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Descubre el programa del temporada 2018-2019 del Teatro alla Scala y reserva sus entradas enlinea ahora.

 

No hay que perder en el mes de Diciembre 2018:

En el mes de diciembre en el Teatro de la Scala de Milán, el gran acontecimiento tiene lugar con la inauguración de la temporada. Este año, Atila de Verdi dirigida, como es debido, por el director musical del teatro, el gran Riccardo Chailly, tiene el éxito asegurado, y cuenta con Ildar Abdrazakov en el papel principal. En cuanto a danza, el mes de diciembre está dedicado a Cascanueces (coreografía de George Balanchine), como debe ser…

 

El 7 de diciembre es la fecha más conocida por los melómanos del mundo entero ya que saben que se trata de la fecha de obertura del célebre Teatro de la Scala de Milán. Esto no quiere decir sin embargo que la sala haga una pausa de septiembre a noviembre. Hay incluso muy buenos espectáculos en cartel. La sensacional Elektra de Strauss, con la profunda puesta en escena de Patrice Chéreau es una ópera a reservar con urgencia.

 

Cabe señalar además otras dos producciones ya que no tenemos ocasión de aplaudir con frecuencia La Finta Giardiniera de Mozart (con un reparto magnífico en Milán) o Ernani de Verdi, una obra maestra demasiado poco representada. Dos grandes recitales de Sonya Yoncheva y de Jonas Kaufmann agotarán pronto las localidades. El célebre Teatro de la Scala de Milán es una etapa obligada para los grandes cantantes. No es sorprendente disfrutar de Jonas Kaufmann, Krassimira Stoyanova, Jessica Pratt, Marianne Crebassa, Christian Gerhaher o Günther Groissböck en recital.

 

El 23 de junio de 2019, los que tengan la suerte de reservar una entrada para la Scala de Milán, asistirán al acontecimiento de la temporada: un Concierto de Gala nada menos que con Sonya Yoncheva, Jonas Kaufmann, Plácido Domingo, Juan Diego Flórez y la pianista Yuja Wang. Como guinda del pastel, la Filarmónica de Viena estará dirigida por Gustavo Dudamel. La temporada de conciertos clásicos y de ballet es prestigiosa con la llegada de formaciones como la Lucerne Festival Orchestra, el Monteverdi Choir y los English Baroque Soloists para una versión en concierto de Semele de Haendel, dirigida por el perfecto John Eliot Gardiner.

 

El iconoclasta Teodor Currentzis presenta producción en Milán. Evidentemente, otros conciertos igualmente suntuosos como el de la Filarmónica de la Scala serán dirigidos por Riccardo Chailly, el director artístico del Teatro de la Scala de Milán, aunque también contarán igualmente con la dirección de Zubin Mehta, Myung-Whun Chung o Christoph von Dohnányi.

 

En cuanto a danza, el Ballet del Teatro de Bolshoi y el Tokyo Ballet son las compañías invitadas de prestigio. Roberto Bolle y Svetlana Zakharova, las superestrellas, son habituales de la escena de la Scala. Esta temporada 2018-2019 bailarán a dúo en la historia de Manon y luego por separado. Ella será Giselle mientras que él encarna a Onegin. Otros grandes ballets clásicos están en cartel como La Bella Durmiente o Cascanueces (hay que reservar entradas rápidamente). A destacar que la actualidad hace una bella aparición con dos coreógrafos de renombre, Angelin Preljocaj y Wayne McGregor.

 

Aunque evidentemente, el Teatro de la Scala de Milán son ante todo ópera. Esta temporada 2018-2019 se inaugura con todo un evento. Con Attila, Riccardo Chailly ha escogido en efecto un Verdi de juventud bastante raro (encarnado por Ildar Abdrazakov). Como siempre, la temporada presenta una sucesión impresionante e ininterrumpida de grandes estrellas. Sonya Yoncheva y Marina Rebeka son dos soberbias Traviata que encantan a Francesco Meli y Benjamin Bernheim (también con interpretaciones de Leo Nucci o Plácido Domingo ¡disculpen la escasez!). Un increíble Giulio Cesare de Haendel reúne a Cecilia Bartoli, Benjun Mehta y Philippe Jaroussky, en una puesta en escena del genial Robert Carsen.

 

Valery Gergiev dirige las representaciones de Khovanshchina de Mussorgsky y Christoph von Dohnányi, un apasionante Idomeneo de Mozart con un reparto perfecto (Bernard Richter, Michèle Losier…). Strauss y Korngold tienen el honor de la escena con Ariadne auf Naxos  un dúo femenino idílico (Krassimira Stoyanova y Sabine Devieilhe) y Die tote Stadt, cortado a medida para Klaus Florian Vogt y Asmik Grigorian. Otros espectáculos son igualmente dignos de interés como La Cenicienta de Rossini con Marianne Crebassa, Gianni Schicchi de Puccini con el inenarrable Ambrogio Maestri e incluso Leo Nucci, Rigoletto inmortal.

 

Y ya que estamos en Milán, debemos reservar nuestras localidades de ópera para el repertorio de la ilustre sala con la Manon Lescaut de Puccini (con María José Siri y Marcelo Álvarez), I Masnadieri de Verdi (con Lisette Oropesa) en una puesta en escena de David McVicar o L’Elisir d’Amore de Donizetti, una obra maestra con Vittorio Grigòlo y René Barbera en alternancia. Una temporada magnífica, desde cualquier punto de vista…

Reserva entradas para Concierto, Ópera, Ballet : Teatro alla Scala

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  • Ópera
    Elektra © DR
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    Es en la última puesta en escena de Patrice Chéreau, crada en 2013 en Aix-en-Provence, que escucharemos a Ricarda Merbeth (Elektra) y sobre todo a Waltraud Meier (Klytaemnestra) que había interpretado el papel en esa misma creación. El inmenso director Christoph von Dohnányi, que festejará pronto sus 90 años, estará a la batuta.

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    Elektra Strauss R.


    Teatro alla Scala Milano, Italia

    Menos detalle Ver más

  • Ópera
    Teatro alla Scala
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    FIn de partie Kurtág


    Teatro alla Scala Milano, Italia

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  • Concierto
    Volle
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    El barítono alemán Michael Volle vuelve a La Scala para Die schöne Magelone (La bella Magelone) de Brahms. ¿Como abordará este gran intérprete de Wagner y de Strauss estos Lieder cuyas exigencias vocales son totalmente diferentes? Al piano, Hemult Deutsch, acompañante de numerosos cantantes de renombre.

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    Brahms Die schöne Magelone


    Teatro alla Scala Milano, Italia

  • Concierto
    Teatro alla Scala
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    El carismático director greco-ruso Teodor Currentzis no duda en cambiar los códigos tradicionales con su personalísima visión de la partitura. La noche promete ser un éxito con El coro encantado del niño de Mahler, en especial con el barítono australiano Florian Boesch, quien continúa revelando su gran talento.

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    Mahler Lieder aus des Knaben Wunderhorn / Mahler Symphony No. 4


    Teatro alla Scala Milano, Italia

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Informaciones sobre Teatro alla Scala

Después del incendio que destruyó el Real Teatro Ducal, los aristócratas milaneses no tardaron ni doce días en diseñar un nuevo teatro y comunicar sus planes a la emperatriz María Teresa, que dio su beneplácito, con la aspiración de construir un teatro que ofuscara a todos los demás en la península. Dos años más tarde, en 1778, el nuevo teatro de la ópera se inauguró, en el lugar que hasta entonces ocupó la Iglesia de Santa María della Scala. El mismo nombre se conserva desde 1381, año en que Beatrice della Scala hizo construir allí una capilla.

El Teatro alla Scala no tardó en convertirse en uno de los mejores: toda Europa llegaba para admirar los trajes extravagantes, al impresionante coro y a los cantantes, famosos por su sutileza dramática. El público también llegó a ser un espectáculo en sí mismo: se visitaba en los respectivos palcos, departiendo sobre las últimas noticias, se cenaba y jugaba a las cartas... Estas tradiciones se han perdido con el tiempo, aunque no todas: el público, todavía sabe cómo hacerse oír si no está completamente de acuerdo con un trino, o aplaudir con entusiasmo la actuación memorable de una prima donna.

Durante el siglo XIX, la evidente competencia con el Teatro di San Carlo de Nápoles, que a su vez atrajo a las mejores voces de la península, obligó a la ópera de Milán a someterse a una renovación, que realmente hizo con garbo! Los nombres de Rossini, Bellini, y Verdi, quedaron vinculados para siempre con este ilustre teatro. La historia de la música italiana fue escrita dentro de sus muros. Obras como Norma, Nabucco, Il Turco en Italia o Falstaff, se estrenaron aquí, mientras que cantantes como Isabella Colbran y Maria Malibran, triunfaron en su escenario.

El final del reinado de Verdi, inauguró la etapa de Toscanini como director. A pesar de sus famosas rabietas, formó una orquesta y una compañía permanente, que impuso nuevos estándares de calidad en todo el mundo. Esos eran los días en que se podía cantar en el Metropolitan de Nueva York, sólo bajo la condición de haber sido previamente consagrado en el escenario de la Scala.

La Scala fue destruida en 1943, y rápidamente reconstruida gracias a los planos originales. Nunca ha perdido su alma, gracias a artistas como Giulini, Karajan, Tebaldi y Maria Callas, para la que Visconti diseñó míticas escenografías, como la de La Traviatta.