We return once again to our cultural history series where we explore the history of a different theatre! There are countless stunning and historic theatres across the globe but with it being Women’s History Month, I wanted to focus on a theatre connected to women’s history. This stunning theatre is home to a ballet company and opera company and dates back nearly two and a half centuries. It was also founded by one of the most accomplished female rulers of the eighteenth century. Today we are exploring the history of the Teatro Alla Scala in Milan, also known as La Scala!
The Early History of the Teatro Alla Scala
The Teatro Alla Scala in Milan was founded by Empress Maria Theresa of Austria- yes, Marie Antoinette’s mother. The Royal Ducal Theatre in Milan burned down in February 1776, and the Teatro Alla Scala opened in August 1778. It was built on the site of the Church of Santa Maria alla Scala, giving the theatre the name it still holds.
Italian architect Giuseppe Piermarini designed the Neoclassical building; it is still considered his principal work. The theatre originally held approximately 3,000 seats and quickly became the new home of opera in Milan. It was a popular social spot, with the foyer serving as a casino and the auditorium itself a popular place for business transactions and social calls. (Yes, during performances…) The ballet company was officially founded in 1778, as was the opera company.
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The Home of Italian Opera
The theatre established itself as the home of Italian opera with several decades of notable productions. Rossini’s productions were popular in the 1810s, both Donizetti and Bellini were staged in the 1820s, and by the late 1830s, Verdi had claimed the top spot. Rossini would go on to play an important role over a century later when the opear
It was also in the 1820s and the 1830s that the theatre began to focus on its ballet company, as well. Carlo Blasis was one of the most important choreographers and ballet masters of the period. His long and intense ballet classes were unique for the period and his dancers stood out. (Blasis trained Enrico Cecchetti’s teachers, leading some scholars to believe that the Cecchetti method is based on his work.)
The Effects of the War
The Teatro Alla Scala was remodeled in the early 20th century; the layout established in 1907 is the one in the theatre now. (There are now just under 2,000 seats in the theatre as opposed to the original 3,000.)
Like much of Europe, La Scala suffered from bombing attacks during the Second World War. The Allied Forces heavily bombed Milan, including the theatre, on 15 and 16 August 1943. While the auditorium and stage had a significant amount of damage, the Neoclassical facade of the building managed to escape largely unscathed. Following the war, rebuilding began quickly and the theatre celebrated its reopening on 11 May 1946 with a concert conducted by Arturo Toscanini.
A New Era
Toscanini was named artistic director in 1951 and rapidly began a new period for La Scala. He brought back Verdi’s works, with the theatre becoming the “hub” of his works. He also revived Wagner’s operas and worked to expand the orchestra’s mandate.
Beyond the resident ballet and opera companies, Toscanini also brought in global talents. Royal Ballet dance Margot Fonteyn performed with the company, as did her dance partner Rudolf Nureyev. Renowned soprano Maria Callas also performed at the theatre. The theatre would continue to lead in opera and symphonic performances for several decades. (I should note, that does not mean that the ballet company was not impressive, only that there are other companies during this period that are considered to be the “leaders”.)
A Fresh Start in the New Millenium
In 2002, Swiss architect Mario Botta was tapped to renovate the theatre, a controversial choice at the time. La Scala closed in December 2001 and reopened in December 2004 for the major project. Many were unsure of the renovation, fearing that the historic details of the theatre might be lost. However, Botta preserved the historic integrity of the building while introducing modern elements. The seats were given new systems to show opera lyrics in both Italian and English. The stage was entirely rebuilt while the backstage was made considerably larger (useful when you are storing the sets for multiple productions).
Missed the first instalment of the series? You can find the history of the Palais Garnier in Paris here!
Were you familiar with the history of the Teatro Alla Scala in Milan?
Cheers,
The Historian
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