The most applauded personality among the expected personalities Before of Don Carlo which opens the Milan Scala season Liliana Segre. The senator for life was greeted as she entered Teatro alla Scala from the mayor Beppe Sala and the superintendent Dominique Meyer, received warmest handshakes and applause from the audience. She only stayed in the foyer for a moment, in the company of Ornella Vanoni, but that was enough to make her the protagonist of a symbolic evening in the world. In the absence of the President of the Republic of Mattarella, he almost seems to be taking his place: on the other hand, he is sitting in the seat that normally belongs to the head of state. “I miss Mattarella. I don’t have any brothers or sisters, but I love him like a brother,” he admits. Certainly, It’s a muted first, especially compared to last year’s splendor. The glamor is not noticeable. On the other hand.
The guests arrived an hour before the opera began under the direction of Maestro Riccardo Chailly. The first was Bruno Vespa, followed by the young Étoiles Nicoletta Manni (in Armani Privè) and Timofey Andrijashenko, radiant and smiling. Piermarini’s mirrors enhance the photographers’ flashes. The usual unlikely looks appear in the crowd (what else would Prima be?). Some unforgettable dresses (and all designed by the “king” of Milan fashion, Giorgio Armani).
The other institutional arrivals from Matteo Salvini and Ignazio La Russa up to Maria Elisabetta Alberti Casellati they followed each other quickly and with great sobriety, as in the Milanese style. Salvini he was the first to enter, together with his partner Francesca Verdini. The President of the Senate He entered the foyer quickly and without stopping and stole the show from Milan city councilor Tommaso Sacchi with Cristina Fogazzi – L’Estetista Cinica. A few steps behind them is the mayor Beppe Sala with his partner Chiara Bazzoli and the minister Maria Elisabetta Alberti Casellativery elegant in bright black with necklace. Ornella VanoniShe, with her red hair and short haircut, also in black, explained with openness and frankness: “Opera has nothing to do with me, but every now and then you have to come to La Scala, and it is a beautiful opera.”
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Roberto Bolle He is wearing a tuxedo and a religious cloak: “For me it is a homecoming, I have been going to this theater since I was 12 years old. I have great expectations for the opera because I have never seen it before. Also great protagonists of the evening Pedro Almodovar and the French actor Louis Garrel: “It’s a very nice evening. This is my culture because it tells the story of us Spaniards. “I’m very happy, it’s my first time here, I’m really very excited,” said the Spanish director about his first visit to La Scala. Behind him, a few women are seeking the attention of the cameras: They made an exception to the rule and wore red as a symbol against violence against women. Last up is Patti Smith, unmistakable with her disheveled hair. At 5:55 p.m. the theater doors close and everyone enters the room.
Standing ovation and long applause greeted Senator for Life Liliana Segre as she entered the royal box. Segre sat in the middle, with Senate President Ignazio La Russa on one side and Milan Mayor Giuseppe Sala on the other. An unprecedented trio on the stage of honor, given due to the absence of the President of the Republic Sergio Mattarella and the Prime Minister Giorgia Meloni. In the second row, the President of the Lombardy Region, Attilio Fontana, the Vice President of the Council and Minister of Infrastructure and Transport Salvini, the Minister of Culture Gennaro Sangiuliano, the Minister of Reform Maria Elisabetta Alberti Casellati and the Prefect of Milan, Claudio Sgaraglia. After a short introduction by the superintendent Dominique Meyer and the Mameli hymn, In the room a scream was heard from the gallery: “Long live anti-fascist Italy”. Then Maestro Riccardo Chailly lowered his eyes and, baton firmly in his hand, began to say Don Carlo.
Black dominates on stage. It is not the color of death, but rather that of power and its loneliness, which runs through the entire work Director: Lluis Pasqual. A large structure in the center of the stage is reminiscent of the stained glass windows of cathedrals. but also the verticality of human ambitions. The first act begins in the cloister of the monastery of San Giusto, where, while a monk prays before the tomb of Charles V, Don Carlo, a child of Spain, indulges in the memories of meeting his lover, Elizabeth of Valois, with her father Philip II. to be married. The curtain falls on the first act at 7:10 p.m. Everyone in the foyer for a toast and the usual photos. But not the President of the Senate La Russa did not leave the royal box: He stopped backstage to speak, among others, with the senator for life Liliana Segre, and did not go to Riccardo Chailly’s dressing room to greet the maestro, as originally assumed and as is traditional practice. Instead, the mayor Giuseppe Sala, the superintendent Dominique Meyer and the minister of culture Gennaro Sangiuliano left. Yesterday, the representatives of the CGIL and Anpi Scala declared that they would not take part in a possible greeting with the Senate President. Instead, Salvini stood with the journalists and commented on the shout that could be heard in the room: “If someone shouts at La Scala that they have a problem, then they are in the wrong place.” At La Scala you listen, you don’t shout“.
One of the first criticisms of the work was its static character. “There is not much movement, but the opera is beautiful,” said the Etoile Roberto Bolle during the break from Don Carlo. He then described the sets and the production as beautiful and the actors exceptional. But it wasn’t just the dancer who expressed this criticism. “The ultimately traditional scenography is perhaps a little dark, sad and static,” emphasized the (Puccinian) conductor Alberto Veronesi.
At the end of the second interval there is a twist: Michele Pertusi, the bassist who plays King Philip II of Spain, had a health problem with his neck. It is Inspector Meyer who announces it on stage and emphasizes that the artist will continue regardless. The curtain remains lowered for a few minutes before the third act finally begins, opening with her “Ella giammai m’amò”. The bass has the weakest voice and after his magnificent interpretation of the Grand Inquisitor, the key scene in the opera, there is encouraging applause from the audience. It is whispered that Ornella Vanoni once said: “It takes immeasurably, it is too long.” How to blame her.
Applause. Especially for the cast of this “Don Carlo”, really excellent. The tenor Francesco Meli in the role of Don Carlo and the soprano Anna Netrebko nThe role of Elisabeth of Valois, whose vocal timbre was sought and refined together with musical director Riccardo Chailly, was overwhelming from the first bars. Both have great interpretation and singing skills. Netrebko in the solo parts is hypnotic. Don Carlos duet with Rodrigo-Marchese di Posa, played by baritone Luca Salsi It’s an intimate, introspective moment. A dialogue that introduces the beautiful theme of friendship.
The Latvian soprano Elina Garanča, Princess of Eboli, is also a revelation for her eloquence. The bass Michele Pertusi, an important Philip II of Spain, unfortunately fell ill shortly before the beginning of the third act with the scene of the Grand Inquisitor. But he made up for it with his skills as a great interpreter. The choir directed by Alberto Malazzi is a wonder. Especially in the auto-da-fé scene, the self-expression ceremony of absolutism, in which the colors black and gold dominate. Director Lluís Pasqual’s focus is on the background of power which only shows itself in its pompous appearance at the end. It is a moment of great visual, vocal and all-encompassing musical impact.
The stage setup is really impressive. Signed by Daniel Bianco, it allows us to alternate shared moments with more private spaces, transforming the dimension from time to time into the experiences of the characters and the symbols of power perceived by the community. A structure in the center of the stage is reminiscent of the windows of cathedrals, an alabaster tower dominates a gate system. The allusion to the religious and civil architecture of the time has a strong impact, perhaps a little dark, but not heavy. Also the costumes by Franca Squarciapino They should convey historical context without weighing it down, allowing movements and feelings to flow according to the vision of Verdi and Shakespeare. The themes that are close to Verdi’s heart are freedom, oppression, liberation, friendship, love and the relationship between fathers and children. They parade against the backdrop of the conflict between secular and ecclesiastical power. But in this colossal dominant system, the fragility of people comes to the fore. All.