Milan’s prestigious Teatro alla Scala kicked off its gala season on October 1, 2023, with a performance of Dmitry Shostakovich’s opera, Lady Macbeth of Mtsensk. This marks the second time La Scala has showcased a Russian opera since Russia’s invasion of Ukraine in 2022. In contrast to last year’s protests, the opening was accompanied by a flash mob advocating for peace.
The gala, conducted by Riccardo Chailly, attracted prominent figures from various sectors, including culture, business, and politics. The presence of such luminaries underscores the event’s significance in the European cultural calendar. Shostakovich’s opera, originally premiered in 1934, is known for its critical examination of women’s conditions under Stalin’s regime. It faced severe backlash after a performance attended by Stalin himself in 1936, coinciding with the onset of the Great Purge.
A group of activists from a liberal Italian political party staged a quiet demonstration outside the venue, waving Ukrainian and European flags. Their aim was to draw attention to the ongoing threats to liberty and democracy posed by President Vladimir Putin’s government, while also expressing solidarity with the Ukrainian people. The party emphasized that the themes of Lady Macbeth resonate with personal resistance against the abuse of power.
While a larger demonstration organized by a different group called for freedom for Palestinians, police maintained a cordon to keep it separate from the gala attendees. Protests challenging war and inequality have become a recurrent backdrop to the annual premiere.
Chailly, who began collaborating with Russian director Vasily Barkhatov on this production two years ago, has been committed to presenting Shostakovich’s work as a vital part of the operatic repertoire. He referred to this staging as a “must” for La Scala, emphasizing the opera’s long-standing significance that deserves to be revisited.
New general manager Fortunato Ortombina defended the choice to include both Shostakovich’s and Modest Mussorgsky’s operas in a venue traditionally associated with Italian works. “Music is fundamentally superior to any ideological conflict,” Ortombina stated. He argued that Shostakovich’s music possesses a profound influence over the Russian populace that surpasses the authority of Putin’s regime.
American soprano Sara Jakubiak made her La Scala debut in the challenging role of Katerina, a character whose descent into crime leads her to a tragic end in a Siberian prison. Jakubiak, who previously performed the role in Barcelona, reflected on the opera’s demands, joking about the intensity of singing “47 high B flats in one night.” She expressed confidence in her preparation and teamwork.
Chailly humorously mentioned that he was “squeezing” Jakubiak for her best performance, highlighting their collaborative efforts to stay true to the opera’s original score and intent. Jakubiak, known for her work in Strauss and Wagner, is set for another significant debut as Isolde in a concert this July with conductor Anthony Pappano and the London Symphony Orchestra.
Barkhatov described the decision to stage Lady Macbeth as “very brave and exciting.” His interpretation sets the opera in a 1950s cosmopolitan Russian city, choosing to focus on the narrative as a personal tragedy rather than a political statement. By transforming the setting, he aims to explore the emotional depth of the characters within the historical context of Stalin’s regime.
The production features a restaurant designed in period Art Deco style, complete with a rotating balustrade that transitions between various locations, including a kitchen and an interrogation office. Barkhatov noted that while the story is tragic, it also represents a “weird … breakthrough to happiness and freedom,” reflecting on the harsh realities of pursuing such ideals.
As La Scala continues to navigate the complexities of cultural representation, the juxtaposition of a celebrated Russian opera and a peaceful protest illustrates the ongoing discourse around art, politics, and human rights on the international stage.
