TEATRO ALLA SCALA: Juan Diego Flórez – 25 January 2026 An Adventure to Remember By Catrine N. Andro

JUAN DIEGO FLÓREZ

Pianoforte

VINCENZO SCALERA

Teatro alla Scala,

Teatro alla Scala, 25 January 2026

If you ever wondered how to embark on an adventure through Italy, Spain, and France in less than three hours – Juan Diego Flórez gave us the perfect answer.

On 25 January 2026, the highly anticipated 2025–2026 vocal recital season at Teatro alla Scala opened with none other than Juan Diego Flórez, with his long-standing partner Vincenzo Scalera at the piano.

As the lights dimmed, the Piermarini stage came alive, and Flórez traced a path through the musical landscapes of Italy, Spain, and France. The program moved seamlessly between distinct styles, revealing both clear contrasts and subtle overlaps as the evening unfolded. While the stylistic framework was apparent from the start, the interpretation and character of the recital evolved gradually, creating a sense of journey for the audience. The recital moved from tender introspection to fiery passion, from delicate guitar passages to thunderous ovations, celebrating both the rangeof repertoire and the depth of feeling.

photo©Brescia e Amisano

The Italian repertoire opened with Rossini’s Le Sylvain, from Péchés de vieillesse, setting an intimate and contemplative mood. Delicate piano passages and a gentle melancholy intertwined with Flórez’s upper register, drawing the audience into a scene of refined simplicity and elegance. Rossini was followed by Bellini, where we were once again immersed in tender, lyrical, and emotionally rich singing. Malinconia, ninfa gentile and Vanne, o rosa fortunata were sung with delicate affection, showcasing Flórez’s masterful technique and warmth of feeling.For me, La ricordanza was the most touching piece, feeling like a glimpse into intimate inner reflections. Flórez delivered a softly melancholic performance, his expressive depth carrying listeners through the music’s emotional arc and leaving the hall imbued with a gentle, uplifting glow—a delicate blend of longing and the quiet positivity of cherished memories.

One of the recital’s highlights was Donizetti’s Ah, rammenta, o bella Irene. The piece’s simplicity and expressiveness were deeply moving, and Flórez performed it with a refined softness, blending bel canto elegance with romantic warmth.

The melancholy of the Italian repertoire then gave way to the passion of Iberia as the recital shifted to the Zarzuela segment, featuring three songs, also part of Flórez’s recent album Zarzuela, which received the German RecordsCritics’ Award in 2025. These pieces, performed with orchestra and chorus from Sinfonía por Perú, marked the first release of Flórez Records. Bella enamorada and Jota of Perico brought vivid colors of Spanish expression to the evening, while Serrano’s Aquí está quien lo tiene tó y no tiene ná introduced humor and liveliness, providing a playful contrast to the preceding melancholy. Flórez’s artistic delivery energized the audience, and his subtle performance captured the comic elements with effortless charm.

photo©Brescia e Amisano

During the journey through France, Flórez unfolded three distinctive faces of the French repertoire. Viens, gentille dame showcased masterful legato and expressive elegance, while my personal discovery came in Ah, tout est bien fini… Ô souverain, ô juge, ô père and Salut! Demeure chaste et pure. This was my first time hearing Flórez perform Faust at a more mature stage of his career, and while I have long admired his earlier interpretations, this performance revealed a richer, more resonant timbre. His legato was flawless, and his delivery of the softer passages invited the audience to pause, fully absorbing the music. The elegant melodies of Salut! Demeure chaste et purefloated through the hall, evoking a sense of longing and idealization.

The official program concluded with Verdi’s La mia letizia infondere… Come poteva un angelo from I Lombardi alla prima crociata, delivering a perfectly uplifting finale.

Flórez’s long-standing partner, Vincenzo Scalera, showcased remarkable synergy with him, navigating the notes in seamless tandem and enhancing the quality of the evening. Scalera also performed solo pieces, including Lecuona’s Mazurka Glissando, which I particularly enjoyed, all pieces were delivered with relaxed, smooth, and delightful elegance.

From the beginning, Flórez seemed slightly tense, noticeable even between pieces. Yet any initial tension disappeared with the first notes, perhaps that was his way of stepping into the character of each work.

I suppose we were all anticipating encores, as is common for Flórez recitals, especially at La Scala, where his performances in 2022 and 2023 included numerous ones. The evening could not have passed without Una furtiva lagrima, Flórez’s signature piece, showcasing his mastery of elegance and velvet-like transitions between passages. Tonight was no exception. M’ama! sì, m’ama! echoed through the hall, leaving the audience in eager anticipation for what would come next.

When you attend a Flórez recital, you know somewhere a guitar is waiting for its moment to shine. The first guitar piece was a lovely Italian song I had never heard before. Flórez appeared with a small white paper in hand, which he later explained was because it was the first time he had performed this piece live. Yet the performance sounded completely natural, and it was clear the paper was merely a safety net, as he clearly knew the text. Next came his all-time favorite guitar repertoire, including Malagueña, Bésame Mucho, and, of course, Cucurrucucú Paloma. In Malagueña and again in Cucurrucucú Paloma, Flórez let the sound linger in the air, until time itself seemed suspended, and you could wonder if breath was still part of the equation. A person sitting next to me admitted not being particularly fond of the guitar segments, yet after the performance, the loud applause from my side, accompanied by the words, “I never would have thought I’d clap so much or be mesmerized by guitar!”, spoke for itself. Personally, I was not surprised.

photo©Brescia e Amisano

The standing ovations did not cease, and Flórez returned to the stage to deliver the tender classic Amapola. No one wanted to let him go — we wanted more! The applause continued unabated as he once again took the stage, conquering the audience with his famous Ah, mes amis. Still shining as brilliantly as he did in 2007, and as recently as last autumn at La Scala, the aria unfolded with irresistible ease. The final high note arrived after a deliberate pause, playfully teasing the audience before bursting forth, filling the hall and igniting a fireworks–like eruption of ovations.

Could this evening have been even more memorable? Perhaps a bit more interaction with the audience, especially during the encores, and the addition of a couple more arias would have made the experience even more unforgettable. That said, it was remarkable to see how devoted Flórez was afterward, taking photos, signing autographs, and speaking with those who waited for him. If you’re hoping for a more personal encounter, the best place to be is by the stage exit after the recital.

As the lights dimmed in farewell and the hall quieted, it was clear the adventure had been extraordinary, leaving La Scala with an unforgettable experience and standing as a testament to Flórez’s ability to enchant and inspire.

Catrine N. Andro