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Teatro alla Scala
The Nuovo Regio Ducal Teatro alla Scala, simply known as Teatro alla Scala, colloquially called la Scala, is the main opera house in Milan. Considered among the most prestigious theaters in the world, for 243 years it has hosted the main artists in the international field of opera, ballet and classical music.


2021/2022 program.

Nine new productions and lots of news. Among these, the family stage, with tickets at 15 euros for the boys. Great relevance to dance, also in honor of Carla Fracci.

Museum space

Theater museum. Born from the purchase of the prestigious collection of theater memorabilia from the antiquarian Jules Sambon, over the years the Museum has preserved traces of the passage of immortal artists, great composers and orchestra conductors.

The Teatro alla Scala was built on the ashes of the Ducal Theater in 1776 by the will of the Empress Maria Theresa of Austria, and inaugurated in 1778 with Antonio Salieri's Europe recognized. The name derives from the place on which the theater was built, based on a project by the neoclassical architect Giuseppe Piermarini: the site of the church of Santa Maria alla Scala.

In 1812, with the advent of Rossini (La pietra del paragone), the Scala became the designated place for Italian melodrama, its evolution over a century and its performance tradition up to the present day. The choreographies of Salvatore Viganò (1769-1868) and Carlo Blasis (1795-1878) extend the artistic primacy of the theater to ballet.

Between 1822 and 1825 with Chiara and Serafina by Gaetano Donizetti (1797-1848) and Il pirata by Vincenzo Bellini (1801-1835) a new season of Italian melodrama begins.

In 1839, Oberto, Count of San Bonifacio opens the era of Giuseppe Verdi (1813-1901), the composer who more than any other is linked to the history of La Scala; the triumph of Nabucco (1842), due to the strong patriotic sentiment it arouses in the Milan crossed by the ferment of the nascent Italian Risorgimento, strengthens the popular roots of the melodrama itself and identifies its image with La Scala.

Arturo Toscanini (1867-1957) took over the artistic direction in 1920 and promoted a radical reform of the theater; it collects Verdi's musical heritage, but establishes a regular performance tradition of Wagner's operas, extends the orchestra's theatrical and symphonic repertoire.

Since 1951, on the initiative of Victor De Sabata, the La Scala Season opens on 7 December, the day of Sant'Ambrogio, patron saint of Milan. Hence, in part, the symbolic and even extra-musical value of the evening.

Parallel to the conducting season, that of the great voices flourishes (Maria Callas, Renata Tebaldi, Leyla Gencer, Giulietta Simionato, Mirella Freni, Shirley Verrett, Mario Del Monaco, Giuseppe Di Stefano, Carlo Bergonzi, Luciano Pavarotti, Placido Domingo, Nicolai Ghiaurov , Piero Cappuccilli), great directors (Luchino Visconti, Franco Zeffirelli, Pier Luigi Pizzi, Luca Ronconi), great choreographers and dancers (Leonide Massine, George Balanchine, Rudolf Nureyev, Carla Fracci, Luciana Savignano).

In 1965, Claudio Abbado made his debut at La Scala with Mahler's Second Symphony. In 1968 he became Music Director of the Orchestra and in 1972 Music Director of the Theater, of which he will also assume the Artistic Direction in 1977-79. Three years later, he also founded the Filarmonica della Scala, on the model of the Wiener. Until 1986, the year of his leave from La Scala, he performed, among other things, Il barbiere di Siviglia, La Cenerentola, L'Italiana in Algeri, Il viaggio a Reims by Rossini, Simon Boccanegra, Macbeth, Aida, Don Carlo, Un ballo in Verdi's mask, Musorgsky's Boris Godunov, Berg's Wozzeck, Wagner's Lohengrin, Debussy's Pelléas et Melisande. He dedicates study cycles and conferences to Berg, Stravinskij and Musorgskij.

In 1986 Riccardo Muti took over the musical direction of the theater. From 1989 to 1998 he brought back the most beloved operas of Verdi, Rigoletto, La traviata, Macbeth, La Forza del Destino, Falstaff and Don Carlo; conducts the Italian trilogy of Mozart-Da Ponte, as well as Idomeneo and La clemenza di Tito; he faces the Wagner of Parsifal and of Tetralogy, Beethoven's Fidelio, four works by Gluck, Cherubini's Lodoïska, Rossini's La donna del lago, Nina, that is the mad woman for love of Paisiello.

Teatro alla Scala

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Teatro alla Scala Foundation in MilanConsidered among the most… more

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In the 16th century, theaters were built in wood, lit with candles and heated with braziers; in the back boxes every noble family kept a cook, ready to indulge every whim of the throat. It is no coincidence, then, that theaters often caught fire and fires were a well-known problem.
Author: Uber Bertiè
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