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Teatro Alla Scala

Teatro alla Scala of Milan: The most famous opera theater in the world

La Scala is a world-famous opera house located in Milan, Italy. The official name is Teatro alla Scala. The theater opened on August 3, 1778, and was originally called the Nuovo Regio Ducale Teatro alla Scala (Nuovo Regio Ducale Teatro alla Scala). The premiere was Antonio Salieri’s Europa riconosciuta.

In the past 200 years, most of Italy’s most outstanding opera artists and many of the best singers from all over the world have appeared in La Scala. To this day, the theater is still recognized as one of the world’s leading opera and ballet theaters, and has the La Scala Theater Choir, La Scala Theater Ballet and La Scala Theater Orchestra. The theater also has an associate college called La Scala Theatre Academy (Italy: Accademia Teatro alla Scala), which provides professional training in music, dance, stage crafts and stage management.

The Teatrale alla Scala Museum (La Scala Theater Museum) is accessible from the foyer of the theater and part of the house, which contains paintings, sketches, statues, costumes, and other literature about the history of La Scala opera. La Scala also hosts the Academy of Performing Arts (Accademia d’Arti e Mestieri dello Spettacolo). Its goal is to train a new generation of young musicians, technicians and dancers (in Scuola di Ballo del Teatro alla Scala, a department of the Academy).

La Scala has several foyer bars: one in the booth foyer, two in the “Arturo Toscanini” box foyer (third floor), and the other two in the second gallery foyer. The curtain is opened before and in the interval of the curtain. Eating is not allowed outside the lounge. Eating and drinking is prohibited in the auditorium, box or gallery. Next to the main entrance of La Scala, you will find the Ristorante Teatro alla Scala “Il Marchesino” operated by the famous Italian chef Gualtiero Marchesi. This restaurant is an ideal place for an aperitif or dinner before and after the show. It is open from Monday to Saturday from morning to late night. Reservation is recommended.

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New season of the Teatro alla Scala 2022 and 2023

The Scala Theatre new season 2022 – 2023, gave earlier today all due fanfare and the presentation of upgraded designs (with everything taken into account, eye-getting) appears to have been brought about by Mariano Rumor. We are at the fanaticism of balance, the radicalism of judiciousness, the automatic refusal of any gamble: consoling, surely, yet all the same invigorating a bit.

This should be visible, not surprisingly, on the coordinating front, where we find that we are during the 1990s: uncovered Hugo De Ana for “I Vespri Siciliani” (extraordinarily in Italian) and Yannis Kokkos for the “Lucia di Lammermoor” currently skipped for Covid as St. Ambroeus quite a while back.

From the Pleistocene comes Zeffirelli’s “Opera La Bohème” and from the Bronze Age Strehler’s “Le Nozze di Figaro“, so, the typical thought of the theater as gallery or timeless return of the consistently the equivalent. Montemezzi’s not-unmissable “Love of the Three Kings” is shared with the generally widely braised Fura dels Baus, while several new openings, Davide Livermore’s “Opera Macbeth” and Mario Martone’s “Opera Andrea Chénier“, are deservedly resuscitated, as is Leo Muscato’s “The Barber of Seville” to which, at this point the nominal dramatist at La Scala, is likewise given an elaborate magnum opus, for example, Leonardo Vinci’s “Li zite ‘ngalera” in eighteenth century Neapolitan.

Eventually, there are four genuine new creations: Damiano Michieletto’s fabulous “Salome“, currently altered for gushing in the Covid period, Dvorak’s “Rusalka” for Emma Dante (really smart, this one), Britten’s “Peter Grimes” for Robert Carsen, an assurance, and Livermore’s “Les Contes d’Hoffmann“, despite the fact that it isn’t clear in which rendition.

From a performance center that presents the deciphered “Vespri” the sky is the limit, even that they uncover the Choudens, when it ought to be tranquil, as in the whole socialized world, that they utilize the basic release. Regardless, who can say for sure when in Milan they will find the presence of Barrie Kosky or Simon Stone or Tobias Kratzer, or some encouraging youthful Italian who exists. In any case, the apprehension about facing challenges is deadening.

7 December, as generally expected, opens with Musorsgkij’s “Boris Godunov“, and we can as of now preview the shaggy sciuras and divine socialites wrestling with the Russian. Riccardo Chailly has decided to introduce ‘ur-Boris’, the principal rendition of the show, hence without the Polish demonstration. Notwithstanding, it ought to be acted in succession, without break, which is unimaginable at St Ambroeus in view of the undeniable common customs, so it is by all accounts comprehended that there will be a recess all things considered. The course is by Kasper Holten, previously liable for the awesome ‘Ring’ in Copenhagen, then to some degree vanished: regardless, he won’t do or be made to do anything excessively imaginative. The hero, the impressive bass Ildar Abdrazakov, and an extremely ideal decision, regardless of whether accidental (the “Boris” was chosen well before the conflict) that of opening with a Russian title, when controls, expulsions and solicitations for repudiation are being squandered.

Then definitively “Salome” won’t be diverted, sadly, by Chailly who did it brilliantly however by Zubin Mehta in the event that he is well, with a hero, Vida Mikneviciute, obscure to me. The “Vespers” has a decent organization (note the variation of Marina Rebeka and Angela Meade) and the leading of Fabio Luisi; the cast of the “Contes” is likewise great (Grigolo, Abdrazakov, Buratto, Guida, Antoniozzi) however it is difficult to share the ongoing administration’s energy for Frédéric Chaslin, who directs the debut of “Gioconda” tomorrow night. Vinci is shared with trained professionals (go there in light of the fact that the title merits it), for “Lucia” Chailly is back with the Oropesa-Florez couple and an extraordinary extravagance of comprimari as well, in “Chénier” close by Yoncheva (assuming that she at any point sings) Eyvazov and Kaufmann substitute, in “Macbeth” coordinated by Bisanti Luca Salsi is back in first organization and Anna Netrebko in second, while Michele Mariotti, the best guide of his age, is stopped in the Montemezzi. Two guides: Eun Sun Kim for Puccini and Simone Young for Britten. No Wagner this season either, yet the new Thielemann-McVicar ‘Ring’ will show up in the following.

The standard rich encompass of seven ballet performances, shows including Mahler’s Eighth led by Chailly, singing and piano presentations, visitor symphonies, etc. Likewise declared is a restyling of the theater façade to redo it as Piermarini imagined it. The explanations behind interest are not lacking, nor are those of perplexity, but rather past the restricting feel or individual preferences and aversions, what one truly can’t unravel is the theater’s social and creative line.

La Scala Fall Plan 2021 - 2022
From September to December
60 performances

The Scala Theatre new season 2022 – 2023, gave earlier today all due fanfare and the presentation of upgraded designs (with everything taken into account, eye-getting) appears to have been brought about by Mariano Rumor. We are at the fanaticism of balance, the radicalism of judiciousness, the automatic refusal of any gamble: consoling, surely, yet all the same invigorating a bit.

This should be visible, not surprisingly, on the coordinating front, where we find that we are during the 1990s: uncovered Hugo De Ana for “I Vespri Siciliani” (extraordinarily in Italian) and Yannis Kokkos for the “Lucia di Lammermoor” currently skipped for Covid as St. Ambroeus quite a while back.

From the Pleistocene comes Zeffirelli’s “Opera La Bohème” and from the Bronze Age Strehler’s “Le Nozze di Figaro“, so, the typical thought of the theater as gallery or timeless return of the consistently the equivalent. Montemezzi’s not-unmissable “Love of the Three Kings” is shared with the generally widely braised Fura dels Baus, while several new openings, Davide Livermore’s “Opera Macbeth” and Mario Martone’s “Opera Andrea Chénier“, are deservedly resuscitated, as is Leo Muscato’s “The Barber of Seville” to which, at this point the nominal dramatist at La Scala, is likewise given an elaborate magnum opus, for example, Leonardo Vinci’s “Li zite ‘ngalera” in eighteenth century Neapolitan.

Eventually, there are four genuine new creations: Damiano Michieletto’s fabulous “Salome“, currently altered for gushing in the Covid period, Dvorak’s “Rusalka” for Emma Dante (really smart, this one), Britten’s “Peter Grimes” for Robert Carsen, an assurance, and Livermore’s “Les Contes d’Hoffmann“, despite the fact that it isn’t clear in which rendition.

From a performance center that presents the deciphered “Vespri” the sky is the limit, even that they uncover the Choudens, when it ought to be tranquil, as in the whole socialized world, that they utilize the basic release. Regardless, who can say for sure when in Milan they will find the presence of Barrie Kosky or Simon Stone or Tobias Kratzer, or some encouraging youthful Italian who exists. In any case, the apprehension about facing challenges is deadening.

7 December, as generally expected, opens with Musorsgkij’s “Boris Godunov“, and we can as of now preview the shaggy sciuras and divine socialites wrestling with the Russian. Riccardo Chailly has decided to introduce ‘ur-Boris’, the principal rendition of the show, hence without the Polish demonstration. Notwithstanding, it ought to be acted in succession, without break, which is unimaginable at St Ambroeus in view of the undeniable common customs, so it is by all accounts comprehended that there will be a recess all things considered. The course is by Kasper Holten, previously liable for the awesome ‘Ring’ in Copenhagen, then to some degree vanished: regardless, he won’t do or be made to do anything excessively imaginative. The hero, the impressive bass Ildar Abdrazakov, and an extremely ideal decision, regardless of whether accidental (the “Boris” was chosen well before the conflict) that of opening with a Russian title, when controls, expulsions and solicitations for repudiation are being squandered.

Then definitively “Salome” won’t be diverted, sadly, by Chailly who did it brilliantly however by Zubin Mehta in the event that he is well, with a hero, Vida Mikneviciute, obscure to me. The “Vespers” has a decent organization (note the variation of Marina Rebeka and Angela Meade) and the leading of Fabio Luisi; the cast of the “Contes” is likewise great (Grigolo, Abdrazakov, Buratto, Guida, Antoniozzi) however it is difficult to share the ongoing administration’s energy for Frédéric Chaslin, who directs the debut of “Gioconda” tomorrow night. Vinci is shared with trained professionals (go there in light of the fact that the title merits it), for “Lucia” Chailly is back with the Oropesa-Florez couple and an extraordinary extravagance of comprimari as well, in “Chénier” close by Yoncheva (assuming that she at any point sings) Eyvazov and Kaufmann substitute, in “Macbeth” coordinated by Bisanti Luca Salsi is back in first organization and Anna Netrebko in second, while Michele Mariotti, the best guide of his age, is stopped in the Montemezzi. Two guides: Eun Sun Kim for Puccini and Simone Young for Britten. No Wagner this season either, yet the new Thielemann-McVicar ‘Ring’ will show up in the following.

The standard rich encompass of seven ballet performances, shows including Mahler’s Eighth led by Chailly, singing and piano presentations, visitor symphonies, etc. Likewise declared is a restyling of the theater façade to redo it as Piermarini imagined it. The explanations behind interest are not lacking, nor are those of perplexity, but rather past the restricting feel or individual preferences and aversions, what one truly can’t unravel is the theater’s social and creative line.

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