In a bold move that’s sure to spark debate, Milan’s iconic Teatro alla Scala is kicking off its season with a Russian opera—for the second time since Russia’s invasion of Ukraine in 2022. But here’s where it gets controversial: instead of facing protests like last year, the theater will host a flash mob advocating for peace. Is art truly above politics, or is this a risky cultural statement? Let’s dive in.
This Sunday, La Scala’s music director, Riccardo Chailly, will conduct Dmitry Shostakovich’s Lady Macbeth of Mtsensk, a 1934 opera that sheds light on the oppressive conditions faced by women in Stalin’s Soviet Union. The work was famously blacklisted just days after Stalin attended a performance in 1936, marking the beginning of his brutal Great Purge. And this is the part most people miss: the opera isn’t just a historical piece—it’s a powerful commentary on abuse of power and the resilience of the human spirit, themes that resonate deeply today.
While the Italian left-wing party +Europa initially planned to protest outside the theater, authorities moved the demonstration to a different location due to security concerns. The group aims to highlight the threat Putin’s Russia poses to European democracy and to stand in solidarity with Ukraine. But La Scala’s leadership stands firm: new general manager Fortunato Ortombina argues, ‘Music is fundamentally superior to any ideological conflict. Shostakovich’s music holds an authority over the Russian people that even Putin cannot match.’
This isn’t the first time La Scala has faced scrutiny for staging Russian works. Last year’s premiere of Boris Godunov drew protests from the Ukrainian community, who criticized the celebration of Russian culture during a war rooted in Ukraine’s fight for cultural identity. This year, however, no separate protests have been announced by the Ukrainian community—a notable shift.
American soprano Sara Jakubiak, making her La Scala debut as Katerina, brings the complex protagonist to life. Katerina’s struggle against existential oppression leads her to commit murder, ultimately landing her in a Siberian prison where she meets her end. Jakubiak describes the role as ‘full of challenges,’ from mastering 47 high B-flats in one night to embodying the psychological depth of a murderer. ‘It’s a wild ride,’ she admits, ‘but with the right team, you find a way.’
Chailly and Jakubiak’s collaboration has been described as intense yet harmonious. Chailly jokes that he’s ‘squeezing her like an orange,’ but Jakubiak finds common ground in their shared dedication to the composer’s intent. ‘We both start with the text and music,’ she explains, ‘layering the rhythms and notes until the character comes alive.’
Stage director Vasily Barkhatov, known for his international acclaim, calls the choice of Lady Macbeth ‘very brave and exciting.’ His interpretation sets the opera in a 1950s cosmopolitan Russian city, rather than the 19th-century rural village of the original. For Barkhatov, Stalin’s regime isn’t just a backdrop—it shapes the characters’ mentality, turning the story into a deeply personal tragedy rather than a political statement. Most of the action unfolds in a period Art Deco restaurant, with a rotating set design that transforms the space into a kitchen, basement, and interrogation room.
Despite its tragic arc, Barkhatov sees the opera as ‘a weird breakthrough to happiness and freedom.’ Yet, he adds a sobering note: ‘Sadly, many people die on their way to happiness and freedom.’
Now, here’s the question for you: Is La Scala’s decision to stage Russian operas during this politically charged time a courageous celebration of art’s universality, or does it risk normalizing a culture tied to ongoing conflict? Share your thoughts in the comments—let’s keep the conversation going.
