Originally, La Scala’s tribute envisioned a program focused on lesser-known pages from Puccini’s repertoire, under the baton of Riccardo Chailly leading the theater’s orchestra and choir. The evening was to begin with the “Preludio Sinfonico” and the string orchestra version of “Crisantemi,” followed by excerpts from “Edgar” and “Le Villi,” and culminating with the fourth act of “Manon Lescaut.” This program had drawn the interest of both locals and international audiences months in advance, with tickets selling out immediately upon release.

However, on the day of the event, a couple of minutes past 8:00 p.m., the stage remained empty of the choir and orchestra—something unusual for a theater renowned for its punctuality. At 8:05, dodging the empty chairs of the orchestra, Superintendent Dominique Meyer appeared with a microphone in hand. Meyer explained that due to a national strike called by a couple of Italian unions, some members of La Scala’s orchestra and choir had joined the protest. “With the artistic resources available at this moment, it’s impossible to proceed with the concert as planned, so we must cancel it,” he announced, stirring anger and surprise among the audience.

Italian law, Meyer pointed out, prevents theaters from asking in advance who will participate in a strike, leaving the possibility of staging the concert in limbo until just minutes before its scheduled start. To try to soothe the attendees, many of whom were international visitors, he proposed in English: “If you give me a few minutes, we’ll offer you a glass of prosecco in the foyer as well as an alternative concert.”

In just 30 minutes, an impromptu recital of Puccini arias was organized, featuring Anna Netrebko, Jonas Kaufmann, Mariangela Sicilia, and Luciano Ganci, accompanied on piano by James Vaughn, a historic accompanist at La Scala. The initiative was met with applause, though there were isolated protests, including a shout of “Vergogna!” (“Shame!”) from an Italian opera lover in the stalls, aimed at the striking performers.

The program began with Mariangela Sicilia performing “Addio, mio dolce amore” from “Edgar,” followed by “Torna ai felici dì” from “Le Villi,” sung by tenor Luciano Ganci, who joined the event at the last moment. Ganci, possessing a homogeneous, round, and resonant timbre, stood out for his elegance and vocal control. Next, Sicilia and Kaufmann presented “Sì, mi chiamano Mimì” and the poignant duet “O soave fanciulla” from “La Bohème.” Ganci and Sicilia returned to the stage with “Addio, fiorito asil” from “Madama Butterfly” and “Il bel sogno di Doretta” from “La Rondine,” respectively; while Kaufmann dazzled with “Ch’ella mi creda libero e lontano” from “La fanciulla del West.” Sicilia then offered a swift rendition of “O mio babbino caro” from “Gianni Schicchi.”

One of the most anticipated moments arrived with the fourth act of “Manon Lescaut,” the only fragment retained from the original program. Anna Netrebko impressed with her full, rounded timbre, especially in the central register, and her dramatic prowess, capturing all of Manon’s despair. Her rendition of “Sola, perduta, abbandonata in landa desolata!” was dazzling. Kaufmann, with his charisma and acting skills, once again confirmed his status as one of today’s great opera stars, delivering a vocally intense and nuanced performance.

The recital concluded with Mariangela Sicilia performing “Tu che di gel sei cinta” from “Turandot,” showcasing her impeccable technique and her ability to handle the repertoire’s demands with elegance. Kaufmann closed the evening with an emotional rendition of “E lucevan le stelle” from “Tosca.” Prolonged and heartfelt applause led the performers to offer three encores, with Anna Netrebko shining in “Quando men vò” and Kaufmann concluding with “Nessun dorma.”

The evening inevitably brought to mind the historic “La Traviata” performance in June 1995, when Riccardo Muti had to accompany Tiziana Fabbricini, Ramon Vargas, and Juan Pons on piano for the entire opera during a similar strike. This situation sparked intense debates in the theater’s foyer and after on social media about the lack of consideration toward Puccini and the audience by the striking groups. Regardless of the controversy, what mattered most was that, one way or another—whether with or without an orchestra—the date did not go unnoticed, and the tribute to Giacomo Puccini took place, once again demonstrating the theater’s ability to adapt and honor the greatness of the composer.