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‘‘Turandot’’ was performed at La Scala in May. Here, Nina Stemme as Turandot at center stage; above her, Carlo Bosi as the emperor; and, on the right, Aleksandr Antonenko as Calaf.

LOOKING TO THE FUTURE How do opera houses, festivals and orchestras maintain tradition while moving their art forms forward, build and educate new audiences, and take advantage of technical innovations in communications and stagecraft?

LEADER’S VISION PUCCINI CYCLE GREAT MUSIC FOR NEW GENERATIONS A REAPPRAISAL OF AN ITALIAN MASTER lexander Pereira wakes up every morning with productions to be developed in-house. The programming hen the latest production of ‘‘Turandot’’ Chailly —along with other Puccini scholars —argue that 50 things he wants to accomplish that day. This breakdown calls for roughly one-third new productions, opened at La Scala on May 1, it was the 28th Puccini’s importance as acomposer spanning the 19th- A bodes for a certain degree of frustration when one-third from La Scala’s archives and one-third co- W version of this world-renowned work to be per- century Italian tradition and 20th-century modernism they can’t all be achieved, but the general manager of La productions new to the Milan audience. formed at the Milan opera house. But some operas by has been undervalued. Unlike Verdi and Rossini, Pereira Scala is undeterred: ‘‘I always feel I have too much Pereira would like to maintain a balance of 50-50 be- Giacomo Puccini are underrepresented or presented in explains, Puccini continues to be seen by many as a sen- energy,’’ he says. tween Italian and non-Italian operas, and intends to do altered versions, or have never been heard at all. timental composer, and his works are presented in ver-

Pereira was appointed to his current position in June this by increasing the number of new co-productions. He Alexander Pereira, general manager of La Scala, says sions not faithful to his original concept. AMISANO 2014. He had previously served as artistic director of the will focus the new in-house productions on the periods of that Puccini merits greater consideration. His selection His final opera, ‘‘Turandot,’’ has been called the last Salzburg Festival, and before that spent more than two verismo and bel canto. Right now, he says, there is only of Riccardo Chailly as principal conductor of La Scala last ‘‘popular’’ Italian opera and the first ‘‘modern’’ one. decades as artistic director of the Zurich Opera. one bel canto opera, ‘‘Elisir d’amore,’’ in La Scala’s rep- December coincides with this interest: Chailly is not only Puccini evokes Stravinsky, and the story itself encom- BRESCIA His reputation as an innovative manager was ertoire. There is only one Donizetti, one Mascagni a native of Milan but also a world-respected scholar of passes both traditional and modern themes. Riccardo Chailly, confirmed immediately. Pereira instituted a new and no Bellini at all. Other Italian composers such Puccini. So it comes as no surprise that La Scala has Puccini died in 1924 with the opera’s last scene unfin- principal conductor program for children’s opera, introduced low- as Umberto Giordano, Francesco Cilea and embarked on a presentation of all Puccini’s works in ished, and the most commonly performed ending has at La Scala. cost tickets to draw an untapped audience of Amilcare Ponchielli are also unrepresented. coming years. been that written by Franco Alfano in 1926. For La opera lovers, initiated a Puccini cycle and de- ‘‘I think by augmenting the number of new ‘‘I am very much counting on Riccardo Chailly,’’ says Scala’s ‘‘Turandot’’ performed in May, the last scene is a veloped programming to explore composers productions per year, we have to concentrate Pereira. ‘‘I think he is the ideal man at the right time. He is version written by the Italian composer Luciano Berio of Italian verismo, the ‘‘realistic’’ style of opera on these two periods,’’ says Pereira. ‘‘La Scala concentrated on presenting the operas of Puccini and that takes into account and accentuates Puccini’s mod- that emerged in the late 19th century, as well has to concentrate on a very important part of will have very new readings. We will try to give a new vi- ernist development. Chailly conducted the premiere of as non-Italian composers who have not been its opera patrimony. That is why half the oper- sion of how Puccini is to be presented.’’ Pereira and this version in 2002. well represented at La Scala up till now. as should be Italian operas. This is not a provin- The Puccini opera to be presented in 2016, ‘‘La Fan- ‘‘From the beginning Iwent in the direction cial perspective. La Scala has to show its ciulla del West’’ (The Girl of the West), will be faithful to in which I wanted to go,’’ says Pereira. ‘‘I did Alexander Pereira, heritage in Italian opera, including that of the Puccini’s original score, not the version altered by Tosca- what I thought was in good faith for La Scala.’’ general manager early 19th and 20th centuries.’’ nini for its 1910 world premiere in New York. Children’s opera proved a success. At first, of La Scala. The new productions will include at least ‘‘Toscanini thickened the score considerably, due to 20,000 tickets were offered to the community one commissioned work per year. ‘‘You can the acoustics of the old Met Opera House,’’ explains for shortened versions of kid-friendly operas like drive yourself crazy with a theme, so we try not to do ‘‘Cinderella,’’ and they sold out immediately. The current that,’’ admits Pereira. ‘‘We chose acomposer carefully

ticket total is 40,000, and it too is almost entirely sold AMISANO and discuss the project, but don’t give aspecific out. After each performance, the singers and musicians theme.’’ ‘WEWILL TRY TO GIVE ANEW VISION OF HOW mingle with the audience for more than an hour. The future opera calendar will also include French, Ger- PUCCINI IS TO BE PRESENTED’ ‘‘It was so new for this theater that you had to imple- BRESCIA man and Russian works that are not well represented. ment it to prove that it works,’’ says Pereira, noting that Pereira does not want to be specific because so much de- the Milanese have ‘‘absorbed this program like a pends on the availability of specific performers for specif- Pereira. ‘‘To bring it back to Puccini’s original version is sponge. They gave me the feeling that there is a wonder- ic dates, but he points out that no Schubert opera has another aspect of this project.’’ ful framework here for new ideas.’’ been performed at La Scala. Carl Maria von Weber, Alex- The calendar for future operas in the cycle will depend on the availability of singers and directors, so it is prema- Pereira encountered more reluctance when he intro- ander Zemlinsky and Franz Schreker are other com- SCALA duced a program for low-cost tickets, but implementation posers who warrant attention, in his view. ture to speculate on them now. Chailly has conducted im- again showed the wisdom of his proposal. A ‘‘Turandot’’ Pereira views the future of opera optimistically. ‘‘If ALLA portant productions of ‘‘Madama Butterfly,’’ ‘‘Tosca,’’ ‘‘Il performance at half price sold out in two and a half hours. you agree with me that our civilization needs to preserve Trittico’’ and ‘‘La Bohème,’’ as well as ‘‘Turandot,’’ ‘‘La Fan-

What is significant is that there is no cannibalization of La some of our great artistic achievements in history for TEATRO ciulla del West’’ and ‘‘Manon Lescaut.’’ Another in the off- Scala regulars, he points out. Attendees tend to be people coming generations, and we talk about music, Ihave an ing is the original four-act version of ‘‘Edgar.’’ living outside Milan who have never been to the opera obligation to keep these great masterworks in produc- Presentation of Puccini’s work requires an examina- house and want to go at least once in their lifetime. tion. If we succeed, we really have something to convey tion of past performances, Pereira says: ‘‘You have to

‘‘We may have created the basis for a new audi- to new generations.’’ FOTOGRAFICO know them and you have to confront them. You need to ence,’’ says Pereira. He had introduced asimilar pro- Opera is expensive, he admits, but notes: ‘‘You don’t have knowledge of tradition at every moment of musical

gram in Zurich, and wound up attracting new attendees. throw Mona Lisa in the garbage because the insurance AMISANO history. Chailly will definitely keep those traditions that he The general manager and his team are planning 15 costs are high. An excellent performance transmits ARCHIVIO finds right but he will challenge those that are definitely operas and seven ballets per season, including eight energy to future generations.’’ C . F. Puccini died in 1924, before being able to finish ‘‘Turandot.’’ wrong.’’ C . F. BRESCIA

THE ART OF THE MUSICIAN BEHIND THE SCENES SHARING TRADITION AND ENTHUSIASM A MAKEUP ARTIST’S LIFE IN THE THEATER hen you spend your life striving for excellence, something as fundamental to its members as breathing, there is something satisfying about meeting says Krumpöck. The world of theater is changing, and responsible for Libardo’s career path at teaches these arts, but she learned W others who do the same. That is how Harald ‘‘We have all been striving for a certain way of playing makeup artists are changing along with La Scala. She had been studying to them the old-fashioned way, by working Krumpöck, managing director of the Vienna Philharmon- since we were small,’’ he explains. ‘‘Perhaps it is it. Tiziana Libardo, assistant head of become a teacher in Lodi, a town alongside an expert craftsperson in the ic, feels about his orchestra’s partnership with La Scala connected to our language, perhaps to our folk music. makeup and hair at La Scala, has southeast of Milan, when by chance field. in Milan. We join the orchestra, we listen to how the others play, witnessed many of these changes in she heard an interview on the radio. A She gives an example of the inherent ‘‘The collaboration is very important for us,’’ says we learn. For us it’s the only way to play —it’s our lan- her 30 years with the opera house. makeup artist was talking about his complexity of this art. The wig worn by BECK Krumpöck. ‘‘It’s not just one of the most famous houses guage. Of course, we make an effort to foster it and to When she started in 1985, makeup work, and she was intrigued. She knew Aida in La Scala’s latest production of in the world, it’s also absolutely unique. We feel pass it on.’’ was generally heavy and exaggerated; she didn’t want to become a teacher, the opera was made of wool, real hair LUKAS particularly drawn to their combination of tradition and Tradition, as Mahler said, is not to be confused with the eyes and mouths of opera singers so she went to Milan to look for a and synthetic hair in a mélange of Harald Krumpöck, enthusiasm.’’ stasis. ‘‘If you stand still, you might as well be going back- were emphasized for the sake of school to prepare her for this kind of colors. The lighting in the scene was managing director It is a combination that has played a crucial role in ward,’’ says Krumpöck. ‘‘We’re always striving for im- spectators sitting far from the stage. work. complex, the colors desired were of the Vienna Krumpöck’s own life. He began to play the violin at the provement, for perfection —and that is a kind of ‘‘We always have to remember that Three years later, she had difficult and the singer’s head was Philharmonic age of five and cannot remember a time when he did not change.’’ This requires both enthusiasm and apassion the distance between the stage and the qualifications as a beautician, a small. ‘‘Although the project was Orchestra. aspire to become a member of his country’s flagship for excellence, Krumpöck says. audience can be significant,’’ she says. makeup artist and a special-effects demanding,’’ she says, ‘‘the end result orchestra. This dedication to the highest of standards also re- But the rules have changed because professional. She took on jobs at was satisfying.’’ ‘‘Even stronger than my desire to become a member quires a huge investment in hardware. An excellent mu- of technology —such as DVDs and various theaters because she found For the premiere of ‘‘Turandot’’ in of the Vienna Philharmonic was my enthusiasm for the sician requires an equally excellent instrument. Krum- broadcasts to television and cinemas. that she loved the theater, and then, in May, the major challenge was the music, for what we do,’’ he says. ‘‘And the longer I am in- pöck plays a 1684 instrument made by Hieronymus Makeup has become lighter and more 1985, La Scala called. makeup for Ping, Pang and Pong, three volved with the great musical works that we perform, the Amati, a contemporary of the famous Stradivarius fam- natural. She began with a production of quasi-caricatural figures with elaborate stronger that becomes.’’ ily, who also lived and worked in the legendary town of ‘‘We apply makeup that is more like ‘‘Aida,’’ doing makeup for the chorus. wigs and exaggerated makeup. At La Scala, where the Vienna Philharmonic performs Cremona, some 100 kilometers, or 60 miles, northwest television than theater, because the ‘‘That early experience was invaluable,’’ Libardo was present for this regularly, the fact that this enthusiasm is shared by the of Milan. usual theatrical makeup doesn’t look she recalls. She was invited to learn the performance, as she is for every audience is palpable, says Krumpöck. ‘‘When the con- ‘‘My Amati feels as if it plays itself,’’ says Krumpöck. good with the close-ups used on DVDs art of wig construction when the then- performance, every evening the house is cert begins, you can feel their incredible concentration. ‘‘It doesn’t matter what you do, something beautiful or TV,’’ she explains. head of the laboratory at La Scala open. She still loves applying makeup to They’re very critical, very emotional —and they can be emerges. Of course, you need to treat these instru- this watchhas seen timeless traditions. She and her team are aware that (where wigs are made) asked if she the singers if needed. amazingly passionate.’’ ments with incredible care. But we’ve been doing this our andlegendary excellence. today’s theater audience farthest from would like to substitute for an absent The irony of her career is that she has Tradition, such a crucial element of the way the entire lives.’’ the stage has problems seeing with the colleague. Libardo jumped at the become a teacher as well —at La Vienna Philharmonic plays, is also pivotal at La Scala. Krumpöck sees no contradiction between the histor- appropriate clarity. ‘‘But we have to opportunity: back then, there were no Scala’s school for makeup and hair ical traditions so carefully maintained in Vienna and Mi- appeal to all the audiences of a schools that taught wig construction styling. ‘‘I love the satisfaction in every lan and his orchestra’s determination to stay abreast of production,’’ she adds. and hairstyling for the stage. Today, La single project,’’ she says. ‘‘I live this new media. An earlier technology —radio —is Scala has created an academy that enthusiasm for the theater.’’ C . F. LA SCALA’SONGOING CONNECTION WITH ITS ‘‘Digital media already have an impact on all of us as OWN TRADITION IS MIRRORED BY listeners,’’ he says. ‘‘We will not close our eyes to this THAT OF THE VIENNA PHILHARMONIC trend, and we’ll be present on the new media and plat- forms. All the same, it remains our goal to present our MAESTRI COLLABORATORI music in the best technical quality possible. ‘‘The composer Gustav Mahler said, ‘Tradition is keeping ‘‘I also believe that the Internet and smartphones will the fire burning, not worshipping the ashes,’’’ Krumpöck develop digital formats that use much higher resolution VARIED ROLES FOR ASSISTANT CONDUCTORS says. ‘‘At La Scala, they live that in the most ideal than has been possible until now. We’ll see technically ong before movies offered up stereophonic he explains. ‘‘You might have agroup of 30 backstage, sense. better formats evolve, even if it takes a few years.’’ sound effects, opera had found a way to do the or room for only seven or eight, and the musical arrange- ‘‘The minute you set foot in the house you can feel But the orchestra’s goals, Krumpöck insists, like L same. Composers in the 18th and 19th centuries ment would vary accordingly.’’ the extraordinary history of the place. Throughout the those of La Scala, will not change: ‘‘Our goals have incorporated special effects into their works by writing Maestri collaboratori may juggle a series of responsi- backstage area you can see old posters. They look stayed the same since the orchestra was founded —to music for backstage musicians that suggested church bilities. They serve as répétiteurs, rehearsing the singers; exactly the same as today’s posters, and you can find perform the works of the great masters as well as pos- OYSTER PERPETUALDATEJUSTLADY 31 bells, cannons, thunderstorms, distant revelers or mili- they cue lighting and scenery changes in time with the great names like Toscanini, Callas, di Stefano, sible. Our first members set it out in 1842 with the tary processions. Someone has to conduct those musi- music; and prompt singers. At a small opera house, one Pavarotti...’’ motto, ‘To do the best with the best possible abilities and cians, who are often out of sight of the person may handle all these tasks, but at La Scala, La Scala’s ongoing connection with its own tradition in the best possible way.’ That’s our goal today, and it will orchestra conductor, and that is where the the work is divvied up among many maestri is mirrored by that of the Vienna Philharmonic. Playing always be our goal.’’ ‘‘maestro collaboratore,’’ or assistant conduct- collaboratori. in the uniquely Viennese style of the orchestra is S.A. or, comes in. Nicoli began working at La Scala in 1997, Bruno Nicoli conducts the backstage musi- first as a pianist and assistant choirmaster, cians at La Scala, coordinating all the special then as arépétiteur, as aprompter and re- ROLEX CULTURE PARTNERS: SPOTLIGHT ON LA SCALA effects that take place behind the curtain. He hearsals conductor and, for the past 10 years, leads only a small number of musicians — as stage-music conductor. usually, but not exclusively, brass —yet his ‘‘La Scala gives me the opportunity to do work is trickier than it would seem. things at ahigh level with famous conductors The reason lies with physics: the sounds of from whom one learns a great deal,’’ he the band backstage take longer to reach the Bruno Nicoli, says. audience because the musicians are 20 to 30 maestro collaboratore He also works as a freelance conductor meters farther away. at La Scala. and piano recitalist, and has made multiple The Euronews ‘‘Musica’’ series Medici.tv calls La Scala Opera Online covers works Nicoli explains: ‘‘Sound has a speed of appearances at the Puccini Festival of Torre goes behind the scenes of some ‘‘the most important cultural, of opera, opera houses, 340 meters asecond, 34 meters in 1/10 of asecond,’’ del Lago as a guest conductor. Center stage: of the most outstanding opera social and political center composers, musicians and or about 370 yards a second. ‘‘In the music of a march, if In the future, this multitalented maestro would like to Teatro alla Scala and classical musical of Milan’’ as well as productions. Go to tinyurl.com/ was produced I slow down the tempo by 1/10 of a second, the audi- AMISANO revive more 19th-century Italian operas from the ver- performances in the world. ‘‘undoubtedly one of the OO-Scala to find the page by the T Brand ence can detect that the music is off. So you have to di- ismo tradition, including those of Riccardo Zandonai, Um- Studio international Go to www.euronews.com/ greatest ‘lyric temples’ of all dedicated to La Scala, which rect in very slight anticipation of the orchestra so the RUDY berto Giordano and Pietro Mascagni. department and tag/la-scala on the Euronews time.’’ Go to www.medici.tv/#/ includes links to news, profiles, public will hear it as being in complete coordination.’’ This is not to say that he ignores Verdi; one of his did not involve the website to watch videos of the teatro-alla-scala for interviews and reviews of There is no direct career path to the role of stage mu- long-term goals is to conduct Verdi, and one of the emo- International New 2014-15 season opener, Medici.tv’s archive of videos, acclaimed Scala productions. sic conductor. Piano study is always the starting point, tional high points of his career was playing the piano for York Times reporting or editorial ‘‘Fidelio,’’ from December; a documentaries, movies and A page dedicated to the May however, because opera composers write this music for a 100-plus chorus singing Verdi’s ‘‘Requiem.’’ ‘‘The recital by Bryn Terfel of performances from Italy’s production of ‘‘Turandot’’ can departments. Text the piano. According to Nicoli, 19th-century composers power of that chorus was so powerful that it penetrated by CLAUDIA FLISI Romantic, French and British most prestigious opera be found at tinyurl.com/ wanted to leave final arrangements up to the musical di- inside of you,’’ he recalls. ‘‘It was an emotion that only and SHIRLEY songs; and more. house. OO-Turandot2015. rector. ‘‘This was because opera houses varied in size,’’ someone physically present can appreciate.’’ C . F. A P T H O R P.