La Scala would lose €50,000 a day if it reopened, complying with the social distancing guidelines imposed by the law passed on 17 May.
The opera house’s new intendant, Dominique Meyer, will present the administration’s calculations to the theatre’s board meeting on Thursday. As of now, Meyer estimates that the coronavirus lockdown has cost the theatre €20 million since it was closed on 25 February
Google Arts & Culture is a non-profit initiative with the tech giant working alongside cultural institutions and artists around the world to bring some of the world’s art and culture online so that it can be accessible to anyone, anywhere.
La Scala Opera House has teamed up with Google Arts & Culture to bring online the largest opera house archive, with images from operas, ballets and concerts, with designs, and scores. Thanks to Google’s Street View – which usually helps you to spy on the new house your friend has bought or find your way around a city centre to find a particular pub – you can wander around La Scala’s auditorium, foyers, stage and corridors.
Life is challenging, but Dancing Times soldiers on, as it has done for 110 years, more than any other dance publication. In all that time, even during world wars, it has never missed publishing an issue, and the coronavirus isn’t about to stop it in its tracks.
Gramilano’s Danza in Italia column was lucky in that it is bi-monthly, and as such still had some shows to review.
On 14 March 2020, The Royal Ballet’s principal dancer Lauren Cuthbertson was dancing Aurora in The Sleeping Beauty on the stage of the Mariinsky Theatre. A rare honour. She was dancing with former Royal Ballet dancer and Mariinsky principal dancer Xander Parish and cheered on by her mother, her boyfriend and his parents. Two days later, they were returning to London on the Gatwick Express when a message arrived: Royal Ballet classes, rehearsals and performances were suspended with immediate effect because of the spread of the coronavirus.
I’d heard from friends in Europe and America that things were shutting down, so I knew what was coming. So we drove out of London, and now I’m in the countryside with my boyfriend and his parents. I’m lucky to have a garden – if I were in London, it would be a very different story.
Tuesday 21 April would have been the opening night of the New York City Ballet’s now-cancelled 2020 Spring Season.
The NYCB digital season will offer six weeks of all-new content, six days a week, Monday until Saturday, until 30 May.
“If we continue to be unjust, God will take away our music.”
I want reassurances about what’s being done, not what will be done. I don’t want to hear about the future. There are people who don’t know how to get to the end of the day and feed their children. In my long life, I never even imagined such a thing, let alone experienced it. We’re living in a science fiction film.
In Ravenna [where he lives] the shutters are closed as though the virus could enter through the windows. There is a death-like silence, cemeterial. I’ve always spent Easter in Molfetta where, as a child, I saw the Good Friday processions. It’s very much a Southern tradition, and is accompanied by the band, which was my first music lesson: for centuries they have always continued, even in wartime.
Lara Rebekah Harvey graduated from the Royal Northern College of Music in 2015 with a BMus first-class honours and recently completed her postgraduate studies there.
Between terms, she has sung in the chorus for summer festivals as well as some roles for Opera Holland Park and Wexford Festival Opera. She had a small role in Holland Park’s production of The Merry Widow this July.
Now she’s stacking supermarket shelves.
The children were on a break from their school, the Lycée français in Rome, so we went to our house on Ibiza, and now we’re blocked here. We haven’t been out for three weeks. It’s a drama here too.
And that’s how the étoile of the Paris Opera Ballet and director of the Rome Opera Ballet Eleonora Abbagnato finds herself in isolation on the Spanish island of Ibiza.
In a plain-speaking interview with the Russian newspaper Kommersant, the Bolshoi Theatre’s General Director, Vladimir Urin, talked about the impending challenges for not only his theatre but theatres the world over.
“I very much hope that we will resume operations in the new season. That is the best-case scenario. Considering the way this situation is developing, I am almost sure that no performances will be possible until the end of June; perhaps not even until the end of July.”
And the worst-case scenario?
I don’t want to get into it, because it’s scary even to predict what would happen if we don’t open in September. It could go as far as the destruction of the theatre.
My wife and I have spent our lives travelling, often returning home exhausted by the weight of bags of new books and music. I could only glance at this vast library as there was never enough time available. Now we have an oasis of calm in our family. It gives time to reflect and mature. Maturity is not something that comes automatically with age but by your ability to understand things. For me, this is very important. I have rejected many work offers because there wasn’t enough time.
I have daily telephone contacts with theatre management and musicians. We have talked a great deal and we are all very worried about the future.
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