CALGARY, Alberta (AP) — Jack Eichel scored twice to lead the Vegas Golden Knights to a 4-2 win over the Calgary Flames on Tuesday night.
Kaedan Korczak also scored for the Golden Knights, and Tomas Hertl added an empty-net goal with seven seconds left.
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Vegas Golden Knights' William Karlsson, left, and Reilly Smith, right, check Calgary Flames' Matt Coronato during second period of an NHL hockey game in Calgary on Tuesday, Oct. 14, 2025. (Jeff McIntosh/The Canadian Press via AP)
Vegas Golden Knights' Tomas Hertl, left, chases Calgary Flames' Nazem Kadri during third period NHL hockey action in Calgary on Tuesday, Oct. 14, 2025. (Jeff McIntosh/The Canadian Press via AP)
Vegas Golden Knights' Ivan Barbashev (49) has his shot grabbed by Calgary Flames goalie Dustin Wolf during the third period of an NHL hockey game in Calgary, Alberta, on Tuesday, Oct. 14, 2025. (Jeff McIntosh/The Canadian Press via AP)
Vegas Golden Knights' Jack Eichel, right, scores on Calgary Flames goalie Dustin Wolf during third period NHL hockey action in Calgary on Tuesday, Oct. 14, 2025. (Jeff McIntosh/The Canadian Press via AP)
Vegas Golden Knights' Jack Eichel celebrates his goal during the third period of an NHL hockey game against the Calgary Flames in Calgary, Alberta, on Tuesday, Oct. 14, 2025. (Jeff McIntosh/The Canadian Press via AP)
Vegas starting goalie Adin Hill stopped eight of 10 shots in the first period, but did not return for the second period because of a lower-body injury. Akira Schmid stopped the 19 shots he faced in relief.
Eichel has four goals and five assists, and Mark Stone has six assists in four games for Vegas.
Mikael Backlund and Blake Coleman scored for the Flames. Dustin Wolf made 26 saves in the loss.
Eichel scored his second goal of the game at 6:38 of the third period, driving past Flames defenseman Daniil Miromanov and shoveling the puck past Wolf.
Korczak pulled Vegas even at 4:11 of third with a shot that beat Wolf on the stick side.
Eichel cut a two-goal deficit to one midway through the second period when he poked his own rebound past Wolf.
Coleman made it 2-0 for the Flames at 12:10 of the opening period and beat Hill on the glove side.
Backlund and Flames defenseman Mackenzie Weegar combined on a give-and-go on the first goal of the game at 7:32. Weegar faked a shot and dished to Backlund, who snapped a sharp-angled shot past Hill.
The Flames have been outscored 9-2 in third periods to start this season.
Golden Knights: Host the Boston Bruins on Thursday.
Flames: At the Utah Mammoth on Wednesday.
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Vegas Golden Knights' William Karlsson, left, and Reilly Smith, right, check Calgary Flames' Matt Coronato during second period of an NHL hockey game in Calgary on Tuesday, Oct. 14, 2025. (Jeff McIntosh/The Canadian Press via AP)
Vegas Golden Knights' Tomas Hertl, left, chases Calgary Flames' Nazem Kadri during third period NHL hockey action in Calgary on Tuesday, Oct. 14, 2025. (Jeff McIntosh/The Canadian Press via AP)
Vegas Golden Knights' Ivan Barbashev (49) has his shot grabbed by Calgary Flames goalie Dustin Wolf during the third period of an NHL hockey game in Calgary, Alberta, on Tuesday, Oct. 14, 2025. (Jeff McIntosh/The Canadian Press via AP)
Vegas Golden Knights' Jack Eichel, right, scores on Calgary Flames goalie Dustin Wolf during third period NHL hockey action in Calgary on Tuesday, Oct. 14, 2025. (Jeff McIntosh/The Canadian Press via AP)
Vegas Golden Knights' Jack Eichel celebrates his goal during the third period of an NHL hockey game against the Calgary Flames in Calgary, Alberta, on Tuesday, Oct. 14, 2025. (Jeff McIntosh/The Canadian Press via AP)
MILAN (AP) — Milan’s storied Teatro alla Scala celebrates its gala season premiere Sunday with a Russian opera for the second time since Moscow’s 2022 invasion of Ukraine. But this year, instead of drawing protests for showcasing the invader’s culture, a flash mob will demonstrate for peace.
La Scala’s music director Riccardo Chailly will conduct Dmitry Shostakovich’s “Lady Macbeth of Mtsensk” for the gala season opener that draws luminaries from culture, business and politics for one of the most anticipated events of the European cultural calendar.
Shostakovich's 1934 opera highlights the condition of women in Stalin’s Soviet Union, and was blacklisted just days after the communist leader saw a performance in 1936, the threshold year of his campaign of political repression known as the Great Purge.
The Italian liberal party +Europa announced a demonstration outside the theater as dignitaries arrive “to draw attention to the defense of liberty and European democracy, threatened today by Putin’s Russia, and to support the Ukrainian people.’’
The party underlined that Shostakovich's opera exposes the abuse of power and the role of personal resistance.
Due to security concerns, authorities moved the protest from the square facing La Scala, to another behind City Hall.
Chailly began working with Russian stage director Vasily Barkhatov on the title about two years ago, following the 2022 gala season premiere of the Russian opera “Boris Godunov,” which was attended by Italian Premier Giorgia Meloni and European Commission President Ursula von der Leyen, both of whom separated Russia’s politicians from its culture.
But outside the Godunov premiere, Ukrainians protested against highlighting Russian culture during a war rooted in the denial of a unique Ukrainian culture. The Ukrainian community did not announce any separate protests this year.
Chailly called the staging of Shostakovich’s “Lady Macbeth" at La Scala for just the fourth time “a must.’’
“It is an opera that has long suffered, and needs to make up for lost time,’’ Chailly told a news conference last month.
La Scala’s new general manager, Fortunato Ortombina, defended the choices made by his predecessor to stage both Shostakovich’s “Lady Macbeth” and Modest Mussorgsky’s “Boris Godunov " at the theater best known for its Italian repertoire, but which has in recent years showcased other traditions.
‘‘Music is fundamentally superior to any ideological conflict,’’ Ortombina said on the sidelines of the press conference. “Shostakovich, and Russian music more broadly, have an authority over the Russian people that exceeds Putin's own.’’
American soprano Sara Jakubiak is making her La Scala debut in the title role of Katerina, whose struggle against existential repression leads her to commit murder, landing her in a Siberian prison where she dies. It’s the second time Jakubiak has sung the role, after performances in Barcelona last year, and she said Shostakovich's Katerina is full of challenges.
“That I’m a murderess, that I’m singing 47 high B flats in one night, you know, all these things,’’ Jakubiak said while sitting in the makeup chair ahead of the Dec. 4 preview performance to an audience of young people. “You go, ‘Oh my gosh, how will I do this?’ But you manage, with the right kind of work, the right team of people. Yes, we’re just going to go for the ride.”
Speaking to journalists recently, Chailly joked that he was “squeezing” Jakubiak like an orange. Jakubiak said she found common ground with the conductor known for his studious approach to the original score and composer’s intent.
“Whenever I prepare a role, it’s always the text and the music and the text and the rhythms,'' she said. “First, I do this process with, you know, a cup of coffee at my piano and then we add the other layers and then the notes. So I guess we’re actually somewhat similar in that regard.''
Jakubiak, best known for Strauss and Wagner, has a major debut coming in July when she sings her first Isolde in concert with Anthony Pappano and the London Symphony.
Barkhatov, who has a flourishing international career, called the choice of “Lady Macbeth,” “very brave and exciting.”
Barkhatov's stage direction sets the opera in a cosmopolitan Russian city in the 1950s, the end of Stalin’s regime, rather than a 19th-century rural village as written for the 1930s premier.
For Barkhatov, Stalin’s regime defines the background of the story and the mentality of the characters for a story he sees as a personal tragedy and not a political tale. Most of the action unfolds inside a restaurant appointed in period Art Deco detail, with a rotating balustrade creating a kitchen, a basement and an office where interrogations take place.
Despite the tragic arc, Barkhatov described the story as “a weird … breakthrough to happiness and freedom.’’
“Sadly, the statistics show that a lot of people die on their way to happiness and freedom,’’ he added.
Stage director Vasily Barkhatov sits during an interview with The Associated Press prior to the dressed rehearsal of Dmitri Shostakovich's Lady Macbeth of the Mtsensk District at La Scala Opera House in Milan, Italy, Thursday, Dec. 4, 2025. (AP Photo/Antonio Calanni)
A wig receives final touches ahead of the dress rehearsal of Dmitri Shostakovich's Lady Macbeth of the Mtsensk District at La Scala Opera House in Milan, Italy, Thursday, Dec. 4, 2025. (AP Photo/Antonio Calanni)
A wig receives final touches ahead of the dress rehearsal of Dmitri Shostakovich's Lady Macbeth of the Mtsensk District at La Scala Opera House in Milan, Italy, Thursday, Dec. 4, 2025. (AP Photo/Antonio Calanni)
External view of Teatro all Scala ahead of the dress rehearsal of Dmitri Shostakovich's Lady Macbeth of the Mtsensk District in Milan, Italy, Thursday, Dec. 4, 2025. (AP Photo/Antonio Calanni)
Soprano Sara Jakubiak has her makeup done ahead of the dress rehearsal of Dmitri Shostakovich's Lady Macbeth of the Mtsensk District at La Scala Opera House in Milan, Italy, Thursday, Dec. 4, 2025. (AP Photo/Antonio Calanni)
The stage is prepared ahead of the dressed rehearsal of the Lady Macbeth of Mtsensk District, by Dmitri Shostakovich, at La Scala Opera House in Milan, Italy, Thursday, Dec. 4, 2025. (AP Photo/Antonio Calanni)
