To hear the rumors, it was to be feared that the new season of La Scala, the first of Dominique Meyer, the first that is supposed to be regular from the beginning of the Covid era, was very prudent, if not conservative. Fortunately, this is not the case. Nothing Traviata, Tosche O Bohme interlocutory, as happens almost everywhere. Indeed, after the three Verdi works e Don Giovanni, the only show that the theater dusts off from its warehouse, the titles on the bill, although not rare, have enjoyed modest circulation in recent decades: it is just a pity that there is too much nineteenth century.
The average level of conductors is not among the highest – only Chailly and Gergiev are top-notch and Heras-Casado may perhaps get there – but the roster of directors is excellent (it is good that controversial but well-known artists such as Noble, Py and Marelli are part of it for the first time) and the cast are formidable , hard to wish for better. Thanks to Chailly, Barenboim, Salonen and Gergiev, also wanting to the overrated Thielemann, then the series of symphonic concerts is very attractive, which offers an opportunity to Speranza Scappucci, very good at deserving it.
Nine new productions, one take and three imported shows – in total therefore of 13 – they are finally the photograph of a foundation that enjoys good economic health, despite the setbacks of recent months, during which the musical world has sailed in much more choppy seas than other cultural sectors. Also to be praised is the reformulation of subscriptions and the cost of tickets in certain sectors, the establishment of new competitions for artistic workers (there is a need) and the continuation of the long process of digitizing the archives: fresh water for musicological research.
A moment of emotion was experienced when the farewell was announced, even if he continues to instruct the children’s voices, by Bruno Casoni, choir master for many years. was a fundamental pillar of the Scala, which owes him immense gratitude and misses it, human as well as artistic. But it is good that the succession takes place in the sign of continuity with Alberto Malazzi, who was a collaborator of Casoni. Good news also from the Philharmonic, which has finally reopened its doors with an excellent concert by Gergiev and which on Thursday introduces the new artistic director Etienne Reymond, a former Scaligero who has been working very well at Lac in Lugano for years: the best possible choice today.
May 31, 2021 (change May 31, 2021 | 19:32)
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