Content from Teatro alla Scala

With Roland Petit’s cool, cabaret-style choreography and chic costumes by Yves Saint Laurent, Notre-Dame de Paris has been a modern ballet hit ever since its 1965 premiere. Petit’s deft condensation of Victor Hugo’s epic and tragic novel is now renewed by two stars of our own time, Roberto Bolle and Natalia Osipova: a stunning tribute to Petit’s genius after his death in 2011. Recorded live at Teatro alla Scala, Milan, March 2013.

Jacques Offenbach's opera Les contes d'Hoffmann (The Tales of Hoffman) shown in the Teatro alla Scalla

Live from La Scala Saturday 07 July 2007. In this live performance of Giuseppe Verdi's opera, Violetta, a courtesan much wooed by Parisian society, organises a grand party that is attended, amongst others, by the young Alfredo Germont. He confesses his feelings to Violetta, who is already suffering from consumption. She vacillates between genuine affection and a realistic assessment of her situation as a "fallen woman", which precludes any lasting relationship with a man.

Performance of La Bohème in Teatro alla Scala, 1979.

In his 'new life' as a baritone, Placido Domingo has triumphed in the role of Francesco Foscari in Los Angeles, London and Vienna. Now he takes to the role to La Scala, Milan, the theatre that is the symbol of Italian opera. I due Foscari, premiered in 1844, famously one of Verdi's darkest operas, is staged by Alvis Hermanis, who made such an impact at the Salzburg Festival with "Die Soldaten" and "Il trovatore". Domingo is joined by two of Italy's most exciting singers, the soprano Anna Pirozzi and the tenor Francesco Meli, and the acclaimed Italian conductor Michele Mariotti. The Financial Times was deeply moved by Domingo's performance, calling his interpretation of the role "sublime".

"Lucia de Lammermoor" should actually have opened this year's season. But Corona prevents the title heroine from stabbing her bridegroom to death in her madness. Instead of an opera premiere, La Scala is presenting a musical journey through the history of opera. This year, the world-famous opera house is replacing the originally planned performance due to the renewed outbreak of the coronavirus pandemic in northern Italy - with a grand gala evening to benefit the artists hit hard by the coronavirus crisis. In the glamorous setting of the legendary Teatro alla Scala, some of the most beautiful voices on the international opera scene - such as Roberto Alagna, Jonas Kaufmann and mezzo-soprano Elīna Garanča - will sing famous arias from the repertoire, accompanied by La Scala's orchestra. The program is complemented by well-known ballet scenes and performances by actors.

One of his most sublime compositions, Verdi’s ode to love and sacrifice is adored the world over. Cutting-edge director and designer Dmitri Tcherniakov’s captivating production is set in the present day. German soprano Diana Damrau is matchless in the role of the tragic Violetta Valéry. Alongside her, the tenor Piotr Beczala as Alfredo and Željko Lučić as Germont, his valiant father, beg for her pardon. Daniele Gatti conducts.

Live performance from Teatro alla Scala, 7 December 2009 .

Teatro Alla Scala 1983 production of three one-act operas from Puccini.

Opera di Giuseppe Verdi a Milano.

Svetlana Zakharova and Roberto Bolle perform in this 2004 La Scala production of the Tchaikovsky ballet conducted by James Tuggle.

Officers Ferrando and Guglielmo are certain that their lovers Dorabella and Fiordiligi are faithful to them, but the cynical Don Alfonso challenges them to a bet that the women will be unfaithful given the chance. The officers thus pretend to go off to war, and return in disguise as Albanian strangers, to woo Dorabella and Fiordiligi incognito. The ladies are initially frosty, but soon warm to their new suitors, spurred on by their maid Despina. Performed at the La Scala Theatre in Milan.

Richard Wagner called Die Walküre the “first evening” of the Ring of the Nibelung; he called Das Rheingold the prologue or Vorabend. Musically and dramatically, we are introduced to a radically new and different world when the opening bars of Die Walküre resound. A fully developed orchestral palette of Leitmotivs paints a wild storm scene, and the curtain rises on a modest dwelling: a fully human scene that has nothing to do with the gods, dwarves and nymphs of Das Rheingold. At the same time, however, the way Die Walküre portrays radical beginnings reveals some telling reminiscences of the unfolding of Das Rheingold. Die Walküre is exciting and deeply feeling drama.

Every night, Johann puts on bat's wings and flies off to enjoy himself. Bella, troubled by her husband's hedonistic activities, consults with her friend Ulrich and plots to disguise herself as a mysterious beauty to seduce her husband. A ballet in two acts after Johann Strauss' "Die Fledermaus" choreographed by Roland Petit, staged by Teatro alla Scala and filmed for television.

Recorded live from the Teatro all Scala, Milan, 2011

Teatro alla Scala presents a new production of Tchaikovsky’s masterpiece of unrequited love, drawn from Pushkin’s novel. Acclaimed soprano Aida Garifullina stars as Tatyana, the naïve young girl who grows into a sophisticated beauty. Baritone Alexey Markov sings the title role of the nobleman who lives to regret his blasé rejection of Tatyana’s love and his careless incitement of a fatal duel with his best friend Lensky (Dmitry Korchak). The tender music is entrusted to the exciting Timur Zangiev, and staging is in the hands of prolific stage and film director Mario Martone, now in his tenth La Scala production.

First staged at the Teatro La Fenice in 1846, Verdi’s ninth opera, Attila, returns to the stage of La Scala on December 7th. Following the inauguration of the 2015-2016 Season with Giovanna d’Arco and in anticipation of Macbeth, with Attila Musical Director Riccardo Chailly continues his study of Verdi’s early works, renewing a successful collaboration with creative director Davide Livermore that began with his acclaimed production of Donizetti’s Don Pasquale for La Scala. In this complex opera Verdi experiments with fresh perspectives, featuring spectacular historical settings, introspective angles and moral uncertainties. Attila demands of its performers not only passion and confidence, but also the ability to find subtle accents and psychological nuances.