Glittering prize ... the interior of the La Scala theatre is an elaborate mix of red silk, gold sculptures and chandeliers.Credit: Reuters
I just saw Gioachinno Rossini's . I'd never heard of it before but I did not know opera could be this good. I have an ambivalence at best to most opera, though I do quite like the jaunty Italians, so Rossini kind of had me at buongiorno. And here I was, standing, stomping, yelling "bravo!" like a buff.
I was at Teatro alla Scala – if you are going to enjoy opera anywhere, most likely it will be here, in northern Italy's sensual, historic theatre.
Milan's heart, some might say, is Duomo, the enormous Gothic cathedral. I think Milan's heart is Teatro alla Scala. It is Milan's passion, artistry, style, politics, history and religion in microcosm.
The Scottish superstar pop singer, Paolo Nutini, Italian on his father's side, recently summed up not just Milan's, but Italy's, love of the grand opera house: "My grandfather said to my dad when he was younger: 'There are three things you have to do before you kick the bucket.' [The first and second are of no consequence here.] The third thing my grandfather said to do was to go and watch a performance at the Teatro alla Scala in Milan."
Bucket lists are subjective things but regardless of what you are into, a performance at La Scala has so many levels of uniqueness, it should be considered an essential addition.
The Milanese love La Scala (as it's known), are fierce about its repertoire and passionate audience members. To be a member of the La Scala audience is to know what appreciation of the arts really is.
They thunder their feet on the floor, clap well after the house lights are up and yell "brava, bravo" for all they are worth. (I've heard they boo and hiss, too, but I was not privy to this.)
Before the performance and during interval, the terrace at La Scala provides some of the best people-watching in the world.
There are the old men escorting their outrageously young, glamorous girlfriends (one wonders what the missus is doing tonight). There is the elderly couple that simply refuses to believe you don't speak Italian and will tell you at length, in Italian, of how they have been subscribers for 50 years and have the opera you are seeing on CD at home — and how their son is a doctor in London. (The Italians are great communicators. Who needs syllables when you've got charades?)
There is the cream of Milanese society in such dazzling finery you will be sure that you could retire on just one bauble from that baublicious necklace on the signora in the corner sucking on Marlboro Reds like they're good for her. (You don't have to wear baubles, though. Something smart, clean and perhaps pressed will do.)
The daring fashion choices. Those bold-coloured silks and prints. The impossibly high heels. The even more impossibly high hair. The simply implausible plastic surgery. All of it is truly wonderful. Then there is that room itself. Ah, that room. Nothing can prepare you for its sumptuousness, especially coming from the Scandinavian austerity of Sydney's Opera House.
All that gold and red; it's just plain sexy. The lustrous crimson silk lining the walls of the boxes that rise in tiers, the elaborate gold sculptures, tassels and braids and the chandelier that glistens like diamonds but glows low, as if it's telling you it doesn't have to shout about how fabulous it is. It just is.
La Scala's history reads like . The Austrian Empress Maria Theresa agreed to the existence of the lavish theatre on a site in the centre of the city where the church of Santa Maria alla Scala (hence the name) once stood. It opened in August 1778 with a performance of Antonio Salieri's opera .
It has since seen the premieres of incredible operas and ballets: a veritable catalogue of Rossini, ballet choreographies of Salvatore Vigano and a few little works by a man called Wolfgang Amadeus Mozart. Some of history's greatest sopranos and ballerinas have graced its stage. Not to mention the men.
La Scala Theatre Museum opened in March, 1913. In 1921, ownership of the theatre's boxes was transferred from private subscribers to the Milan City Council. They had been the social setting for much of Milan's gossip, sexual scandal and networking.
The transferral to the state probably saved the theatre. The stage was enlarged and technical enhancements made.
La Scala was damaged by bombing in World War II, reopening in May 1946 with a historic concert conducted by Toscanini. Vittore Veneziani, who was dismissed in 1938 due to racial laws, returned to direct the chorus.
In modern times, La Scala has seen upheavals, declines and ascensions — it currently is a strong, important company and theatre.
A massive two-year refurbishment was completed in 2004. The repertoire is counted among the world's most prestigious, at times ground-breaking and always simply fabulous due to the quality of artist that the renowned theatre and company attract.
I was lucky enough to get a ticket to an opera, but ballet is also a strong tradition.
Whatever is on when you are in Milan, may I suggest you grab yourself a ticket and knock this one off your bucket list.
TRIP NOTES
GETTING THERE
Singapore Airlines flies from Sydney to Milan via Singapore. For bookings and schedules, go to singaporeairlines.com. Rail Europe has services through and to Milan from many Italian and other European destinations. See raileurope.com.au.
TICKETS
For popular shows such as , book as early as possible. Ticket prices range from around €25 ($42) to €225. Obviously, the view will be wildly different depending on where you sit. While sitting in a box is fabulous, if you are up the back, you may not see much at all, particularly from the sides or up the top. The floor has some of the best seats in the house for both the performance and for taking in the theatre in its entirety.
For bookings, seat plans and details go to www.teatroallascala.org. If you can't afford or snaffle a ticket, the adjoining museum is a fascinating look into the world of La Scala. See opening times on the website.
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