Russian Opera ‘Boris Godunov’ to Open Next La Scala Season

From left, La Scala director Riccardo Chailly, Milan's mayor Giuseppe Sala, La Scala general manager Dominique Meyer and La Scala ballet director Manuel Legris attend at a press conference to present the 2022/2023 season, at the Milan La Scala opera house, Italy, Monday, June 6, 2022. (AP)
From left, La Scala director Riccardo Chailly, Milan's mayor Giuseppe Sala, La Scala general manager Dominique Meyer and La Scala ballet director Manuel Legris attend at a press conference to present the 2022/2023 season, at the Milan La Scala opera house, Italy, Monday, June 6, 2022. (AP)
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Russian Opera ‘Boris Godunov’ to Open Next La Scala Season

From left, La Scala director Riccardo Chailly, Milan's mayor Giuseppe Sala, La Scala general manager Dominique Meyer and La Scala ballet director Manuel Legris attend at a press conference to present the 2022/2023 season, at the Milan La Scala opera house, Italy, Monday, June 6, 2022. (AP)
From left, La Scala director Riccardo Chailly, Milan's mayor Giuseppe Sala, La Scala general manager Dominique Meyer and La Scala ballet director Manuel Legris attend at a press conference to present the 2022/2023 season, at the Milan La Scala opera house, Italy, Monday, June 6, 2022. (AP)

Milan’s famed Teatro alla Scala on Monday announced the celebration of next season's gala premiere with the Russian opera "Boris Godunov,'' in a move the opera house hopes will underline the separation of culture from politics.

La Scala's 2022-23 calendar, set long before Russia's invasion of Ukraine, also marks the Milan opera house's premiere of another Russian opera, Antonín Dvořák's "Rusalka,” and includes a host of Russian stars singing roles in the Russian composition as well as other titles.

"We hope that we will have a St. Ambrose (feast day) that will also celebrate peace," said Mayor Giuseppe Sala, who is president of La Scala’s board, calling the opera by Modest Mussorgsky "a masterpiece." He referred to the Dec. 7 feast day for Milan’s patron saint when La Scala holds its gala season opener each year, one of the most anticipated events of the European cultural calendar.

General Manager Dominique Meyer emphasized that choices were made two to three years ago, in keeping with opera world's practice of drafting calendars and booking stars years in advance.

The announcement of an unusually heavy Russian calendar comes months after La Scala became one of the first opera houses to exclude Russian conductor Valery Gergiev after he failed to respond to their appeal to denounce the war.

Opera house management was quick to separate Gergiev from other Russian artists who will be performing in Milan, noting his position as the general director and artistic director of the Mariinsky Theater in St. Petersburg puts him close to Russian President Vladimir Putin.

"We considered him like a politician. The others, no. He is almost culture minister. It is another case," Meyer said.

"Boris Godunov," which the La Scala program calls "a disturbing fresco on the brutality and solitude of power," opened the 1979-80 season, conducted by Claudio Abbado.

Russian bass Ildar Abdrazakov, who sang in last year’s season premiere, will sing the title role in "Boris Godunov," while Russian tenor Dmitry Korchak headlines "Rusalka."

Chief conductor and musical director Riccardo Chailly, who assisted Abbado’s 1979 premiere of "Boris Godunov," said he has long been pushing for more Russian music on La Scala’s calendar, historically heavy on the Italian repertoire as the premier opera house in the birthplace of lyric theater. Giuseppe Verdi is by far the composer most represented on the Dec. 7 gala season opener.

"It would be serious to penalize the artistic aspect for the tragedy that we are all aware is happening in Ukraine," Chailly said. "It seems to me necessary, in light of what we are living unfortunately for more than 90 days, (to say) that great music can live independently, as it should be.

"It is important to distinguish the two things. Give merit to those who deserve it and to bring back to life masterpieces completely independently of events."

The 14 operas on the calendar also include "Lucia di Lammermoor," starring American soprano Lisette Oropesa in the title role opposite Juan Diego Flórez. The Donizetti opera was supposed to open the 2020-21 season, but was delayed because of pandemic restrictions.

La Scala is also reprising Umberto Giordano’s "Andrea Chénier," which opened the 2017-18 season, celebrating the 100th anniversary of the late stage and film director Franco Zeffirelli's birth with his staging of "La Boheme," and premiering Leonardo Vinci’s Neapolitan opera "Li Zite ’Ngalera" as part of a project to relaunch Italian baroque opera.

Russian soprano Anna Netrebko, who performed to rave reviews last week at La Scala, will sing four dates of Verdi’s Macbeth, alternating with Belarusian mezzo-soprano Ekaterina Semenchuk.

The ballet season opens with Rudolf Nureyev's choreography for "The Nutcracker," marking the 30 anniversary of the Russian dancer's death. The program, which includes both classics and contemporary choreographies, contains another homage to Nureyev, with his choreography to Tchaikovsky's "Swan Lake."



Blake Lively Sues ‘It Ends With Us’ Director Justin Baldoni Alleging Harassment and Smear Campaign

Blake Lively attends the LACMA Art+Film Gala at the Los Angeles County Museum of Art (LACMA) in Los Angeles, California, on November 2, 2024. (AFP)
Blake Lively attends the LACMA Art+Film Gala at the Los Angeles County Museum of Art (LACMA) in Los Angeles, California, on November 2, 2024. (AFP)
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Blake Lively Sues ‘It Ends With Us’ Director Justin Baldoni Alleging Harassment and Smear Campaign

Blake Lively attends the LACMA Art+Film Gala at the Los Angeles County Museum of Art (LACMA) in Los Angeles, California, on November 2, 2024. (AFP)
Blake Lively attends the LACMA Art+Film Gala at the Los Angeles County Museum of Art (LACMA) in Los Angeles, California, on November 2, 2024. (AFP)

Actor Blake Lively sued "It Ends With Us" director Justin Baldoni and several others tied to the romantic drama on Tuesday, alleging harassment and a coordinated campaign to attack her reputation for coming forward about her treatment on the set.

The federal lawsuit was filed in New York just hours after Baldoni and many of the other defendants in Lively's suit sued The New York Times for libel for its story on her allegations, saying the newspaper and the star were the ones conducting a coordinated smear campaign.

The lawsuits are major developments in a story emerging from the surprise hit film that has already made major waves in Hollywood and led to discussions of the treatment of female actors both on sets and in media.

Lively's suit said that Baldoni, the film's production company Wayfarer Studios and others engaged in "a carefully crafted, coordinated, and resourced retaliatory scheme to silence her, and others, from speaking out."

She accuses Baldoni and the studio of embarking on a "multi-tiered plan" to damage her reputation following a meeting in which she and her husband, actor Ryan Reynolds, addressed "repeated sexual harassment and other disturbing behavior" by Baldoni and a producer Jamey Heath, who is also named in both lawsuits.

The plan, the suit said, included a proposal to plant theories on online message boards, engineer a social media campaign and place news stories critical of Lively.

The alleged mistreatment on set included comments from Baldoni on the bodies of Lively and other women on the set.

Baldoni's attorney Bryan Freedman did not immediately respond to a request for comment on Lively's lawsuit. But he previously called the same allegations "completely false, outrageous and intentionally salacious."

Lively's lawsuit comes the same day as the libel lawsuit filed in Los Angeles Superior Court by Baldoni and others against the Times seeking at least $250 million. The Times stood by its reporting and said it plans to "vigorously defend" against the lawsuit.

Others who are defendants in Lively's suit and plaintiffs in the libel suit include Wayfarer and crisis communications expert Melissa Nathan, whose text message was quoted in the headline of the Dec. 21 Times story: "‘We Can Bury Anyone’: Inside a Hollywood Smear Machine."

Written by Megan Twohey, Mike McIntire and Julie Tate, the story was published just after Lively filed a legal complaint with the California Civil Rights Department, a predecessor to her new lawsuit.

The libel lawsuit says the newspaper "relied almost entirely on Lively’s unverified and self-serving narrative, lifting it nearly verbatim while disregarding an abundance of evidence that contradicted her claims and exposed her true motives. But the Times did not care."

A spokesperson for the Times, Danielle Rhoades, said in a statement that "our story was meticulously and responsibly reported."

"It was based on a review of thousands of pages of original documents, including the text messages and emails that we quote accurately and at length in the article. To date, Wayfarer Studios, Mr. Baldoni, the other subjects of the article and their representatives have not pointed to a single error," the statement said.

But Baldoni's lawsuit says that "If the Times truly reviewed the thousands of private communications it claimed to have obtained, its reporters would have seen incontrovertible evidence that it was Lively, not Plaintiffs, who engaged in a calculated smear campaign."

Lively is not a defendant in the libel lawsuit. Her lawyers said in a statement that "Nothing in this lawsuit changes anything about the claims advanced in Ms. Lively’s California Civil Rights Department Complaint, nor her federal complaint, filed earlier today."

The romantic drama "It Ends With Us," an adaptation of Colleen Hoover’s bestselling 2016 novel, was released in August, exceeding box office expectations with a $50 million debut. But the movie’s release was shrouded by speculation over discord between Lively and Baldoni. Baldoni took a backseat in promoting the film while Lively took centerstage along with Reynolds, who was on the press circuit for "Deadpool & Wolverine" at the same time.

Lively came to fame through the 2005 film "The Sisterhood of the Traveling Pants," and bolstered her stardom on the TV series "Gossip Girl" from 2007 to 2012. She has since starred in films including "The Town" and "The Shallows."

Baldoni starred in the TV comedy "Jane the Virgin," directed the 2019 film "Five Feet Apart" and wrote "Man Enough," a book pushing back against traditional notions of masculinity. He responded to concerns that "It Ends With Us" romanticized domestic violence, telling the AP at the time that critics were "absolutely entitled to that opinion."

He was dropped by his agency, WME, immediately after Lively filed her complaint and the Times published its story. The agency represents both Lively and Reynolds.

Baldoni's attorney, Freedman, said in a statement on the libel suit that "the New York Times cowered to the wants and whims of two powerful ‘untouchable’ Hollywood elites."

"In doing so, they pre-determined the outcome of their story, and aided and abetted their own devastating PR smear campaign designed to revitalize Lively’s self-induced floundering public image and counter the organic groundswell of criticism amongst the online public," he added. "The irony is rich."