Italian Opera moves house

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Q.� Is it true that the La Scala Opera House has closed < xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" />

A.� It has closed temporarily�- for three years, while extensive internal renovations are carried out to the ancient building.

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Q.� Why is it taking so long

A.� Because of the scale of renovation being undertaken.�The building is being virtually gutted, leaving the shell of the original which opened�in 1778, and then completely re-built to increase the audience capacity to attempt to address the increasing demand for tickets to opera performances.

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Q.� What happens to opera in Milan in those three years

A.� Not surprisingly, given the popularity of opera in general, and at La Scala in particular, plans have been put in place to ensure that opera lovers are not deprived of their entertainment during this extended period.

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Brand new custom built premises, the Teatro degli Arcimbold have been constructed on the grounds of an old tyre factory on the northern outskirts of Milan, and this will serve as La Scala's temporary home during the renovation period, and then probably revert to a standard theatre format after La Scala returns to its original home.

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Q.� So will opera lovers travel to the new theatre and maintain business as usual

A.� That's a major question, and time will tell�- the new premises open on 19 January, and we will have to wait and see. Past experience in similar ventures is not exactly encouraging.

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When the Teatro Comunale di Bologna closed in the 1990's, with a similar modern custom-built temporary home provided in the interim, it remained half empty throughout its tenure, in spite of generous discount prices for schools and organisations. La Fenice in Venice suffered similarly. It could be that people simply don't like change, and prefer the familiarity of their culture within existing atmospheric surroundings, and stay away from the chrome and steel shells that are serve as temporary homes.

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Q.� What can the Italian government do to improve the chances of the new building becoming viable

A.� Very little, other than what they have done so far. With a farsightedness that should be observed by other governments in a similar situation, the Italian government has overseen the installation of massive car parks, rail links, and a shuttle bus service between the La Scala and the new theatre. So, people should not be put off by any access difficulties, the unseen perception that the new modern theatre is not La Scala is something that cannot be avoided, and it remains to be seen how the move works for the venerable home of Italian opera.

Q.� Why have the government decided to change a system that has worked perfectly well thus far

A.� Because the system has not worked. Unlike most opera houses and theatres La Scala does not include a resident company. This means it has to bring in major opera stars, which makes productions more expensive, and means that dates for performance are governed by the availability of the principle singers, rather than the popularity of the opera being performed. The result of this system is that almost one third of ticket demand remains unfulfilled, which is unsatisfactory from an economic, as well as an artistic point of view.

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Q.� How will this change

A.� There will be an increase in capacity in the re-vamped La Scala, and a second venue will be used to provide mainstream operas from companies at a lesser cost than the continuing 'star system' shows which will continue.

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Q.� Is opera really that popular

A.� It is.�Last year, La Scala offered four special Sunday performances open to tourists, and they were inundated by requests from every nationality that visits Italy�- the chance to sit in the renowned auditorium and see an opera in those surroundings continues to be a powerful attraction for culture lovers.

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Q.� What if people boycott the temporary home of la Scala

A.� That is highly unlikely. Because of the reputation and drawing power of La Scala, it is assured of a regular core audience, and tourists will doubtless make up any shortfall in Italian visitors. The real test will be in three years time, when the audiences gets its first look at the original Opera House, which, apart from renovation after the two world wars, has remained as it was since Salieri's time. The idea that La Scala's changes could rebound on its audience figures is an unlikely, but not impossible consequence. Time will tell.

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Andy Hughes