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.

A Brief History of New York's Metropolitan Opera

The largest classical musical organization in North America, and perhaps the most recognizable "brand" throughout the music world, the Metropolitan Opera Association of New York (The Met) is considered one of the top venues for opera on the planet. The company was founded in 1883 by some of the most prominent families of "new money" in New York City. These early patrons included such iconic names as Astor, Vanderbilt, and (J.P.) Morgan. Their wealth built the association's first opera house on 39th Street at Broadway, which gave its premiere performance on October 22, 1883. The production was Faust by Charles Gounod and starred Swedish soprano Christina Nilsson. Under the management of Charles Abbey, the company elected to sing everything in Italian for the first season, even operas composed originally in French and German. After suffering severe fiscal distress from the first season's cost overruns, for several years thereafter Abbey engaged a troupe of relatively inexpensive German singers to perform The Met's repertoire, although this time in German no matter the language of the original libretto.

Approaching the end of the 19th century, the Metropolitan Opera was already enjoying a reputation for showcasing the best opera singers of Europe. Continental stars such as Nellie Melba, Lilli Lehmann and Emma Calvé sang alongside the De Reszke brothers (Jean and Edouard), Mario Ancona, and Pol Plançon. Enrico Caruso made his house debut in 1903. By the time he died in 1921, he had sung more performances at the Met than at all other opera houses combined. This era also saw the rise of important American opera singers, and each wanted his or her voice heard on the stage of the Metropolitan Opera. Early stars included Emma Eaves and Lillian Nordica, followed a bit later by Geraldine Farrar and Rosa Ponselle.

The Met enjoyed a lengthy string of impresarios as general managers, each putting his unique stamp on the repertoire the opera company produced and the singers who performed it. The years 1908-1935 saw the Metropolitan Opera run by Giulio Gatti-Casazza, a larger-than-life administrator whose skills at organization and ability to attract the top singers helped create what became known as the Met's "Silver Age." This era saw the rise of such luminaries as Laurence Tibbett, Beniamino Gigli, Lauritz Melchior, Maria Jeritza, and many more. Gatti-Casazza convinced both Gustav Mahler and Arturo Toscanini to sign lengthy conducting contracts with the organization.

Rudolph Bing was another dynamic general manager, serving from 1950-1972. His modernization efforts eliminated many of the old practices that had cost the company dearly, such as the Met's regular weekly performances in Philadelphia. Under his direction, the first African-American opera singers were prominently featured in U.S. productions. Contralto Marian Anderson made her belated debut in 1955, paving the way for such future stars as Leontyne Price, Shirley Verrett, and George Shirley. If Gatti-Casazza's tenure was the Silver Age, then Bing's was certainly the Golden Age. The Met attracted singers like Joan Sutherland, Elisabeth Schwartzkopf, Carlo Bergonzi and Nicolai Gedda, singing a wide range of operas that included the revival of many bel canto works (by Rossini, Donizetti and Bellini) that had not been heard on the Met's stage for decades.

Joseph Volpe was the general manager from 1990 to 2006, the first to hold this post after having risen through the ranks of the organization from the position of set-building carpenter. He helped expand the opera company's international touring schedule and was also involved in offering more world premieres (4) and company premieres (22) than any previous director since Gatti-Casazza. Among the singers who came to prominence under Volpe's tenure were Renée Fleming, Angela Gheorghiu, Anna Netrebko, Ben Heppner, and Bryn Terfel.

In 2006, Peter Gelb assumed the role of general manager. Using his background as a former music executive with Sony International, he truly helped bring the Metropolitan Opera into the 21st century. His innovations included the scrapping of staid, outdated productions dating all the way back to the early 1970s in favor of fresh interpretations by some of the most exciting stage directors around. In the 1930s, Texaco had begun its sponsorship of Saturday afternoon radio broadcasts across North America. For many opera fans living far away from New York City, this was generally their sole opportunity to hear a world-class opera production. When Texaco chose to end this relationship in 2005, the luxury home building company known as Toll Brothers stepped in to Save the Met Broadcasts (a campaign headed by legendary soprano Beverly Sills) and continues to sponsor twenty-plus radio broadcasts every season. Gelb's greatest move, however, was the creation of "The Met in HD," a collaborative effort with Fathom Events to provide live streaming of Met operas via satellite to thousands of movie theaters around the world. During its first year, the 2006-07 season, the Met sold more than 300,000 tickets for its run of six operas. The eight performances during the 2007-08 season attracted nearly one million theatergoers. Most recently, the company has expanded its HD offerings to 11 or 12 cinecasts per season, including innovative stagings of operas rarely if ever performed on the Met's stage. Gelb has furthermore been a driving force in giving 20th century opera some much-appreciated exposure. In recent seasons, HD audiences have seen Nixon in China and Doctor Atomic [John Adams], The First Emperor [Tan Dun], Satyagraha [Philip Glass], The Nose [Dmitri Shostakovich], and Peter Grimes [Benjamin Britten].

Despite some contentious labor negotiations over the past few years, and a downturn in the economy in the 2008-09 time frame that saw patronage drop to its lowest funding levels in decades, today the Met continues to be the standard-bearer for high-quality opera in the Western Hemisphere. Fiscal challenges notwithstanding, New York's premier opera company can still boast of its ability to showcase the best singers in stunning productions of the world's most beloved operas.

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.