La Scala Gala: A Night of Shostakovich’s Lady Macbeth

MILAN — A vibrant crowd at Milan's Teatro alla Scala erupted in applause for the season premiere of Dmitry Shostakovich's "Lady Macbeth of Mtsensk," delivering a remarkable 12-minute standing ovation. This event marks the second time the famed theater, traditionally associated with Italian opera, has opened with a Russian work since the onset of the Ukraine conflict.

The audience fully embraced director Vasily Barkhatov's provocative interpretation of Katerina Izmajilova's descent into a deadly love affair amidst the oppressive atmosphere of Stalin's Soviet Union. The production concluded with a shocking final scene involving a Soviet truck crashing into a wedding party, resulting in fiery fatalities.

U.S. soprano Sara Jakubiak, who portrayed Katerina, received an outpouring of admiration, with flowers showered upon her for a powerful performance. The audience also expressed appreciation for conductor Riccardo Chailly, who made his final gala premiere appearance in this role.

“No one ever expects this,” Jakubiak expressed backstage, her joy evident. The premiere of "Lady Macbeth" also coincided with a peaceful demonstration advocating for liberty and support for the Ukrainian people, highlighting the tensions around cultural representations in the current geopolitical climate.

Shostakovich's opera, originally condemned shortly after its debut in 1936, explores the struggles faced by women under Stalin's regime. Activists from a liberal Italian party demonstrated quietly with Ukrainian and European flags, aiming to spotlight the threats to democracy posed by Putin’s Russia.

In stark contrast, a larger demonstration advocating for Palestinian freedom occurred nearby, showcasing the complex interplay of art, politics, and social justice that often surrounds such high-profile cultural events.

Chailly, who collaborated with Barkhatov on this production for two years, emphasized the importance of staging Shostakovich's work. “It is an opera that has long suffered, and needs to make up for lost time,” he noted.

Jakubiak, making her La Scala debut, described the challenges of her role as a journey filled with high stakes and emotional depth. “You go, ‘Oh my gosh, how will I do this?’ But you manage, with the right kind of work, the right team of people,” she said, highlighting the dedication required for such a demanding performance.

As the opera unfolds within a 1950s cosmopolitan setting, Barkhatov reimagines the story to resonate with contemporary audiences. His vision emphasizes the personal tragedy of Katerina alongside the broader historical context, creating a narrative that transcends mere political commentary.

Despite the opera's tragic themes, Barkhatov views it as a “weird … breakthrough to happiness and freedom,” illustrating the complex nature of human experience under oppressive regimes.