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A report in the Italian magazine Classic Voice says it must be La Scala, where online tickets are selling for 300 Euros.
However, you don’t have to look very far to find opera tickets tickets priced at 516 Euros for the current Salzburg Festival.
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Netrebko will be opening La Scala’s season again this year, for the third time – Don Giovanni and Giovanna d’Arco were the previous operas – when she sings in Andrea Chenier alongside her husband, Yusif Eyvazov, in the title role.
I’m happy that I’ll be working again with Riccardo Chailly. La Scala is an important opera house for all singers. To be applauded here is a special honour because the public are very knowledgeable, and know every single note of the operas. They listen with intensity. The first night went well, but here it’s not good enough to sing well once; it has to be your best at every performance.
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Last Friday and Saturday evening, at La Scala, Riccardo Muti made his return to the theatre he dominated for 19 seasons, after having been away for 12 years. He wasn’t conducting the La Scala Philharmonic but his own Chicago Symphony Orchestra; he has been its Artistic Director since 2010.
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Get your tickets here.
There is a small exhibition in La Scala’s museum which looks at the theatre’s previous productions of Madama Butterfly, an opera that had its world premiere at the theatre in 1904. What is surprising is that in all the many concepts and designs there has always been a kimono and fan when so many other operas have received the jeans and piercings treatment, or been given the high-tech and laser look. La Scala’s new production by the Latvian director Alvis Hermanis, which opens the season on 7 December, is similarly reserved and respectful; justly so for the return to Puccini’s original score which was reworked many times after its disastrous reception at La Scala at the beginning of the last century.
There are many reasons for this. Certainly, the culture clash between East and West, a 15-year-old seduced and abandoned by a ‘wicked American’, and the two acts instead of three, were all not liked. This was already something anticipated by Richard Strauss and not loved by a public used to the traditional three acts.
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