It’s exactly one of the reasons why dance, with its wealth of sensibilities, is a practice broad enough to enrich the senses and stretch not only technique – but emotions – to far-fetched horizons. To some, the burning desire to begin making steps in a dance room comes from quite early on; however, it’s never too late to manifest a passion.

_{Photograph: Antonio Crotti}

At least not for Filippo Pagani, who age 16, had his very first approach to a rehearsal room. Born in a small town near Bergamo and now hailed in Berlin, he had a box full of fabrics while growing up, which he used to put on. “I played all kinds of music back then,” he recalled, his face filled with excitement. “I was just looking at myself dancing in front of a mirror, having fun as a kid; my mother saw me doing that a few times, and she once asked if I wanted to study dance but I said no because I was scared, coming from a narrow-minded provincial town.” ​

Pagani’s primary school teacher was a ballet dancer and worked at the school as a PE tutor, encouraging him to take classes, which he refused to attend. “I said no, because in that provincial reality one always thought that being a dancer meant being gay,” he reflects, pausing momentarily. A friend of his spoke to him about a project in a school play, where all he had to execute was a brief dance sequence.

_{Photograph: Antonio Crotti}

“It was so fun!” Pagani exclaimed, “so after that time, I remember I kept doing this project inside school. And then from 14 years old, I decided to do this dance training very seriously.” Pagani started his path in a private school, soon moving to a bigger institution, connected with the smaller one. “I did that at 16, but my classmates were already on a higher level and I wasn’t,” he recalls. “I had no clue of the technique, of the positions or anything at all.”

Fast forward to 2019, he moved to the Berlin State Ballet school and graduated in 2022. “In these three years, the pandemic happened and many things were locked down. So the process of integration and preparation of performances was really, really hard,” he says. “It was also not helpful for me because I joined the ballet world quite late. But it was one of the best periods of my life because I danced every show, every performance, and I met amazing choreographers and dancers in the company.”

_{Photograph: Antonio Crotti}

To find out more about his odyssey to date, the thrills and takes of his practice, and what is next on the horizon, Filippo stopped by GLASS for a chat. Read all the insights below.

On Dance as a Form of Expression

“Throughout my career, I felt closely related to ballet and contemporary dance in equal measure: I feel right in the middle because my personality makes for both of them. Ballet helped me structure and express myself in a specific way, through rules and a precise code. But on the other hand, I feel connected with contemporary dance because it gives me a sense of freedom and it feels cathartic, almost free-flowing. As you can see in most of the photos, my eyes are closed; but as soon as I open them, especially in this kind of composition, it feels like I’ve lost connection with myself. When my eyes are closed, I feel like there’s waves of energy skimming through my body.” 

On The Joys And Thrills Of Dance 

“I think I have different sensations in each piece I dance. If I have to perform a group one, I think the emotions do come in less for me, as I need to focus on the steps. Knowing the intention of the choreographer is crucial, and so is the delivery: if I have freedom, of course, I’ll take it and just go with it. And when that comes through, my heart thumps and rushes.” 

_{Photograph: Antonio Crotti}

_{Photograph: Antonio Crotti}

On Dance’s Hardships And Systemic Complexities 

“It’s a practice that is not so easy to approach and to be part of, as it requires a lot of strength and mental stability. Plus, you have to be confident because if you begin having moments of self-doubt, it gets extremely tough. One must also come to terms that it’s a short career, so you have to use the time you have and maximise it, particularly because injuries can always happen. I would say that the best thing for a dancer is learning how to take care of yourself, because we usually don’t and we tend to stretch to the maximum, training until our breath is basically gone.” 

On Mental Health

“There’s so many bad triggers that spark when you’re dancing; my injury triggered my brain a lot. But then, to be honest, I think I made one of the best decisions of my life because I began seeing a psychologist and we talked about this long term. We worked on it and it was so helpful, which helped me realise that I didn’t have a good approach or the right approach to some things I pursued (not in dance, but in my life, ndr). The environment could be so intense that you don’t realise how you approach your life. This injury started very badly, but then it also helped me grow up, improve myself, and it made me approach difficulties from a different perspective.”

_{Photograph: Antonio Crotti}

On Future Hopes And Expectations 

“In all honesty? Do like a full season without causing further injuries, that’s the goal. Not feeling pain and being satisfied by my work is another one, too. Yet the biggest hope I have and that I’m working towards is to accept everything that comes to my life in a positive way, feeling grateful for what I have, and refrain from complaining about something that is beyond my control. I have a job that’s one of the best gifts I’ve ever had: if I look at my past, I can recall where I started and where I am now. And for that, I have to be proud of myself.” 

by Chidozie Obasi

Photographer: Antonio Crotti @mira_geler 

Stylist: Chidozie Obasi @chido.obasi

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The post “When I Close My Eyes, Everything Else Becomes Secondary”: Filippo Pagani On Dance’s Cathartic Power  first appeared on The Glass Magazine.

VENICE, ITALY — When can a piece of theatre confuse the senses? When a series of dancers crosses the stage with long, enveloping lines, and strands of light beam through small fractions of their bodies, paired with a set design painstakingly created to offer a full sensory experience. Some may have asked: Is that real water, or is it a projection? It’s no easy feat to tell at first glance.

_{Photograph: Andrea Avezzù}

_{Photograph: Andrea Avezzù}

We see a pianist toying with scales and projecting his voice, fully absorbed and seemingly oblivious to the dancers on stage. The interplay between dance and acrobatics—and how they complement one another—is a crucial through-line: it blends timelessness with innovation, heightens the sense of gravity throughout the performance, and layers movements drawn from a wealth of dance styles. Very theatrical, yet intensely intimate at the same time.

As an exercise in scale and physicality, researching airy romance becomes the lingua franca at the heart of Bourgeois and Watson’s practice. One piece features dancers spinning up and down a child’s slide, echoing the shapes and mimicry of distorting objects across the stage floor—surprisingly beautiful.

_{Photograph: Andrea Avezzù}

“There are spaces from which we fall or to which we cling, spaces that simultaneously let us go and carry us away,” read the notes. “The aerial beauty of the movements and the play of light are accompanied by the fragility and nuance of Canadian folk music: to transcend, and perhaps better understand, our daily lives,” they continued.

_{Photograph: Andrea Avezzù}

Perhaps that’s why the performance drew our attention to the smallest of movements. Watson’s tracks are remarkable; the dancing and characterisation of the performers are utterly precise yet completely unforced, as if their bodies are simply vessels for these physical forces.

They barely leave a mark on the space—and yet, they’re a compelling presence. It may sound unreasonable, but that’s how it felt. And it’s exactly why so much happens in performance art within the realm of unexpected ambiences and creations alike.

by Chidozie Obasi

The post Venice Dance Biennale 2025: Yoann Bourgeois and Patrick Watson’s Airy Romance  first appeared on The Glass Magazine.

VENICE, ITALY — Oftentimes, the clashing paradoxes of contemporary storytelling are influenced by literature and uncanny novels that are part of our collective knowledge: from traces of history to shreds of imagination, dance is a practice that’s broad enough to dismantle and refine these elements.

For Marcos Morau’s offering presented in this year’s Dance Biennale, Mercé Rodoreda’s novel Death in Spring was a key point of fascination: a story that portrays a disturbed society steeped in death and decay. Through this body of work, literature is the subject that crosses the battlefield of La Veronal to create a new, multifaceted experience.

_{Photograph: Andrea Avezzù}

_{Photograph: Andrea Avezzù}

Based on the posthumous and unfinished — but not incomplete – work of the most revered Catalan author of all times, Marcos Morau and his work La Veronal delve into the depths of Mercè Rodoreda’s gloomy avenues of expression to construct an allegory on creative freedom, social commitment, and visually unfolds the way that art offers us a key of salvation and shelter to face the anguish of the creation-destruction cycle in which we are constantly exposed for us all to see.

“It’s a look at the stages of life that confronts us with the illusions of the past, of our childhood, which still resonate in our present and struggle to be the seed of a future that, hidden behind the fog, is increasingly difficult to imagine the history of art,” noted Morau.

_{Photograph: Andrea Avezzù}

The spectacle experimented with a stark and abject narrative by creating an “evocative visual dimension,” as the artist defined it post show. What’s more, in this profound performance, Morau tackles an unsettling ambience and a macabre undertone by playing with contrasts: dancers sang while literature turned into a literal concert, and threads of movement kept taking the viewer in unexpected directions.

_{Photograph: Andrea Avezzù}

Thought-provoking and thoughtfully atmospheric, it was a journey of intense exchange that made for engaging craft, resulting in a potent delivery that saw blunt details meeting moments of mystical transcendence. One for the books, indeed. 

by Chidozie Obasi

The post Venice Dance Biennale 2025: La Morte I La Primavera by Marcos Morau  first appeared on The Glass Magazine.

MILAN, ITALY — It may seem odd that some of history’s most passionate debates centered on opera and choral music—art forms that are anything but rational. Yet the contradiction is only apparent.

The curious minds of the past, who took music and theatre seriously, argued endlessly over these subjects, pondering whether they would ever witness a synthesis of music and drama capable of satisfying both reason and the senses.

With its grand season nearing completion ahead of Italy’s summer break, Milan’s La Scala offered a handful of productions that shifted theatricality away from the extravagant conventions of flamboyant entertainment and toward something more flexible and modern. Or, perhaps more accurately, it achieved a kind of union—where words and music genuinely enhanced one another.

_{Missa Solemnis at La Scala}

Beethoven’s Missa Solemnis was one such example. Sublimely expressive, the composer regarded it as the summation of his artistic practice—curiously so, considering the Ninth Symphony or the late string quartets are more frequently seen as such. Though conforming in form, the Missa transcends its time and resists traditional categorization. It is an immense, sweeping testament that remains contemporary enough to challenge both listeners and performers today.

Composed in 1823, it is also a relatively modern score in the hands of Fabio Luisi. One might have expected him to take it at a brisk, Renaissance-style tempo, but the performance—lasting around 80 minutes—was expressive and poised. The Kyrie began almost pianissimo, with overlapping vocal lines forming a hymn that grew in depth through repetition.

The only true surge of dynamics came with the Gloria, where trumpets and strings were propelled forward by timpani. Rather than smoothing the work’s edges or softening its rhythmic brusqueness, Luisi remained faithful to its pacing. The result wasn’t always entirely convincing—the final section of the Credo felt appended, like an ornamental flourish tacked onto the movement. Yet the performance was suffused with solemn, profound beauty, aided by the purity of the period instruments.

_{Bellini’s Norma at La Scala}

Bellini’s Norma—a tragedy of love, betrayal, and redemption—unfolds the tale of a Druid priestess who betrays her people and her gods, only to be betrayed in turn by her Roman lover. Frequently cited as one of the most demanding works in the operatic canon, its sheer length and religious overtones make it a daunting undertaking.

Often considered the pinnacle of the bel canto period, when vocal virtuosity reached expressive and dramatic heights, Norma returned to La Scala nearly five decades after Maria Callas’ fond farewell.

_{Bellini’s Norma at La Scala}

It takes extraordinary skill to meet the expectations that shadow such a legacy and deliver expressive brilliance. Marina Rebeka’s portrayal in “Casta Diva” was at times beautiful and sensitive, though her tone occasionally lacked luster, and her coloratura drifted into oversimplification. At critical moments in the aria, she sounded fatigued and gluey, struggling to sustain the top notes as written. By contrast, Adalgisa maintained both musical and dramatic authority, conquering the duets with finesse.

In ballet, Swan Lake—in Rudolf Nureyev’s choreography—returns to La Scala this July, unfurling across the theatre’s grand spaces. Two years after its last run, three alternating casts feature returning stars, key debuts, and new partnerships.

At the premiere, the dancers conveyed both stylistic unity and expressive depth. Nureyev staged his first Swan Lake at the Vienna State Opera in 1964, but the definitive production debuted twenty years later, entering La Scala’s repertoire in 1990. Remarkably, when it premiered at La Scala, Nureyev himself took the stage, performing the complex, mirrored role of the male protagonist. But it was for Prince Siegfried that Nureyev choreographed the most demanding variations, placing him at the center of the narrative’s emotional threads.

_{Nureyev’s Swan Lake at La Scala}

_{Nureyev’s Swan Lake at La Scala}

In Nureyev’s interpretation, Siegfried is not a hero, but a melancholic, introspective soul—more contemplative than commanding. The production’s minimalist setting, graceful musicality, and refined lyricism ground it in classicism, yet the corps de ballet executed it with a distinctly modern sensibility.

“I’m extremely happy to return to dance Swan Lake in Nureyev’s version as the final title before the summer break of a season that has brought me so much satisfaction and so many new challenges,” said Nicoletta Manni, Étoile at La Scala. Her performance and characterisation were exquisitely detailed.

“I’m returning to dance the role of Odette/Odile, which in 2013—shortly after joining the Company—was the first étoile role I performed at La Scala. I still cherish wonderful memories of it. The duality of the character makes her incredibly compelling, allowing me to embody Odette’s vulnerability and Odile’s dominance. It remains one of the roles I perform with the greatest passion and joy.”

_{Nureyev’s Swan Lake at La Scala}

Although the staging was stripped back, there were standout performances, featuring extended arabesques, elegant grand battements, and the unified, flowing arms of La Scala’s swans. Manni and Principal Dancer Timofej Andrijashenko (as Siegfried) brought exceptional poise and romantic nuance to their phrasing. The climactic fouetté sequence in Act II was, frankly, spectacular—deserving a full review in its own right.

by Chidozie Obasi

The post Beethoven, Bellini and Čajkovskij: new heights, fond farewells and poised lyricism at La Scala first appeared on The Glass Magazine.

Since her passing in May 2021, La Scala’s tribute—“Gala Fracci”—reminds us of the phenomenal impact that she made. 

_{Carla Fracci. Photograph: Lelli e Masotti}

Newly appointed Director of Ballet, Frédéric Olivieri, who’s already staged a wealth of successful galas in previous times, is continuing the tradition established in 2022 by Manuel Legris to celebrate dance and ballet in honour of Carla Fracci.

For the 2025 edition, Olivieri has chosen to focus the programme on pieces that refer directly to roles created for Carla Fracci or that her interpretation made timeless, which will be brought back to life by the protagonists of this edition: the Corps de Ballet, the Principal Dancers, the Soloists, and international guests Marianela Nuñez and Reece Clarke, Principals of the Royal Ballet. Romina Contreras, a dancer with the Czech National Ballet in Prague, will debut.

La Scala’s orchestra will be conducted by Valery Ovsyanikov and the programme will also feature the students of the Accademia Teatro alla Scala Ballet School of the Accademia Teatro alla Scala in the opening parade and the final scene of Excelsior. 

The repertoire will be celebrated with Petipa’s Sleeping Beauty with Marianela Nuñez in the Adagio of the Rose from the first act; Nureyev’s Don Quixote in the sparkling and virtuosic grand pas de deux from the third act with Alice Mariani and Nicola Del Freo, with the damsel of honour Maria Celeste Losa and the artists of the corps de ballet, and with the lyrical pas de deux from the second act of Giselle, with Martina Arduino and Marco Agostino, in memory of Carla Fracci’s extraordinary last appearance at La Scala and her masterclasses, a symbolic passing of the baton to the new generation of dancers from its most unforgettable interpreter. 

_{Romina Contreras and Claudio Coviello. Photograph: Serghei Gherciu April 2025}

The first part will close with Ronald Hynd’s sparkling The Merry Widow, who was a guest in La Scala’s ballrooms to follow the rehearsals of the soloists and the corps de ballet in the cancan and Pas de quatre, while the final Pas de deux will feature Marianela Nuñez and Reece Clarke in the roles of Hanna Glawari and Danilo. 

The second part will open with John Cranko, the great master of the 20th century, with his masterpieces. First and foremost, Onegin, in the poignant final Pas de deux with Nicoletta Manni, named étoile at the end of this ballet, and Reece Clarke; a new opportunity to dance together after their successful partnership in L’histoire de Manon, with a piece rehearsed in the Stuttgart Ballet studios under the supervision of Reid Anderson. But there’s more to the story. 

Below, four Principals of La Scala weigh in on what this Gala means to them:

_{Romeo and Juliet by MacMillan starring Claudio Coviello. Photograph: Brescia e Amisano}

Claudio Coviello, Principal Dancer, Teatro alla Scala

“This edition of the Gala Fracci will be my very first time, where I’ll be dancing the Balcony Pas de deux in the version of John Cranco. I have always danced this ballet in the version of MacMillan, so for me it means exploring and discovering even more the character of Romeo under another choreography. Romeo and Juliet is one of my favourite ballets, so it is very stimulating to be able to interpret it in another version.

For the first time, I will dance next to Romina Conteras, a beautiful dancer of the National Ballet of Prague, a very natural and sensitive artist. It was nice to work next to her and to have the opportunity to discover another artist and another Juliet for me.

So I am very excited to dance in this beautiful evening, which has now become very important for the theatre’s repertoire, because it is an evening that pays homage to the greatest and absolute Italian ballerina of the entire international panorama. It is always a very exciting evening for us artists and for the public, so I can’t wait to be on the stage.”

_{Alice Mariani and Nicola Del Freo. Photograph: Brescia e Amisano © Teatro alla Scala}

Alice Mariani, Principal Dancer, Teatro alla Scala

“I’ll play Kitri in Don Quixote’s third act, in the version of Nureyev, with Nicola Del Freo. It’s a ballet that certainly has a special place in my heart because it marks my return here at the Teatro alla Scala. It was the first show I did coming back here. It’s a very difficult, very technical piece: we did a great job with Maestro Murru by starting from scratch, also because it was four years that we haven’t performed it. There are great technical difficulties and step by step, every day, we took a step forward until we got to our best. We did our best and we hope to bring a nice show in honour of Carla.

I think that dedicating an evening here at the Teatro alla Scala to this lady is really a very important thing. She will always be with us. She has always been present for the world of dance and she will always be. An icon for everyone. I think that her beauty on stage is insurmountable. Every time I watch her videos, it seems almost impossible for her to seem so simple. She does good to the world, to our audience. I will always remember her, because she will always have a very important place in the history of dance.”

_{Martina Arduino and Marco Agostino. Photograph: Brescia e Amisano © Teatro alla Scala}

Martina Arduino, Principal Dancer, Teatro alla Scala

“For us, the Gala Fracci is always a moment of great emotion and happiness because, in addition to paying tribute to an icon of dance who left an indelible mark on our history, it is a unique and special evening to celebrate our art, dance.

I will have the honour of performing the role of Giselle in the Pas de deux from the second act, and it is a role that I am very fond of and particularly attached to because I had the good fortune to work with Ms Fracci shortly before her passing.

It was a gift for me: Ms Fracci gave me her teachings and passed on her love for this role with all her passion. She taught me attention to detail and, above all, how important it is to have the intention of each step in mind to express a feeling and make it true and believable for the audience.  For this evening, reprising the role of Giselle was an opportunity to relive the experience of working with her. I focused on the quality of my arms and the lightness of the steps to give the impression of being a spirit and create a magical atmosphere, even though it is an excerpt and there is not the entire ballet set. 

For me, for the whole company and the whole world of dance, Ms Fracci has left a great legacy for which we are very honoured and grateful, and for this reason we feel the need to pay tribute to her with this wonderful gala evening.”

_{Martina Arduino and Marco Agostino. Photograph: Brescia e Amisano © Teatro alla Scala}

Marco Agostino, Principal Dancer, Teatro alla Scala

“In this year’s Fracci Gala, I will be performing the role of Albrecht in the Pas de deux from the second act of Giselle. This role is one of the most iconic in the ballet repertoire. It has been performed by great artists such as Nureyev, Vasiliev and Bruhn, right up to the greats of today and of our theatre, such as Massimo Murru and Roberto Bolle.

To prepare myself as best I can, I have tried to draw inspiration from them to create that ethereal atmosphere of suffering, love, redemption and suspension that characterises the Pas de deux, having the good fortune to draw on some of them in the theatre, such as Massimo Murru. The ballet Giselle was one of the most famous performed by Carla Fracci, so it is an honour for me to be able to perform this masterpiece. 

The Fracci Gala is of absolute and fundamental importance: our present, our heritage and our history are based on the deeds of the greats of the past. Nevertheless, in order to look to the future with innovation and creativity, we need even more strong foundations and traditions to cultivate, such as the Gala Fracci (the two things, innovation and tradition, are not antithetical but complementary).

I believe that honouring the greats of the past creates an important culture in our theatre, makes us feel part of something unique, makes us proud and pushes us to strive to be better and better in order to make the history of our theatre even more alive and important.”

by Chidozie Obasi

The post Gala Fracci returns to Milan’s La Scala for its fourth edition to honour the late dance phenomenon first appeared on The Glass Magazine.

MILAN, ITALY — High emotion inevitably surrounded this production of Peer Gynt, landing for the first time at La Scala.

Here, the protagonist is part of a narrative that recounts a pyjama-clad patient in a psychiatric clinic, who—between dreams and memories—follows Henrick Ibsen’s thread of storytelling: a thread that makes one acutely aware not only of his astonishing inventiveness but also of how Edvard Grieg’s score knows exact when to use music to enhance the drama and when to let it fall silent before the often provoking power of speech. 

_{Photograph: Tiberiu Marta © Teatro alla Scala}

_{Photograph: Tiberiu Marta © Teatro alla Scala}

It’s a work stemming from research on the great playwright’s text and Grieg’s music to unite their respective inspirations, overcoming the limitations of each. Clug created a new libretto that follows Ibsen’s narrative chronologically and juxtaposes Grieg’s stage music for Peer Gynt with his other famous concert and chamber pieces for a dynamic and coherent narrative development.

By fusing the artistic worlds of Ibsen and Grieg, a new ensemble is created, and a landscape with many doors: Clug has chosen his own, which he opens to the audience and invites them to walk through, to enter a new contemporary ballet experience. 

_{Photograph: Tiberiu Marta © Teatro alla Scala}

“Peer Gynt wastes his life constantly resisting and running away from his true self,” explain the notes, adding how “his personality is an amalgam of contradictions. His curiosity drives him to fall into temptations that always land him in the wrong places and embarrassing situations. He denies his essence in his determination to achieve power and control. At the same time he is an artist, daring to dream and confront rules and conformity.”

Clug approached this character, born from a powerful dramaturgy that touches on different genres, from fantastic realism to philosophy, from metaphysical themes to spirituality, and created a complex role, trying to transfer into movement, the emotional and symbolic depth of the original, so that the audience would not only understand the story, but could connect with the narrative on a deeper and more personal level, through dance, an open language par excellence.

_{Photograph: Tiberiu Marta © Teatro alla Scala}

One can argue whether this is senseless or dramatic. But, it’s unquestionably fascinating to see a version of a contemporary story that strips some things away and adds ingredients that are entirely unfamiliar from more mainstream plots.

_{Photograph: Tiberiu Marta © Teatro alla Scala}

All in all, it’s an intriguing work that exposes the madness of a time when the truth is subjective and the mind is viewed through the lens of self. A reflection, of this ballet, brilliantly executed by Alice Mariani and Navrin Turnbull who combined finesse, accuracy and poise; gently accompanied by Leonardo Pierdomenico’s brilliant piano playing.

by Chidozie Obasi

The post Peer Gynt’s moving act of defiance lands at Milan’s La Scala first appeared on The Glass Magazine.

_{Photograph: Brescia e Amisano © Teatro alla Scala}

MILAN, ITALY — La Scala’s operatic seasons continue apace with Giacomo Puccini’s Tosca, in a staging by Davide Livermore and conducted by Michele Gamba. It’s an absorbing, albeit distinctive piece of theatre. Puccini, as one might expect, carefully probes his protagonists’ psyches, often with fascinating results.

A psyche that brings us to the main thread of the story: Tosca is a political thriller, set in Rome in June 1800 during the Napoleonic wars—a time of great political unrest. The plot centres around three characters—Rome’s diva Floria Tosca, her lover Mario Cavaradossi (a painter and republican) and the corrupt Scarpia. Scarpia long lusts after Tosca, and the very moment he suspects Cavaradossi of assisting an escaped political prisoner, seizes the opportunity to kill two birds with one stone.

Moreover, he’ll manipulate Tosca into revealing the prisoner’s hiding place and Cavaradossi’s involvement and have her for himself. When Cavaradossi is captured, Scarpia offers Tosca a horrific bargain: she must give herself to Scarpia, or her lover is killed. 

_{Photograph: Brescia e Amisano © Teatro alla Scala}

The latest revival of La Scala’s staging featured Elena Stikhina, a Russian dramatic soprano, much revered on the European mainland in such fearsomely demanding roles as Čajkovskij’s Tatiana, Mimì in La Bohème of Puccini, among others. Her recent performances took place over two dates in March 2025 in Milan. I heard both of them and thought she was remarkable during her first. Her second struck me as less successful. She was not in her best form vocally on the second night. 

Hers is a big, warm voice, capable of soaring comfortably over a vast orchestra, but the lustre in her range, so impressive earlier last week, was much less in evidence in the latter evening. In the second act, she sounded a little tired: Vissi D’Arte didn’t thrill as it should. She’s a brilliant actor, though, and the captivating way she can fuse sound with control remained more or less intact in a characterisation of impassioned love and reckless drama.

_{Photograph: Brescia e Amisano © Teatro alla Scala}

_{Photograph: Brescia e Amisano © Teatro alla Scala}

The suggestion of transgressive pleasure with Sartori’s Cavaradossi is striking, as are the blind rage as well as the revulsion she feels for Scarpia (Amartuvshin Enkhbat) in Act III, and the traumatised disgust at her own skill for violence as she later remembers her murder of the latter. 

Enkhbat’s voice is a compelling mix of emotive depth and velvety steel, striking through the second act, where he is admirably potent and threatening. Sartori is dramatically convincing, too, though his tone turned edgy when projecting at the top and flagged a tad at the end. Gamba’s conducting, meanwhile, is spine-tingling in the way he gradually ratchets up the drama. Lest we forget, the big choral voices nailed the climaxes to a thrilling effect, offering an absolutely terrific Te Deum in all its sweeping intensity.

by Chidozie Obasi

The post Tosca’s tale of sweeping intensity and grand passion lands at Milan’s La Scala  first appeared on The Glass Magazine.

MILAN, ITALY – The second programme of La Scala’s Ballet Season veers towards the contemporary spectrum of dance, with the signatures of Philippe Kratz in the revival of Solitude Sometimes, music by Thom Yorke and Radiohead, choreographer Angelin Preljocaj and Patrick de Bana, with the premiere of a new Carmen. 

Rebirth, life’s cycle and the individual’s resilience are central in Solitude Sometimes: amidst the electronic sounds of Thom Yorke and Radiohead, Philippe Kratz signs his first creation for the La Scala Ballet Company in 2023.

_{Andrea Risso and Alessandra Vassallo}

He immerses himself in Egyptian mythology for an ascent towards the light, taking his cue from the tale of the Amduat and the descent into the underworld of the sun god who purified and rose to the surface to give birth to a new day. An abstract work in its essence but populated with symbolic figures that find on stage the protagonists of the premiere, but also artists now making their debut in Kratz’s style. 

On the touching mystery of the Virgin Mary’s Annunciation, Angelin Preljocaj focuses on the relationship between spirit and body, inner and outer space, and the upheaval of the Angel’s apparition in Mary’s intimate universe.

_{Claudio Coviello, Navrin Turnbull and Christian Fagetti}

Created in 1995 and winner of the ‘Bessie Award’ two years later, it was given to an Italian repertoire for the first time in 2002, at La Scala. After more than twenty years, the return of Annonciation will bring the new generation of artists to measure themselves against a work that is among the most emblematic of its repertoire and stylistic signature. 

For his first work stitched on the La Scala Company and its étoiles, de Bana delves into the mythology, culture, scents and icons of Spain filtered through his personal experience, to revive the essence of Carmen, on a musical fabric based on Rodion Ščedrin’s Carmen Suite and transporting the audience to its gypsy roots.

_{Nicoletta Manni and Christian Fagetti}

In this, Roberto Bolle, Nicoletta Manni and Maria Celeste Losa are rare, distinct talents: the energy, tension and passion they bring to their dancing never fail to obliterate everything around them, illuminating an entire world on their terms.

All in all, it’s a triumph of visual intrigue, where everything is precise yet unforced—as if the dancers’ bodies happen to be the vessels of their physical forces. So much happens in the space of not knowing, and that’s what makes for such a compelling aftermath.

by Chidozie Obasi

The post Kratz, Preljocaj and De Bana’s triptych: a triumph of visual intrigue at La Scala first appeared on The Glass Magazine.

For those yearning for cultural enrichment to combat the gloomy skies, this curated guide offers a selection of shows that promise to brighten even the greyest of London days.

The Devil Wears Prada

Dominion Theatre

The Dominion Theatre’s latest production is a dazzling new musical adaptation of the iconic film and best-selling novel The Devil Wears Prada by Lauren Weisberger. A cultural touchstone for anyone remotely acquainted with the fashion industry, the story’s sharp wit and high-stakes drama are elevated in this production.

Featuring a vibrant score by Elton John and the formidable Vanessa Williams as the imperious Miranda Priestley (a role sure to evoke memories of Ugly Betty), this stage adaptation is a glamorous and dramatic feast. Brimming with twists, turns, and exquisite design, the production’s allure is simply irresistible. As Miranda herself might declare: “Don’t be ridiculous, Andrea. Everybody wants this.”

Elektra 

Duke of York

Brie Larson leads a savage and heartbreaking quest for vengeance in this captivating tale of grief and survival. Based on Sophocles’ Greek tragedy, the play tells of a bitter struggle for justice by Elektra (traditionally known as Electra) and her brother Orestes for the murder of their father Agamemnon by Clytemnestra, their mother, and their stepfather Aegisthus. Each has their own reasons, with the murder in question happening as a result of Agamemnon sacrificing his daughter Iphigeneia to the goddess Artemis, who was preventing the wind from filling the sails of the Greek ships.

Oscar-winner Larson embodies the character of Elektra, shaven head, androgynous styling, hunched over posture, transfigured by the overwhelming grief. The set is also stripped back, with a revolving stage and white sheet the sole supporters. If there are any tickets left, make sure you pounce. Larson’s debut to the UK stage is well anticipated.

The Years

Almeida Theatre

A stunning stage adaptation of Nobel laureate Annie Ernaux’s acclaimed memoir, The Years is brought to life with innovative brilliance. Directed by Eline Arbo, five actors embody the stages of a woman’s life, capturing the personal and political shifts of post-war Europe.

This poignant portrayal intertwines 20th-century history with the multifaceted experiences of womanhood—menstruation, sex, love, loss, and societal change—all explored through a lens of fluidity and raw humanity. The result is an emotionally resonant exploration of identity and memory, as relevant to the collective as it is to the individual.

Theo Croker’s Dream Manifest

Barbican

The Barbican once again cements its status as London’s cultural epicentre with Dream Manifest, a one-of-a-kind evening curated by the celebrated US trumpeter Theo Croker in collaboration with London-based fashion designer Nicholas Daley.

Featuring an impressive line-up of UK jazz musicians, including Anaiis, Idris Frederick, Theon Cross, and Sheila Maurice-Grey, the event blends music and fashion with impeccable flair. Daley’s designs, rooted in Black British heritage and diasporic themes, adorn the performers, adding a visual narrative to the rich musical tapestry. Produced in partnership with the Brick Lane Jazz Festival, this is an unmissable fusion of sound, style, and storytelling.

ABBA Voyage

ABBA Arena, Olympic Park

A masterpiece of modern technology and nostalgia, ABBA Voyage has become a London institution since its debut in May 2022. This virtual concert residency in a purpose-built arena transports audiences to ABBA’s heyday through cutting-edge digital avatars and a mesmerising light show. The immersive experience, free from distractions, namely mobile phones, offers an unparalleled journey into music and spectacle. The moment that the group are first revealed, mere silhouettes backlit for added impact, the atmosphere within the arena completely shifts. It is a truly indescribable moment that can only be understood upon experiencing.

With choreography by Sir Wayne McGregor and a 10-piece live band complementing the precision of the digital performance, ABBA Voyage transcends the boundaries of a traditional concert. With its run scheduled to end in January 2026, securing tickets is imperative for fans and newcomers alike.

Cabaret

Kit Kat Club at the Playhouse Theatre

Descending into the Kit Kat Club at the Playhouse Theatre is an immersive experience unlike any other. From the moment you’re greeted with a shot of schnapps in the atmospheric 1940s-inspired stairwell, the production transports you to Weimar-era Berlin with an extraordinary level of detail. Early arrival is a must, as impromptu performances in every corner of the journey to your seat set the mood for the evening ahead.

The stage is surrounded by cabaret-style seating, adding to the intimacy and authenticity of the experience. On the night of our visit, Katherine Langford shone as Sally Bowles, alongside Adam Gillen’s hauntingly charismatic Emcee, each framing the performance with star status and their masterful grasp of the delicate subjects explored.

The juxtaposition of joy and despair in the script is deeply impactful, with themes of freedom resonating deeply in such an captivating setting. With newcomers Marisha Wallace as Bowles and Billy Porter as Emcee, Cabaret remains a masterclass in theatrical immersion. Leave your troubles outside. 

Candlelight: Hans Zimmer’s Best Works

Central Hall Westminster

A multi-sensory musical experience said to have a magically enchanting effect. Soothed by the London Session Quartet, the music becomes a sound bath in its own right. Expect flashes of scenes from The Lion King, Dune, The Dark Knight and other familiar favourites to come to mind as the string quartet builds extraordinary power from such delicate instruments.

Hans Zimmer’s ability to evoke emotion is masterful, yet so often overlooked when paired with striking visuals. This candlelight concert separates the music from the film, allowing Zimmer’s compositions to shine in their own right. Of course, the visuals play a vital role too. Lit entirely by candlelight, Central Hall Westminster is transformed into a glowing, awe-inspiring spectacle.

by Lily Rimmer

The post Must-See London Shows this Winter first appeared on The Glass Magazine.

AT A time when society’s downturns are increasingly commonplace, dashes of feel-good optimism tend to be few and far between. For centuries, though, the arts have consistently and ingeniously trod the line between tradition and sophistication, innovation and intellectualism, with surprising and thought-provoking results that push our inner consciousness to far-fetched realms, becoming a no-brainer when seeking a soothing respite amid the world’s frantic chaos.

For Hugo Marchand, the art of dancing felt like a tool he could use to mould his freedom. “As a kid, I remember being in the studio, realising that my body was going to be a tool to express feelings,” recalls Marchand, laughing and talking with a gently poised demeanour like we’re in the back row at school. “While growing up, you become acquainted with the fact you have a body and you feel differently about it. That was the first thing that struck me strongly: that I had a body I could use, and within myself, I was triggered that this was going to be a tool of freedom.” 

_{Photograph: Alessandro Lo Faro}

Hailing from Nantes – a small town nestled in Western France – and now based in Paris, Marchand glimmers with an electric energy. Approximately a few minutes in, I’m already besotted with my interviewee. “I began dancing when I was nine years old, and previously I took circus and gymnastics classes,” he offers, as we begin to settle into our conversation. After four years at the Conservatoire de Nantes, Marchand joined the Paris Opera Ballet at 13, living in a boarding school which he deemed “challenging.”

“I feel very grateful, because the Paris Opera school is free as it’s a government-owned institution, and I would have never been able to join if it wasn’t publicly-funded,” he freely admits. “I did four years there, and I was lucky enough to be hired in the company when I was 17.” Marchand confesses the hierarchy and complexity present within the company’s ranks, detailing how one has to go through all of these to become a Principal dancer.

_{Photograph: Alessandro Lo Faro}

“You have an exam every year, a contest you have to pass which is quite complex because the Paris Opera has 154 dancers, not one more,” he says. “If you want to achieve the rank above you, you need to wait for a place or that someone retires in order to be promoted.”

Following a performance by La Sylphide, in which he took on the role of James on the stage of the Bunka Kaikan in Tokyo (Japan) on March 3rd 2017, he was named danseur étoile. “I wasn’t scheduled to attend the trip, but I did because one of the dancers got injured two weeks before going,” he opines. “La Sylphide is a very romantic ballet, and after the first performance, I got nominated.” 

As a dancer with a wealth of artistic feats under his belt, I couldn’t help but wonder how the past year was. “Very challenging and packed!” he grins, with cheer. His season began in September when he danced William Forsythe’s at the Paris Opera. Moreover, Marchand has starred in a ballet titled The Blake Works (choreographed over James Blake’s music) and Mayerling: a historical ballet by Kenneth McMillan that is daunting because the main character, Prince Rudolph, goes through a sad plot.

_{Photograph: Alessandro Lo Faro}

“He was a crazy man who got a disease, and he had to take morphine to deal with the pain,” he explains. “Moreover, the character has very complicated yet violent relationships with women: he ends by committing suicide with the last lover Mayerling, who is a city in Vienna, in Austria. This is a very famous story across Central Europe, but not very known in France and Italy. It’s a really incredible ballet that I loved dancing.” Marchand has recently rehearsed alongside Mats Ek, a modern choreographer that he’ll be working with in April 2025. 

Marchand is an artist of great poise and sheer gratitude: a feeling I sensed when he touched on the importance of mentorship. “I would say that Manuel Legris has been really the strongest example for the Paris Opera and myself,” he admits, “because we’ve been seeing him dance for so many years. All the Nureyev versions are mostly danced by Legris, and it’s great to be in Milan because I’d never worked with him.”

_{Photograph: Alessandro Lo Faro}

Marchand admires dancers Rudolf Nureyev and Nicolas Le Riche, to whom he’s very drawn from a technical and emotive perspective. “[Le Riche] was always very human in the way he embodied characters on stage,” he opines. “Never too much, but always with strong inspiration and taking risks.” 

Risks, then, with a wealth of determination for the taking were the elements that helped him navigate through the ranks amid a pool of talented artists. “I just followed my path and tried my best time after time, but I wouldn’t consider my career extraordinary,” he says, nodding his head without signs of peacocking braggadocio on display.

“When I was in the ranks in the company, I felt the urge to go out of them because it was a race about who would make it first,” Marchand reflects. “Once you’re a Principal, your role lasts for 15 years; so if there’s an available spot you need to take it and be ready for it. At first it was hard because I’m very tall, and my body is a bit different compared to the standards people see at the Paris Opera. I’m quite muscular, and I would be too visible in the corps de ballet. I was worried about that, but I actually discovered that it was a strength because I could dance with many different artists.”

_{Photograph: Alessandro Lo Faro}

On career challenges, he speaks with unguarded honesty. “Injuries spark many doubts within you, and when you have so much pressure and feel the stress sometimes you wonder whether you’re going to make it, if you’re talented enough, if you have what’s required to be an interesting artist so you can have big moments of doubt. It happens very regularly.”

It’s not all doom and gloom though; artistically speaking, Marchand’s talent is tinged with a positive air, with his impassioned identity providing weight and the slightly-potent confidence pulling all his qualities into sync.

Moving on to lighter territory, Marchand will debut in Milan’s Teatro alla Scala premiere of Nureyev’s Nutcracker, alongside the company’s Principal dancer Alice Mariani on December 18th. “The Nutcracker is a big deal for me because it’s the first role I danced as a soloist at the Paris Opera,” recalls Marchand. Back then, he was a coryphée (leading dancer in a corps de ballet) and he jumped into the role to dance with first soloist Melanie Hurel. “I remember that being a very stressful experience, and that before the last pas de deux I wanted to die,” he offers, chuckling between sips of water.

“After dancing my first show I felt so much anxiety that I kept thinking that I made a mistake, that I’m not made to be a dancer and all that,” he says, pausing momentarily. “After the second performance, though, I remember that during the pas de deux the music felt so beautiful to my ears that something let go and I began to take pleasure in the chasses, where I found a sense of freedom.” 

_{Photograph: Alessandro Lo Faro}

It’s exactly the reason why Marchand has a strong affection for this version of The Nutcracker. “It’s not about sugar-sweet vibes or little princesses: the ballet is much more complex than that, and the performances are much deeper and more meaningful. What I love about this version is that there’s a very psychoanalytic way of seeing things, because Clara is changing through the whole ballet; she’s a young girl discovering all her femininity and sexuality, while becoming a woman.”

Rudolf Nureyev always twisted the plot somewhere, and that’s a point of this Nutcracker Marchand feels it’s interesting because it shows how complicated the relationships in families can be. “It’s interesting to see that Drosselmeyer was a prince who is not just a charming person, but someone who will take Clara on a trip to help her discover herself. I love this version even though it’s very challenging technically, and musically with tricky patterns, but I’m really happy to dance with Alice as it’s the first time we dance together.” 

The duo met in January, the last time Marchand paid a visit to Milan to take a class and see the company. “After two days, Legris asked if I wanted to come and dance in a show next season,” he says. “That’s how the Nutcracker came about, and I’ve been waiting for this moment for a few months now.” 

Marchand feels “lots of pressure and very honoured as well to be invited to La Scala, because of how prestigious the institution is.” 

_{Photograph: Alessandro Lo Faro}

An institution that never lacks in ambition, which will see him partnering with the brilliant Alice Mariani, Principal Dancer at Milan’s Scala who completed a mesmerising performance of Balanchine/Robbins’ triptych a few weeks back. “I was five years of age when I started dancing, and as a very bubbly kind I was always running around to free-up my energy,” Mariani reminisces. “I started ballet and I’ve loved it since day one, so it felt like an awakening to me: there were mornings when I woke up, waiting for that hour to come.” 

Mariani’s ballet teacher advised her parents to take her to La Scala’s academy, a place where she didn’t know what to expect. “I didn’t even know what being a professional ballet dancer meant, and the beginning was quite hard because coming from a private ballet school and getting into the academy is no mean feat: the discipline, the rules like you had to be always silent and bow when the teacher was making her way in were quite shocking,” she says. 

However, her then-mentor Tatiana Nikonova saw something in her. “I joined the school at 13 to then graduate in 2011, and then moved to Dresden for 10 years; but then, I felt the desire to come back home and to join La Scala.” 

_{Photograph: Alessandro Lo Faro}

The first time Mariani saw The Nutcracker, she was shocked. “When they told me I had to do it, even more!” She exclaimed, “because I think it’s one of the most challenging ballet there is in the classical repertoire. For myself, I find that there are many ballets that are very hard, technically. But in a way, in this one you have to be very clean because there are some steps like the assemblè – which isn’t very hard – where if you don’t cross your legs enough it looks terrible.” 

The first time Mariani met Marchand in January, she had a winsome feeling about the artist. “I actually said it to people when he came, and I didn’t even know he was rehearsing for The Nutcracker and he probably didn’t even know,” she says. “I think we’re missing a dancer like him at La Scala, so I think it is an amazing opportunity for Milan, for our theatre, for us dancers to work with someone like him. And also, he’s such a hard worker too, fully committed to his role.” 

Turns out that Marchand’s least favourite roles fall into place when there’s a lack of honesty. “What is very hard for me to interpret is when the story is not true, if I don’t believe in the story myself, or if I don’t find my character real enough,” he admits.

_{Photograph: Alessandro Lo Faro}

“There are some roles in which I feel dumb in,” he says. On the flip side, though, he’s fond of the impassioned characters within Manon, La Dame aux Camélias, Onegin or Mayerling. “All these roles are very strong and allow you to share many different emotions,” he opines, “while showing all the skills of how theatrical we can be, because we’re like actors.”

Today, Marchand is aware of how the passing of years has changed his creative persona. “Well, I’ve been seeing myself changing a lot and it’s very reassuring, because changes are reassuring to me. It shows that we are moving on and we’re always improving,” he says. “Because if you don’t change and you find yourself doing the same things always the same way, what’s the point? You just repeat yourself all over again.”

_{Photograph: Alessandro Lo Faro}

On days off in Paris, Marchand enjoys a glass of wine with friends, connecting with nature, meditating and filling his life with other things than ballet. “Otherwise, we’re always staying the same!” He says, “so we need to have other experiences in life: love, pain, joy, disappointment, freedom—things that need to be explored, so that we can live them through the characters we bring on stage.” 

What will he do at 42, when étoiles are contractually obliged to retire? “Drag!” he wildly cackles, past our allotted interview time. “I’m joking, but I’d love to try once,” he concludes. “On a serious note, I’d love to still be on stage as an actor or as someone telling stories. I feel like storytelling is what I love the most about my job right now.” Retirement isn’t imminent though. Until then? “I hope to keep expressing freedom and love through my art.” And just like Marchand, I very much hope the same.

by Chidozie Obasi

Photographer: Alessandro Lo Faro (@alessandrolofaro.archive)

Stylist: Chidozie Obasi (@chido.obasi)

Hair: Gaetano Pane (@__mr.bread__) via (@julianwatsonagency)

Make up: Sofia Foiera (@sofiafoiera) via (@blendmanagement)

Set Designer: Irene Coveri (@pennyennyemmy)

Head of Production: Jessica Lovato (@jessicalovato_)

Fashion Coordinator: Davide BeloO (@coccobeloooo)

Photography assistant: Pietro Dipace (@_jamas_)

Styling sssistants: Isabella Petrocchi (@isabellapetrocchi) + Lilly Padilla (@lillympadilla)

+ Veronica Vaghi (@vaghiveronica) + Clara Bacetti @clabacetti + Linda Ripa (@lindaripaa)

_{Clothing Credits:}

_{Look 1: GIORGIO ARMANI}

Look 2: PRADA

_{Look 3: Top PHILOSOPHY DI LORENZO SERAFINI | Shorts GIVENCHY | Earrings ALICE’s OWN}

_{Look 4: Blazer BOSS | Trousers PAUL SMITH}

_{Look 5: Jacket GIVENCHY | Trousers JIL SANDER}

_{Look 6: Hugo Top PAUL SMITH | Trousers GUCCI | Alice Dress TOD’S | Skirt DOLCE & GABBANA}

_{Look 7: Top, skirt MARNI}

_{Look 8: Coat ACT N.1 | Tank DOLCE & GABBANA | Trousers HERMES}

_{Look 9: Jumper HERMES | Shirt MOSCHINO | Pins LOUIS VUITTON}

_{Look 10: DIOR MEN}

The post Inside Hugo Marchand’s pursuit of expression first appeared on The Glass Magazine.

MILAN, ITALY – After Balanchine/Robbins’ great success at Milan’s La Scala and all the principals involved in the three 20th-century masterpieces, the Ballet Season has drawn to a close.

But the city’s buzz continues apace, ready to immerse in the Christmas atmosphere and in the lights, but also in the shadows of Rudolf Nureyev’s Nutcracker. Set to open the new Ballet Season 2024-2025 and return to the stage from 18 December to 12 January 2025, anticipated on 17 December by the customary Preview for young people, has already sold out like all the replicas.

_{Photograph: Brescia e Amisano ©} 

_{Photograph: Brescia e Amisano ©} 

A welcome return of one of the most interesting and technically demanding ballets in the classical repertoire, but also an important occasion to welcome the La Scala debut of Hugo Marchand, étoile of the Paris Opéra, and many of the protagonists who have illuminated the 2022/2023 performances in the role of Clara and the Prince/Drosselmeyer as Nicoletta Manni, Martina Arduino, Alice Mariani, Agnese Di Clemente, Timofej Andrijashenko, Claudio Coviello, Nicola del Freo, Navrin Turnbull and the debut in January in the title roles of Camilla Cerulli and Marco Agostino. 

Hugo Marchand will open the performances with Alice Mariani (17, 18 and 20 December 2024); Agnese Di Clemente and Claudio Coviello will be on stage on 29 December 2024 and 4 January 2025; Nicoletta Manni and Timofej Andrijashenko will dance on 31 December 2024 and then the evenings of 3 and 5 January 2025.

_{Photograph: Brescia e Amisano ©} 

The afternoon of 5 January and then the evenings of 9 January will be the performances of Camilla Cerulli and Navrin Turnbull and on 7 and 11 January Marco Agostino and Martina Arduino. Virna Toppi and Nicola Del Freo will be given the final performances on 10 and 12 January.

Alongside them will be the Corps de Ballet, which will shine in the Christmas dances and above all in the marvellous choreographic designs of the famous waltzes, the soloists of the numerous dances, the students of the Ballet School and the Academy’s Children’s Choir, and, on the podium, conducting the La Scala Orchestra Valery Ovsyanikov. 

by Chidozie Obasi

The post Rudolf Nureyev’s Nutcracker gears up to spark winter joy at La Scala first appeared on The Glass Magazine.

MILAN, ITALY—Never lacking in ambition, Milan’s famed Teatro alla Scala has arguably set itself a big challenge with its production of Verdi’s sprawling tragedy La Forza del Destino, opening again 59 years after its previous staging. 

The opera was written during the middle of the composer’s career, and founded on a Spanish work by the Duke of Rivas. In the recent production that premieres for La Scala’s new season – a yearly tradition that falls into place on 7 December, in conjunction with St. Ambroeus’ celebrations – the opera brings in various elements with the centrifugal force that leans not only on one but two axes (namely, war and hope). 

_{Photograph: Brescia e Amisano ©} 

Yet it’s a mark of the strength of Leo Muscato’s direction, with a starkly atmospheric setting that sets the plot in a concentric wheel, holding up the thrill of the conclusive glimpse of redemption. The opera ostensibly exemplifies the power of fate, in a way that two lovers – Leonora (interpreted by Russian soprano Anna Netrebko) and Álvaro (played by Brian Jadge) – are pursued over the years by Leonora’s brother, Don Carlo, who is obsessed by his desire to avenge his father’s accidental death.

In addition to wanting to stain his family’s honour caused by his sister attempting to elope with a Peruvian man. Around them, war is taking place, cheered on by those profiteering from the havoc. 

_{Photograph: Brescia e Amisano ©} 

“This is an extremely complex opera,” explained Director Leo Muscato, “an opera that already from the script the libretto maintains a layered complexity. The acts are divided in different days, and each day is distant from one another, sometimes even years apart. The matter of this play is well-rounded, and we’ve tried to make it even more complex but with the sole objective of trying to tell this story that could also be exciting for the viewers who come to see it because of its background, which is the conflict. Right from the first scene, the war is only mentioned in our version, but it’s the key fil rouge, let’s say.” 

Verdi’s piece highly resonates with the global turbulence that is currently shaping the world’s conflicts. “In the opera, Verdi has also poured elements of hope in it, especially in the very last moments of the finale,” offered Muscato, explaining how “Leonora gives Alvaro the chance to forgive himself, and when he does, there is a change of melody and a change of harmony in which he finally says to Leonora how much he’s redeemed. In short, we hope to be able to give this emotion to the spectator because it is a very dramatic work, it is an epic tale, a historical one as well, which fortunately alternates dramatic scenes and also funny scenes in some cases, but in the finale fortunately has an element of hope that we push to emphasise.” 

_{Photograph: Brescia e Amisano ©} 

From American tenor Brian Jagde – who was brought in on short notice to replace German tenor Jonas Kaufmann, who dropped out due to personal reasons – to Ludovic Tezier and Anna Netrebko, leads were firing on all cylinders. “Success is the happiness of sharing this music with the audience and then, if it works, I’m happy because we shared a mutual experience together, brightly emphasizing the works of great composers.”

An emphasis that Dominique Meyer felt grounded in the very work of all trailblazing soloists. “To be able to tackle these roles, you cannot be a young man of 25,” concluded Meyer.  “So when we are lucky enough to have a generation of these artists, we can only thank God and the nature of things.” 

by Chidozie Obasi

The post Milan’s La Scala premieres Verdi’s sprawling opera La Forza del Destino first appeared on The Glass Magazine.