The world premiere of “Anna A.” at the prestigious Teatro alla Scala marks a significant milestone in opera history. This performance, held on March 15, 2024, is the first time the theater has commissioned an opera from a female composer, Silvia Colasanti. The work centers on the life of Russian poet Anna Akhmatova, whose poignant story unfolds against the backdrop of Stalin’s oppressive regime.
Colasanti’s score, lasting approximately seventy minutes, is noted for its agility and accessibility. It avoids the pitfalls of contemporary music characterized by atonality and excessive complexity. Instead, the composer opts for a traditional orchestral arrangement, employing clear melodic and harmonic phrases that resonate with audiences. The music features a blend of cabaret-like dances, powerful choral passages, and lyrical ensembles, creating a dynamic soundscape that ranges from irony to deep tragedy.
In the program notes, Colasanti expressed her admiration for Russian literature, stating, “Akhmatova’s life, her courage, her art represent the moment when poetry meets history–when private pain becomes political truth.” One of the opera’s most striking scenes, the “Chorus of Mothers,” depicts women waiting outside Leningrad prisons, merging their voices into a collective requiem. This moment crystallizes Akhmatova’s role as a voice for those who have suffered under tyranny.
Born in Odessa in 1889, Akhmatova was a leading figure of the Russian Acmeism movement. She faced immense personal tragedies, including the execution of her first husband and the imprisonment of her son. “Anna A.” does not present these events sequentially but rather through a stream of memories experienced by Akhmatova as she reflects on her life in a sanatorium near Moscow. The narrative intertwines present-day dialogue with visions of her past, creating a poignant exploration of her experiences.
The production, directed by Giulia Giammona, effectively employs a minimalist aesthetic that enhances the opera’s introspective qualities. The set design by Lisa Behensky features a white geometric structure adorned with translucent veils, through which multimedia projections by Martin Mallon enrich the visual storytelling. Costumes designed by Giada Masi subtly reference contemporary struggles, suggesting a connection between past and present.
The orchestra, under the baton of Anna Skryleva, delivered a disciplined and sensitive performance, shaping the intricate textures of Colasanti’s score with precision. Skryleva’s conducting provided a natural flow to the complex musical landscape. The Accademia Youth Choir, led by Dario Grandini, was particularly moving during the emotional “Chorus of Mothers,” which serves as the opera’s emotional core.
The title role is shared between actress Elena Ghiaurov and soprano Laura Lolita Perešivana, each bringing depth to their portrayal of Akhmatova. Ghiaurov’s performance is marked by a sculptural expressiveness, while Perešivana shines with a radiant, fluid voice that reflects the poet’s youthful artistic awakening. The supporting cast, including actress Carlotta Viscovo and tenor Haiyang Guo, also delivered strong performances, contributing to the overall impact of the production.
A notable character, Il Potere (The Power/Authority), embodies the authoritarian regime, resonating with contemporary audiences. This figure, brought to life by Damiano Salerno, adds a layer of dramatic tension that underscores the opera’s themes of oppression and resilience.
“Anna A.” invites reflection on the cost of truth and the necessity of memory in the face of tyranny. This premiere at Teatro alla Scala not only highlights the artistic achievements of women in contemporary opera but also serves as a poignant reminder of the enduring power of art to confront oppressive realities. Through its compelling narrative and musical richness, the opera challenges audiences to consider the relevance of its themes in today’s world.
