Each year on the 7th of December, as the feast of Saint Ambrose inaugurates Milan’s cultural calendar, the city becomes the gravitational centre of the international arts world. The opening night of the operatic season at Teatro alla Scala—known universally as La Prima—is not merely an evening of music. It is a historic ritual, a ceremony of prestige in which the artistic, social, and sartorial traditions of Europe and the world converge under one roof.
Few institutions have maintained, with such unbroken continuity, a perfect equilibrium between artistic excellence and societal splendour. La Scala, since its foundation in 1778, has been the stage not only for the premieres of musical masterpieces, but also for the grand choreography of the elite. Diplomats, royals, magnates, artists, intellectuals, patrons, and luminaries of fashion gather together each year in an atmosphere that recalls both imperial courts and Renaissance festivities.
Legends Among the Tiers: Voices That Shaped an Era
The artistic dimension of La Prima has produced evenings of unparalleled brilliance. Among the most memorable presences, the sublime Turkish soprano Leyla Gencer stands out. Though her voice differed significantly from that of Maria Callas, it is Gencer who perhaps best understood Callas’s interpretative universe. History records that she attended all of Callas’s rehearsals for Anna Bolena, prepared to replace her at a moment’s notice. Few artists have listened so attentively—or absorbed so deeply—the vocal and dramatic architecture that Callas inscribed into that role.
Gencer’s later appearances at the season’s opening, surrounded by admirers, carried the aura of a living monument—particularly in the years close to her passing, when every gesture acquired the tenderness of a farewell.
The Prima has also welcomed the treasured Giulietta Simionato, whose presence—first as a celebrated artist onstage, later as a revered guest—embodied the continuity of Scala’s artistic lineage. And the arrival of Renata Tebaldi, adored across the operatic world, always seemed to restore to the theatre a sense of its own golden age.
In more recent decades, the audience itself has occasionally contained operatic royalty. The distinguished Bulgarian soprano Raina Kabaivanska, one of the most magnetic interpreters of Tosca and Madama Butterfly, once sat in the palchi while Anna Netrebko unfolded her own dramatic vision of Tosca onstage. The symbolic resonance was profound: two generations of excellence, one observing the other, two eras briefly aligned beneath the gilded ceiling of Piermarini’s masterpiece. I saw it myself.
When José Carreras was invited for the opening of La forza del destino, many opera lovers recalled the legendary productions of the 1970s, when he shared the stage with Montserrat Caballé and Piero Cappuccilli. Caballé’s triumphs in Norma and La forza del destino remain intertwined with the theatre’s identity—chapters of vocal splendour that continue to define La Scala’s mythos.
Grace, Jewels, and Diplomacy: The Theatre as a Global Salon
Historically, La Prima has been not only an artistic showcase but a meeting point for the world’s most refined societies. Its mythic nights include the celebrated evening when Princess Grace of Monaco, accompanied by Prince Rainier, attended Callas’s performance of Donizetti’s Poliuto.
The event remains one of the most storied in the theatre’s memory. Contemporary accounts—and later legend—recall that more than one hundred million dollars’ worth of jewels adorned the audience that night. The palchi glittered with tiaras, necklaces, rare stones, and couture gowns, creating an atmosphere comparable to a royal coronation.
Representatives of global aristocracy—European duchesses, Middle Eastern princes, Asian noblewomen—have long regarded the Prima as a ceremonial occasion demanding unparalleled sartorial distinction. Their gowns are frequently commissioned from the most exclusive ateliers of Milan, Paris, and New York, or from equally prestigious maisons in their home countries. Many such creations are designed for one night only, never to be worn again.
Fashion at the Threshold of Art
The foyer of La Scala has, year after year, become an unofficial runway. Fashion historians consider the Prima an informal yet authoritative barometer of contemporary style. While houses such as Chanel, Dior, Schiaparelli, Versace, Prada, Armani , Givenchy and Carolina Herrera remain perennial protagonists, some of the most striking ensembles originate far beyond the Western capitals—crafted by renowned designers in Japan, China, the Middle East, and Africa, often brought directly from court ateliers.
Giorgio Armani has maintained a particularly strong presence at the event. His gowns, understated yet sculptural, epitomize the sophistication associated with the Milanese elite. When prominent political figures choose Armani—as Giorgia Meloni did in a recent edition—the gesture is not only aesthetic but also cultural, acknowledging the designer’s role in shaping Italian identity. With his recent passing still resonating, Armani’s presence this year—through the dresses that bear his signature—will be felt with renewed poignancy.
Not all attendees opt for traditional elegance. Some embrace creativity with near-theatrical flair. One memorable lady appeared in a gown illuminated with tiny lights—an example of how La Prima encourages sartorial invention, echoing the imaginative daring of the operatic stage itself.
Among the contemporary icons who frequently grace these evenings is Roberto Bolle, whose presence symbolizes the seamless union of opera, ballet, and fashion. Moving through the foyer with the serene poise of a dancer at the height of his powers, he embodies the modern refinement of Italian culture.
The Contemporary Renaissance
The 2025 edition promises to stand at the intersection of tradition and innovation. The influence of designers present at Paris Haute Couture Week 2025—including Georges Hobeika, Imane Ayissi, and the ever-provocative Balenciaga—is expected to resonate powerfully on the Scala red carpet. With stage productions increasingly embracing twenty-first-century aesthetics, the audience’s fashion language evolves accordingly, becoming bolder, more architectural, more expressive.
Yet for all its splendour, the Prima remains, above all, a tribute to the enduring power of culture. It is an evening in which music, history, elegance, and human creativity converge, renewing with each edition a tradition that has endured for nearly 250 years.
A Night Beyond Time
The Prima della Scala is not merely a performance.
It is a cultural summit, an aesthetic pilgrimage, a continuation of European artistic heritage, and a celebration of beauty in all its forms.
It is the night when Milan transcends itself—becoming a meeting point of centuries, a theatre of the world, a luminous reminder that art, fashion, and society have always been most powerful when they illuminate one another.
Today is La Prima della Scala, the most illustrious evening in the Italian cultural calendar, a night when art ascends to its highest form and Italy opens its arms to the world.
For generations, this date—7 December, the feast of the city’s beloved patron—has held a unique place in the life of Milan. Since Victor De Sabata decreed the alignment of Milan’s spiritual and artistic celebrations in 1951, La Prima has become a beacon of cultural prestige: a night when the world gathers to witness the ceremonial opening of Teatro alla Scala’s opera season.
The City in Celebration: Milan as a Theatre of Light
In the days leading up to this sacred evening, Milan radiates with anticipation. The Duomo glows beneath an indigo sky; the Galleria Vittorio Emanuele II, with its grand dome of glass and iron, echoes with the murmuring steps of elegantly dressed citizens; Christmas trees, tall and resplendent, rise in the city’s squares like monuments to beauty and tradition.
Restaurants prepare special menus; boutiques unveil their winter couture; hotels fill with music lovers, journalists, diplomats, and admirers who journey here moved by tradition and affection for one of the world’s most cherished artistic rituals. Conversations throughout the city turn naturally toward La Scala—its history, its magic, and the opera that will inaugurate the new season.
This year, that honor belongs to one of the boldest and most visionary works of the 20th century:
Lady Macbeth of the Mtsensk District by Dmitri Shostakovich.
An Artistic Choice of Courage and Vision
Few composers embody the spirit of the 20th century as profoundly as Shostakovich—its conflicts, its torment, its brilliance, its fragile hopes. His music speaks in a voice that is both intimate and immense, capable of conveying human suffering, biting irony, and breathtaking beauty within a single gesture. To open La Scala’s season with Shostakovich is to affirm a commitment to artistic truth, to modernity, and to the unflinching power of music to confront the human condition.
Under the baton of Riccardo Chailly, one of the most distinguished conductors of our time and a masterful interpreter of the Russian repertoire, Shostakovich’s opera finds new breath, new ferocity, new resonance. Chailly—whose lifelong dedication to 20th-century music has shaped the landscape of contemporary performance—leads the legendary Teatro alla Scala Orchestra, whose precision, warmth, and depth of sound have earned admiration from across the globe.
The staging by Vasily Barkhatov, supported by Zinovy Margolin’s evocative set design and Olga Shaishmelashvili’s costumes, promises a production that binds dramatic truth with visual poetry, blending modern sensibilities with an unyielding respect for Shostakovich’s narrative intensity.
The Sacred Ritual of Arrival
As evening approaches, Milan itself seems to hold its breath. The façade of La Scala glows against the night sky, its neoclassical beauty heightened by soft illumination.A long carpet, a symbol of ceremony and anticipation, is unfurled across the entrance.
Then begins a procession that is both glamorous and deeply symbolic.
Cars glide one by one through Piazza della Scala. From them step figures who embody the rich fabric of contemporary culture:
— internationally renowned actors and directors;
— visionaries in fashion and design;
— leaders of industry and diplomacy;
— celebrated artists and musicians;
— and of course, the elegantly dressed Milanese, whose affection for La Scala has been passed from generation to generation.
The atmosphere is radiant. The clicking of camera shutters fills the air as journalists capture the gowns, the jewels, the expressions of anticipation and reverence. Television broadcasters narrate the procession to millions of viewers across Italy and beyond, transforming Piazza della Scala into a global stage.
And yet, despite the glamour, there is an unmistakable sense of ceremony.
This is not merely a red carpet: it is the celebration of an ideal—the conviction that beauty, art, and culture are essential to the human spirit.
Entering the Sanctuary of Music
Inside the theatre, the world transforms.
The foyer, filled with warm light and the scent of fresh flowers, welcomes guests into a universe where every detail speaks of history. The chandeliers sparkle like constellations suspended in time; the gilded boxes glow softly; the red velvet seats form a sea of elegance awaiting the audience.
Here, generations of artists have left their mark:
Maria Callas, who transformed opera with her voice and presence;
Franco Corelli, whose heroic tones filled the hall with fire;
Luchino Visconti, whose productions reshaped theatrical language;
Claudio Abbado, whose baton ushered in new eras of interpretation.
La Scala has had glorious nights, artistically speaking, but also nights filled with fascination and glamour, attended by celebrities, VIPs, and politicians from all over the world. I myself remember the night the great Turkish soprano Leyla Gencer attended as a guest, the soprano who most reminds me of Maria Callas, even though they had very different voices. Leyla Gencer once recounted that she had to attend all of Maria Callas's rehearsals for the production of Anna Bolena, as she was the soprano who would go on stage if the celebrated Greek soprano were unable to sing. So, if there is one soprano who truly understood Maria Callas's interpretation of the role of Anna Bolena, it is Leyla Gencer. Leyla Gencer attended surrounded by her admirers on that opening night of the season some years ago, shortly before her death.
The beloved Giulietta Simionatto was also a frequent guest at La Scala premieres, not only as a performer on stage, but also, years later after her retirement, as a guest, as was the magnificent and unforgettable soprano Renata Tebaldi, so beloved by audiences in Milan and around the world. More recently, we were fortunate to have the great Raina Kabaivanska in the Piermarini Hall. If I remember correctly, she was a guest when Anna Netrebko sang Tosca, so we had two great Toscas in the hall, one on stage and the other in the boxes. We remember the unforgettable performances of Raina Kabaivanska in Madama Butterfly and in Tosca itself—what a great soprano! I hope she returns as a guest this year and we see her commenting, because she is not only a beautiful singer, but also a very intelligent speaker, and her comments are pure gold.
José Carreras was invited for the premiere of La forza del destino, another great Don Alvaro in history, one of the best. We don't forget the performances with Montserrat Caballé at La Scala itself singing La forza del destino in the 70s and with Piero Capuccilli that were so successful, Norma and La forza del destino, Caballé's great successes at La Scala, unforgettable.
La Scala holds these memories with reverence. Tonight, another chapter joins the legacy.
Then, with the first explosive notes of Shostakovich’s score, the air itself seems to tremble.
The Performance: A Triumph of Artistry
What follows is not merely an opera—it is a profound encounter with human emotion.
Shostakovich’s music, alternately brutal, tender, and fiercely ironic, fills the hall with waves of sound that strike directly at the heart.
Sara Jakubiak brings Katerina to life with extraordinary depth, navigating Shostakovich’s demanding vocal writing with clarity and emotional strength. Najmiddin Mavlyanov’s Sergey, bold and magnetic, provides the perfect counterpoint. The ensemble cast delivers performances of remarkable cohesion and dramatic integrity, revealing the opera’s tragic core with vivid intensity.
The staging is immersive and daring, the sets a striking translation of the psychological turmoil within the narrative. The chorus, the backbone of La Scala’s musical identity, performs with precision and passion, amplifying the drama’s moral force.
A Night That Extends Beyond Its Final Notes
When the opera reaches its devastating conclusion, and the curtain slowly descends, the theatre erupts in applause—an ovation not only for the performers but for the collective spirit of creation. It is a moment when the past and present merge, when tradition and innovation embrace.
Yet the night is far from over.
After the performance, the guests proceed to elegant receptions hosted in historic palaces and exclusive venues throughout the city. Candlelit tables glow as conversations unfold about the staging, the singing, the power of Shostakovich’s genius. Diplomats, artists, and cultural leaders exchange words that transcend language and nationality. In their dialogues, one feels the essence of La Prima: culture as a bridge, music as a universal language, Milan as a crossroads of the world.
A Night that Belongs to the World
La Prima della Scala has always been more than an inauguration.
It is a symbol—a declaration that in times of uncertainty or change, culture remains a guiding light. It unites nations not through politics or diplomacy, but through shared admiration for beauty, creativity, and the pursuit of excellence.
On this night, Milan becomes the capital of global culture.
On this night, La Scala becomes a temple where humanity gathers to remember the essential values that bind us.
And on 7 December 2025, with Shostakovich’s voice echoing through its historic hall, La Scala once again reaffirms its mission:
To inspire.
To elevate.
To celebrate the infinite richness of the human spirit.
Lady Macbeth de Mtsensk est un opéra exceptionnel de par sa musique novatrice, son sujet controversé et moderne, et son contexte politique dramatique. Son style musical mêle modernisme et mélodies folkloriques, et l'histoire dépeint avec audace une femme poussée au crime par l'oppression, ce qui lui valut une censure sévère sous le régime de Joseph Staline avant sa réhabilitation. Considéré comme un chef-d'œuvre, il explore sans détour les thèmes de la passion, de la violence et de l'enfermement social.
Innovation musicale
Langage musical moderne : Chostakovitch a employé un langage musical moderne et expressionniste, inspiré par des compositeurs tels que Richard Strauss et Alban Berg, rompant ainsi avec les styles lyriques traditionnels.
Juxtaposition des styles musicaux : La partition crée un contraste saisissant : Katerina bénéficie d'une musique poignante et lyrique, tandis que d'autres personnages et événements sont accompagnés d'une musique plus grotesque et dissonante, reflétant leur nature « exécrable ». Utilisation ironique de mélodies populaires et folkloriques : Le compositeur intègre et détourne des mélodies populaires et folkloriques pour commenter allégoriquement les personnages et la société dans laquelle ils évoluent.
Sujets controversés et modernes
Centré sur l’expérience féminine : L’opéra est centré sur une femme, Katerina, prisonnière d’un mariage sans amour et oppressant. Il donne voix à sa vie intérieure, à sa passion et à sa rébellion contre son environnement étouffant.
« Meurtrière innocente » : Inspiré d’une nouvelle de Nikolaï Leskov, l’opéra présente Katerina comme une incarnation de la « pureté romantique » d’une meurtrière, une figure qui remet en question les conventions en dépeignant la « meurtrière innocente » qui tue par un besoin désespéré de liberté, faisant d’elle une anti-héroïne complexe.
Un regard sans concession sur la nature humaine : L’opéra est un drame poignant et viscéral qui n’élude pas les thèmes de la luxure, de la violence et du désespoir existentiel.
histoire politique mouvementée
Succès initial : Créée en 1934, l’œuvre connut un succès immédiat en Union soviétique et à l’étranger, propulsant Chostakovitch au rang de star internationale.
Dénonciation de Staline : Après avoir assisté à une représentation en 1936, Staline condamna brutalement et violemment l’opéra dans le journal officiel soviétique Pravda. La critique le qualifia de « naturalisme grossier », scellant ainsi son sort et le forçant à quitter la scène.
Réhabilitation : L’opéra fut de facto interdit pendant des décennies. Il ne fut officiellement réhabilité qu’en 1970, lui permettant de retrouver sa place au répertoire. Le style musical est conçu pour moderniser les mélodies modernes, une histoire qui ressemble à celle d'une femme, donnée par la pré-supplémentation. Il s'agit de la mise à disposition d'une chambre de commerce pour les magasins de Joseph Staline et de possibilités ultérieures. Il s'agit d'un opérateur qui s'occupe de la situation, de la sécurité et de l'isolement social. Nouvelle musique . Il y a de nombreux compositeurs, tels que Richard Strauss et Alban Berg, qui ont précédé leur style d'opéra traditionnel.
Pour les personnes et les personnes travaillant avec beaucoup de musique et de musique, ils peuvent avUtilisation simple des mélodies folkloriques et folkloriques : Ce sont des allégories qui contribuent à la personnalité et à l'intérêt, dans le cadre de leur vie.
Thèmes sportifs et actuels
Agent de l'entreprise féminine : L'opératrice s'occupe de la femme Catherine, qui se trouve dans le frein sans les lubrifiants et les gants.
Il n'y a rien à voir avec le thème de l'histoire : L'opéra est arrivé en 1936. Lors de la discussion sur le «groupe naturel», qui a été préparé et mis en place pour être dans la scène.
Réabilité : L'opéra a des faits précis sur le thème. Un artiste officiellement réactivé en 1970, qui a été mis à jour dans le répertoire officiel
«Леди Макбет Мценского уезда» – особенная опера благодаря своей новаторской музыке, противоречивым и современным темам и драматичной политической истории. Её музыкальный стиль сочетает модернизм с народными мелодиями, а история смело изображает женщину, доведённую до преступления угнетением, что привело к жёсткой цензуре со стороны режима Иосифа Сталина и последующей реабилитации. Эта опера считается шедевром, в котором неустанно исследуются темы страсти, насилия и социальной изоляции.
Музыкальное новаторство
Современный музыкальный язык: Шостакович использовал современный экспрессионистский музыкальный язык, вдохновлённый такими композиторами, как Рихард Штраус и Альбан Берг, что представляло собой отход от традиционных оперных стилей.
Сочетание музыкальных стилей: Партитура создаёт мощный контраст, наделяя Катерину пронзительной, лирической музыкой, в то время как для других персонажей и событий используется более гротескная и диссонантная музыка, отражающая их «отвратительную» природу. Ироничное использование народных и фольклорных мелодий: Композитор использует и злоупотребляет народными и фольклорными мелодиями, чтобы аллегорически прокомментировать персонажей и общество, в котором они живут.
Спорные и современные темы
Акцент на женском опыте: Опера рассказывает о женщине Катерине, запертой в браке без любви и гнета, и даёт волю её внутреннему миру, страсти и неповиновению удушающему окружению.
«Невинная убийца»: Опера, основанная на повести Николая Лескова, представляет Катерину как «романтическую чистоту» убийцы, фигуру, бросающую вызов устоям, изображая «невинную убийцу», которая убивает из отчаянной жажды свободы, что делает её сложной антигероиней.
Непоколебимый взгляд на человеческую природу: Опера — это суровая и жестокая драма, не сторонящаяся тем похоти, насилия и экзистенциального отчаяния.
Драматическая политическая история
Первоначальный успех: после премьеры в 1934 году он сразу же имел успех как в Советском Союзе, так и за рубежом, принеся Шостаковичу мировую известность.
Осуждение Сталина: опера была резко и сокрушительно осуждена официальной советской газетой «Правда» после того, как Сталин посетил спектакль в 1936 году. Рецензия назвала ее «грубым натурализмом», предрешив ее судьбу и вытеснив ее со сцены.
Реабилитация: Опера была фактически запрещена на десятилетия. Официально он был реабилитирован только в 1970 году, что позволило ему вернуть себе место в оперном репертуаре.
«Леди Макбет Мценского уезда» – особенная опера благодаря своей новаторской музыке, противоречивым и современным темам и драматичной политической истории. Ее музыкальный стиль сочетает модернизм с народными мелодиями, история смело рисует женщину, доведенную до угнетения вируса, что привело к жёсткой цензуре со стороны режима Иосифа Сталина и реабилитации реабилитации. Эта опера считается шедевром, в котором неустанно исследуются темы страсти, войны и социальной помощи.
Музыкальные новости
Современный музыкальный язык: Шостакович использовал современный экспрессионистский музыкальный язык, вдохновлённый такими композиторами, как Рихард Штраус и Альбан Берг, что являлось отходом от традиционных оперных стилей.
Сочетание настроек стилей: партия создаёт солнечную музыку, наделяя Катерину пронзительной, лирической музыкой, в то время как для других персонажей и событий используется более гротескная и диссонантная музыка, отражающая их «отвратительную» природу. Ироничное использование народных и фольклорных мелодий: Композитор использует и злоупотребляет народными и фольклорными мелодиями, чтобы аллегорически прокомментировать персонажей и общество, в котором они живут.
Спорные и современные темы
Акцент на женском опыте: Опера рассказывает о женщине Катерине, запертой в браке без любви и гнета, и дает революцию в ее внешнем мире, страсти и неповиновению удушающему окружению.
«Невинная убийца»: Опера, основанная на повести Николая Лескова, представляет собой Катерину как «романтическую чистоту» убийцы, фигуру, бросающую вызов устоям, изображающую «невинную убийцу», которая убивает из отчаянной жажды свободы, что делает ее настоящей антигероиней.
Непоколебимый взгляд на человеческую природу: Опера — это суровая и жестокая драма, не сторонящаяся тем похоти, войны и экзистенциальной отчаяния. Драматическая политическая история
Первоначальный успех: После премьеры в 1934 году опера сразу же обрела успех, как в Советском Союзе, так и за рубежом, мировую славу Шостаковичу.
Осуждение Сталина: Опера была резко и мнение раскритиковано официальной советской газетой «Правда» после того, как Сталин посетил ее постановку в 1936 году. В рецензиях она была названа «грубым натурализмом», что предопределило ее судьбу и заставило ее сойти со сцены.
Реабилитация: Операция была фактически запрещена по результатам. Официально ее реабилитировали только в 1970 году, что позволило ей вернуться в оперный репертуар.
.Ади «Макбет Мценского уезда» — это особенная опера для новаторской музыки, ее тематика противоречива, современна и драматична.
Lady Macbeth of Mtsensk is a special opera because of its groundbreaking music, controversial and modern subject matter, and its dramatic political history. Its musical style blends modernism with folk-like melodies, and the story boldly portrays a woman driven to crime by oppression, which led to its severe censorship by Joseph Stalin's regime before its later rehabilitation. It's considered a masterpiece that unflinchingly examines themes of passion, violence, and social confinement.
Musical innovation
Modern musical language: Shostakovich employed a modern, expressionistic musical language inspired by composers like Richard Strauss and Alban Berg, which was a departure from traditional operatic styles.
Juxtaposition of musical styles: The score creates a powerful contrast by giving Katerina poignant, lyrical music, while more grotesque and dissonant music is used for other characters and events to reflect their "execrable" nature.
Ironic use of popular and folk tunes: The composer incorporates and abuses popular and folk tunes to allegorically comment on the characters and the society they inhabit.
Controversial and modern subject matter
Focus on female experience: The opera centers on a woman, Katerina, who is trapped in a loveless and oppressive marriage, and it gives a voice to her inner life, passion, and defiance against her stifling surroundings.
"Innocent murderess": Based on a novella by Nikolai Leskov, the opera presents Katerina as a "romantic purity" of a murderer, a figure that challenged conventions by portraying the "innocent murderess" who kills out of a desperate need for freedom, making her a complex anti-heroine.
Unflinching look at human nature: The opera is a stark and visceral drama that doesn't shy away from themes of lust, violence, and existential despair.
Dramatic political history
Initial success: After premiering in 1934, it was an immediate success both in the Soviet Union and internationally, catapulting Shostakovich to global fame.
Stalin's denouncement: The opera was abruptly and devastatingly denounced by the official Soviet newspaper Pravda after Stalin attended a performance in 1936. The review labeled it "coarse naturalism," sealing its fate and forcing it off the stage.
Rehabilitation: The opera was effectively banned for decades. It was only officially rehabilitated in 1970, allowing it to reclaim its place in the operatic repertoire.
