The work of Sergio Mattarella
Sergio Mattarella at the premiere of La Scala in Milan: facts and comments
The political distraction of the poster , which this time wanted to snub the by now historic theatrical event in Milan, was remedied by La Stampa with the mischievous title which caught in the act, so to speak, "the right wing at the Opera" in the royal box of the Scale and surroundings. Where everything seemed to conspire in favor of Prime Minister Giorgia Meloni at her social debut, moreover to the left of the head of state and the president of the Senate.
"The Milanese bourgeoisie chooses black", Annachiara Sacchi wrote in the Corriere della Sera , recounting that "the regulars of La Scala prefer tuxedos and reassuring dark shades". And "no mask", he added with an allusion, I don't know if voluntary or casual, to the lack of popularity that the defenses against Covid seem to have on the right.
Amid so much malice – voluntary or accidental, I repeat – allow me to point out the pertinence of the political background in which the reporter of the Republic Brunella Giovara wanted to see, hear and tell the ovation received by Sergio Mattarella upon arrival on the stage "the real king", however many "stars" may from time to time flank him. A king "acclaimed as an eternal savior of the country or something like that". “On the other hand – mentioned Giovara – last year he had been overwhelmed with requests for an encore (of the mandate, which then came true like a prophecy born on the tables of La Scala). So loved and respected – everyone stood up, for 5 minutes of applause – that even President Von der Leyen "said she was impressed", Sala later recounted", the mayor of Milan. Who, standing on stage next to the German head of the European Commission, was in fact able to gather her confidences and so on.
Yep, last year. It was precisely at La Scala – amidst signs of intolerance from the interested party that the mayor of Milan himself urged not to mistake for hostility towards such a generous public – that the grassroots promotional campaign began well in advance, so to speak, for the confirmation of the president then outgoing of the Republic. It then developed for more than a month in the squares and streets where Mattarella ventured. And in the halls of the Quirinale where the head of state occasionally interrupted the packing of books and anything else destined for the move to receive visitors of all kinds. Who invariably asked him to stay and to stop saying no.
Mattarella's denials were taken so seriously by the then Prime Minister Mario Draghi as to imprudently induce him to propose himself as successor at the press conference at the end of the year, when he answered questions on the succession precisely at the Quirinale by declaring himself "a grandfather at the disposal" of the institutions . He never did! Draghi only got damage from it, in front of which he too joined the chorus of requests to the head of state to stay, this time succeeding after the parties in their gullibility had already burned between more or less secret negotiations and votes in Montecitorio quite a lot few applications.
It's not a bad thing to remember all this, in the shadow of Boris Gudunov applauded last night for thirteen minutes by the Milanese theater audience dressed mainly in dark. It is also not a bad thing to understand, in spite of the surprise that many still display, how we arrived at the dark read and seen politically by the Press with that manifesto-style title shown at the beginning.
This is a machine translation from Italian language of a post published on Start Magazine at the URL https://www.startmag.it/mondo/lopera-di-sergio-mattarella/ on Thu, 08 Dec 2022 09:33:45 +0000.