Zeffirelli and Bouchène at La Scala: two new monographs from Amici della Scala

Amici della Scala has expanded its distinguished series 'Gli artisti dello spettacolo alla Scala' with two detailed monographs dedicated to Franco Zeffirelli and Dimitri Bouchène, two towering figures in 20th-century theatrical design. Both men debuted at La Scala in 1953, albeit with distinct artistic vocabularies, and their contributions have since left a profound imprint on Italian opera’s most revered venue.

Dimitri Bouchène, born Dmitry Dmitrievich Bushen in 1893, represents a bridge between traditional Russian visual arts and Western European theatrical innovation. After studying in St. Petersburg and working at the Hermitage Museum, Bouchène relocated to Paris in the 1920s, where his work with Ballets Russes choreographers like Michel Fokine and George Balanchine swiftly established his reputation. His scenic and costume designs were notable for their painterly qualities, rooted in the legacy of Alexandre Benois and enriched by his own distinctive style.

Bouchène’s La Scala arrival came with Debussy’s Pelléas et Mélisande in 1953, a production led by conductor Victor de Sabata. His scenic conception transformed the forest setting into a living entity, blending naturalistic detail with evocative color gradations that reinvigorated the opera’s atmosphere. That same year, he also designed costumes for Monteverdi’s L’incoronazione di Poppea, collaborating with conductor Carlo Maria Giulini and director Margherita Wallmann. His approach juxtaposed a stark architectural set with vivid, unconventional costume colors, underscoring his anti-classical sensibility.

Throughout the mid-1950s, Bouchène continued his work at La Scala, including a 1954 production of Alfano’s Cyrano de Bergerac. His meticulous research and sketchbooks reveal a dedication to detailed dramaturgical interpretation, although much of this material now resides in private hands. After the death of his partner Serge Ernst in 1980, Bouchène withdrew from artistic production and eventually passed away in Paris in 1993, having lived nearly a century.

In contrast, Franco Zeffirelli’s career at La Scala spanned over five decades, from his debut in 1953 to his final production in 2006. His work reshaped the presentation of opera through a populist lens, aiming to make the art form accessible and compelling to a broad audience. Originally from Rome, Zeffirelli’s early ventures included set designing for the Accademia Chigiana and collaboration with film directors like Luchino Visconti.

Zeffirelli’s La Scala introduction was marked by his designs for Rossini’s L’italiana in Algeri, a production acknowledged for its fresh aesthetic and theatrical vitality. His breakthrough as a director came unexpectedly in 1954 with Rossini’s La Cenerentola, stepping in after the original director fell ill. His style was characterized by elegant pacing and a refined visual palette, qualities that quickly earned praise.

Highlighting his evolving artistic vision, Zeffirelli’s 1955 staging of Il turco in Italia, featuring Maria Callas, is remembered as one of his most inventive and successful efforts, combining direction and design seamlessly. A pivotal moment arrived in 1963 with his celebrated production of Puccini’s La bohème, conducted by Herbert von Karajan. The staging was innovative technically, notably in its use of vertical stage levels, and emotionally, capturing the nostalgic essence of 19th-century Paris.

That same year, Zeffirelli began his enduring relationship with Verdi’s Aida, a work he revisited multiple times across his career. His 1976 Otello, conducted by Carlos Kleiber and starring Plácido Domingo, achieved international acclaim and was broadcast live on television, marking a significant step in democratizing opera viewership. This and other productions underpinned Zeffirelli’s mission to break opera free from elitist confines and bring it to a wider public.

The two monographs, carefully edited by Vittoria Crespi Morbio and published bilingually in Italian and English by Amici della Scala and Grafiche Step, offer extensive visual and documentary material. The volumes—317 pages on Bouchène and 362 on Zeffirelli—provide an immersive exploration of their artistic legacies within the context of La Scala’s rich operatic tradition.

These books not only document the achievements of two distinct artistic visions but also invite reflection on how scenography and direction have shaped operatic storytelling in the modern era. They underscore the importance of visual innovation in sustaining the vitality of a centuries-old art form, highlighting the enduring cultural significance of La Scala as a crucible for creative excellence.

Graham Spicer, writing for gramilano.com, provides this comprehensive account, drawing attention to the transformative impact both designers have had on theatrical production and the continuing relevance of their work within Italy’s premier opera house.