Most of Italy's greatest operatic artists, and many of the finest singers from around the world, have appeared at La Scala. The theatre is regarded as one of the leading opera and ballet theatres in the world and is home to the La Scala Theatre Chorus, La Scala Theatre Ballet, La Scala Theatre Orchestra, and the Filarmonica della Scala orchestra. The theatre also has an associate school, known as the Accademia Teatro alla Scala, which offers professional training in music, dance, stage craft and stage management.
La Scala's season opens on 7 December, Saint Ambrose's Day, the feast day of Milan's patron saint. All performances must end before midnight, and long operas start earlier in the evening when necessary.
The Museo Teatrale alla Scala, accessible from the theatre's foyer and a part of the house, contains a collection of paintings, drafts, statues, costumes, and other documents regarding La Scala's and opera history in general.
La Scala also hosts the Accademia d'Arti e Mestieri dello Spettacolo. Its goal is to train a new generation of young musicians, technical staff, and dancers, at the Scuola di Ballo del Teatro alla Scala, one of the Academy's divisions.
Above the boxes, La Scala has a gallery -called the loggione- where the less wealthy can watch the performances. The gallery is typically crowded with the most critical opera aficionados, known as the loggionisti, who can be ecstatic or merciless towards singers' perceived successes or failures.
For their failures, artists receive a baptism of fire from these aficionados, and fiascos are long remembered. For example, in 2006, tenor Roberto Alagna left the stage after being booed during a performance of Aida, forcing his understudy, Antonello Palombi, to quickly replace him mid-scene without time to change into a costume. Alagna did not return to the production.
More information: Teatro alla Scala
A fire destroyed the previous theatre, the Teatro Regio Ducale, on 25 February 1776, after a carnival gala. A group of ninety wealthy Milanese, who owned private boxes in the theatre, wrote to Archduke Ferdinand of Austria-Este asking for a new theatre and a provisional one to be used while completing the new one. The neoclassical architect Giuseppe Piermarini produced an initial design, but it was rejected by Count Firmian, the governor of the then Austrian Lombardy.
A second plan was accepted in 1776 by Empress Maria Theresa. The new theatre was built on the former location of the church of Santa Maria alla Scala, from which the theatre gets its name. The church was deconsecrated and demolished and, over a period of two years, the theatre was completed by Pietro Marliani, Pietro Nosetti and Antonio and Giuseppe Fe.
The theatre had a total of 3,000 or so seats organized into 678 pit-stalls, arranged in six tiers of boxes, above which is the loggione or two galleries. Its stage is one of the largest in Italy (16.15m d x 20.4m w x 26m h).
Building expenses were covered by the sale of boxes, which were lavishly decorated by their owners, impressing observers such as Stendhal. La Scala, as it came to be known, soon became the pre-eminent meeting place for noble and wealthy Milanese people. In the tradition of the times, the main floor had no chairs and spectators watched the shows standing up. The orchestra was in full sight, as the orchestra pit had not yet been built.
More information: Milan Museum
La Scala was originally illuminated with 84 oil lamps mounted on the stage and another thousand in the rest of the theatre. To reduce the risks of fire, several rooms were filled with hundreds of water buckets. In time, oil lamps were replaced by gas lamps, these in turn were replaced by electric lights in 1883.
The original structure was renovated in 1907, when it was given its current layout with 1,987 seats. In 1943, during World War II, La Scala was severely damaged by bombing. It was rebuilt and reopened on 11 May 1946, with a memorable concert conducted by Arturo Toscanini -twice La Scala's principal conductor and an associate of the composers Giuseppe Verdi and Giacomo Puccini- with a soprano solo by Renata Tebaldi, which created a sensation.
La Scala hosted the first productions of many famous operas, and had a special relationship with Verdi. For several years, however, Verdi did not allow his work to be played here, as some of his music had been modified, he said corrupted, by the orchestra. This dispute originated in a disagreement over the production of his Giovanna d'Arco in 1845; however, the composer later conducted his Requiem there on 25 May 1874, and he announced in 1886 that La Scala would host the premiere of what was to become his penultimate opera, Otello. The premiere of his last opera, Falstaff, was also given in the theatre.
In 1982, the Filarmonica della Scala orchestra was established to develop a symphonic repertoire to add to La Scala's operatic tradition, the orchestra drawing its members from the larger pool of musicians that comprise the Orchestra della Scala.
More information: Accademia Teatro alla Scala
It should be listened to and appreciated by everyone.
Luciano Pavarotti
