The opening night of Teatro alla Scala di Milano opened to controversial boos.
During the curtain call tenor Piotr Beczala, conductor Daniele Gatti and director Dimitri Tcherniakov were met with resounding booes.
The booes were scarce for Beczala but nevertheless resonant. The tenor later posted a comment of his discontent on his Facebook fan page stating "My last production in La Scala... I think They should engage only Italian singers ... Why I spend my time for this" schmarrn" ... Arrivederci ..."
Speculation later arose about the prospect of a cancellation. However Beczala immediately posted another comment stating that he was a professional who would adhere to his contract. He stated, "No worrys ... I am a professional Opera Singer, have a contract with Teatro alla Scala and will finish it."
He also commented on the production which he did not seem to agree with. He stated, "I shown my professionalism also yesterday in Traviata, was not actually agree with the vision of my character by stage director , but I played it as good I could... the result of my work was ...my first ever buuuuh...the another result is now :I come to italy only for vacations. Thanks all for support , I am very proud of my friends and fans ,all Your reactions and words are important to me and give me strength and motivation for the future!"
Whose fault was it?
Having seen Beczala's performance in movie theaters I was completely shocked to see the audience react to the tenor's performance. Beczala sang with precision and with the most beautiful tone since his last "Eugene Onegin." Additionally he followed all the stage directions Tchnerniakov instructed even if at times he seemed to be exaggerated.
It is truly difficult to fault the singer if the audience did not respond to the representation of the character. That is the director's fault. Tcherniakov seems to have an issue with a performer standing and singing. For this director there has to be something moving around at all moments, regardless of whether it makes little sense in the context. Beczala was forced to kneed bread while he sang his famous aria "De Mie Bollenti Spiriti," cut carrots and run around as Zeljko Lucic sang "Di provenza." According to Verdi's text, Alfredo (the character played by Bezcala) is living off the wealth and riches of Violetta. Why would Alfredo be cooking or baking when there are servants around? If he needs to try and distract himself during the "Di Provenza" why not have him read a book? While this would go against Tcherniakov's presumed tastes, it would probably be less ridiculous than the nonsensical cutting of carrots and vegetables.
The pressing question is whether the audience will continue to react to Bezcala in a similar manner in upcoming performances. The opera house is notorious for blasting famous singers during performances. Roberto Alagna was jeered at after singing the opening aria from "Aida" in 2006. The singer ran off the stage and took the rest of the night off. Luciano Pavarotti, Mirella Freni and Renee Fleming are other singers that have been met with a disapproving reaction from the La Scala audience.