Tickets for performances are sold not in the theater, but in the underpass near the Duomo, a 5-minute walk away. There was just one ticket to the box for me, but I was not ready to pay for it almost as much as I paid for the flight to Milan and back. In addition, I needed a black evening suit, which I would not take on a trip for the sake of one visit to the opera. Despite the democratic nature of Milan (where else can you meet a lady in a chic fur coat on a bicycle? ), the theater is in another dimension. It is impossible for the viewer to get from the parterre to the gallery and back - these zones are connected only across the street. An elevator is taken to the gallery to the left of the main entrance, and an elite audience in suits and evening dresses of an exclusively black and white color scheme goes through the main entrance.
I had to limit myself to a standing ticket to the gallery.
They are sold on the day of the performance at the ticket office at the Cathedral for daytime performances or in the theater gallery on the right if the performance is in the evening, but you need to spend almost the whole day on the purchase: register in the afternoon and get the queue number on an identity document, at 5 pm during roll call on documents to receive a voucher and only at 6 pm during the next roll call with the presentation of documents to receive a ticket. This is how they fight speculation, but it still exists - some type, not very similar to an Italian, offered me a ticket to the balcony for 75 euros, but I did not want to risk it, the ticket could be fake.
There are no language problems - there is a monitor in the back of the chair in front of the viewer, where the translation will be broadcast in the language chosen at will. The vocals, of course, are impeccable, but the performance left a painful impression.
"The Tsar's Bride" in the "new reading" is turned into scenes from the life of our lads, where instead of the royal feast there is a criminal gathering of the "Russian mafia", obviously more familiar to the author of the next "new reading" of the classics from Berlin, but of Russian blood. He does not know another Russia or does not want to know!
I had to limit myself to a standing ticket to the gallery.
They are sold on the day of the performance at the ticket office at the Cathedral for daytime performances or in the theater gallery on the right if the performance is in the evening, but you need to spend almost the whole day on the purchase: register in the afternoon and get the queue number on an identity document, at 5 pm during roll call on documents to receive a voucher and only at 6 pm during the next roll call with the presentation of documents to receive a ticket. This is how they fight speculation, but it still exists - some type, not very similar to an Italian, offered me a ticket to the balcony for 75 euros, but I did not want to risk it, the ticket could be fake.
There are no language problems - there is a monitor in the back of the chair in front of the viewer, where the translation will be broadcast in the language chosen at will. The vocals, of course, are impeccable, but the performance left a painful impression.
"The Tsar's Bride" in the "new reading" is turned into scenes from the life of our lads, where instead of the royal feast there is a criminal gathering of the "Russian mafia", obviously more familiar to the author of the next "new reading" of the classics from Berlin, but of Russian blood. He does not know another Russia or does not want to know!
Translated automatically from Russian. View original
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