Reservation on request at [email protected]
Specify the city, the date and the number of tickets required

1 Click on the date to see the prices and book

On request

2Choose the Category

Please precise your seating wishes regarding your ticket booking
(150 char. max)


Contact us by tel : +33 1 53 59 39 29 – or by Email) See Help & FAQ page


Your E-tickets to be printed will be sent by mail.


Music & Opera book the best seats available. the exact seat location will be confirmed by email. Only seats next to each other are booked.More information


Music Opera ticket price differs from the ticket face value. It includes all service fees and taxes.

Refund Protection

A Refund Insurance will be offered before payment More Information

The club
Music & Opera

Join the Club to
Benefit from the special prices
Already Member of the Club,
Please Login !

Anna Netrebko © Dario Acosta

Cilea Adriana Lecouvreur

From 09 March TO 19 March 2022
Teatro alla Scala - Milano

Cilea : Adriana Lecouvreur

  • Conductor
    Giampaolo Bisanti
  • Director
    David McVicar
  • Performers
    Adriana Lecouvreur: Anna Netrebko
    Maurizio: Yusif Eyvazov
    La Principessa di Bouillon: Elena Zhidkova
    Michonnet: Ambrogio Maestri
    Il Principe di Bouillon: Alessandro Spina
    Abbé de Chazeuil: Carlo Bosi

Attend this performance as a part of a Travel.
Discover our travels to Milan!

  • Venue Info
  • Seating Plan
  • Synopsis

Teatro alla Scala - Milano Location Via Filodrammatici, 2 - 20121 Milano Italie

  • Venue's Capacity: 2000

After fire destroyed the Royal Ducal Theatre, Milanese aristocrates took no more than twelve days to design a new theatre and send their plans to the Empress Maria Theresa. Two years later, in 1778, the new opera house was inaugurated, on the site of the Santa Maria alia Scala Church. The Teatro alia Scala wasted no time in becoming one of the best: all of Europe came to admire the flamboyant costumes, the impressive chorus, and the singers, famous for their dramatic finesse. The audience was a show in itself: people visited in their respective boxes, exchanged the latest news, dined, and played cards... A tradition that is now lost to the ages, while the Scala's public nonetheless still knows how to make itself heard if it completely disagrees with a trill, or when it enthusiastically applauds a prima donna.

During the nineteenth century, competition from the Teatro di San Carlo in Naples, which then attracted the peninsula's best voices, obliged the Milanese opera house to undergo renovation, which it did with panache! Rossini's, Bellini's, and Verdi's names were henceforth linked to that of the illustrious house, and the history of Italian music was written within its walls. Works such as NORMA, NABUCCO, II TURCO IN ITALIA, and FALSTAFF were premiered here, while singers such as Isabella Colbran and Maria Malibran triumphed on its stage.

The end of Verdi's reign ushered in the beginning of Toscanini's. Despite his famous temper tantrums, the Italian conductor formed an orchestra and a permanent company which imposed new standards of quality the world over. Those were the days that one could sing at the MET only under the condition of having been previously consecrated on the Scala's stage...

The Scala was destroyed in 1943. Rapidly reconstructed along the original plans, the house has never lost its soul, thanks to artists such as Giulini, Kaum war die Herrschaft Verdis zuende, Callas, Karajan, and Tebaldi, who all once trembled at the idea of appearing in the light shed over the stage by the hall's huge Murano crystal chandelier.

Teatro alla Scala

The seating plan is given as an indication and has no contractual value.
The division of categories may differ depending on shows and dates.


Adriana Lecouvreur


Adriana Lecouvreur is a four-act opera composed by Francesco Cilea. It was first performed in November 1902 in the Milanese theatre, Teatro Lirico, and is based on the 18th century play, Adrienne Lecouvreur.


The play itself is loosely inspired by the life of the French actress, Adrienne Lecouvreur, though the plot of the story is fictional and highly dramatised. There have been at least three other renditions of the play, but Cilea's version is by far the most well known. The themes of love, jealousy and rivalry are what make this opera so popular. The melodious solos and the powerful scores keep the audience enthralled, while the dramatic treatment by the orchestra marks the fast pace of the story.


The story is set against an early 17th century backdrop in Paris. The plot deals with the fatal love triangle involving the actress Adriana, the Count of Saxony, Maurizio and the Princess of Bouillon. It is the rivalry between the two women that leads to the tragic ending of the story. Misunderstandings and interference by the supporting characters also play a part in the story.

Act 1

It opens with the preparations for a performance in which the two rival actresses Adriana and Duclos are to star. The Prince of Bouillon compliments Adriana and her humble reply is a beautiful solo that shows her devotion to her art. Adriana then meets her lover, Maurizio, and gifts him a bouquet of violets. Meanwhile, the prince suspects his mistress, Duclos, of having an affair with Maurizio. He concocts a plan to expose them.

Act 2

gives the audience a clearer idea of the story. Maurizio is revealed as the Count of Saxony. He has been having an affair with the Princess of Bouillon and not with Duclos as believed by the prince. He presents the princess with the same bouquet of violets that Adriana had given him but admits that he no longer loves her. They are interrupted by the prince and Maurizio enlists Adriana's aid in helping the princess escape unseen. Though neither is aware of each other's identity, both women realise that they are rivals in love.

In Act 3

The action of the story reaches a peak. Adriana attends a party at the palace and the princess recognises her voice. The princess talks of Maurizio being wounded in a duel, and Adriana's extreme reaction confirms that she is indeed, his lover. During the ballet that follows, the women confront each other. Adriana sings a passage from Racine's Phèdre which talks about sinful adulteresses. This is a direct challenge to the princess who swears to get her revenge.

Act 4

It brings the events of the story to a dramatic conclusion. Grief-stricken by Maurizio's betrayal, Adriana has retired from stage. Her former colleagues try to persuade her to return to the theatre. Amidst these entreaties, a gift arrives, apparently from Maurizio. It is the same bouquet of violets she had once presented him. She sees the faded violets as a sign that their relationship is over and starts feeling ill and faint. Maurizio comes to make amends and reveals that the flowers were not from him. They realise that the princess sent the poisoned bouquet of violets. Adriana lies dying in Maurizio's arms and her final words are a touching duet with Maurizio.


Adriana Lecouvreur, a leading actress- Soprano
Maurizio, Count of Saxony and Adriana's lover- Tenor
Princess de Bouillon, Adriana's rival in love- Mezzo-Soprano
Prince de Bouillon, Duclos' lover- Bass
Michonnet-, a stage manager in love with Adriana- Baritone

Dramatic and highly entertaining, a performance of Cilea's Adriana Lecouvreur makes for a great visit to the opera.

Teatro alla Scala

You may also be interested by …