Milan’s revered Teatro alla Scala held its gala season premiere on March 4, 2024, featuring Dmitry Shostakovich’s opera “Lady Macbeth of Mtsensk.” This performance marks the second time since Russia’s invasion of Ukraine in 2022 that La Scala has showcased a Russian opera, but this year, the event was met with a distinctive display of peaceful protest.
A flash mob of activists from a liberal Italian party gathered outside the venue, waving Ukrainian and European flags. Their demonstration aimed to highlight the ongoing struggle for freedom and the defense of democracy in Europe, which they believe is under threat from the actions of Russian President Vladimir Putin. The party emphasized that Shostakovich’s opera serves as a reflection on the abuse of power and the necessity of personal resistance.
As La Scala’s music director, Riccardo Chailly conducted the performance, the evening drew numerous dignitaries from various sectors, including culture, business, and politics. “Lady Macbeth of Mtsensk,” first performed in 1934, explores the plight of women during Stalin’s Soviet regime and was blacklisted shortly after a performance attended by Stalin himself, coinciding with the commencement of the Great Purge.
In addition to the flash mob outside La Scala, a larger demonstration occurred in front of Milan’s city hall. This gathering, which called for freedom for the Palestinians and an end to colonialism, was kept away from the main event by police barriers. Such protests have become a notable backdrop to La Scala’s gala season premieres, reflecting the intersection of art and political discourse.
Chailly expressed his determination to stage Shostakovich’s work, asserting that it is a crucial opera that has not been adequately represented. “It is an opera that has long suffered, and needs to make up for lost time,” he stated at a press conference last month.
The new general manager of La Scala, Fortunato Ortombina, defended the decision to include both “Lady Macbeth” and Modest Mussorgsky’s “Boris Godunov” in the program. He emphasized that music transcends ideological conflicts, noting that the influence of Shostakovich and Russian music holds significant authority over the Russian populace, surpassing even that of the current regime.
American soprano Sara Jakubiak made her debut at La Scala as Katerina, the opera’s tragic protagonist. This role, which she previously performed in Barcelona, presents numerous challenges, including vocal demands with sequences of high notes. “You go, ‘Oh my gosh, how will I do this?’” Jakubiak remarked, highlighting the rigorous preparation required for her role.
Chailly humorously referred to his rigorous expectations of Jakubiak, stating he was “squeezing” her like an orange during rehearsals. The soprano noted her shared approach with Chailly, emphasizing the importance of text and music in her preparation, illustrating a collaborative bond between the singer and conductor.
Director Vasily Barkhatov, known for his flourishing international career, described “Lady Macbeth” as a courageous choice for La Scala. His staging reimagines the opera in a 1950s cosmopolitan Russian city, a period marking the end of Stalin’s regime, deviating from its original rural setting. Barkhatov views the opera as a personal tragedy rather than a political statement, with a focus on the human experience amidst oppression.
The production features a set designed in period Art Deco style, which includes a rotating balustrade that transforms the stage into various locations, such as a kitchen and interrogation office. Barkhatov reflected on the opera’s themes, suggesting that it offers a “weird … breakthrough to happiness and freedom,” despite the dark realities faced by many in their pursuit of liberation.
As La Scala continues to navigate the complexities of art and politics, the juxtaposition of high culture and pressing social issues remains evident, showcasing the theater’s significant role in the ongoing dialogue surrounding democracy and freedom.
