Playing the Peasant for Don Giovanni

I have a confession to make. Mozart puts me in a somnolent mood. Although I am quickly made to feel like an operatic pariah at my admission, Mozart has never riled my blood the way other composers do. But that didn’t stop me from seeing Don Giovanni, one of my four “must-see” Mozart operas.

A scene from Don Giovanni / Metropolitan Opera

As the Italianized tale of Don Juan, Don Giovanni is full of drama, but with a sardonic sense of humor, which adds levity to the dark subject matter. Included among the nearly flawless cast was one of my favorite baritones, Peter Mattei, whose velvety voice gave my ears a ticklish delight. Who would have guessed that the overtures of a serial rapist and murderer could be pure bliss ?!

Peter Mattei (center) as Don Giovanni / Metropolitan Opera

While the talents of the singers, orchestra, and conductor shone, the stage director’s did not. Lately, theatrical directors have been attempting to modernize classic productions with stripped down, avant-garde adaptions. Sometimes they’re brilliant (i.e. Agrippina), but other times they feel contrived, nonsensical, or are downright vulgar. With Ivo van Hove’s new, contemporary production of Don Giovanni, I was left with feelings of boredom. A dusty, gray stage is only appealing for a New York minute and the street style “costumes” were devoid of any visual excitement. Yawn !

A scene from Don Giovanni / Metropolitan Opera

My persuasions about modern productions being stated, there is a perk to designing clothes to wear to a present-set opera. When costumes look “off the rack” it opens up possibilities to create ready-to-wear garments that can be worn even after my outings to the theater. Thinking of the three ladies of Don Giovanni (Donna Anna, Donna Elvira, and Zerlina) and their three distinct social classes (aristocracy, bourgeoisie, and peasantry), I knew which gal would be my muse.

The spunky, unpretentious Zerlina has always been my favorite of the trio and her duet with Don Giovanni is an anticipated moment. As a modern iteration, I envisioned Zerlina as a free-spirited flower child who could unmistakably be seen attending an outdoor music festival. Seemingly, the costume designer for the production agreed.

Peter Mattei as Don Giovanni and Ying Fang as Zerlina / Metropolitan Opera

A simple, shaped sundress with buttons down the front was my projected look. Seeking out various patterns led me to Style Arc’s Ariana dress.

Ariana Dress from Style Arc

In the past, I haven’t had great success with Style Arc (their patterns tend to not fit me well) and this endeavour proved no different. However, after sewing a mock-up of the bodice and making a few tweaks, I was able to achieve a better fit.

What textile better suits a hippie than linen ?! An earthy green felt appropriate and Fabrics-Store.com’s Dried Herb medium weight linen was just the ticket for my bohemian bride.

Dried Herb mid-weight linen from Fabrics-Store.com

Accessorized with a lace trimmed shawl and macramé purse, I played the peasant with glee.

An interesting detail of the Ariana dress was the shirred back panel, both stylish and functional.

Patch pockets were also a neat touch.

While delicate jewelry and strappy platform wedges kept the look lowkey, tiny braids in my hair played into the bohemian vibe.

And just as important as the natural fiber of the dress were the wooden flower buttons bought off Etsy. Aren’t they cute ?

The wrinkles of linen can be the bane of a fussy fashionista. But to the nonchalant peasant, they represent the uninhibited simple pleasures of life. Such was the scene of frolicking wedding guests as Zerlina made her entrance on stage, waking me from a light, Mozartian doze.

Toi, Toi, Toi,

Mary Martha

Cast and Credits

Don Giovanni ─ Wolfgang Amadeus Mozart (1787)
Live in HD air date: May 20, 2023

Cast:
Don Giovanni ─ Peter Mattei
Donna Anna ─ Frederica Lombardi
Donna Elvira ─ Ana María Martínez
Zerlina ─ Ying Fang
Don Ottavio ─ Ben Bliss
Leporello ─ Adam Plachetka
Masetto ─ Alfred Walker
Commendatore ─ Alexander Tsymbalyuk

Credits:
Conductor ─ Nathalie Stutzmann
Production ─ Ivo van Hove
Set and Lighting Designer ─ Jan Versweyveld
Costume Designer ─ An D’Huys
Projection Designer ─ Christopher Ash
Choreographer ─ Sara Erde
Live in HD Director ─ Gary Halvorson
Host ─ Erin Morely

Der Rosenkavalier, Circa 1911

Richard Strauss must have had an unusual sense of humor. While Der Rosenkavalier is not as much of a cerebral conundrum as Ariadne auf Naxos, the wild comic relief of the former opera is enough to cement its composer as a farcical magician. Offsetting Hugo von Hofmannsthal’s risible libretto, Strauss’s music melts into euphoric rhapsody. Those Viennese parlor strings throughout the opera whisk me away to paradise like a celestial chariot racing towards the clouds.

Although Rosenkavalier is a longstanding favorite of mine, I was especially elated to hear such a wonderful cast. When Lise Davidsen is performing, it’s always a treat and I looked forward to seeing her as the Marschallin with Samantha Hankey as her teenage lover, Octavian. Both sounded superb. However, the gap in stature between the two made for awkward visuals on stage.

Samantha Hankey as Octavian and Lise Davidsen as the Marschallin in Der Rosenkavalier / Metropolitan Opera

The supporting cast more than contributed to the performance’s success. There is not a better Sophie, nor Baron Ochs, than Erin Morley and Günther Groissböck, respectively. Bravi !

Erin Morley as Sophie, Günther Groissböck as Baron Ochs, and Samantha Hankey as Octavian in Der Rosenkavalier / Metropolitan Opera

Besides the intriguing triple role play of the character Octavian, I am most fascinated by the Marschallin in the opera. She’s clever, foreseeing, a lady of means, and sings some of the most achingly beautiful music in Act I. When I think of Der Rosenkavalier, it is she who first comes to mind.

Lise Davidsen as the Marschallin / Metropolitan Opera

Wisely, Robert Carsen’s smart production is set in 1911 Austria, the year the opera premiered, and is a departure from the original 18th century dictates. However, the updated setting feels so hand-in-glove that I don’t long for the panniers and pompadours of old. With the year of the production as a fountain of inspiration, my objective was to create an outfit that was strictly 1911 in its silhouette and mode. I learned much of the fashion trends of the time from this article: http://thevintagesite.com/?p=1399

Fashions from 1911

A skirt suit with pleats and an endless supply of buttons seemed en vogue for the year. When I found a 1911/12 reproduction pattern on Etsy, I bought the PDF file and taped the printed pages together. Because I was concerned that a vintage pattern would be significantly smaller than my own measurements, I made a mock-up, which turned out fine. Time to cut the fabric !

Vintage Pattern Lending Library

Choosing the right material was key. After much deliberation and research, I found a sumptuous raw silk chevron suiting from Folkwear that was just the perfect color of cream to pair with some leftover black wool suiting that I intended to use for the collar and belt of the dress. With a modest price tag for 100% silk, it was a steal.
Lastly, I used Elsewhen Millinery’s Imogen hat pattern for a voluminous “bird’s nest” hat straight from the 1910’s. The result was pleasing (albeit, my finished hat was a bit too snug).

Elsewhen Millinery’s Imogen Hat

And, ta-da… an Edwardian lady !

The instructions for the dress were sparse, yet adequate, but I didn’t follow them precisely. Instead, I scrutinized photos from a blog post of a lady who had sewn the pattern for a garden party. Her descriptions and detailed construction photos helped tremendously.

On purpose, I didn’t sew the back skirt pleats over the darts since I was concerned about the skirt being too tight. Gracefully, they fell in loose folds into a slight train at the back.

And a secret: I used Velcro to close the dress ! Although it was never my desire, time constraints forced me to do the unthinkable. Sometime, when life isn’t so busy, I plan to make things “right” with this dress and sew buttonholes or a more proper closure.

Wearing my comfy silk dress with it’s sharp black accents, lace chemisette, hat, and leather gloves made me feel like a First Lady ! So elegant and regal was the ensemble… why don’t women dress like this anymore ?!

A rambunctious romp, wistful reflection, and a silk suit dress worthy of a lady… Der Rosenkavalier makes for an artful trio.

Toi, Toi, Toi,

Mary Martha

Cast and Credits

Der Rosenkavalier ─ Richard Strauss (1911)
Live in HD air date: April 15, 2023

Cast:
Marschallin ─ Lise Davidsen
Octavian ─ Samantha Hankey
Sophie ─ Erin Morley
Annina ─ Katharine Goeldner
Italian Singer ─ René Barbera
Valzacchi ─ Thomas Ehenstein
Faninal ─ Brian Mulligan
Baron Ochs ─ Günther Groissböck

Credits:
Conductor ─ Simone Young
Production ─ Robert Carsen
Set Designer ─ Paul Steinberg
Costume Designer ─ Brigitte Reiffenstuel
Lighting Designers ─ Robert Carsen, Peter Van Praet
Choreographer ─ Philippe Giraudeau
Revival Stage Director ─ Paula Suozzi
Live in HD Director ─ Gary Halvorson
Host ─ Deborah Voigt

Fifties Falstaff

“A Cad’s Comic Comeuppance”

This alliteration advocate certainly appreciated the Met’s promotional tagline for the upcoming performance of Falstaff ! And on April Fools’ Day, it couldn’t have been more fitting. As the final opera of a venerable 79-year-old Giuseppe Verdi, Falstaff doesn’t follow in the steps of the slew of tragedies and dramas that emerged from Verdi’s pen. However, it’s an opera that is full of plucky delight and ebullient personality.

Michael Volle as Falstaff / Metropolitan Opera

While the comedy, based on Shakespeare’s The Merry Wives of Windsor, is set during the reign of Henry IV, Robert Carsen’s Met production places the opera in the 1950’s. This was brilliant. No part of the production conflicted with the concrete libretto and the stage flow felt natural to the circumstances. But really, the best part was the fashion ─ hands down !

Hera Hyesang Park, Ailyn Pérez, Jennifer Johnson Cano, and Marie-Nicole Lemieux in Falstaff / Metropolitan Opera

For Fifties Falstaff, opportunities abounded for sumptuous styles. Everything from wide collars to houndstooth was on the table, but I favored Alice Ford’s lemon yellow dress worn during Act II while working her wiles on Falstaff in her Betty Crocker kitchen.

Michael Volle and Ailyn Pérez in Falstaff / Metropolitan Opera

Simplicity 1459 was my chosen pattern because, although it wasn’t a carbon copy of Brigitte Reiffenstuel’s stage costume, it featured many of those retro details that make an outfit unmistakably 50’s: full skirt with crinoline petticoat, portrait neckline, covered buttons, and a cummerbund sash.

Finding an accurately matching yellow satin proved to be more difficult than expected. Samples turned out to be either too pale, too brash, or too exorbitantly priced for my tastes. Ultimately, I settled on a sample that seemed close to my vision. More than fiddling with shades of satin, another reality posed a problem with production. I now work a part-time job and my sewing time came down to the final 3 days before the opera. That’s right─ with 3 days before the performance, I had nothing to wear ! Can you imagine my stress ?

Sewing on the hooks and eyes of the sash the morning of the opera, my outfit was ready, but don’t look too closely at some of those seam finishes !

After a quick glance at the pattern envelope while writing this, I do believe I wore the cummerbund sideways. The opera wasn’t the only thing that was topsy-turvy on April Fools’ Day !

And that satin sample ? Well, the yardage that arrived turned out to be glaring in its intensity. Whether it was the same dye lot as the sample or not, I haven’t a clue. Its Crayola hue rendered my shoes a temperature mismatch, but who noticed ?

Fun Fact: That’s me in the picture above my shoulder when I was about 5 years old.

My mother styled my hair in a relaxed French twist, pearls were donned, and white gloves worn. Classic !

For just over 2 days worth of work, I was relatively pleased with my nifty Fifties dress, even laughing at times. Coincidentally, that adopted attitude corresponded with a main theme from the comedy. At the end of the opera, Falstaff and the cast of characters agree on one thing: “the whole world is nothing but a jest.”

Toi, Toi, Toi,

Mary Martha

Cast and Credits

Falstaff ─ Giuseppe Verdi (1893)
Live in HD air date: April 1, 2023

Cast:
Falstaff ─ Michael Volle
Alice Ford ─ Ailyn Pérez
Nannetta ─ Hera Hyesang Park
Meg Page ─ Jennifer Johnson Cano
Mistress Quickly ─ Marie-Nicole Lemieux
Fenton ─ Bogdan Volkov
Ford ─ Christopher Maltman

Credits:
Conductor ─ Daniele Rustioni
Production ─ Robert Carsen
Set Designer ─ Paul Steinberg
Costumer Designer ─ Brigitte Reiffenstuel
Lighting Designers ─ Robert Carsen, Peter Van Praet
Revival Stage Director ─ Gina Lapinski
Live in HD Director ─ Habib Azar
Host ─ Ryan Speedo Green

Lohengrin: Swan Knight Bride

It’s no secret that I love a good secret, especially when that secret surrounds the identity of an individual. Much like my all-time favorite opera, Turandot, the German fairytale of Lohengrin is shrouded in mystery as to the name and origins of its central character. But my penchant for sworn confidences is only part of why Lohengrin reigns as co-champion for my favorite Wagnerian opera.

A scene from Lohengrin / Metropolitan Opera

Including the ethereal prelude, which felt like a cathartic sound bath under the spell of Yannick Nézet-Séguin’s rapturous orchestra, and the bated breath aria “In fernem Land” in Act III, I am moved to hallowed stillness by the nobility of the piece. The purity, blind faith, and exalted submission of the hero to a higher power elicits sighs of romantic grandeur from my heart. Perpetually, the opera inspires me to a greater character of soul. And while I have never been one to wear my heart on my sleeve, I think it can be veritably said that there is no female alive who does not inwardly swoon over a knight in shining armor, coming to the rescue of a damsel in distress. Myself, included.

Tamara Wilson, Günther Groissböck, and Piotr Beczała in Lohengrin / Metropolitan Opera

Before Lohengrin was ever scheduled to appear at the Met, I always knew what I would create for the occasion. Years passed before I could fulfill my vision for the opera, but my daydreams never waned. Finally, the moment arrived. Swan Knight Bride was the culmination of central plot points in the opera: the swan that tows the skiff carrying the knight to defend the innocent Elsa, who then becomes his beloved bride.
My idea was to assemble all these elements and blend them into a “Modern Medieval” look with simplistic styling. And so, the process began.

Creation

Starting with a proper foundation was important, especially since I had distinct parameters for how I wanted the gown to look. When I discovered the Sewist design website, I was in “dress dream” heaven. Below is the base gown I “designed” using the mix-and-match software offered for free by the company:

I loved the jewel sweetheart neckline as a sleek and stately alternative to a traditional Queen Anne neckline. Even with my customized pattern, I needed to do some additional fitting to account for my knit fabric and provide added stability around the pointed contours of the neckline. Taking a class from Katrina Walker on how to sew pretty necklines for knits paid off grandly as my heavy, slippery tricot fabric looked flawless after the techniques were applied. Thank you, Katrina !

Fitting the dress with a stabilized neckline

For the “knight” representation, my plan was to liberally bedazzle the shoulders of the gown with metallic rhinestones in a gradient effect as if some of the Grail’s mystic power had descended upon my shoulders. The plain gown underwent a resplendent transformation as each rhinestone was applied entirely by hand.

The knight’s “shining armor” in progress

What’s a bride without her veil ? Here is where I decided to implement “mein lieber Schwan.” Mirroring the gradation on my shoulders, my aim was to have the veil look as if feathers were gently floating in soft swishes. Originally, I was just going to gather several yards of an embroidered tulle, but after realizing the mesh was too soft and stretchy for a veil, I opted to extract the feathers from the mesh using scissors and a soldering iron and then attached them onto a more suitable tulle.

With all components complete, I added an oak leaf crown to symbolize the meeting place at the beginning of the opera as well as to lend a Medieval touch to the outfit. Swan Knight Bride, at last !

The crisply turned out neckline and the sparkle from the silver rhinestones made me feel so glamourous and noble.

With hundreds of jewels applied by hand, the gown’s decoration was a labor of love… but so worth it !

A Medieval gown cannot be without its bridal point sleeves ! Altering the sleeve pattern to include them gave me fits, but they were gorgeous in the end.

To Wagner’s Lohengrin, only one thing can be said… “I do !”

Toi, Toi, Toi,

Mary Martha

Cast and Credits:

Lohengrin ─ Richard Wagner (1850)
Live in HD air date: March 18, 2023

Cast:
Lohengrin ─ Piotr Beczała
Elsa ─ Tamara Wilson
Ortrud ─ Christine Goerke
Telramund ─ Evgeny Nikitin
Herald ─ Brian Mulligan
King Heinrich ─ Günther Groissböck

Credits:
Conductor ─ Yannick Nézet-Séguin
Production ─ François Girard
Set and Costume Designer ─ Tim Yip
Lighting Designer ─ David Finn
Projection Designer ─ Peter Flaherty
Choreographer ─ Serge Bennathan
Dramaturg ─ Serge Lamothe
Live in HD Director ─ Gary Halvorson
Host ─ Christopher Maltman

La Traviata: The Real Violetta

With the satellite repaired at my local haunt, I returned to the theater to punch my ticket for La Traviata, an opera, which, while not a favorite of mine, is one that cannot be denied no matter how many times it is shown in the theaters ─ the music is just too good ! After all, who can resist a bubbling brindisi and soaring arias ?

Nadine Sierra as Violetta / Metropolitan Opera

Although there were some initial issues with the picture quality and crackling sound in the cinema, the performance waxed better and better, culminating in one of the greatest finales I’ve ever seen incarnated in the opera. The tears were real. The emotion was all-encompassing… I love a good death scene and this was it ! Bravi, Nadine and Stephen !

Nadine Sierra and Stephen Costello in La Traviata / Metropolitan Opera

Twice had I seen La Traviata in the theaters before this current jaunt and as I was beginning to think of ideas for my latest outfit, I had one prohibition: I did not want to wear another red dress ! My opinions about Michael Mayer’s revival production haven’t changed much from my first time seeing it in 2018 and Susan Hilferty’s costumes, although beautiful, were not something I wanted to replicate for my own closet. Rather, I was inspired by the original Violetta, the one immortalized in Alexandre Dumas Jr.’s novel, La Dame aux Camélias.

Marie Duplessis, converted to Marguerite Gautier and Violetta Valéry in written and theatrical texts, was the real-life Parisian courtesan who lived and died during the 1840’s. Over the summer, I read La Dame aux Camélias and was caught between frustration and pity over Marie’s hapless fate. I wanted to recreate her. And so, I began researching the time period and everything central to women’s fashion.

Early Victorian Style: Queen Victoria and Prince Albert, circa 1840’s

Janet Arnold’s Patterns of Fashion 1 was my treasure trove for resources and my aim was to use one of the extant designs as the basis for creating my dress.

A gown from Janet Arnold’s Patterns of Fashion 1

Although enlarging the corresponding pattern pieces in the book to their proper scale (800%), an initial mock-up proved that more alterations would be needed in order to have the dress fit my figure. Time was like quicksand through the hourglass and the thought of applying modern day adjustments was a hopeless endeavour. Another thought popped into my mind: draping !

I had never draped in my life, but it seemed like the more expeditious route to pursue. What did I have to lose ? Using the magnified patterns as a guide, I attempted my first draped garment. My results were appealing.

Transferring the darts and adding seam allowances to the muslin pieces made for quick work, but more fitting issues arose as the bodice was cut too short and the waist was left too loose for my corseted figure. Oh, well ! It wasn’t too shabby for my first attempt at a couture technique.

With a hairdo that had my mother revolting in horror, I was ready to enact my tribute to Marie Duplessis, the “real” Violetta.

In addition to draping, I also tried my hand at cartridge pleating for the skirt, piped the armholes and waistline, and used a hook and eye placket to close the back. So 1840’s !

The creamy white satin was stunningly gorgeous, but by far my favorite part of the outfit was the wooden camellia magnet corsage that my cousin, Rosemary, fashioned for me.

Thank you, Rosemary !

With naturally preserved salal leaves, the bloom completely set off my outfit. Rosemary has a tremendous business creating real-look softened wood florals for weddings and events. And she ships worldwide, too, so be sure to check out her site ! https://www.rosemarysgardenflorals.com/

I loved wearing this outfit along with all the Maria Callas/Scarlett O’Hara vibes it brought me. Through a sickly, “kept” woman, I learned much about the 1840’s and opera’s greatest heroine. Marie Duplessis: the real Violetta.

Toi, Toi, Toi,

Mary Martha

Cast and Credits:

La Traviata ─ Giuseppe Verdi (1853)
Live in HD air date: November 5, 2022

Cast:
Violetta Valéry ─ Nadine Sierra
Alfredo Germont ─ Stephen Costello
Giorgio Germont ─ Luca Salsi

Credits:
Conductor ─ Daniele Callegari
Production ─ Michael Mayer
Set Designer ─ Christine Jones
Costume Designer ─ Susan Hilferty
Lighting Designer ─ Kevin Adams
Choreographer ─ Lorrin Latarro
Revival Stage Director ─ Sarah Ina Meyers
Live in HD Director ─ Gary Halvorson
Host ─ Renée Fleming

Turandot ─ My Favorite Opera

How much do I love Puccini’s final opera, Turandot ?

Well…

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.

Liudmyla Monastyrska (center) and Yonghoon Lee (left) in a scene from Turandot / Metropolitan Opera

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 !

An excerpt from the finale from Turandot (2009) / Metropolitan Opera

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.’

Of course, my cardboard and wooden skewer headpiece had to make another appearance. It has taken a lot of wear and tear from the time since I first created the accessory in late 2015/early 2016, but there’s nothing a dab of Krazy Glue won’t fix !

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,

Mary Martha

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

Don Carlos

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.

A scene from Don Carlos / Metropolitan Opera

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 !

Matthew Polenzani As Don Carlos, Jamie Barton as Princess Eboli, and Etienne Dupuis as Rodrigue / Metropolitan Opera

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.

Simplicity 3782

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…

Scenes from Don Carlos / Metropolitan Opera

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.

Thank you, Miss Pat and Mr. Al !

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,

Mary Martha

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

Ariadne auf Naxos

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.

Lise Davidsen in Ariadne auf Naxos / Metropolitan Opera

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.

Isabel Leonard in Ariadne auf Naxos / Metropolitan Opera

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.

A scene from Ariadne auf Naxos

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.

Brenda Rae as Zerbinetta and Lise Davidsen as Ariadne

When I watched the 2003 Ariadne auf 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.

Toi, Toi, Toi,

Mary Martha

For the ‘step-by-step’ on how I created Zerbinetta’s kaleidoscopic harlequin costume, check out the post below:
https://costumeclosetcouture.com/2022/04/04/diamonds-are-a-girls-best-friend-zerbinettas-harlequin-costume/

Cast and Credits:

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

Art Deco Rigoletto

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 !

Michael Mayer’s “Vegas” Rigoletto

Bartlett Sher’s “Weimar” Rigoletto

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 ?!”

Repurposed costumes ? Bartlett Sher’s Rigoletto and Otello / Metropolitan Opera

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…

Louise Brooks

Louise Brooks

Anita Page

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 !

Folkwear’s Tango Dress

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, and Elsewhen Millinery’s pattern was just perfect. 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 !)

Thank you, Nancy !

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,

Mary Martha

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

My Halloween Costumes From Years Past

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.

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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 !”

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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…

Emerald Princess docked in Cozumel

With a new love came a new passion as I taught myself to sew for Madama Butterfly in 2016.

I promise, my hair wasn’t so much a knotted mess when I actually went trick-or-treating…

It’s always great when an opera outfit seamlessly doubles as a Halloween costume. My Queen of the Night getup from Die Zauberflöte was a timely hit…

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…as was my Egyptian costume from Aida ! Not only was this costume commenced and completed in under a month, but it was also worn within an hour of arriving home from the matinee encore performance of La Fanciulla del West.

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 ???

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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 Manon was my outlet for elegance and grace, living out every little girl’s fantasy.

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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 ?

Happy Halloween !

Toi, Toi, Toi,

Mary Martha