Wednesday, May 25, 2016
The are bringing back a well-worn production to fit a new star. Full details of La Scala’s new season, announced this morning, below: ALEXANDER PEREIRA: THE 2016/2017 SEASON The opening of the 2016/2017 Season with the first version of Madame Butterfly, in the wake of Turandot and La fanciulla del West, marks a vital step in the Puccini project that is so dear to Riccardo Chailly, who on 1 January 2017 will take up his appointment as Music Director, confirming the plan to bring back to Piermarini’s Theatre the works that had their first ever performances here. It is directed by Alvis Hermanis, who is familiar to La Scala fans for two magnificent and very different shows, Die Soldaten and I due Foscari, and the leading lady Maria José Siri is a new and extraordinarily talented voice alongside Bryan Hymel’s Pinkerton. The televising of the event marks 40 years of collaboration between La Scala and the RAI since their partnership in 1976 with Otello conducted by Carlos Kleiber. 2017 opens with three major Verdi productions. Don Carlo returns in the version in five acts that has not been performed at La Scala since the edition conducted by Claudio Abbado 40 years ago. Myung-Whun Chung, a noted authority on Verdi, will conduct a fine cast, of whom we have to mention at least Ferruccio Furlanetto, Krassimira Stoyanova and Francesco Meli. Directed most efficaciously by the great Peter Stein, it translates all the dryness of the signature dramaturgy. Zubin Mehta will conduct Falstaff in the staging by Damiano Michieletto set in Casa Verdi: a decidedly Milanese production with Ambrogio Maestri in the role he is by now synonymous with. La Traviata will be back in March with the lavish staging designed by Liliana Cavani in 1990, with an exceptional protagonist, Anna Netrebko, in the prime of her artistic and interpretative maturity. And it will be the first time conducting Verdi at La Scala for Nello Santi, repository and custodian of the most authentic traditions of Italian melodrama: in October he will also be conducting the revival of Nabucco in Daniele Abbado’s show. Die Meistersinger von Nürnberg by Wagner sets us off on a journey through the musical culture of German Romanticism, which pops up during the Season with two other titles: Hänsel und Gretel and Der Freischütz. Directed by Harry Kupfer, an artist who is woven into the tapestry of German theatre, with Daniele Gatti on the podium, who has already conducted two productions with this title to great acclaim. Michael Volle is simply the finest living interpreter of Sachs. While in 2016, with La cena delle beffe, we brought Verismo back to La Scala, our mission to re-appropriate the Italian repertoire continues now with bel canto. April will see the staging of Anna Bolena with a very young leading lady who comes from our Academy, Federica Lombardi, conducted by Bruno Campanella, who knows Italian melodrama of the early 1800s better than most. And in 1817 Rossini presented The thieving Magpie at La Scala: a masterpiece of the semiseria genre that returns with a great Rossini conductor, Riccardo Chailly, the debut at La Scala of the Oscar-winning director Gabriele Salvatores, and a perfect cast of actor-singers. One of the finest baritones of our time, Thomas Hampson, plays a Don Giovanni torn between vitality and disillusionment in the revival of the staging by Robert Carsen, conducted by Paavo Järvi, whose Mozart interpretation won me over in Vienna. The revival of Franco Zeffirelli’s historic Bohème, then, is the occasion of a La Scala debut for one of the soprano revelations of recent years, Sonya Yoncheva. On the podium will be Evelino Pidò, who comes from our orchestra, but despite his brilliant international career has conducted only a performance of Rigoletto at La Scala before now. The twentieth anniversary of the death of Giorgio Strehler will be marked by performing one of his most magical shows, Die Entführung aus dem Serail, conducted by the person who held him at his baptism in Salzburg in 1965: Zubin Mehta. Humperdinck’s Hänsel und Gretel is the Academy project this year: conductor Marc Albrecht and director Sven-Eric Bechtolf will work together for months with the young artists to create a performance that is up to La Scala standards in all respects. One of the most cherished programmes the Orchestra is engaged in is the formation of an ensemble playing historical instruments: the latest step on this path is Handel’s Tamerlano, which brings one of Italy’s finest directors, Davide Livermore, to La Scala for the first time, with extraordinary singers such as Plácido Domingo and Bejun Mehta. Another important date with directing is Der Freischütz, staged by Matthias Hartmann, the former director of the Burgtheater in Vienna, and conducted by Myung-Whun Chung. To conclude the Season, we are presenting the world premiere of the new opera by Salvatore Sciarrino, Ti vedo, ti sento, mi perdo, directed by Jürgen Flimm, who is bound to the Italian composer by a friendship that strengthens their artistic affinity. It is conducted by the young Maxime Pascal, founder of an orchestra dedicated to contemporary music in Paris. The Ballet Season, which is the first one for Director Mauro Bigonzetti, is the first step along a path of progression for the Corps de Ballet of La Scala. The titles increase from six to seven, in addition to the Ballet School show, and for the second year in a row, Opening Night brings another first, Coppélia by Bigonzetti with Roberto Bolle. The historical choreographies of Balanchine, Fokin, Tetley and MacMillan are bolstered by the innovation of Eugenio Scigliano, and for the first time a piece choreographed by artists from the Corps de Ballet, who are engaged in an unprecedented challenge. Also returning is Swan Lake by Alexei Ratmansky, an artistic reconstruction of the choreography of Petipa and Ivanov. There is a considerable element of pride in the quality of the music: the ballets will be conducted by maestros such as Zubin Mehta, Paavo Järvi, Michail Jurowski, Patrick Fournillier, Felix Korobov and David Coleman. The concert programme includes the greatest living conductors. Riccardo Chailly will be on the podium for two evenings of the Symphony Season, Verdi’s Requiem in October, and the concert to celebrate the 150th anniversary of the birth of Arturo Toscanini on 25 March 1867. The Symphony Season also sees the return of legends such as Christoph von Dohnányi (who also conducts the Christmas Concert), Georges Prêtre and Bernard Haitink; while for the Extraordinary Concerts, we will listen to Mariss Jansons with the Bayerischer Rundfunk. Finally, we are delighted to welcome Riccardo Muti back to La Scala. He returns with two concerts with the Chicago Symphony, to conduct once again in the Theatre that he was Musical Director of for 19 years. Completing the programme are singing recitals, including some of the most celebrated voices on the international scene. One of the projects dearest to my heart is the “Great Shows for Children” programme, which next year, too, will bring tens of thousands of kids and their parents to La Scala to discover operas of the great repertoire in shortened form and featuring the musicians of the Academy. Added to the revival of Cinderella for Children is Il ratto dal serraglio (The Abduction from the Seraglio) by Mozart, in Italian and coinciding with the complete edition in the Opera Season, and five concerts preceded by an introduction for children. See you in your Theatre. Alexander Pereira
Maestro who quit as Milan opera house’s musical director amid acrimony will conduct two concerts in JanuaryRiccardo Muti, the celebrated Italian musical conductor, will make a dramatic return to opera’s spiritual home La Scala in Milan, in what appears to be a burying of the hatchet between the Italian maestro and the opera house after a falling out in 2005.La Scala said Muti, who serves as a musical director of the Chicago Symphony Orchestra, would perform two concerts in Milan in January as part of the Chicago group’s European tour. Continue reading...
The tug of war is over. Earlier this week, Christopher Martin asked the Chicago Symphony Orchestra for a year’s leave of absence t o play with the New York Philharmonic. Today the NY Phil press department (also known as the New York Times) has announced that he is their new principal trumpet. Maestro Muti will not be pleased. It looks like Mr Martin has been talking to New York’s incoming music director.
John von Rhein has the story here : Eugene Izotov, now principal oboe of the San Francisco Symphony, is no longer listed on the personnel page of the CSO program book, and his resignation has yet to be announced. Management has further declined comment on internal reports that CSO principal trumpet Christopher Martin will take a leave of absence next season to play first chair trumpet with the New York Philharmonic. Do such key personnel changes bother Muti? Do they threaten the orchestra’s musical identity and well-being? “Absolutely not,” he replied. “With all respect to Izotov, no player is indispensable in this orchestra. I spoke with Chris Martin today. He is very close to the Chicago Symphony but he wants another experience (away from the orchestra). So we shall see. Change is natural in symphony orchestras.’ photo: Todd Rosenberg
From the musicians of the CSO: The Musicians of the Chicago Symphony will present a benefit concert for the Greater Chicago Food Depository, GCFD, on Monday, June 13th at 8:00PM at the Studebaker Theater, 410 S. Michigan Avenue in Chicago. Our musicians have always been involved in the community through chamber, educational, and community concerts. This concert, undertaken as an orchestra and conducted by our Music Director Riccardo Muti, will be the first time such a collective effort has been made. Collaborating with the Food Depository, our musicians can offer support in direct ways, by raising funds. This concert will bring attention to two of the most difficult problems our society faces: hunger and malnutrition. The concert is entirely produced by the musicians. All of the proceeds will be donated to the GCFD. Chicago Symphony Musicians Express Gratitude to Maestro Muti: The Chicago Symphony Musicians have the highest regard for Riccardo Muti. He has also been recognized as an international humanitarian. We are most grateful to him for agreeing to lead us in our first independently produced concert that benefits the Greater Chicago Food Depository. About the Greater Chicago Food Depository: The Greater Chicago Food Depository, Chicago’s food bank, is a nonprofit food distribution and training center providing food for hungry people while striving to end hunger in our community. The Food Depository, founded in 1979, makes a daily impact across Cook County with a network of 650 pantries, soup kitchens, shelters, mobile programs, children’s programs, older adult programs and innovative responses that address the root causes of hunger. Last year, the Food Depository distributed 68 million pounds of shelf-stable food, fresh produce, dairy products and meat, the equivalent of 155,000 meals every day. For more information, visit chicagosfoodbank.org or call 773-247-FOOD. Muti visits food bank (photo: Todd Rosenberg)
At rehearsals for Verdi’s Falstaff, Riccardo Muti and the Chicago Symphony became aware of an unusual guest in the hall. Turns out the Chicago Bulls’ Pau Gasol is a big opera fan. Like, very big. He stayed right through the afternoon, looked into Maestro Muti’s score and agreed to a photo-op, with some adjustment for size. It was taken by the bilateral Todd Rosenberg , who covers both concerts and competitive sports. Big day all round in Chicago. photo (c) Todd Rosenberg