Any performance of Giuseppe Verdi’s Aida at La Scala, Milan, is guaranteed to be an experience – but, when it’s a new production, it becomes a major event, especially given the theatre’s notoriously critical audience. Legendary stage director Peter Stein succeeds in delivering a lucid production acclaimed in equal measure by the press and public: “a perfect coup de théâtre” (Giornale della musica). A “stellar cast” (La Stampa) contributes to the production’s success under the musical direction of Verdi specialist Zubin Mehta, who leads the orchestra in a “gorgeously colourful performance”, while “the entire ensemble is brilliant in ist portrayal of the characters” (Die Presse).
I due Foscari
Acclaim for La Scala’s new Foscari: “Plácido Domingo is the definitive Francesco of recent times” (Financial Times).” Here is Plácido Domingo’s latest conquest: the leading baritone role of Francesco Foscari in Verdi’s darkly atmospheric, melodically generous early opera, based on Lord Byron’s play. Set in 15th-century Venice, I due Foscari is the forerunner of Simon Boccanegra, and Domingo’s triumph as the Doge set the seal on this critically lauded new production from Milan’s Teatro alla Scala, the ultimate Verdi shrine. Declaring the legendary singer “the definitive Francesco of recent times”, the Financial Times’s reviewer also had high praise for the rest of La Scala’s superb cast, from “Andrea Concetti’s solid Loredano, to the immaculate Francesco Meli in a perfect match for Jacopo. Anna Pirozzi makes a triumphant house debut as Lucrezia. She wins hearts and minds through fearsome dramatisation and thrilling vocal power. But the revelation of the night is [conductor] Michele Mariotti.”
La Bohème
This production of ‘La Bohème’ scored a trio of ‘firsts’: it was the first opera film to be produced by Unitel, the first music film conducted by Herbert von Karajan, and the first major film production by Franco Zeffirelli (Romeo and Juliet, Jesus of Nazareth). Produced in 1965, it was based on Zeffirelli’s acclaimed 1963 La Scala production and features Mirella Freni and Gianni Raimondi as the starcrossed lovers. Karajan conducts the chorus and orchestra of Milan’s La Scala. The production is still considered today one of the finest treatments of opera on film and a classic of opera performance in the 20th century..
Verdi, Messa da Requiem
Originally performed at La Scala in 1967 to celebrate the tenth anniversary of Toscanini’s death, this production with the orchestra and chorus of the Teatro alla Scala was presented in Moscow, Montreal and New York, in addition to Milan. It was recorded on film in 1967, now with the young Luciano Pavarotti replacing Carlo Bergonzi. One of Karajan’s earliest film productions (and his first color film), it reflects his innovativeness especially through his choice of Henri-Georges Clouzot as director. Clouzot was the creator of classic “films noirs” such as “Quai des Orfèvres” and “Wages of Fear”.
Cavalleria Rusticana
Based on a drama by Giovanni Verga, “Cavalleria Rusticana” relates the lives and passions of simple Sicilian peasants. It was the first opera of the “verismo”, or realist, school. Turiddu has long been one of Placido Domingo’s finest roles, infused with passion and musical intensity. Franco Zeffirelli has masterminded a brilliantly naturalistic filming of this opera, shooting it on location in a small Sicilian town. The Russian mezzo-soprano Elena Obraztsova is a moving Santuzza, totally convincing in her passionate dejection. Together with the other veristic masterpiece, Leoncavallo’s “Pagliacci”, “Cavalleria” forms the most popular double-bill in the operatic repertory.
I Pagliacci
“Pagliacci” is often celebrated as one of the finest examples of verismo, or realist opera. It is even based on a true story: Leoncavallo’s father, a judge, once presided over the trial of an actor who, in a fit of jealousy, murdered his wife immediately following a performance. “Pagliacci” is frequently performed along with Mascagni’s one-acter “Cavalleria Rusticana”. Both works are strongly linked with the name of Franco Zeffirelli, the great stage and film director who has been infusing the operatic repertoire with grace, elegance and poignancy. Both his Emmy Award-winning production of “Pagliacci” and his “Cavalleria” feature international star tenor Placido Domingo.
I due Foscari
In his ‘new life’ as a baritone, Plácido Domingo has triumphed in the role of Francesco Foscari in Los Angeles, London and Vienna. Now he takes to the role to La Scala, Milan, the theatre that is the symbol of Italian opera. I due Foscari, premiered in 1844, famously one of Verdi’s darkest operas, is staged by Alvis Hermanis, who made such an impact at the Salzburg Festival with “Die Soldaten” and “Il trovatore”. Domingo is joined by two of Italy’s most exciting singers, the soprano Anna Pirozzi and the tenor Francesco Meli, and the acclaimed Italian conductor Michele Mariotti. The Financial Times was deeply moved by Domingo’s performance, calling his interpretation of the role “sublime”.
Teatro alla Scala Ballet Box
FIVE OUTSTANDING BALLETS FROM THE LEGENDARY TEATRO ALLA SCALA: ROMEO AND JULIET: The stars of this masterly performance are Roberto Bolle and Misty Copeland, together for the first time in this ballet. THE SLEEPING BEAUTY: “Timofej Andrijashenko had a great debut with the Désiré of Nureyev. Polina Semionova was an amazing Aurora” (Strata Gemmi) “A great production, a success thanks to a superlative and thrilling ballet company.” (LUUK) DON QUIXOTE: Classical ballet stars Natalia Osipova and Leonid Sarafanov make this a breathtaking distinctive performance. LE CORSAIRE: “The star is the ballet company, in dazzling form” (Il Giorno), “Impeccable” (Informadanza). THE LOVER´S GARDEN: “The creative genius of the choreographer Volpini leaves a strong mark on this new production, confirming the talent.“ (giornaledelladanza.com)
Teatro alla Scala Opera Box
FIVE OUTSTANDING OPERAS FROM THE LEGENDARY TEATRO ALLA SCALA: AIDA: “A perfect coup de théâtre” (Giornale della musica). A “stellar cast” (La Stampa) I DUE FOSCARI: The Financial Times was deeply moved by Domingo’s performance, calling his interpretation of the role “sublime” DIE ZAUBERFLÖTE: Ádám Fischer “gets the best out of the Academy Orchestra with delicate execution and humane phrasing” (Die Presse) LE NOZZE DI FIGARO: “… when Diana Damrau enters as the Countess, we get a performance of special gravitas. Even the orchestra, under Franz Welser-Möst’s baton, melts to such grace.” (Financial Times) DIE ENTFÜHRUNG AUS DEM SERAIL: A „masterful use of light and silhouettes“ by Giorgio Strehler. (Milano Post) „Extraordinary, a wonder …“ (Corriere Della Sera)
Andrea Chénier
Andrea Chénier, which premiered at La Scala in 1896, was last performed here 32 years ago by Riccardo Chailly. “By choosing to work with director Mario Martone, known for his films as well as his work in opera and theatre, Chailly has given overall coherence to his cinematic vision. This production is beautifully crafted and full of grim period detail. Riccardo Chailly conducted with vitality and drive“ (Financial Times) and in the main roles Yusif Eyvazov “proved to be technically very skilled“ and Anna Netrebko´s “beautifully timbred and perfectly tuned voice“ (theoperacritic.com) made “the acoustic experience of the Milanese Chénier high-class“. (BR Klassik)