festival, Wexford Opera, Teatro Filarmonico, and Teatro San Carlo. He is a graduate of the Vano Sarajishvili State Conservatory in Tbilisi (Georgia) and specialized in Traditional and Ecclesiastical Music. He is well known for his interpretations of Rossini, Verdi, Donizetti, Bellini, and Puccini.

Manoshvili is set to join a cast that includes Ernesto Petti, Sondra Radvanovsky, and Luciano Ganci. Diego Ceretta conducts the two concert performances scheduled for April 24 and 27, 2025.

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Maggio Musicale Fiorentino Cancels Puccini Celebration Concert Due to Strike

Francisco Salazar — Sun, 01 Dec 2024 04:33:32 +0000

On Nov. 29, the Maggio Musicale Fiorentino canceled its Puccini celebration “Puccini racconta Puccini.”

The company said that due to the national strike, it was forced to cancel its concert.

The concert was set to commemorate the 100th anniversary of Giacomo Puccini’s passing and included Puccini’s “Crisantemi,” “Preludio a orchestra,” “Preludio sinfonico in A major,” “Capriccio sinfonico,” Le villi’s “Tregenda,” Edgar’s “Prelude Act three,” Manon Lescaut’s “Interlude from Act three,” Madama Butterfly’s “Coro a bocca chiusa,” Suor Angelica’s “Interlude,” and “Inno a Roma” for chorus and orchestra.

Ticketholders will be refunded by Dec. 10, 2024.

In addition to the Maggio Musicale Fiorentino, the Teatro alla Scala was forced to alter its concert due to the strike leaving the company without an orchestra and instead, a recital was performed featuring Anna Netrebko, Jonas Kaufmann, Mariangela Sicilia, and Luciano Ganci.

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Teatro alla Scala 2023-24 Review: Omaggio to Puccini (Cancelled Concert)

Francisco Salazar — Sat, 30 Nov 2024 15:15:43 +0000

(Brescia e Amisano © Teatro alla Scala)

November 29^th is a date of particular significance in the history of opera: in 1797, Gaetano Donizetti was born in Bergamo, while on the same date in 1924, Giacomo Puccini passed away. A century later, in 2024, Teatro alla Scala planned to commemorate the centenary of Puccini’s death with a grand tribute led by prominent soloists. The final outcome was very different from what had been anticipated, but fortunately, it ended on a happy note—unlike most operas by the Tuscan composer.

Originally, La Scala’s tribute envisioned a program focused on lesser-known pages from Puccini’s repertoire, under the baton of Riccardo Chailly leading the theater’s orchestra and choir. The evening was to begin with the “Preludio Sinfonico” and the string orchestra version of “Crisantemi,” followed by excerpts from “Edgar” and “Le Villi,” and culminating with the fourth act of “Manon Lescaut.” This program had drawn the interest of both locals and international audiences months in advance, with tickets selling out immediately upon release.

However, on the day of the event, a couple of minutes past 8:00 p.m., the stage remained empty of the choir and orchestra—something unusual for a theater renowned for its punctuality. At 8:05, dodging the empty chairs of the orchestra, Superintendent Dominique Meyer appeared with a microphone in hand. Meyer explained that due to a national strike called by a couple of Italian unions, some members of La Scala’s orchestra and choir had joined the protest. “With the artistic resources available at this moment, it’s impossible to proceed with the concert as planned, so we must cancel it,” he announced, stirring anger and surprise among the audience.

Italian law, Meyer pointed out, prevents theaters from asking in advance who will participate in a strike, leaving the possibility of staging the concert in limbo until just minutes before its scheduled start. To try to soothe the attendees, many of whom were international visitors, he proposed in English: “If you give me a few minutes, we’ll offer you a glass of prosecco in the foyer as well as an alternative concert.”

In just 30 minutes, an impromptu recital of Puccini arias was organized, featuring Anna Netrebko, Jonas Kaufmann, Mariangela Sicilia, and Luciano Ganci, accompanied on piano by James Vaughn, a historic accompanist at La Scala. The initiative was met with applause, though there were isolated protests, including a shout of “Vergogna!” (“Shame!”) from an Italian opera lover in the stalls, aimed at the striking performers.

The program began with Mariangela Sicilia performing “Addio, mio dolce amore” from “Edgar,” followed by “Torna ai felici dì” from “Le Villi,” sung by tenor Luciano Ganci, who joined the event at the last moment. Ganci, possessing a homogeneous, round, and resonant timbre, stood out for his elegance and vocal control. Next, Sicilia and Kaufmann presented “Sì, mi chiamano Mimì” and the poignant duet “O soave fanciulla” from “La Bohème.” Ganci and Sicilia returned to the stage with “Addio, fiorito asil” from “Madama Butterfly” and “Il bel sogno di Doretta” from “La Rondine,” respectively; while Kaufmann dazzled with “Ch’ella mi creda libero e lontano” from “La fanciulla del West.” Sicilia then offered a swift rendition of “O mio babbino caro” from “Gianni Schicchi.”

One of the most anticipated moments arrived with the fourth act of “Manon Lescaut,” the only fragment retained from the original program. Anna Netrebko impressed with her full, rounded timbre, especially in the central register, and her dramatic prowess, capturing all of Manon’s despair. Her rendition of “Sola, perduta, abbandonata in landa desolata!” was dazzling. Kaufmann, with his charisma and acting skills, once again confirmed his status as one of today’s great opera stars, delivering a vocally intense and nuanced performance.

The recital concluded with Mariangela Sicilia performing “Tu che di gel sei cinta” from “Turandot,” showcasing her impeccable technique and her ability to handle the repertoire’s demands with elegance. Kaufmann closed the evening with an emotional rendition of “E lucevan le stelle” from “Tosca.” Prolonged and heartfelt applause led the performers to offer three encores, with Anna Netrebko shining in “Quando men vò” and Kaufmann concluding with “Nessun dorma.”

The evening inevitably brought to mind the historic “La Traviata” performance in June 1995, when Riccardo Muti had to accompany Tiziana Fabbricini, Ramon Vargas, and Juan Pons on piano for the entire opera during a similar strike. This situation sparked intense debates in the theater’s foyer and after on social media about the lack of consideration toward Puccini and the audience by the striking groups. Regardless of the controversy, what mattered most was that, one way or another—whether with or without an orchestra—the date did not go unnoticed, and the tribute to Giacomo Puccini took place, once again demonstrating the theater’s ability to adapt and honor the greatness of the composer.

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

Francisco Salazar — Tue, 19 Nov 2024 17:57:35 +0000

(Credit: Karen Almond)

The Teatro alla Scala has announced a cast change for its production of “La Forza del Destino.”

The company announced that Brian Jagde will sing the role of Don Alvaro replacing Jonas Kaufmann who was originally scheduled.

Kaufmann said, “I have had the privilege of taking part several times in my career in this outstanding moment of Italian culture. I am all the more sorry to have to disappoint the public and my colleagues this time. However, I hope for their understanding, especially in a country where family still has great importance.”

Jagde has performed the role of Don Alvaro to great acclaim at the Paris Opera, Metropolitan Opera, and the Gran Teatre del Liceu. Of his Met performances, OperaWire noted, “It’s hard not to see why as he has a strong tenor voice that can emit incredible sound into the cavernous space with great Italian diction necessary for these heavier spinto roles.”

Jagde made his Teatro alla Scala debut in “Cavalleria Rusticana” in 2024 and has since performed “Turandot” at the theater.

He will join a cast that includes Anna Netrebko, Ludovic Tézier, Vasilisa Berzhanskaya, Alexander Vinogradov, and Marco Filippo Romano. Riccardo Chailly conducts the production by Leo Muscato. A second cast will feature Elena Stikhina, Luciano Ganci, and Amartuvshin Enkhbat.

Kaufmann will be in Milan for the concert celebrating Giacomo Puccini’s centenary conducted by Maestro Chailly on Nov. 29 together with Anna Netrebko and Mariangela Sicilia.

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Anna Netrebko, Aigul Akhmetshina, Angel Blue, Jonas Kaufmann, Amartuvshin Enkhbat, Piotr Beczała, Luca Salsi, & Aleksandra Kurzak Lead Arena di Verona’s 2025 Season

Francisco Salazar — Fri, 08 Nov 2024 14:00:48 +0000

The Arena di Verona has announced its 2025 season.

Verdi’s “Nabucco” will get a new production. Stefano Poda will direct the new production. Amartuvshin Enkhbat, Youngjun Park, Luca Salsi, and Igor Golovatenko lead the cast that includes Anna Pirozzi, Maria José Siri, Anna Netrebko, and Olga Maslova as Abigaille, Francesco Meli and Galeano Salas as Ismaele. The cast is rounded out by Roberto Tagliavini, Alexander Vinogradov, Christian Van Horn, Simon Lim, Vasilisa Berzhanskaya, Francesca Di Sauro, and Aigul Akhmetshina. Pinchas Steinberg conducts.

Performance Dates: June 13-Sept. 6, 2025

Verdi’s “Aida” will be revived in Stefano Poda’s production. Daniel Oren and Francesco Ommassini conduct with Maria José Siri, Olga Maslova, Aleksandra Kurzak, Anna Netrebko, and Marina Rebeka in the title role. Clémentine Margaine, Agnieszka Rehlis, Ekaterina Semenchuk, Luciano Ganci, Gregory Kunde, Brian Jagde, Roberto Alagna, Yusif Eyvazov, Simon Lim, Ramaz Chikviladze, Giorgi Manoshvili, Alexander Vinogradov, Simon Lim, Christian Van Horn, Abramo Rosalen, Igor Golovatenko, Amartuvshin Enkhbat, Ludovic Tézier, and Youngjun Park round out the cast.

Performance Dates: June 20-Sept. 4, 2025

Verdi’s “La Traviata” will be performed in Hugo De Ana’s production. Speranza Scappucci and Francesco Ommassini conduct a cast that includes Angel Blue, Rosa Feola, Nadine Sierra, Galeano Salas, Enea Scala, Dmitry Korchak, Amartuvshin Enkhbat, Luca Salsi, and Ludovic Tézier.

Performance Dates: June 27-August 2, 2025

Bizet’s “Carmen” will be performed in a production by Franco Zeffirelli. Aigul Akhmetshina, Alisa Kolosova, and Anita Rachvelishvili take on the title role with Aleksandra Kurzak, Mariangela Sicilia, Daniela Schillaci, Roberto Alagna, Francesco Meli, Yusif Eyvazov, Piotr Beczała, Freddie De Tommaso, Paolo Lardizzone, Erwin Schrott, Luca Micheletti, and Giorgi Manoshvili. Francesco Ivan Ciampa conducts.

Performance Dates: July 4-Sept. 3, 2025

“Roberto Bolle and Friends” will be presented in coproduction with ARTEDANZAsrl.

Performance Dates: July 22 & 23, 2025

Verdi’s “Rigoletto” returns to the stage with Pene Pati, Galeano Salas, Amartuvshin Enkhbat, Luca Salsi, Youngjun Park, Nadine Sierra, Rosa Feola, Erin Morley, and Gianluca Buratto.

Performance Dates: August 8-Sept. 5, 2025

Jonas Kaufmann leads the Opera Gala.

Performance Date: August 3, 2025

Orff’s “Carmina Burana” returns to the festival with Erin Morley and Raffaele Pe. Andrea Battistoni conducts.

Performance Date: August 15, 2025

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Star-Studded Casts Open Four Italian Theater’s 2024-25 Seasons

Francisco Salazar — Thu, 07 Nov 2024 18:13:59 +0000

(Credit: Teatro Real, Royal Opera House/Bill Cooper/Salzburg Festival)

With the year coming to an end, four major Italian opera houses are set to open their 2024-25 seasons. As customary the Italian opera calendar opens in late November or early December. So here is a look at what to expect from these four famed theaters.

Teatro La Fenice

The Venice Theater opens with a new production of Verdi’s late masterpiece “Otello.” Fabio Ceresa directs while Myung-Whun Chung conducts. The cast is led by Francesco Meli, who is known for his Verdi interpretations and makes his role debut in one of the most challenging roles in the repertoire. Luca Micheletti, Karah Son, and Francesco Marsiglia round out the lead cast.

Dates: Nov. 20-Dec. 1, 2024

Teatro San Carlo

The Napoli Theater will open with a new production of Dvořák’s “Rusalka.” Asmik Grigorian, who has performed the role to great acclaim at the Royal Opera House and Teatro Real, will sing the title role in her house debut. She will be joined by Adam Smith, also in his house debut, Ekaterina Gubanova, and Gabor Bretz in his house debut. Anita Rachvelishvili will round out the cast in her great return to the stage. Dan Ettinger conducts the new production Dmitri Tcherniakov.

Dates: Nov. 20-Dec. 7, 2024

Teatro dell’Opera di Roma

The Rome theater will open with Verdi’s “Simon Boccanegra” with Luca Salsi, one of the great Verdi baritones of our time, in the title role. He will be joined by Eleonora Buratto, Michele Pertusi, and Stefan Pop. A second cast will include Claudio Sgura, Maria Motolygina, Dmitri Ulyanov, and Anthony Ciaramitaro. Michele Mariotti conducts the new production by Richard Jones.

Dates: Nov. 27-Dec 5, 2024

Teatro alla Scala

It all comes to a close with the Milanese theater’s famed opening night on the Feast of St Ambrose. This season the company will open with Verdi’s “La Forza del Destino” in a new production by Leo Muscato. Riccardo Chailly conducts a star-studded cast led by Anna Netrebko, Jonas Kaufmann, and Ludovic Tézier, all of whom performed the work together at the Royal Opera House. They will be joined by Vasilisa Berzhanskaya, Alexander Vinogradov, and Marco Filippo Romano. A second cast will perform the work led by Elena Stikhina, Amartuvshin Enkhbat, Luciano Ganci, and Simon Lim.

Dates: Dec. 7, 2024-Jan. 2, 2025

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