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."



Movie Review: From Bumper to Bumper, ‘F1’ Is Formula One Spectacle 

Brad Pitt, from left, Lewis Hamilton, and Damson Idris attend the world premiere of "F1 The Movie" on Monday, June 16, 2025, in Times Square in New York. (Photo by Evan Agostini/Invision/AP)
Brad Pitt, from left, Lewis Hamilton, and Damson Idris attend the world premiere of "F1 The Movie" on Monday, June 16, 2025, in Times Square in New York. (Photo by Evan Agostini/Invision/AP)
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Movie Review: From Bumper to Bumper, ‘F1’ Is Formula One Spectacle 

Brad Pitt, from left, Lewis Hamilton, and Damson Idris attend the world premiere of "F1 The Movie" on Monday, June 16, 2025, in Times Square in New York. (Photo by Evan Agostini/Invision/AP)
Brad Pitt, from left, Lewis Hamilton, and Damson Idris attend the world premiere of "F1 The Movie" on Monday, June 16, 2025, in Times Square in New York. (Photo by Evan Agostini/Invision/AP)

The wide-screen spectacle of Formula One gets a gleaming, rip-roaring workout in Joseph Kosinski’s “F1,” a fine-tuned machine of a movie that, in its most riveting racing scenes, approaches a kind of high-speed splendor.

Kosinski, who last endeavored to put moviegoers in the seat of a fighter jet in “Top Gun: Maverick,” has moved to the open cockpits of Formula One with much the same affection, if not outright need, for speed. A lot of the same team is back. Jerry Bruckheimer produces. Ehren Kruger, a co-writer on “Maverick,” takes sole credit here. Hans Zimmer, a co-composer previously, supplies the thumping score.

And, again, our central figure is an older, high-flying cowboy plucked down in an ultramodern, gas-guzzling conveyance to teach a younger generation about old-school ingenuity and, maybe, the enduring appeal of denim.

But whereas Tom Cruise is a particularly forward-moving action star, Brad Pitt, who stars as the driving-addicted Sonny Hayes in “F1,” has always been a more arrestingly poised presence. Think of the way he so calmly and half-interestedly faces off with Bruce Lee in Quentin Tarantino’s “Once Upon a Time ... in Hollywood.” In the opening scene of “F1,” he’s sleeping in a van with headphones on when someone rouses him. He splashes some water on his face and walks a few steps over to the Daytona oval, where he quickly enters his team’s car, in the midst of a 24-hour race. Pitt goes from zero to 180 mph in a minute.

Sonny, a long-ago phenom who crashed out of Formula One decades earlier and has since been racing any vehicle, even a taxi, he can get behind the wheel of, is approached by an old friend, Ruben Cervantes (Javier Bardem) about joining his flagging F1 team, APX. Sonny turns him down at first but, of course, he joins and “F1” is off to the races.

The title sequence, exquisitely timed to the syncopated rhythms of Zimmer’s score, is a blistering introduction. The hotshot rookie driver Noah Pearce (Damson Idris) is just running a practice lap, but Kosinski, his camera adeptly moving in and out of the cockpit, uses the moment to plunge us into the high-tech world of Formula One, where every inch of the car is connected to digital sensors monitored by a watchful team. Here, that includes technical director Kate McKenna (Kerry Condon) and Kaspar Molinski (Kim Bodnia), the team’s chief.

Verisimilitude is of obvious importance to the filmmakers, who bathe this very Formula One-authorized film in all the sleek operations and globe-trotting spectacle of the sport. That Apple, which produced the film, would even go for such a high-priced summer movie about Formula One is a testament to the upswing in popularity of a sport once quite niche in America, and of the halo effects of both the Netflix series “Formula 1: Drive to Survive” and the seven-time world champion Lewis Hamilton, an executive producer on “F1.”

Whether “F1” pleases diehards, I’ll leave to more ardent followers of the circuit. But what I can say definitively is that Claudio Miranda knows how to shoot it. The cinematographer, who has shot all of Kosinski’s films as well as wonders like Ang Lee’s “Life of Pi,” brings Formula One to vivid, visceral life. When “F1” heads to the big races, Miranda is always simultaneously capturing the zooming cars from the asphalt while backgrounding it with the sweeping spectacle of a course like the UK’s fabled Silverstone Circuit.

OK, you might be thinking, so the racing is good; is there a story? There’s what I’d call enough of one, though you might have to go to the photo finish to verify that. When Sonny shows up, and rapidly turns one practice vehicle into toast, it’s clear that he’s going to be an agent of chaos at APX, a low-ranking team that’s in heavy debt and struggling to find a car that performs.

This gives Pitt a fine opportunity to flash his charisma, playing Sonny as an obsessive who refuses any trophy and has no real interest in money, either. The flashier, media-ready Noah watches Sonny's arrival with skepticism, and the two begin more as rivals than teammates. Idris is up to the mano-a-mano challenge, but he’s limited by a role ultimately revolving around and reducing to a young Black man learning a lesson in work ethic.

A relationship does develop, but “F1” struggles to get its characters out of the starting blocks, keeping them closer to the cliches they start out as. The actor who, more than anyone, keeps the momentum going is Condon, playing an aerodynamics specialist whose connection with Pitt’s Sonny is immediate. Just as she did in between another pair of headstrong men in “The Banshees of Inisherin,” Condon is a rush of naturalism.

If there’s something preventing “F1” from hitting full speed, it’s its insistence on having its characters constantly voice Sonny’s motivations. The same holds true on the race course, where broadcast commentary narrates virtually every moment of the drama. That may be a necessity for a sport where the crucial strategies of hot tires and pit-stop timing aren't quite household concepts. But the best car race movies — from “Grand Prix” to “Senna” to “Ferrari” — know when to rely on nothing but the roar of an engine.

“F1” steers predictably to the finish line, cribbing here and there from sports dramas before it. (Tobias Menzies plays a board member with uncertain corporate goals.) When “F1” does, finally, quiet down, for one blissful moment, the movie, almost literally, soars. It's not quite enough to forget all the high-octane macho dramatics before it, but it's enough to glimpse another road “F1” might have taken.