Name: Götterdämmerung (Der Ring des Nibelungen)
Start: 2026-03-15T18:00:00
Location: Teatro alla Scala

Johannes Martin Kränzle

Camilla Nylund

Günther Groissböck

Virginie  Verrez

Christa Mayer

Russell Braun

Svetlina Stoyanova

Olga Bezsmertna

Klaus Florian Vogt

Szilvia Vörös

Lea-Ann Dunbar

David McVicar

David Finn

Emma Kingsbury

Gareth Mole

Alexander Soddy

Simone Young

Hannah Postlethwaite

Teatro alla Scala

The world premiere of Giacomo Puccini's final masterpiece took place at La Scala on April 25, 1926. The composer had died in Brussels on November 29, 1924, without being able to complete the score. Arturo Toscanini had asked Franco Alfano to prepare a finale, which remained problematic. On the night of the premiere, Toscanini placed his baton on the last note composed by Puccini, upon Liù's death: a gesture that has remained in the history of La Scala and is also remembered in the production conceived by Davide Livermore for Puccini's centenary. A rich production, combining technological marvels and artisanal expertise, revived under the baton of Nicola Luisotti.

Turandot

After the Kurt Weill Triptych and the Season opening in tribute to Shostakovich, Music Director M° Chailly adds another key milestone to his ongoing exploration of Verdi’s work, completing his survey of the composer’s early operas with the work that marked a turning point. The triumph of Nabucodonosor at La Scala in 1842 signaled the definitive breakthrough of the composer, while also forging a strong bond between the Milanese theatre (and, more broadly, Italian opera) and the emerging spirit of unification and the Risorgimento. The new production, in which the divertissements composed by Verdi for the 1848 revival in Brussels will be performed, marks the La Scala debut of the now well-established talent of Alessandro Talevi, a South African director who has reconnected with his Italian roots. The cast is the best imaginable: Anna Netrebko, Luca Salsi, Francesco Meli, Michele Pertusi, and Veronica Simeoni. Also central to the production is the Chorus, conducted by Alberto Malazzi, performing the iconic “Va, pensiero.”

Nabucodonosor

Mimì wonders about her future: “What will I be when I grow up?… a marine biologist?” Yes! So why not start from the canals of the Navigli and set off on an adventure through the waters of the world…

Mimì & Teo and… The Fantastic Raft

The next Music Director of the Teatro alla Scala, Myung-Whun Chung, reaches his eleventh opera title at La Scala (having conducted over 140 concerts both at home and on tour) with this new production of Bizet’s Carmen, a co-production with London’s Royal Opera House, Covent Garden, and Madrid’s Teatro Real. Well-versed in French music—also through his work with the Opéra Bastille and the Orchestre Philharmonique de Radio France—Chung leads a cast that is perfectly idiomatic. Alongside Clémentine Margaine in the title role, alternating with Stéphanie d’Oustrac, and Giorgi Manoshvili as Escamillo, the production features Vittorio Grigolo as Don José—a major Italian voice with a strong affinity for the French repertoire— alternating with Matthew Polenzani. Damiano Michieletto and set designer Paolo Fantin reduce local colour to a minimum in order to construct a bare and effective spectacle, focused on the ineluctable fate of the protagonists.

Carmen

Treble Voices Chorus of the Teatro alla Scala Academy

A milestone in the history of musical theatre, Lucia di Lammermoor was born from the encounter between the sensibility of Italian melodrama and the gothic atmosphere of Walter Scott’s novel. Director Yannis Kokkos, who originally staged this production in 2023 under the baton of Riccardo Chailly, sees the opera as a ruthless hunt in which the victim is driven toward the depths of madness—evoked by Donizetti through the ethereal sound of the glass harmonica. The revival is entrusted to Speranza Scappucci, a conductor well-versed in bel canto, who made her La Scala debut with Bellini’s I Capuleti e i Montecchi. The cast features distinguished voices: alongside the leads—Rosa Feola, Pene Pati, and Boris Pinkhasovich—is Michele Pertusi as a commanding Raimondo.

Lucia di Lammermoor

A milestone in the history of musical theater, born from the encounter between the sensibilities of Italian melodrama and the Gothic atmospheres of Walter Scott's novel, Lucia di Lammermoor is conceived by director Yannis Kokkos, who created this production in 2003 under the baton of Riccardo Chailly, as a merciless hunt whose victim is driven to the depths of madness, evoked by Donizetti with the diaphanous sound of the glass harmonica. The revival is entrusted to an expert conductor in bel canto, Speranza Scappucci, who made her debut at La Scala with Bellini's I Capuleti ei Montecchi .

Each year, La Scala entrusts a production to the forces of the Teatro alla Scala Academy of Performing Arts: the orchestra, soloists, and chorus are given the opportunity to engage with the main stage in front of the Season’s audience. For 2026, a new production of Gaetano Donizetti’s L’elisir d’amore is planned, conceived and designed to later be adapted as a performance for young audiences. The production offers the opportunity for two important debuts: Marco Alibrando, one of the most interesting Italian conductors of the new generation, recently appointed Music Director of the Nationaltheatre and Staatskapelle Weimar and the musical force behind the innovative Milan-based project Voce all’Opera, is rapidly establishing his career both in Italy and internationally. Maria Mauti arrives at La Scala following her work as a writer and documentary filmmaker, as well as her first opera directing experience with Norma in Macerata.

L’elisir d’amore

A blessing and a challenge in the programming of every major opera house, La traviata holds a special place in La Scala’s history, marked by the legendary 1953 production conducted by Carlo Maria Giulini, directed by Luchino Visconti, and starring Maria Callas. That iconic interpretation seemed untouchable until 1990, when Riccardo Muti commissioned a new, lavish production from director Liliana Cavani, with sets by Dante Ferretti and costumes by Gabriella Pescucci, featuring an all-young cast. This evocative and poetic staging returns to the stage in 2026, conducted by Michele Gamba, who in recent years has led major productions at La Scala including Rigoletto, Médée, Turandot, and Tosca. The cast is unmissable: alongside the charismatic Nadine Sierra in the title role, Piero Pretti and Iván Ayón Rivas alternate as Alfredo, with Boris Pinkhasovich and Amartuvshin Enkhbat as Giorgio Germont

La traviata

On World Animal Day, our heroes will embark on a journey through some of the most beautiful and famous works in the operatic world… and who knows, the sound of a horn might just take them to other places as well.

Mimì & Teo and… The Magic Horn

Among the most beloved titles in the French repertoire for their melodic invention and the natural flow of dramatic progression, Faust by Charles Gounod has been absent from the stage of the Teatro alla Scala since 2010. The new production, a co-production with the Palau de les Arts in Valencia, the Staatsoper in Berlin and the Teatro Real in Madrid, marks the return of conductor Daniele Rustioni, who is about to conclude his tenure as Principal Conductor at the Opéra de Lyon and has not conducted at La Scala since Il Trovatore in 2014. It also marks the debut of director Johannes Erath, a musician by training, whose production of Ermione for the 2024 Rossini Festival won the Italian music critics’ prestigious Abbiati Award for Best Production. On stage, some of the most beloved artists by the La Scala audience: Marina Rebeka, who will bring Norma by Bellini back to Milan in 2025, and Alex Esposito, an artist with an ever-expanding repertoire.

Faust

The final day of The Ring is staged with The Twilight of the Gods . This completes Sir David McVicar's directorial vision, which returns the Ring to its mythical foundations and narrative linearity, rightfully placing it among the benchmarks of the Western canon. Ancient tragedy, Baroque theater, and Elizabethan drama converge in a reading that identifies two episodes of comedy— Rheingold and Siegfried —and two episodes of tragedy, Die Walküre and, above all, Götterdämmerung , which marks the final arrival at catastrophe.