Milano

Teatro alla Scala

Built in 1778, Milan's Teatro alla Scala is the most famous opera house in the world, the temple of bel canto,

the altar of high passions aroused by beautiful singing. Its acoustics are said to be perfect.

Statues of Rossini, Bellini, Donizetti, and Verdi preside over the Neoclassical foyer.

Among others, the following operas have premiered at Teatro alla Scala:

• 1812: La pietra del paragone by Gioachino Rossini
• 1813: Aureliano in Palmira by Gioachino Rossini
• 1814: Il turco in Italia by Gioachino Rossini
* 1817: La Gazza Ladra (The Thieving Magpie) by Gioachino Rossini
• 1827: Il pirata by Vincenzo Bellini
• 1829: La straniera by Vincenzo Bellini
• 1831: Norma by Vincenzo Bellini
• 1833: Lucrezia Borgia by Gaetano Donizetti
• 1835: Maria Stuarda by Gaetano Donizetti
• 1839: Oberto, Conte di San Bonifacio by Giuseppe Verdi
• 1840: Un giorno di regno by Giuseppe Verdi
• 1842: Nabucco by Giuseppe Verdi
• 1843: I Lombardi alla prima crociata by Giuseppe Verdi
• 1845: Giovanna d'Arco by Giuseppe Verdi
• 1887: Otello by Giuseppe Verdi
• 1889: Edgar by Giacomo Puccini
• 1893: Falstaff by Giuseppe Verdi
• 1904: Madama Butterfly by Giacomo Puccin
• 1926: Turandot by Giacomo Puccini

April  15,  2107

“LA GAZZA LADRA” ~ The Thieving Magpie ~ by Gioachino Rossini

On the 200th anniversary of the Premiere

Teatro alla Scala 1817

Our tickets go on sale: 10 February 2017
Teatro alla Scala Chorus & Orchestra
New ~ Teatro alla Scala Production
Running Time: 3 hrs. and 40 min.
Conductor:   Riccardo Chailly

CAST:

Ninetta: Rosa Feola
Pippo: Serena Malfi
Lucia: Teresa Iervolino
Fabrizio Vingradito: Paolo Bordogna
Giannetto: Edgardo Rocha
Fernando Villabella: Alex Esposito
Gottardo: Michele Pertusi
Ernesto: Marko Mimica

Notes On The Performance

“The success was so enormous, the opera aroused such furore that at every moment the audiences stood up en masse to cover Rossini in acclaim.” Stendhal, a spectator at the Premiere at La Scala in 1817, described how “Rossini grew tired of bowing before the audience tired of applauding.” Two hundred years later, the eminent expert on Rossini Riccardo Chailly brings this celebrated tragicomic opera back to the stage where it was first performed. A masterpiece of grace and brilliance, it is also adept at describing the excesses of power without beating about the bush. Making his debut at La Scala for the occasion is Gabriele Salvatores: the director, co-founder of the Teatro dell’Elfo and Oscar winner in 1991 for “Mediterraneo” returns to the theatre to relate the story of the servant Ninetta, who is wrongly accused of theft. The cast brings together the cream of the new generation of Rossinian bel canto: with Rosa Feola debuting, we will hear the tenor Edgardo Rocha, basses Alex Esposito and Paolo Bordogna, as well as Teresa Iervolino and the expert canto of Michele Pertusi.

“LA GAZZA LADRA” or “The Thieving Magpie” by Gioachino Rossini is best known for the overture, which is musically notable for its use of snare drums. The unique inspiration in the melodies is extreme, famously used to bizarre and dramatic effect in Stanley Kubrick's “A Clockwork Orange.” https://www.youtube.com/watch?v=L-5dVONdDGQ

Everyone seems to be in love with Ninetta, but when she takes the blame for a theft perpetrated by a bird, her life is turned upside down. This rarely heard comic opera boasts a dazzling score and sensational situations. “Rossini’s The Thieving Magpie has all the hallmarks of a typical rescue opera – a heroine in distress, unjustly accused of a crime she did not commit; a dastardly and powerful lecher who offers freedom in return for her acquiescence; true love apparently thwarted; and a last-minute, photo-finish rescue. The fact that salvation comes in this case from a magpie (that occasionally talks) makes this all the more breathtaking…will Ninetta survive or won’t she? The deus ex machina from the animal kingdom adds just the right touch of spice and humor to this darkly thrilling tale. Add in Rossini’s spectacular vocal writing, gorgeous melodies and one of the most famous overtures ever, and this is sure to be an exciting performance.” -- Peter Kazaras, Director

Act 1

At the house of Fabrizio Vingradito and his wife Lucia there is joy for the imminent return of their son Giannetto from the war. One of the servants, Ninetta, is in love with Giannetto and all want the two to marry, except Lucia, who blames Ninetta for the recent loss of a silver fork. Isacco, a local pedlar, visits and asks about Ninetta, but Pippo, Fabrizio's manservant, sends him away. Giannetto arrives and goes inside with Lucia while Ninetta prepares for the party. Once they have gone, Ninetta’s father, Fernando Villabella, arrives, also from the war. However, he was sentenced to death after fighting with his captain and is now a deserter. He asks his daughter to sell two pieces of family silver to go towards his expenses while he is on the run. The Mayor arrives with intent on seducing Ninetta, and she claims that her father is just some vagrant. The Mayor’s assistant delivers the arrest warrant for a deserter (Fernando), but as the Mayor has forgotten his reading glasses, Ninetta is asked to read the warrant, and makes up a description of someone totally unlike her father. The Mayor continues to force his attentions on Ninetta, at which Fernando almost reveals himself in anger. The three leave, and a magpie flies down and steals one of Lucia’s silver spoons.

Isacco passes by again, and Ninetta sells him the silver her father had entrusted to her. Giannetto and others return, and Lucia notices that a spoon is missing. The Mayor starts an immediate investigation, stating the draconian penalty for domestic theft: death. Lucia and the Mayor accuse Ninetta, who in her distress drops the money she had exchanged from Isacco. The pedlar is brought back and reports that he has already sold on the spoon, but he recalls the inscription "F.V." initials shared by Fabrizio and Fernando. The stunned Ninetta, desperate to protect her father, is unable to refute the accusations, and the Mayor orders her arrest.

Act 2

Antonio, the prison warder, takes pity on Ninetta and says that he will get a message to Pippo and let Giannetto visit her. Ninetta convinces Giannetto that she is innocent. The Mayor now arrives and tells Ninetta that if she accepts his advances he will get her freed – she replies that she would rather die. The Mayor is called away, but Antonio has heard all and offers to help Ninetta any way he can. Ninetta asks Pippo to sell a gold cross and put some money for her father in an agreed hiding place – a chestnut tree. Ninetta is brought to trial, found guilty, and condemned to death. Fernando rushes to the court to save his daughter’s life, but is too late; he too is sent to prison. Ernesto, a military friend of Fernando, bursts in looking for the Mayor and holding a royal pardon for Ninetta’s father. Pippo shows him the way and is given a silver coin for helping, but the magpie snatches it and flies up to the tower. Pippo and Antonio pursue the thief.

Ninetta is taken to the scaffold and makes her final speech to the crowd. From the tower, Pippo and Antonio cry out that they have found Lucia’s silver in the magpie’s nest and they ring the bells. The crowd hear their words and hope to save Ninetta, but shots ring out and they conclude that they are too late. However, Ninetta appears walking down the hill – the shots were mere rejoicing. Ninetta celebrates with her companions but is worried about her father. He then appears with Ernesto and all – except the Mayor – enjoy a happy ending.

Saint Bartholomew Flayed (1562)

(photo of the sculpture, third row-above)

Saint “Nathaniel” Bartholomew, (John the Evangelist named as “Nathanael” in John 1:45-49, John 21:2), was one of Jesus’ Twelve Apostles/Disciples.   He was also one of the disciples to whom Jesus appeared at the Sea of Tiberias after his resurrection.   He was a witness to the Ascension ….. and was later skinned alive!

Saint Bartholomew is wearing his own skin….which drapes down to his left foot – still in the shape of his foot!   At first viewing, it is thought to be a Michelangelo – but was sculpted by Marco d’Agrate.

Saint Bartholomew, (Matthew 10:3, Mark 3:18, Luke 6:14, Acts 1:13), never set foot in Milan but his statue has been the talk of the town for the past four and a half centuries.   Bartholomew was skinned alive and beheaded in Albanopolis, Armenia (modern-day Turkey).   Bartholomew, now the patron saint of tanners, is usually depicted with a large knife and holding his own skin.

St Bartholomew Flayed (1562), a gruesomely realistic statue of the apostle, adorns the south transept of the Milan Duomo.  The sculptured figure of the stoic but skinless young man is the best known work by Marco d’Agrate (c.1504 – c.1574), who was so assured of the morbid brilliance of his work that he signed it with the carved inscription: ‘I was not made by Praxiteles but by Marco d’Agrate’.

The statue of Bartholomew, whose feast day is August 24, remains an unforgettable attraction of the Milan Duomo.

According to Eusebius of Caesarea (d. 339), Bartholomew went on a missionary tour of India, taking with him the writings of Matthew (Ecclesiastical History, 5.10).   Images of St Bartholomew, including St Bartholomew Flayed, often depict the apostle holding a copy of Matthew’s gospel.

Despite the words of Eusebius, the strongest tradition links Bartholomew with Armenia, where he and his fellow apostle Jude are credited with bringing Christianity to the country and are recognized as the patron saints of the Armenian Apostolic Church.   The Saint Bartholomew Monastery, now in ruins, was built on the traditional site of Bartholomew’s martyrdom.

Michelango (d. 1564) included an image of Bartholomew in his famous fresco, Last Judgment, in the Sistine Chapel, the Vatican.