There is no such thing as a former La Scala soloist. Italians have arrived at the Chelyabinsk Glinka Academic Theater of Opera and Ballet.

Five vocalists and one director will perform under the name of the renowned La Scala theater. The tour's program includes performances of Rigoletto and Aida, as well as a gala concert.

The tours of the Italian artists to Chelyabinsk were initiated by our compatriot, now soloist of the Düsseldorf opera and possessor of a «Verdi baritone», Boris Statsenko. It is his authority that enables us to dispel the doubts that were inclined to creep up on the Chelyabinsk opera lovers when they saw the words «La Scala Soloists» on the posters. There was certainly reason for doubt. Artists here work on a contract basis, so «La Scala Soloists» was more a marketing technique on the part of the Chelaybinsk inhabitants. No need to split hairs, however — just as in the USA there are no former presidents, so apparently there are no former La Scala soloists. Oh, and one other fact, to calm the public: a Chelyabinsk opera lover phoned his acquaintances in Italy, who confirmed that we are indeed being visited by artists highly respected in their homeland.

Strictly speaking, of our guests three have actually appeared on the stage of La Scala or in its projects: the singers Luigi Roni and Grazio Mori (both bases) and director Stefano Rabalia. Along with them Boris Statsenko invited three young Italian vocalists to Chelyabinsk: Stefana Kibalova, Irena Cerboncini (both sopranos), and Alberto Gelmoni (tenor). Additionally, Boris Statsenko himself and one of the greatest Russian tenors of our time, Akhmed Agadi of the Mariinsky Theater, will be performing.

I think that for us what is most important is that we hear an authentic performance of Italian operas. Director Stefano Rabalia said that musicians everywhere play differently, and he has to which to compare, having directed in England and in France. The current three performances in Chelyabinsk are his debut with Russian musicians. Can an Italian ignite the members of our orchestra, liberate them, and lead them onward? No less interesting will be to hear and see the soloists: in Italy the opera producer is almost optional — voice and artistry are what is valued. Somehow it seems that this is precisely what our public is waiting for. All the more so since in November in Ural the atmosphere of sunny Italy will be a particularly welcome sensation.