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."



Billy Idol on His First Album in over a Decade, the Rock Hall and More

Billy Idol performs during the Vive Latino music festival in Mexico City, Saturday, March 16, 2024. (AP)
Billy Idol performs during the Vive Latino music festival in Mexico City, Saturday, March 16, 2024. (AP)
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Billy Idol on His First Album in over a Decade, the Rock Hall and More

Billy Idol performs during the Vive Latino music festival in Mexico City, Saturday, March 16, 2024. (AP)
Billy Idol performs during the Vive Latino music festival in Mexico City, Saturday, March 16, 2024. (AP)

When Billy Idol first entered American consciousness in the early '80s, leather-clad and bleached hair in tow, he not only brought a punk rock sound to the mainstream. The Englishman brought a new attitude, a new, rebellious way of being.

In the time since, songs like “White Wedding,” “Rebel Yell” and “Eyes Without a Face” have become instant classics — for those who've worn a spiky jacket and those who've only imagined what it might be like.

Now, over four decades later, he's got the wisdom to reflect. It's led to a new documentary about his life, “Billy Idol Should Be Dead,” which will premiere at the Tribeca Film Festival — and a new album, the polished punk-pop of “Dream Into It.”

“It was a gradual process, really,” he said of the 11-year span between albums. “It wasn’t so much that we didn’t want to make an album, it was more like we were building up to doing this.”

Idol discussed with The Associated Press this week his new album and forthcoming documentary, his past struggles with addiction, his first-ever Rock & Roll Hall of Fame nomination and more.

Remarks have been edited for clarity and brevity.

AP: You've described “Dream Into It” as autobiographical. I thought your last album, 2014's “Kings & Queens of the Underground,” pulled from your life as well.

IDOL: Being this age, in particular, 69, when you look back, you can really see your whole life, how it plays out. And maybe it’s also having grandchildren. My children are having children.

You sort of reach this vantage point where you can really look back and see all the sort of different eras of my life. And you can sing about it. And I think I didn’t go deep enough with the songs I did on “Kings and Queens.” I thought lyrically I could go deeper. That’s one of those regrets I had about the last album. So I really went for it, and I went for more imagery, (on ‘Dream Into It,’ in the) way of talking about my life. I’m not spelling it out exactly.

AP: There are a lot of rock ‘n’ roll women on the album. Joan Jett, Avril Lavigne and The Kills' Alison Mosshart are all featured.

IDOL: (Mosshart's) voice is just incredible. And of course, Joan Jett, I’ve known since 1978 after a Germs/Dead Kennedys concert. We hung out in Los Angeles. I was on a Generation X promotion tour for the first album. And then Avril, I mean, I’ve just been watching her career forever and she’s fantastic. So, it was just great.

AP: The documentary has an evocative title, “Billy Idol Should Be Dead.” It sounds like it may dive into your past struggles with addiction.

IDOL: There was a point in my life when I was living like every day, like, “Live every day as if it’s your last.” One day, you’re going to be right.

In the '70s, in England, you know, young people, we had this feeling that we were being completely ignored. You were even being told that you had no future. And so, we just didn’t think beyond the day-to-day existence. It was probably only when I really started having children and stuff like that, I really starting to realize I (should) try start to give up drugs and things.

I’ve always flirted with death, in a way. Even riding motorcycles, you’re staring at the concrete. It’s right there, you can come off that thing and get horribly messed up. And I’ve done it. It’s horrible. You find out how human you are, how vulnerable. There’s lots of things about my life that, yeah, I did kind of call death at times. Not really mean to, but you just were living like that.

Imagine if it was today. If I was doing what I was back then today, I would be dead because I would have run into fentanyl.

AP: You're nominated for the Rock & Roll Hall of Fame for the first time. Do you think your younger punk rock self would be excited?

IDOL: I do sort of think about Bo Diddley and Chuck Berry and Little Richard. “And what? Are you going to be in something with those guys?” You know, Buddy Holly. These are some of the seminal people who turned on the people that turned me on, you know? Somewhere down the road, it led to punk rock.

Also, my motorcycle has been in the Rock & Roll of Fame for like five years. So I might as well be in it, too.