For the first 150 years of La Scala’s history, the opera season traditionally began on Boxing Day (December 26), aligning with the Carnival Season when primarily serious operas were staged. The season would conclude just before the week of Carnival festivities. However, in 1951 Maestro Victor de Sabata introduced a new tradition: inaugurating the opera season on December 7th, the Feast of Sant’Ambrogio, patron saint of Milan. Since then, this date has become a cornerstone of Milanese culture, with the opening night serving as a cultural, institutional, and social highlight of the year.

This year’s title, Verdi’s “La Forza del Destino,” will be conducted by La Scala’s musical director, Riccardo Chailly, marking his tenth season opening at this iconic venue. Chailly will lead the 1869 version of the opera, revised by Verdi specifically for La Scala, based on the critical edition by Philip Gossett and William Holmes. The evening promises to be a memorable celebration for opera enthusiasts and cultural aficionados alike.

The production boasts a stellar cast of some of the most acclaimed voices in contemporary opera. Anna Netrebko takes the lead as Donna Leonora, alongside Brian Jagde, stepping in for Jonas Kaufmann, who recently canceled due to family reasons, as Don Álvaro. Ludovic Tézier embodies Don Carlo di Vargas, with Vasilisa Berzhanskaya as Preziosilla and Alexander Vinogradov as Padre Guardiano. Supporting roles are performed by Marco Filippo Romano (Fra Melitone), Fabrizio Beggi (Marchese di Calatrava), and Carlo Bosi (Mastro Trabuco). The creative vision for this production is helmed by stage director Leo Muscato, with set design by Federica Parolini, costumes by Silvia Aymonino, and lighting design by Alessandro Verazzi. This cohesive team aims to bring Verdi’s dramatic vision to life, blending tradition with modern artistry.

A historic discovery recently has captivated the opera world: the original manuscript of the libretto for the first version of the title. Written by Francesco Maria Piave in 1861 and extensively revised by Verdi himself, the document offers rare insights into the composer’s meticulous creative process. Featuring 85 handwritten pages with indications from Piave and a lot of red-pencil corrections by Verdi himself, it reveals significant changes to key scenes, including drafts of the first act and alternative versions of the iconic “Rataplan.” The manuscript highlights Verdi’s pursuit of clarity and brevity in his operas, as seen in his collaboration with Piave and his own dramatic instincts.

The manuscript, recently digitized to ensure its preservation, will be exhibited at the Theatre Museum until January 2, coinciding with La Scala’s performances of “La Forza.” In mid-2025, a facsimile edition of the manuscript will be published to make this invaluable resource accessible to scholars and enthusiasts, underscoring the lasting impact of Verdi’s artistry on the operatic canon.

“La Forza del Destino” has a nuanced history with La Scala. On the positive side, it marked Verdi’s reconciliation with the theatre after years of estrangement. The revised 1869 version premiered at La Scala on Feb. 27 of that year, with Verdi himself overseeing the production. However, despite its grandeur, the opera has not been as frequently performed at this Milanese venue compared to other Verdi masterpieces. The last time “La Forza” opened a season at La Scala was in 1965 conducted by Gianandrea Gavazzeni, while its most recent staging was in 2001, a co-production with the Mariinsky Theatre under Valery Gergiev’s baton.

“La Forza” is often called a “cursed opera” due to a history of accidents and misfortunes linked to its performances. From its challenging premiere to various technical mishaps and even fatalities during productions, these incidents have fueled its ominous reputation. The opera’s dark themes of fate, tragedy, and death further reinforce the superstition, as its storyline mirrors the misfortunes associated with it. Additionally, theater lore and media sensationalism have amplified the “curse,” much like Shakespeare’s “Macbeth” in the theater world. Despite this, most of the so-called curse is likely coincidence or the result of staging challenges, adding an aura of mystique to this masterpiece that continues to intrigue audiences and performers alike. Let’s hope that nothing happens this year!

As is customary for such an illustrious occasion, the opening night will attract high-profile national and international figures. Traditionally, the President of Italy attends, but this year, President Sergio Mattarella has announced he will not be present, as he has accepted an invitation from French President Emmanuel Macron to attend the reopening ceremony of Notre Dame Cathedral in Paris, scheduled for the same day.

Meanwhile, Prime Minister Giorgia Meloni, who initially declined her invitation, is now expected to represent Italy’s highest office following Mattarella’s absence.

Confirmed attendees include Giuseppe Sala, Mayor of Milan and Chairman of La Scala’s Board of Directors, as well as Alessandro Giuli, the recently appointed Italian Minister of Culture. Among the prominent artists walking the red carpet will be tenors Plácido Domingo and José Carreras, soprano Raina Kabaivanska, and La Scala’s étoile, dancer Roberto Bolle. Tickets for the premiere, as well as subsequent performances, have sold out in all categories, from the orchestra to the upper galleries. Prices for the opening night are a testament to the event’s prestige, with seats costing up to €3,200!

For opera fans in Milan, numerous cultural venues, music schools, and theaters will host live broadcasts of the performance, accompanied by pre-show talks, listening guides, and related activities. For those outside Milan, the premiere will be broadcast live on Italian television via Rai1 HD, directed by Arnalda Canali, and will also be available on RAI-Radio3.

International viewers can access the performance through the RaiPlay app. The nearly four-hour-long broadcast, starting at 6:00 p.m. Italian time, will include subtitles and remain available for streaming on the app for 15 days after the premiere, free of charge. This ensures that opera lovers worldwide can experience the magic of Verdi’s masterpiece on one of the world’s most iconic stages. Here are other ways to watch and listen.