The last time I managed to say goodbye to the Laboratories of La Scala Theatre was in April 2019, a placid and lovable day like the ones Mimì talks about when she tells Rodolfo that the first sun of spring is a gift destined precisely to her.
When I think of La Scala, my thoughts immediately go to all the workers involved in giving life to the Theater and so, tired of observing my dusty and still scores on the piano’s tail from the last time I touched them, I decided to bring a trio of women on our pages, Maria Grazia Caglio, Orietta Gatti and Rita Citterio, who, in their profession, have the task of transforming and giving life to each production, of playing with materials, reaching the fulfillment of what is a real scenic miracle.
The study path to get to work at Teatro alla Scala is almost similar for all three of our protagonists: all of them were trained at the artistic high school, some then continued at Brera Academy of Fine Arts and finally arrived at the course of specialization for young set designers.
After an initial interview with the Theater, all three are selected and placed starting from the tailoring workshops in the costume processing department: we are between the end of the 70s and the beginning of the 80s.
In fact, chronologically speaking, the entrances to La Scala are different for each of them: Maria Grazia entered in 1982 with the production of Ernani for the 7th December’s premiere, Orietta in 1977, the year of the theatre’s bicentenary, with the premiere of Don Carlo di Damiani and Rita in February 1985.
Read the entire article here, in the 8th issue of OPERA Charm Magazine.0