A Brief History of the La Scala Opera House

Known in Italian as Teatro alla Scala, the opera house in Milan -- an industrial city in Northern Italy often compared to Chicago -- is the Mecca of the art form for performers and opera lovers the world over. Aspiring singers who want to "make it" in the world of opera dream of performing on the stage of La Scala, much the same way musicians yearn to play at New York's Carnegie Hall.

The opera house opened in 1778, and its first production was an opera by renowned Baroque composer Antonio Salieri. La Scala was built to replace the Teatro Regio Ducal, which had burned to the ground several years earlier. The name of the theater is derived from the church of Santa Maria della Scala, which formerly stood on this site. After considerable wrangling over interior design elements, the building was configured with slightly more than 3,000 seats into 600-plus "pit stalls" on the main floor, six tiered balconies of private boxes on the side and rear walls, and two galleries above that. The leasing of these private boxes to wealthy individuals provided the bulk of the funds necessary to pay for construction. The galleries above the boxes, known as loggione, were standing-room-only affairs that provided inexpensive entry to the theater. Then as now, these gallery occupants could be merciless in expressing their displeasure if a singer or a production failed to meet their exacting standards. As recently as 2006, tenor Roberto Alagna was booed off the stage by the loggionistas during a performance of Verdi's Aida; his understudy was forced to replace him in the middle of the scene without being given a chance to change into costume.

Electric lights came to La Scala in 1883, and the auditorium underwent significant renovation in 1907. This remodeling reduced the number of seats to its present count of 2,800. Bombing by Allied planes during WWII caused considerable damage to the structure, but the edifice was rebuilt after the war and reopened with a memorial concert conducted by legendary maestro Arturo Toscanini. Another major renovation took place from January 2002 to November 2004, during which time opera productions were staged at another theater elsewhere in Milan. The backstage area was increased significantly to provide more storage space for sets, and an electronic libretto system was installed into the backs of every seat in the house, thereby giving members of the audience instantaneous translations of whatever was being sung onstage. By removing the heavy carpeting throughout the auditorium, experts discovered that La Scala's sound improved considerably.

Given the importance of opera in Italy and the high profile of its patrons, it is hardly surprising that a number of notable operas have had their premieres at La Scala. These include the first performances of many of Giuseppe Verdi's compositions, including Nabucco [1824], I Lombardi [1843], and Otello [1887]. This latter work, which many consider to be Verdi's finest, is often chosen to open each season, which typically begins on December 7. This date was selected because it is the feast day of Milan's patron saint, Saint Ambrose. Other famous operas that were first performed on the stage at La Scala include Il pirata and Norma by Vincenzo Bellini, Lucrezia Borgia and Maria Stuarda by Gaetano Donizetti, and Madama Butterfly and Turandot by Giacomo Puccini.

Music directors at La Scala have included Franco Faccio [1871-1889] (Verdi's favorite conductor), Claudio Abbado [1968-1986], and Riccardo Muti [1986-2005]. Muti was succeeded by Daniel Barenboim [2007-2014], who in turn was replaced by the current officeholder, Riccardo Chailly, in time for the 2015 season. Maestro Chailly's contract runs through 2022. A museum attached to the opera house is filled with paintings and statues that depict important moments in La Scala opera history, plus costumes and drafts of musical scores from many of the productions that have graced its stage down through the years.

The Beatles Arrive In America!

Before I start this article, I would like to say that I have never really been much of a fan of the kind of music which is commonly known as "rock and roll" or popular music yet I do find some of it along with its stories fascinating. It being with this in mind that I wish to share this particular story about The Beatles's first trip to the United States.

It was in 1964 that The Beatles first arrived in America, landing in New York's international airport which had recently had its name changed from Idlewild Airport to John F. Kennedy. It being upon arrival that the four members of the Beatles were met with literally thousands of screaming fans who simply could not get enough of their rock and roll idols yet I; for my part when I saw the video many years later asked one question. How did all those fans manage to find out the exact time and flight on which the Beatles would be arriving? It giving the appearance that they must have had some connection to the Beatles themselves or some sort of inside information as to their schedule; which told them at which gate at the airport to wait at.

It was however many years later while working in a brokerage firm in New York that I found out that the chaotic scene at the airport caused by the arrival of the Beatles arrival had not been an accident of any kind. It in fact having been a radio station which was responsible. It being a particular radio station (not mentioned by the person who told me the story) which made an announcement which went along the following lines.

"The rock group the Beatles will be arriving today at Kennedy airport but we urge all Beatle fans not to go to Kennedy airport to receive the Beatles. The airport will be very crowded and this will create problems for not only the Beatles but for other travelers therefore please avoid Kennedy airport at (they gave the time of arrival) and please above all avoid gate (they gave the gate number) if you must go to Kennedy airport. The Beatles are arriving on Panam flight number (they gave the flight number) but please do not go wait for them because this will only crowd up the airport."

This of course being a message which more then encouraged people to go to JFK airport and wait for the Beatles though it was presented in a way that perhaps playfully tried to get the opposite result. The radio announcer clearly using what could be hailed as reserve psychology which apparently worked as thousands went to JFK to greet the Beatles in what become a historical day in rock and roll music.

My name is Gianni Truvianni, author of many an article to be found on the internet along with the book "New York's Opera Society". My works also include the books "What Should Not Matter", "Love Your Sister" and several others which still remain unpublished though I am presently looking to change this.
By Gianni Truvianni

Great Moments In Opera, Conclusion To Puccini's "Tosca"

The conclusion to Puccini's Tosca is one of the most dramatic ever in the history of opera. It is after Mario Cavaradossi finishes singing "E Lucevan Le Stelle" that Floria Tosca comes to see him to tell him the wonderful news. Tosca telling her lover, Mario Cavaradossi that she has struck a deal with Scarpia in which his execution will be but a simulation to give the impression that he has been killed. This so Scarpia can save face but the truth is that they will only pretend to execute him. After which he is free to go with her to the boarder where the document she has received from Scarpia will guarantee her and the one who accompanies her a safe passage.

Mario, naturally rejoices at the offer which has been made as he shows his joy yet Tosca tells him that it would best if he did not smile and put on the face of somebody who is about to be executed. Mario accepts as he makes his best effort to look the part yet Tosca is feeling the elation of triumph which she unlike Mario does not have to hide or at least not to the same extent. Tosca after all has not only secured a deal which should save the love of her life but has even killed the man who was feared by practically the whole of Rome.

It had been Tosca, herself who with steak knife had stabbed Scarpia to death. After which she had the pleasure of seeing him plead for help as he looked in to her eyes which declared all too clearly that it was she and nobody else who was killing him. This was Tosca's moment as Mario is about to be executed which is her victory as she has not only been able to safe her beloved but has done away with the dreaded Scarpia. Tosca showing all the joy of those who are about to emerge triumphant yet for my part I see this as being Angela Gheorghiu. Gheorghiu best capturing the sensual passionate woman of strength; who is but one of fiction yet comes to life when interpreted by Angela Gheorghiu.

Mario Cavaradossi is taken to where a firing squad will fire upon him yet all the while we see and hear Floria Tosca as she describes the scene while the music is one of victory mixed with drama and suspense. Tosca calls it a comedy yet one which they must go through if they are to be free. This as she finds it almost too difficult to control her emotions of joy yet she must await for the ceremony to be completed before she and Mario can be off. All in the fashion of a child who is forced to look at presents, he or she can not open till Christmas and is very much aware of the fact that they will be taken away if he or she even attempts to open them prior to the day of Christmas.

The music increases in its bombastic effects as Mario is fired upon yet Tosca admires and even praises him for his acting ability which allows him to fall to the ground so convincingly when he is shot. Tosca words being "Ecco un artista!" (there is an artist) with a hint of pride that perhaps he has been influenced by seeing her on stage on so many occasions while her eyes sparkle with all their beauty as does the rest of her with the radiance which is really Angela Gheorghiu's. Angela Gheorghiu being the one to bring vigor to this character by not only providing her with a grand voice but making her come to life; as if she were transforming herself in to Floria Tosca.

The tension in the music builds as Mario is about to be fired upon while Tosca thrills in ecstasy and it is precisely at the moment that the shots finally come that there is a moment of relief. As if all is but a distant memory and Tosca and Cavaradossi are free at last. Tosca as if passing on instructions to Mario not to move which he of course can not hear yet they are perhaps more for herself. This as Spoletta goes over to check if Mario is really dead which he does with a touch upon Mario's throat; after which he turns to Tosca and smiles with a wink. This as if passing on a secrete message that their deal is completed and she and he are free to go in peace.

Tosca awaits the moment for all the guards to leave the place so she can rush over to her Mario and be on their way. Tosca seeming like a child who is waiting for that moment on Christmas in which she can open her presents yet knows that it will arrive any minute. This as Tosca continues to sing out instructions to Mario that he must not move. Tosca acting much like an air traffic controller when guiding an airplane on to a runaway which is about to land. Tosca trying so hard to control both the elation she is feeling along with Mario's.

The moment does arrive when all the soldiers have gone and there is a silence which is relief that all is over. This prompting Tosca to run to Mario like that child to her Christmas presents with all her desires and hopes being as apparent as the beauty which radiates from her. Tosca runs and kneels to Mario, whom she urges to get up so they can escape yet it is at that moment that she sees that all those lovely Christmas presents were but beautifully decorated boxes which in fact are empty. This being the cruel joke which had been played upon her by Scarpia. As the truth is that Mario is truly dead and the execution had been real.

Tosca crying out "morto,morto" (dead) in despair as all her optimism has been dashed. Tosca now seeing that all had been but a trick to fool her in to making love to Scarpia; who had been no more honest in keeping his end of the bargain than she had been in keeping hers. Tosca's bitter tears are clear as she feels the rage of having her beloved lie dead at her feet yet just as she is going through the anxiety of Mario's death; she hears voices and the firing squad returning. It is apparent that Scarpia's body has been found and that this time they are coming for her.

All of which sending Floria Tosca in to a frantic run to where she might be able to jump off the top of Saint Angelo's castle which is the place where they find themselves. This being a fall which is sure to kill her yet she is Tosca, who will slay herself; for her life is hers and hers alone to end. This as the music reaches dramatic heights as Tosca runs with the freedom of those who are still in a position to decide their own fate for themselves. Tosca standing on top of the parapet as she screams "Scarpia will answer to God!" just before jumping to her demise. Thus bringing Puccini's opera Tosca to its grand conclusion which grants neither defeat nor victory to any of its main characters; as to a certain extent they have all died with a taste of both.

In conclusion, I would say there is grandness in Puccini's "Tosca" as it allows us to feel all the emotions of victory while it demonstrates the political turmoil of the time. As for the role of Tosca though many have played this particular role; I would say that there is something about Angela Gheorghiu's perhaps passion along with her perhaps at times capricious ways which make her the ideal Tosca. Angela Gheorghiu being one whose gestures and strength of personality seem ideally suited to play this woman, who adores with all of herself; in ways that do not exclude those of jealousy and possessiveness. Naturally, it also being the power of her voice which allows us to feel the pain of Floria Tosca; whose ways include not only those of a woman of strength but at times those of a delightful child.

My name is Gianni Truvianni, author of many an article to be found on the internet along with the book "New York's Opera Society". My works also include the books "What Should Not Matter", "Love Your Sister" and several others which still remain unpublished though I am presently looking to change this.
By Gianni Truvianni

Great Moments In Opera, "Via, Resti Servita, Madama Brillante" From Mozart's "Figaro"

The aria "Via, Resti Servita, Madama Brillante" is basically two good women in love with the same man yet one older (Marcellina) and one younger (Susana); arguing over which one of them should go through the door first. Both trying to convince the other with what could be labeled as polite insults which could also be taken as compliments that it is their place to yield the right of way to the other.

Susana (the younger of the two and Figaro's fiancé) saying things like "madame of honor", "the love of Spain", "your habit" and "your age". It being this last comment which really seems to annoy Marcellina, (the older of the two) the lady of nobility; who responds in kind or perhaps in unkind by saying "the new wife, the belle of the count, your merits and your place. This as all the while they both repeat that they know their place in society and what is required of them. As they exchange offers for the other to go first by claiming "non primo le toca, (you first) non toca lei (no it should be you to go first).

As for the music during this witty exchange between these two ladies, who latter on would be friends though have clearly not arrived at that point; it is typical of Mozart's style in this opera. It being light and airy in a way that seems to be floating and constantly moving back and forth as if going from right to left and back again. This while Susana and Marcellina sing in perfect harmony with Marcellina starting the line to be continued by Susana as they create a lovely melody. It in a way being strange how Susana and Marcellina manage to sing in such a fashion that shows complete co-operation with each other. This in spite of the fact that they are trying to tear each other down with elegant verbal abuse.

In conclusion, I would say that it is a shame that "Via, Resti Servita, Madama Brillante" is often ignored when the best arias from Figaro are mentioned. I, being of the opinion that it really captures the brilliance of Mozart along with the wit and humor in this; one of the most popular operas ever written. I for my part, would also say that though many mezzo-sopranos have sung the role of Susana; it is Alison Hagley's interpretation which is definitely among the best I have ever heard. Alison Hagley's voice not only capturing the role of Susana to perfection but it even seeming that her joyful personality and looks had been created by nature to play the part of the scheming maid. This being how Mozart, himself describes the character of Susana or at least; the way he does in the film "Amadeus".

My name is Gianni Truvianni, author of many an article to be found on the internet along with the book "New York's Opera Society". My works also include the books "What Should Not Matter", "Love Your Sister" and several others which still remain unpublished though I am presently looking to change this.