MILAN, ITALY — In a world where threads of contemporary storytelling are weaponised by social unrest and political turmoil at an increasingly ferocious pace, literary adaptations of novel classics are no mean feat.
Never mind trigger warnings: bullying, sexual violence, love-starved connections and powerful shreds of ennui are just a few of the fundamental pillars of Dmitrij Dmitrievič Šostakovič’s narrative in Lady Macbeth of Mtsensk District, the opera presented at La Scala’s customary new-season premiere on 7 December in Milan.
Vasily Barkhatov and Riccardo Chailly. Photograph: Brescia e Amisano
Skies were grey, and the fog ran high that evening, as scores swooned and soared with vehemence, erotic tension and impassioned dramatic intensity. When contextualised and viewed from a historical standpoint, the opera remains strikingly relevant, falling firmly within the cultural history of Milan.
Moving beyond its turbulent tempo and pacing, it speaks to the relationship between Russia and La Scala, a bond that has been pivotal through the years. Šostakovič’s 1934 work, in fact, foregrounds the condition of women during Stalin’s Soviet Union and was blacklisted just days after the communist leader attended a performance in 1936—the threshold year of his campaign of political repression known as the Great Purge.
A Lady Macbeth of Mtsensk District at La Scala
“Milan is an example, not just in Italy, but for Europe and the world—of the public and supporters behind this institution,” opined La Scala’s Senior Supervisor Fortunato Ortombina at the gala’s press conference at the end of November. “The 7 December epitomises the start of the new season, with Wagner taking the reins of the first quarter of 2026,” he added, underscoring the importance and resonance of Šostakovič’s work. “It’s one of the most important operas of all time, and this demonstrates, through our cultural backbone, how hard we work for culture and for the public, in the name of excellence.”
Riccardo Chailly, La Scala’s Music Director, believes the piece is robust enough to undergo a renewed interpretative shift. “Opening the new season with Šostakovič shouldn’t be viewed as an act of courage, but rather as one of resistance and recovery,” he reflected, his face marked by excitement and awe for the opera’s heavy subject matter. “Because this opera has suffered,” Chailly added.
A Lady Macbeth of Mtsensk District at La Scala
Confident in the brilliance and dynamism of both the production and its soloists, he remarked, “There’s an excellent cast, both vocally and from an interpretative point of view. The rhythmic precision, dynamics and diction are delivered with a marked, punchy accent, thanks to the work done with the choir and orchestra. Russian is a demanding challenge: contrasting musical material is present, as are the intermezzi, and complex technicalities run throughout the score.”
Opera director Vasily Barkhatov also expressed profound affection for the work. “Thank you for your turbulence, Maestro,” he said with a chuckle at the press conference. “It’s an honour to be here, and it took time – precisely two years – to discuss the details of this opera and rehearse the entire production,” Barkhatov explained.
“There are two types of score, but with this opera, you simply have to follow its flow. The dramaturgy and pacing are extraordinary in their swings—from comedy, classicism and satire down to deep tragedy. Emotional volatility and impassioned drama are omnipresent, and it’s essential to follow one another, tracing the psychology of the characters and stripping away clichés. The composer discovered beauty in these terrible characters, and we wanted to do the same: to help uncover beauty on stage.”
A Lady Macbeth of Mtsensk District at La Scala
A Lady Macbeth of Mtsensk District at La Scala
But there is more to the story. The composer, who wrote the libretto based on Nikolai Leskov’s novel, had envisioned the opera as the first part of a triptych exploring the condition of women across different periods of Russian history.
Set in the Russian countryside in the 1860s—shortly after the abolition of serfdom in 1861—the story follows Katerina Izmailova, a young woman married against her will to Zinovij, a weak-willed landowner, and subjected to sexual abuse by her father-in-law. She becomes involved with Sergej, a cheeky and brutal farmhand. When her father-in-law discovers the affair and has Sergej whipped, Katerina poisons him with mushroom soup.
Upon her husband’s return, she and Sergej murder him and later marry. During the ceremony, however, a servant discovers Zinovij’s body hidden in the cellar. Katerina and Sergej – who, in Leskov’s original story, also kill a nephew to steal his inheritance – are sentenced to hard labour. During their journey, Sergej abandons Katerina for a younger woman, whom Katerina ultimately kills by dragging her into the icy waters of a river.
American soprano Sara Jakubiak, the evening’s chief protagonist, whose voice soared effortlessly in its upper register, summed up the night succinctly: “All I can say is, put your seatbelt on!” And she was right. Long stretches of the score pulse like mid-century beats infused with a modern twist, while the orchestra churns restlessly in the background—mirroring the opera’s inner turbulence.
A Lady Macbeth of Mtsensk District at La Scala
The evening drew a wealth of national and international guests, chief among them British actor Russell Tovey, known for prominent roles including George Sands in the BBC’s Being Human and Rudge in both the stage and film versions of The History Boys. Also in attendance were Italy’s Minister of Culture Alessandro Giuli, accompanied by Senator for Life Liliana Segre, a Holocaust survivor, and Milan Mayor Giuseppe Sala, seated in the royal box.
“I’m having the most wonderful time – being in this space is epic,” Tovey told GLASS during the interval. “It’s a real honour to be in Milan for this moment. I’m enjoying being looked after, wearing Versace, and the crowd is beautiful. These cultural moments mean so much.”
Speaking about the opera itself, he added with infectious enthusiasm: “I’m glad there are translations, obviously, because otherwise I wouldn’t have a clue what was going on! But when the whole company comes on stage – the servants, the peasants – it’s epic and incredibly powerful. I also find myself absorbed by the orchestra, watching what they’re doing. It’s compelling, even though it’s a tough piece. I’m fascinated by it – the set is amazing, and I’m having a truly special time.” Asked whether he would ever consider performing in opera as an actor, he grinned: “I’m not sure how that would work. I haven’t considered it, but if the opportunity came up, perhaps I would.”
A Lady Macbeth of Mtsensk District at La Scala
The performance ended on a high note, greeted by veterans and first-timers alike with no boos or unrest, only admiration. “I feel so blessed and lucky to have had this role,” Jakubiak concluded backstage, expressing heartfelt gratitude to La Scala and the people of Milan. “No one expects this in their life, but I focused on the work we rehearsed, and on discovering something new each time. I enjoy working that way – every performance becomes different.”
Speaking candidly about the opera’s challenges, she noted: “There are forty-seven high B-flats in this piece, and then you have to drop into the low register at the very end. It’s incredibly demanding, both vocally and physically.” Some rest, she admitted, was in order. “Tomorrow I’ll dash to the spa and then sleep, that’s how you survive.” Fire, quite literally, closed the evening. “I wasn’t expecting that fire at the end: everyone was surprised – but I loved how our director turned up the heat.”
The night culminated in a twelve-minute ovation, buoyed by warmth and enthusiasm from an engrossed audience raising a glass in the name of culture and histrionic drama. All in all, it was a feast for the senses—one unlikely to be forgotten any time soon. Cheers to that.
by Chidozie Obasi