Scrolling through my daily e-mail from Fabric Mart Fabrics, I spotted something that grabbed my attention in addition to the day’s latest sales. A new class offering had been posted for Fringy Bias Skirts with Pamela Leggett using her favorite bias skirt pattern. So chic, so bohemian, so… unique ! I knew I had to sign up for the virtual class.
As per Pamela’s suggestion, the skirt was best suited for a softer linen fabric so that the strips of linen bias would “bloom” when washed. However, I had a resolution to use up some of my unfathomable fabric stash and unearthed a fawn colored linen, which I bought from a “Julie’s Picks” swatch mailer some years prior. It was crisp ─ not ideal ─ but it would have to work. And since my yardage was inadequate for the full length skirt, I was rendered one solution: to make the knee length version.
Soon before the first class session, my friend, Chris, had sent me an e-mail with an outrageously priced Nieman Marcus skirt that was fashionable, but beyond the point of reason to even consider making a purchase. “Who would pay that for a skirt ?!” she wailed. At that moment, I showed her the class example that I was going to make and she was hooked. Intuitively, Chris selected a soft linen/rayon blend in a bright navy for her midi length skirt. Her choice of fabric was perfect; after two washes, the blended material far “outfringed” mine that had been washed and dried close to 10 times. Mawhh-velous !
Custom fitted in our fringy bias skirts, we had fun during a photo shoot at Chris’s elegant home.
The Fringy Bias Skirts episode was a win-win-win: Chris didn’t have to cancel her Berlin Philharmonic Orchestra subscription to pay for the skirt, I gained a new client, and we both ended up with two stylish and flattering skirts ! Thank you, Pamela !
Manners, manipulation, mysticism, and morbidity permeate Sir Walter Scott’s gothic novel of thwarted romance like a damp fog over the rugged Scottish Highlands. After an article recently published for suggested opera reading, I dove into a delightful immersive study of reading opera’s literary forerunners. “The Bride of Lammermoor” was near the top of my list since its theatric counterpart was due up for the Met’s 2021-2022 Live in HD season.
I loved the novel. Even with its gloomy pallor, I found myself pleasurably enveloped in the formality and class distinctions of the early 18th century Scottish setting. But how would the opera, slightly amended in its story and characters, fare against the benchmark book ─ especially with a radical, modern day-set production ?
Uncharacteristically for me, I was rather indifferent towards Simon Stone’s half opera/half movie production. Many parts of the story felt plausible in the present day Rust Belt setting while other stunts left me nonplussed. While both the action of the opera on stage and the cinematic video screen projection above were cleverly produced, I felt they would have been more effective as separate entities rather than interpolated within the same space (sensory overload !). Unquestionably, the singing was explosive ─ bel canto has a penchant for fireworks !
The outfit for Lucia was obvious: the famed “bloody” wedding gown from the Act III mad scene is so ubiquitously tied to the opera (regardless of the decade or production) that it’s almost clichéd.
Splattering scarlet paint over a delicate display of satin and lace wouldn’t allow me many opportunities for wearing the designated dress again, although the thought was tempting… especially since the gown worn in the new Met production looked uncannily similar to my mother’s actual wedding gown from 1987.
Fear not; I wouldn’t do that to my mother’s dress (or anyone else’s, for that matter). With a modern production and no prior hint to its styling, I decided I would take a more interpretative approach to the blood-stained garment while still keeping an oft-chanted bridal tradition.
Gloves were originally not going to be part of my outfit, but yet as I studied the John Everett Millais painting, I realized it was fitting.
These gloves were given to me by a friend and neighbor, who used to wear them out and about in Wisconsin, as was the proper thing to do at the time. Thank you, Miss Johanna !
Because there was no possibility of saturating a real wedding gown in blood (or the likes thereof), I wanted to have something that was evocative of blood without actually looking like it. I’ve had my eye on a Vogue pattern for sophisticated bolero jackets for several years and knew I would use it to my bloody advantage. Initially aiming to sew the ¾ sleeve version with the pleated ruffles, I altered my plans when I came across an irresistible fabric deal: corded nylon lace with sequins ─ $2.99/yard. I bought five yards. Changing styles was seamless since the bell flounce sleeves of View D reminded me of the 18th century, which directly mirrored the time in which the original story was set. (Note: I had my mother style my hair based off the images on the pattern envelope… so haute, so mad !!)
The way that the pattern was drafted, I needed to alter the length of the sleeves in order to have the flounce sit higher on my arm and not look so much like a 1970’s disco queen. Eight inches were subsequently removed from the sleeves, which gave me that 1700’s feel.
The dress I wore is very special because it played a starring role in someone else’s life. Charmingly, the white satin A-line gown employed to represent Lucia’s wedding gown was not intended for a bartered bride, but rather… a debutante !
My friend, Borden, wore this same gown in the early 2000’s when she made her debut. And after many years, it still looks great. Thank you, Borden !
And what would the bridal tradition be without Something Blue ?! Well, there was no question as to what that would be…
Bought for $16.99 at a resale store (thank you, Miss Michelle !), my royal blue and rhinestone studded stilettos steal the show wherever they make an appearance ─ from the “Pavarotti” documentary to Anna Netrebko’s Viennese concert. ‘Fabulous’ doesn’t even begin to describe their glamor.
My last opera of the 2021-2022 Live in HD season hit all the right notes. Indeed, it was a bloody mad time !
Toi, Toi, Toi,
Cast and Credits:
Lucia di Lammermoor ─ Gaetano Donizetti (1835) Live in HD air date: May 21, 2022
Cast: Lucia ─ Nadine Sierra Edgardo ─ Javier Camarena Enrico ─ Artur Ruciński Raimondo ─ Christian Van Horn
Credits: Conductor ─ Ricardo Frizza Production ─ Simon Stone Set Designer ─ Lizzie Clachan Costume Designers ─ Alice Babidge and Blanca Añón Lighting Designer ─ James Farncombe Projection Designer ─ Luke Halls Choreographer ─ Sara Erde Live in HD Director ─ Gary Halvorson Host ─ Anthony Roth Costanzo
How much do I love Puccini’s final opera, Turandot ?
I own two complete recordings, which I listen to very often…
…have a poster in my room…
…and it has been rumored to be true that I’ve flown out of my bedroom like a bat when the sound of someone singing “Nessun dorma” on a television in an adjacent room wafted its way to my ear during the early part of slumber.
Yes, I love Turandot ─ the music, the armrest-gripping drama, the fiery passion all wrapped up in a splendid love story for the ages. It never gets old… neither do the chills and goosebumps I inevitably feel whenever listening to the opera. While these factors are not conducive to healing from adrenal fatigue, the liability never stops me from attending a performance, regardless of the cast.
Oddly, Turandot is one of the few operas that is not entirely dependent on the merits of the four principal leads (at least to me, anyway !). Rather, having an exceptionally vibrant chorus and a taut and affecting conductor on the stand makes the real difference. With that in mind, the orchestra and chorus shone as the brightest stars during this run of Franco Zeffirelli’s magnificent production. But a mention should be made of the principal singers… instruction in Acting 101 would have been advisable for most of them. The icy princess was truly frozen and the blind man was discovered to be only intermittently blind as he readily anticipated his steps and conversations before they had begun. Oops ! Despite some hiccups, they were mostly rendered moot: the opera is always a winner !
Zeffirelli’s Turandot production is a landmark. It’s so powerful in its impact on audiences that it’s been in existence at the Met for over 30 years. Why mess with perfection ?! This was the attitude I adopted as I contemplated what I would wear for Turandot 2022. When I created my costume for Turandot 2019, I didn’t think I could top it. It’s glitzy, dramatic, and oh so Chinese. I didn’t see a reason why it shouldn’t be worn again. So that’s just what I did.
One element I tweaked for this particular Turandot was opting to wear my long black wig, which I donned for Madama Butterfly in 2019. With it, I felt even more like ‘la Principessa altera.’
This may have been my third trip to the theater to see Puccini’s posthumous piece, but I highly doubt I will ever become jaded by the opera. Festive excitement builds as the 100th anniversary of its premiere approaches in 2026. And I already have plans for a poster-inspired outfit to celebrate !
Toi, Toi, Toi,
Cast and Credits
Turandot ─ Giacomo Puccini (1926) Live in HD air date: May 7, 2022
Cast: Turandot ─ Liudmyla Monastyrska Calàf ─ Yonghoon Lee Liù ─ Ermonela Jaho Timur ─ Ferruccio Furlanetto
Credits: Conductor ─ Marco Armiliato Production ─ Franco Zeffirelli Set Designer ─ Franco Zeffirelli Costume Designers ─ Anna Anni and Dada Saligeri Lighting Designer ─ Gil Wechsler Choreographer ─ Chiang Ching Live in HD Director ─ Gary Halvorson Host ─ Nadine Sierra
From the time I was a little girl, I have always loved “The Sound of Music.” Remembering my original encounter with the classic film in the first grade classroom conjures up the rapt attention I experienced as a wide-eyed seven-year-old. Understandably, there was a lot to adore─ the infectious sing-a-long tunes, the thrilling ending, those clever nuns… Every year, I would catch the movie on TV during Easter. Once, while watching the movie on the aforementioned holiday, I had decided that I would eat my entire chocolate and jelly bean-filled Easter basket since I was aiming to start a healthy diet the next day and didn’t want the temptation of sugary confections. (Never again !!) While the overdose of Almond Joys may have given me a stupendous stomachache, I can’t recall a single time where “The Sound of Music” didn’t sit well with my appetite.
Maria’s ability to make clothes out of curtains impressed and inspired me, long before I could sew myself. And so it should come as no surprise that the costumes in the movie were a highlight for me. From Liesl’s floaty chiffon frock to Baroness Schraeder’s luxe gold evening gown, the clothes only added to the film’s accolades.
Apparently, I’m not the only one who harbors an affinity for the movie’s costumes. For years, I have been an admirer of Katrina Holte’s Edelweiss Patterns. And yet, I had never sewn one of her “Sound of Music” replica patterns… until now ! While I was greatly torn between several options, I choose Maria’s Gazebo Dress as my first attempt at classic cinema fashion.
With its delicate chiffon overlay and pastel color, I imagined it as an ideal Easter dress. But out of which color to make it…? I always viewed the film dress as an aqua baby blue, but discovered upon research that it’s not blue; it’s green !According to the auction site that sold the frock in 2012, the listing is described in part as a “Green dress with floral pattern, with butterfly sleeves and full skirt. Smocked at neck and waist, lined in light green silk, hook and eye and snap closure at back.” Who would have thought ?! Green it is !
I ignored the tone-on-tone floral pattern on the dress since I was not equipped (neither with time nor mental stamina) to begin another fabric painting project so soon after Zerbinetta’s harlequin. The monochromatic seafoam was enough for a pretty pastel Easter dress.
Details matter on solid dresses. The pattern called for honeycomb smocking, a stitch which I had never heard of nor attempted, but found it to be a fun and easy design addition. So much so, that my mind is now whirring over the decorative possibilities for using the stitch in the future.
“The Sound of Music,” sewing, and Easter… “These are a few of my favorite things.”
Happy Easter !
Toi, Toi, Toi,
This post is dedicated to Ian, whose role model for being a doting uncle to his nieces and nephews is Uncle Max from “The Sound of Music.”
It was a summer afternoon ─ the summer before I would attend the Live in HD performance of Ariadne auf Naxos in the theater ─ and I was watching the same opera and production from 2003 with Deborah Voigt and Natalie Dessay. Fulling intending to dress as Ariadne for the theater showing, I closely espied her costume, looking for small details that could aid in my creation. But as the opera progressed, I realized… Ariadne is boring ! It was Natalie Dessay’s high-flying Zerbinetta that had me completely smitten, with both her character and costume, and I decided then that I would dress, not as Ariadne, but as Zerbinetta for the theater broadcast.
With the close-up camera shots of the costume, I could make out slubs in the costume fabric and knew that I would use a polyester dupioni as my base material. The sleeves on the bodice were a sort of gathered puff and unintentionally, while browsing for something else, I came across a sewing pattern with just the right sleeves and pointed bodice (E).
How to apply the wild checkered colors was still up for decision… Hand cut pieces of fabric ? Paint ? Realizing that both methods would be extremely time consuming, but that painting the fabric would be much more precise and less of a guessing game, I bought a set of jacquard fabric paint to begin work on the harlequin design.
I used the above photos of Diana Damrau and Kathleen Kim as a guide in marking and painting the diamonds on the bodice and skirt. Thinking that painting fabric was just like painting walls, I marked off sections of the sewn princess seam bodice, which I altered and boned, with 3/8″ electrical tape, assuming that the sticky tape would hold back any and all imperfections when I peeled away the pinned on strips…
Wrong !!!! The black and red paint bled beneath the tape, into the white lines. Twill tape saved the day, turning a watery canvas into a striking harlequin.
Trimmed with (painted !) red lace around the sleeve hems, black shank buttons down the front, and bias binding around the neckline finished the zippered bodice. A hook and eye was fastened at the top of the back.
Itching to utilize a new patternmaking book in my collection, I experimented with transforming a full circle skirt into one of equal area with 12 gores, still maintaining the same proportions as the regularly cut bias circle. The purpose behind this maneuver was to better my chances of accurately marking out the diamond design and to prevent uneven and sagging edges from the circular bias cut.
This was accomplished. However, something went amiss in my calculations and I ended up having to remove two gores from the skirt to fit the waistband. Therefore, it became a 300° instead of a 360° skirt. All’s well that ends well, right ?
Marking the diamonds on the skirt was torture ! Staring at the pictures of the model skirt only led to frustration when, after spending hours elongating sticky tape into impossibly curved lines, I stepped back to eye my design and beheld kites and shields ─notharlequin diamonds !
I probably spent close to a week taping and re-taping the same design over and over again. I don’t know (and may never know) how the diamonds on Zerbinetta’s skirt stayed so regular. Even as they became larger at the hem, they still looked like perfect diamonds !
Time was running out and I needed to move on from the insanity, so… kites and shields it had to be ! Painting the skirt fabric was much more time consuming than the bodice and sleeves, but I finished it just a few days before the opera.
When I pulled off the electrical tape, it made a tremendous difference in the look of the design, but not as much as when the twill tape was sewn over the jagged white lines. Then, the outfit popped.
There was a near catastrophe when I soaked the skirt in an attempt to remove the remains of newspaper that were stuck to the backside of the fabric and some of the black paint smeared onto the bright yellow segments. Egad, what horror ! Against instructions not to scrub with soapy water, I did just that, scouring the yellow diamonds in hopes of removing the black tinge. Thankfully, it dried with hardly any trace of black on yellow and my painted diamonds remained in good condition. Whew !
A lining of light satin was used to finish the underside, a zipper was installed, a waistband added, and the skirt was complete. During Zerbinetta’s hair-raising aria in the “Opera” portion of Ariadne auf Naxos, a red petticoat beneath her skirt is revealed as she flings herself aback on a chair, utterly exhausted from oxygen-depleting coloratura. With the need for a crinoline, I searched online and found a steal of a deal ─ a vintage red nylon petticoat that I snagged for $1.25 off eBay.
One of the best parts of Zerbinetta’s costume is her 18th century tricorn hat with plumes of brightly colored feathers…
Verdi’s Don Carlos offers audiences a gripping spectacle of grand opera. With the backdrop of the 16th century Spanish court during the Inquisition, the pallor of death reigns over the piece with dark drama eking out from every crevice. Furthermore, the interpersonal relationships and the conflict between duty, love, and country offer opportunities for theatrical greatness. Uniquely, this occasion marked the first time in the Met’s history that the original five act French version of the opera was performed. It was nearly five hours long.
Despite the long chair time, the opera carried enough interest to render it worthwhile. Each of the six principal characters was involved in a dynamic plot twist that was heightened by the thunderous orchestra and clever camera angles. The new production by David McVicar, whose work is admired by both traditionalists and innovators, was both edgy and elegant. Picking a favorite moment was tough. However, the end scene where Carlos perishes and the departed Rodrigue steps out of heavenly white light to lay his beloved friend to rest took my breath away. Well done !
Don Carlos may have been a marathon, but the creation of my costume was not. In fact, it carried a moniker relating to its rapidity: “Two Week Tudor.” Immediately following the last opera, I began sewing my outfit for the next performance in two weeks. Choosing a pattern that was simple and effective was vital for the time crunch ─ since I was familiar with Andrea Schewe’s Simplicity Tudor pattern (it had been at the forefront of my preparations for Maria Stuarda that was to take place in May 2020), I turned to the out-of-print pattern for a quick fix. With little time to sew fussy, intricate pieces, I opted for View B on the pattern envelope.
Historical accuracy was not important as Brigitte Reiffenstuel’s Met costumes blended the semblance of the period with modern features, such as puff sleeves, shawl collars, and wrist cuffs…
During the cutting process of the main fabric, it became painfully obvious that there was not enough material to cut the entire dress. With the same material out of stock for the foreseeable future, I needed an alternate plan.Think, think, think ! And then, a lightbulb─ several years ago, I was given a bolt of upholstery fabric from my friends at the quilt shop, which I willingly accepted. My mother balked; taking others’ “stuff” to store at home is not one of my better habits. But something inside me knew that there would come a time of need for this autumnal printed bolt of fabric. Sure enough, there was.
Fortunately, I had a farthingale (hoopskirt) already made from my anticipation of Maria Stuarda. However, in my inexperience with sewing hoopskirts at the time, I foolishly used ½” wide steel hooping instead of a lighter weight ¼” hoop. Add into consideration the 12+ yards of material for the dress and then imagine sitting in a boxy movie theater seat for five hours while wearing it all. Shockingly, the entire dress, underskirt, and heavy hoopskirt only weighed around 8lbs.
With lots of gold jewelry and rings, I was suited up for the spectacle of the opera…
As serendipitous as the bolt of upholstery fabric was to the project, I was even more surprised by my mother’s reaction. The shape of the silhouette overlaid with the copious folds of woodsy fabric made her proclaim that it was the most beautiful dress I’ve ever made. Who would have guessed that something created out of necessity could have turned out so well ? As for the material that was set aside due to insufficient yardage, I have plans to revive it for the Italian version of Don Carlos in November. Hopefully, that performance won’t be quite as lengthy.
Toi, Toi, Toi,
Cast and Credits
Don Carlos ─ Giuseppe Verdi (1867) Live in HD air date: March 26, 2022
Cast: Don Carlos ─ Matthew Polenzani Élisabeth de Valois ─ Sonya Yoncheva Princess Eboli ─ Jamie Barton Rodrigue ─ Etienne Dupuis Philippe II ─ Eric Owens Grand Inquisitor ─ John Relyea Monk ─ Matthew Rose
Credits: Conductor ─ Patrick Furrer Production ─ David McVicar Set Designer ─ Charles Edwards Costume Designer ─ Brigitte Reiffenstuel Lighting Designer ─ Adam Silverman Movement Director ─ Leah Hausman Live in HD Director ─ Gary Halvorson Host ─ Ailyn Pérez
If there is an opera that causes more bouts of stifled exasperation or muddled confusion than Ariadne auf Naxos, its title remains a mystery. The music─ sublime, the plot─ a headscratcher; Strauss’s “opera within an opera” elicits both “ahhs !” as well as “huhs ?!” At least, that’s how I felt when I viewed the opera as part of the Met’s free streaming that was offered when the house was dark. Armed with the illuminating advantage of past experience, I had my reasons for attending this current Ariadne, but none greater than to see and hear Lise Davidsen as the prima donna/exiled goddess.
With the voice of a titan and the face of a schoolgirl, there is little doubt that Lise is a star. Unleashing her full power during “Es gibt ein Reich” was like having a blast of thunder rattle your bones. An answer of satisfaction was given to the promulgated hype, but what took me by surprise was the caliber of the performances given by the other singers. Isabel Leonard’s frustrated idealism as the Composer won my fervent applause.
Opera seria interpolated with an Italian farce sounds strange, but the plot of Ariadne auf Naxos was much clearer to me the second time around and really deserves a further listen. With the cast that performed and the resplendent orchestra of the Met, that task was highly agreeable.
Despite being the titular character of the opera, Ariadne is not that interesting of a leading lady. She’s weepy, melancholy, and a touch morbid over her present fate of lonesome exile. She may have a great aria, but for the most part, her character is just “blah” until Bacchus sails in and whisks her away to the heavens. However, there is a complete comic foil to Ariadne’s gloominess: the coquettish clown, Zerbinetta.
When I watched the 2003 Ariadneauf Naxos with Deborah Voigt and Natalie Dessay, I was captivated by the spitfire vocalism and personality of the coloratura soprano, Zerbinetta. She steals the show, every time. In addition to her dynamic role, she also has the best costume in the whimsical Elijah Moshinsky production ─ harlequin from top to toe with 18th century embellishments. Who would want to play Ariadne when Zerbinetta’s character and outfit are so much fun ?!My costume choice was easy: harlequin, please !
I made everything about my outfit, excluding the tights and shoes. While it was one of the most labor-intensive projects I’ve completed to date, all the components played together into a kaleidoscopic array of FUN ! All that was needed was a little bit of sass…
As a creator, I love all my “children,” but this outfit, which started out as entirely white, was an especial favorite. And that hat ! Would you believe that it was made out of felt and cardstock ?! The cockade of feathers and tulle tufts solidified my look as uniquely “Zerbinetta.”
It was impossible not to be happy while wearing this outfit, at the same time seeing its double on the big screen. And it was impossible not to be enchanted by Strauss’s dreamy (and quirky) Ariadne auf Naxos.
Ariadne auf Naxos ─ Richard Strauss (1912) Live in HD air date: March 12, 2022
Cast: Ariadne ─ Lise Davidsen Zerbinetta ─ Brenda Rae Composer ─ Isabel Leonard Bacchus ─ Brandon Jovanovich Harlequin ─ Sean Michael Plumb Music Master ─ Johannes Martin Kränzle Major-Domo ─ Wolfgang Brendel
Credits: Conductor ─ Marek Janowski Production ─ Elijah Moshinsky Set and Costume Designer ─ Michael Yeargan Lighting Designer ─ Gil Wechsler Live in HD Director ─ Gary Halvorson Host ─ Matthew Polenzani
Even if you’ve never seen the opera Rigoletto, you are most likely familiar with the Verdi work by its famous, hummable aria, “La donna è mobile,” heard everywhere from TV commercials to Italian restaurants. While I had the chance of watching a Rat Pack, neon-bedecked, “Vegas” Rigoletto during the Met’s free streaming at the time of their shutdown, I still felt the need to see the opera “in person” at the theater, this time set in the Weimar Republic of the 1920’s. Talk about a departure from 16th century Mantua !
What struck me the most about the new Bartlett Sher Rigoletto were the parallels to Sher’s Met production of Otello: blocky sets that felt closed off to the audience and gave the appearance of hazardous movement among the singers (watch out for the columns !). Another exasperating comparison was the inability to distinguish the lead characters from the rest of the crowd. Both the Duke in Rigoletto and Otello wore the clothes of their compatriots, with little, insufficient distinction. The costumes for the men looked to be the same in both productions ─ perhaps the budget was snug ? Overall, I felt the Weimar production was too garish and dark and was left questioning…“What’s wrong with 16th century Mantua ?!”
I always knew what I would wear before I ever had a 20’s themed opera to attend. A few years back, a friend gave me a vintage black cashmere sweater with a cream fur collar and rhinestone buckle at the waist. The tag indicated its pedigree: “100% Cashmere, Made in Scotland.” It was an instant love affair. Musing over the garment brought to mind the Silent Film era and its actresses I had seen in movies. My vision of a pale pink charmeuse gown and a black wool cloche was the surest way to bring the sweater’s former glory back into the limelight. A flapper would agree…
Since I knew that I was going to wear a cashmere sweater, the last thing I wanted was a long sleeve dress. That narrowed down the field of patterns. Ultimately, Folkwear’s Tango Dress fit the bill of a sleeveless, Art Deco design for my Silent Film Star look. Mary Pickford, here I come !
Silk charmeuse and a gorgeous wool suiting tangoed their way to 1920’s perfection ! This was my first time making a real hat, not one out of cardboard or headbands. A silk taffeta band decorated the supple cloche. With expensive fabrics and elegant finishes, these garments and accessories definitely classified themselves as ‘Couture’ pieces.
The hardest part was working on my 1920’s “slouch.” (Ouch !)
Bundled in the warmth of the sweater, I was set for the cold January day. Only my feet were chilled. To fashion a Mary Jane style shoe, I safety pinned sewn strips of black linen to the inside of my regular black pumps. Effective, cheap, and temporary ─ no need to buy new shoes !
Nearly everyone I meet fawns over the fan purse I crocheted specifically for this opera. And the best part ? The cotton lining material is printed with opera glasses ! How neat is that ?!
An Art Deco Rigoletto allowed me to venture into a decade that has never suited my fashion tastes. But as with most bouts of historical costuming, I gained an appreciation and greater attraction to the bias-cut drop waist dresses of the time. I can’t say that the same treatment applied to Rigoletto was as appealing.
Toi, Toi, Toi,
Cast and Credits:
Rigoletto ─ Giuseppe Verdi (1851) Live in HD air date: January 29, 2022
Cast: Rigoletto ─ Quinn Kelsey Gilda ─ Rosa Feola Duke of Mantua ─ Piotr Beczała Maddalena ─ Varduhi Abrahamyan Sparafucile ─ Andrea Mastroni
Credits: Conductor ─ Daniele Rustioni Production ─ Bartlett Sher Set Designer ─ Michael Yeargan Costume Designer ─Catherine Zuber Lighting Designer ─ Donald Holder Live in HD Director ─ Gary Halvorson Host ─ Isabel Leonard
Cheery and checked, gingham is a timeless fabric that offers many delights. From summer picnic tablecloths to baby rompers, it has an enduring appeal. During the summer that my new niece, Ruby, was to be born, an idea of stitching matching dresses for Hope, Grace, and Ruby all in classic red gingham check came to life.
Long before I ever started dressing up in costume for the operas, I spent much of my Septembers and Octobers surreptitiously slaving away in my small bedroom on my Halloween costume for the year. Unsurprisingly, Halloween is my favorite holiday ─ not because of witches and ghouls and black and orange décor, but simply because I have always loved dressing up.
In the spirit of the season, I thought I would share some of my past outfits.
Before learning to sew on a machine, I had to rely on tape, garbage bags, and old sheets to create costumes. In 2013, newspaper was my material of choice…
I went as “Old News” ─ quite literally since all the newspaper used was out of date before the 31st dawned. This costume was well worn: in all, I slipped on the tiered skirt and laced up the “corset” bodice 7-8 times during the season. Thankfully, it never rained.
I love history. It’s an engaging escape for my antiquarian imagination. I also love to learn about the famous (and infamous) characters in history. Not knowing exactly what inspired it, I chose to be Marie Antoinette in 2014. The peruke and panniers were a crafting feat; both were constructed from plastic grocery bags and toilet paper rolls, but that’s where the similarities ended. Long stretches of white cotton were carefully hot glued to the cardboard “curlers” of the wig and then given a misting of watered gray paint. I crocheted the hairy tendrils. For years I kept the safety pinned skirt of tulle and sheets in a desolate drawer… until I realized that I was never going to wear flimsy cardboard panniers again and my mother wanted her sheets back. “Let them eat cake !”
In the same month that I was introduced to my first opera, my family went on a cruise ! Who would have thought that that cruise would wipe out 2½ months of social activities ? Yes, I came down with a horrible illness during the tail end of the trip that caused me to miss Tannhäuser in HD and Halloween 2015…
A Gold Rush Girl by day, Cleopatra’s doppelgänger by night… it was a whirlwind Halloween.
Brünnhilde the Valkyrie… Is there anything spookier than a mythical being whose primary purpose is to decide who lives and dies in battle and gathers up the fallen heroes to haul them to Valhalla ???
And just in case you’re wondering, I left my axe at home for the evening…
In all my years of dressing up, I don’t think I ever disguised myself as a princess; maybe a witch in a long, black gown or Miss America, but never a princess. The plush pink 1890’s ball gown from Manonwas my outlet for elegance and grace, living out every little girl’s fantasy.
Clearly my long-time love of dressing up has played a starring role in my life. The only question left is… what will I wear this Halloween ?