Designing a Diva: Dress Inspired by Anna Netrebko

Anna Netrebko is a bona fide diva. She has the pipes to blast the roof off a building, the meticulous technique and luster a good singer could only wish to achieve, and the histrionic ability that could put any Hollywood A-lister to shame. She’s also very beautiful. Aside talent and looks, one of the greatest semblances of a diva is a wardrobe of couture designer gowns and shoes. And Anna Netrebko is no exception !

As the concert for Anna Netrebko neared last summer, my mind was set on creating a true “diva” gown─ something that was as stunning as Anna herself. But where to begin ? Firstly, I browsed online and then on Anna Netrebko’s Instagram account in search of clues. Although she has worn many different styles of dresses, I noticed a reoccurrence of strapless gowns in bold colors and patterns.

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Even for her wedding to Yusif Eyvazov in December 2015 Anna chose to wear a strapless gown…

Strapless it is. Now for the colors…

Interestingly, a post on Anna’s Instagram account pointed to the reasoning behind her selection of bright colors for concert and gala gowns: she rarely wears black on stage since it blends in with the orchestra’s attire and the audience wouldn’t be able to see her from afar. Brilliant ! As for me, I had a different motive for choosing colors. I wanted to use up a portion of my fabric “stash” and recalled the bright fuchsia satin I used for my Dalila gown in 2018. The remnants of the hot pink satin totaled to less than 2 yards. A sheath style with high thigh slit seemed inevitable. But what else ? Reaching for other fabrics in my stash, I tested different color combinations until I hit the mark: fuchsia and royal blue ! Since the duo made a mesmerizing pair, the idea of a dramatic lace overlay tickled my fancy. Grab your sunglasses before you read any further !

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I purchased 2 yards of both lace and stretch charmeuse satin for the lining (yes, I wanted to use up my stash and not add to it, but sometimes it’s not always possible) and cut my patterns for the strapless sheath with not an inch to spare !

Constructing the lining was straightforward: I interfaced the pieces, sewed on Rigilene boning, added interior lacing panels for the corset, and padded the bust. Time for a fitting !

Enormous, just right, skin tight ─ the dress was a mess ! After all, what’s dressmaking without some mishaps along the way ? Alterations were made and the slit jettisoned: a new silhouette had to created to compensate for the unwalkable bottom half of the dress. A triangular gore was inserted into the back of the dress, but for the lining only ! The idea of a chiffon train floated in my mind…

After tweaking the bodice, it was time for the lace application. I pinned the zipperless gown on my dress form and began the process of manipulating the lace, especially in the bust dart area.

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Sew far, sew good ! No, really ─ there was A LOT of sewing with this dress because of the lace. I spent days securing the majority of the motifs onto the pink satin, first “stitched in the ditch” along the princess seams and then elsewhere. Thankfully, I had a great slanted zigzag stitch to use on my Baby Lock machine.
With the upper portion of the dress complete, I repeated the lace application on the lower half of the gown ─ more sewing…!

The wrong side of the face after sewing on the lace

A week later, I sewed on a ruched sash with the help of this tutorial: https://mamamadeit.blogspot.com/2011/03/ruched-satin-taffeta-sash.html Thank you, Mama !
The gathered ends were capped with a folded strip of satin and hooks and eyes were sewn on the underside.

During the last stages of sewing and fitting, I realized the train was unrealistic. For one, I couldn’t squeeze myself into the dress during the final fitting and had to rework the back gore, slashing it into two. Fortunately, I was able to scrounge up enough fuchsia satin in the scrap bag to cut two identical gores. Once they were sewn onto the dress, the fit was better. However, the light and sheer chiffon just didn’t seem like a cohesive match when placed next to the adjacent sturdy and thick guipure lace; elegance is best personified in simplicity.

Despite the rescheduled concert date (February instead of October) the dress was perfectly suited for the mild weather and everything I had hoped for it to be, especially when accessorized with an abundance of pink organza. It was a diva’s dream !

I knew white rhinestones would be my accent color and the shoes were one of my main inspirations. They were last worn to the Pavarotti documentary in 2019. Bling, bling !

The lace was so pretty with its edges peeking above the neckline of the dress. Now, if I only had a big, sparkly diamond necklace to show off…

…like Anna !

Anna Netrebko is a muse for generations to come. And while I cannot compare myself to the caliber of a world-class soprano, my couture concert dress certainly gave me a taste of the fame and fashion of a true diva.

Toi, Toi, Toi,
Mary Martha

Diva du Jour ─ Anna Netrebko Live in Concert

“Diva assoluta del mondo.” “Prima donna.” “Showstopper.” Regardless of how you choose to phrase your expressions, the fact of the matter remains constant: Anna Netrebko is the World’s Reigning Diva. She is also my favorite singer. And so, when the time came for Anna Netrebko to be featured in the Met Stars Live in Concert series, there was no question that I would be watching.

Cleverly, the program was divided into Day and Night art songs ─ the first portion floated with some of Anna’s Russian repertoire calling cards while the latter half was devoted to darkness. While most of the selections were enjoyable (most ─ Debussy’s “Il pleur dans mon cœur” sparked the need for an antidepressant), I couldn’t help but wish for an injection of opera somewhere into the set list. Art songs can only be sustained for so long, even with Pavel Nebolsin’s nuanced piano playing…
What was delightful, however, was the addition of mezzo-soprano Elena Maximova to complete two duets. The girls were a pretty sight together and their Venetian masks worn in part for Offenbach’s Bacarolle painted a portrait of pure whimsy.

Anna Netrebko and Elena Maximova singing “Belle nuit, ô nuit d’amore”

The Cuisine

The Spanish Riding School offered an extraordinary venue for a concert. And its host city, Vienna, became the inspiration for the food. Anne’s cheese platter contained a mix of Muenster, Manchego, and Danish Blue. Something German, something Spanish, and something as blue as the Danube. Brava, Anne !

Chris’s canapes were a work of art ! Open faced sandwiches never looked better…

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Ham, tomato, and sprouts; Gravlax with capers and dill; Liverwurst with watercress, onion, and pickle; Sliced turkey with hard-boiled egg

And what would an opera concert be without some bubbly imbibement ? From the bordering hills of Italy, I supplied a bottle of Prosecco.

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But Vienna is probably best known for its renowned dessert: Sachertorte ! Who would of thought that a simple chocolate cake could be heightened to extraordinary levels by a smearing of tangy apricot jam and a bathing of velvety ganache ? Okay, that’s not too much of a profound pondering. We all had seconds !

Sachertorte

The Clothes

While the storied city of Vienna may have supplied the inspiration for the food, it was Anna Netrebko herself who became the muse for my outfit. As a bona fide diva, Anna Netrebko wears gowns worth dying for. My research began by browsing online images of Anna’s past concert and gala gowns. The results led me to two conclusions: Anna Netrebko loves bright colors and bold styles. Other noticeable features were the repetitions of strapless gowns with coordinating waistband sashes. Using these as my standards, I set out to create a “Diva” dress, glam and all.

Bright colors ? Check ! Bold style ? You be the judge…!

My “Diva” gown, accentuated by an abundant organza stole, made me feel like I had stepped onto a Hollywood red carpet ! More appropriately, it fit the mold of my all-time favorite diva, Anna Netrebko ─ “la diva assoluta del mondo.”

Toi, Toi, Toi,

Mary Martha

Surely, you must want to know more about my jaw-dropping dress, right ? Details of its conception and completion can be found here: http://costumeclosetcouture.com/2021/03/09/designing-a-diva-dress-inspired-by-anna-netrebko/

Cast and Credits

Met Stars Live in Concert: Anna Netrebko
Spanish Riding School
Vienna, Austria
Live broadcast date: February 6, 2021
(Date seen: February 18, 2021)

Anna Netrebko ─ soprano
Elena Maximova ─ mezzo-soprano
Pavel Nebolsin ─ piano

Eugene Onegin

Prior to the latter months of 2015, a Russian opera wouldn’t have turned my head. Ha ! How uniquely situations can change… As an autodidact of the Russian language, I was so excited to see Tchaikovsky’s Eugene Onegin and even more enthused to witness another performance by Anna Netrebko, half of the reason I began learning Russian in the first place.

Anna Netrebko as Tatiana in Eugene Onegin / Metropolitan Opera

This was to be a reunion of sorts ─ three of the singers whom I first saw in Il Trovatore in 2015 (Anna Netrebko, Dmitri Hvorostovsky, and Štefan Kocán) were scheduled for Onegin, but sadly, circumstances beyond the control of human capacity altered these best forged plans. With Dmitri Hvorostovsky bowing out due to advancing brain cancer, Peter Mattei stepped into the shoes of the snobbish title cad.

Štefan Kocán as Prince Gremin and Peter Mattei as Eugene Onegin / Metropolitan Opera

Strangely, the entire cast was Slavic except the Swedish Mattei, who felt so much like an outsider because of it ! I don’t know if it was his non-native tongue, his towering stature, or his graying goatee, but there was an obvious distinction between him and his fellow cast members. Even in spite of the casting swap, I delighted in listening to the Russian words in hopes of recognizing a few. Surprisingly, I was able to distinguish brief passages of verses, which thrilled my scholarly applications. My broad smile was impenetrable.

Anna Netrebko as Tatiana and Peter Mattei as Eugene Onegin / Metropolitan Opera

For an operation that was almost purely Russian, an equally felicitous outfit was required. I knew I was going to wear my long black velvet dress, but what else ? A sleek, matching velvet stole factored into my plans of a stereotypical Russian oligarch look of winter temperaments. But the stole was dismissed in favor of the serendipity thrown my way: “I’ve got this long black velvet coat that I saw at the thrift shop ─ do you want it ?” my friend, Paula, asked me a few weeks before the date of the opera. Without a word, I nodded my head up and down in a manner that was akin to vigorously shaking a can of spray paint. Да, пожалуйста !

The long duster was a thrill beyond belief ─ each time I stepped forth, a trailing breeze would catch in the sails of the velvet. I felt like one of those guys in “The Matrix” !

Keanu Reeves in “The Matrix”

With my outfit set, all that was needed was a trademark fur hat. Often called an ushanka, I needed a more basic pillbox version of the traditional Russian winter headwear. To start, I crocheted a base hat out of black yarn and then bought 6 inches worth of faux fur at Jo-Ann Fabrics. After covering the sides and top of the hat, I still had a fraction of the fur left over. The total cost ? Around $1. Now that’s what I call a deal !

Большое спасибо, Paula !

Fur cuffed gloves and a stylish clutch completed my black-on-black ensemble that was purely по-русски.

Eugene Onegin was well worth the wait for the satisfaction of applying my new language skills. Maybe the next time I have the chance to see it, I’ll recognize even more of Pushkin’s verses while simultaneously being swept away in Tchaikovsky’s melodic score. Time to return to my studies…

До свидания !

Toi, Toi, Toi,

Mary Martha

Cast and Credits:

Eugene Onegin ─ Pyotr Ilyich Tchaikovsky (1879)
Live in HD air date: April 22, 2017

Cast:
Tatiana ─ Anna Netrebko
Eugene Onegin ─ Peter Mattei
Olga ─ Elena Maximova
Lensky ─ Alexey Dolgov
Prince Gremin ─ Štefan Kocán

Credits:
Conductor ─ Robin Ticciati
Production ─ Deborah Warner
Set Designer ─ Tom Pye
Costume Designer ─ Chloe Obolensky
Lighting Designer ─ Jean Kalman
Video Designers ─ Ian William Galloway, Finn Ross
Choreographer ─ Kim Brandstrup
Live in HD Director ─ Gary Halvorson
Host ─ Renée Fleming

L'Elisir d'Amore

Love potions and promises of love. A snookered bumpkin, a wealthy proprietress, and… a bottle of Bordeaux ? Rife with hijinks and hilarity, it’s hard not to love Donizetti’s bubbly comedy. As a part of the Met’s “Summer Encores” series, the biggest draw to this past performance of L’Elisir d’Amore was its stellar cast. And therefore, the decision to make the long trip to a distant theater to see Anna Netrebko and Matthew Polenzani perform was an easy one.

Anna Netrebko and Matthew Polenzani in L’Elisir d’Amore / Metropolitan Opera

Did I mention that L’Elisir was funny ? So hilarious was Matthew Polenzani’s “drunk” scene that I was half bent out of my seat, cackling with laughter. The sweat that poured from Nemorino’s brow as he danced around the town square with his magic “elixir of love” was enough to fill a bucket ! Surreptitiously, Matthew Polenzani dropped to the floor in an act of pleading desperation while furtively taking the moment to wipe his perspiring hands (and nearly his drenched head !) on the stationary skirt of Anna Netrebko’s lingering Adina ─ a clever improvisation. Too bad the snooty people in the theater could not see the comedy of the ruse… they barely chuckled ! Stiff crowd, but nothing could spoil my amusement.

Anna Netrebko as Adina and Matthew Polenzani as Nemorino in L’Elisir d’Amore / Metropolitan Opera

I should say that amid all the chicanery and cavorting, the opera ended in the manner in which all comedies must wrap: with a wedding and a happy outcome ! No one ever weeps by the end of a Donizetti bel canto romp.

Anna Netrebko as Adina, Mariusz Kwiecien as Belcore, and Ambrogio Maestri as Dulcamara in L’Elisir d’Amore / Metropolitan Opera

Adina, the opera’s heroine, is a wealthy landowner in the Basque region of France. In Bartlett Sher’s entertaining (and characteristically quirky) production, her attire consists of a peasant blouse, underbust corset, skirt, crop jacket with tails, and occasional top hat.

Mariusz Kwiecien as Belcore and Anna Netrebko as Adina in L’Elisir d’Amore / Metropolitan Opera

While the underbust corset and top hat were out of the question with such short notice, I felt I could pull together a knock-off look with garments I already had in my closets… and so I did ! The coral crinkle skirt has been in my mother’s closet for ages… who would have thought that it would be perfectly suitable for Adina ? And although my brown shawl can’t claim to be a crop jacket with tails, it certainly added to the coordinating color scheme of the model outfit worn in the opera.

But the real story belongs to the sashed blouse…

In 2004, my mother and I were bridesmaids in my aunt’s Colorado wedding where we wore matching peach satin skirts and ivory blouses with pearl buttons. Even as the years have passed, the two identical blouses have remained burrowed deep in our closets. Unsurprisingly, my original child’s blouse no longer fits… that is, unless I wanted to dress like Britney Spears from her “…Baby One More Time” music video.

Britney Spears in her “…Baby One More Time” music video

Maybe some other time…

For now, my mother’s blouse fits me fine and recalls to mind memories of my aunt’s autumn wedding day in Steamboat Springs. Here’s what the blouse looked like when paired with the peach skirt:

Look, 303 ! Doesn’t this bring back memories ?

A bridesmaid’s blouse worn as a costume to the opera ? That almost sounds like a crafty trick from L’Elisir d’Amore !

Toi, Toi, Toi,

Mary Martha

Cast and Credits:

L’Elisir d’Amore ─ Gaetano Donizetti (1832)
Live in HD air date: October 13, 2012
(Encore seen: June 29, 2016)

Cast:
Adina ─ Anna Netrebko
Nemorino ─ Matthew Polenzani
Belcore ─ Mariusz Kwiecien
Dulcamara ─ Ambrogio Maestri

Credits:
Conductor ─ Maurizio Benini
Production ─ Bartlett Sher
Set Designer ─ Michael Yeargan
Costume Designer ─ Catherine Zuber
Lighting Designer ─ Jennifer Tipton
Live in HD Director ─ Gary Halvorson
Host ─ Deborah Voigt

La Traviata ─ the little red dress

Everyone knows La Traviata. Whether you’re an exuberant opera fan or not, the tuneful music that sets the story of the consumptive courtesan, Violetta, is as recognizable as the Ten Commandments are to a man without Faith. From countless television commercials, to the iconic chick flick, “Pretty Woman”, it’s hardly a secret that Verdi’s 1853 hit left an indelible stamp on the opera world as well as in pop culture.

Going to the opera ─ a scene from “Pretty Woman”

Typically, I strongly prefer to experience an opera set traditionally before ever dipping my toe into the pool of a modern interpretation. But although an abstract production, I still wanted to see La Traviata when it came to theaters. Willy Decker’s stark sets and tuxedoed chorus members stripped the scenes to minimalist proportions. Languoring in a curve of the corrugated circular stage sat an enormous face clock with a latent theme. Was the intent ─ to allegorize Violetta’s time running out ─ effective ? That’s debatable. Unless previously enlightened, the concept was rather abstruse to grasp ─ at least it was for me. However, there was one upside to the bare bones production and that was the adorable little red dress worn by Violetta during the vibrancy of the opera.

Sonya Yoncheva as Violetta in Willy Decker’s La Traviata / Metropolitan Opera

Since debuting at the prestigious Salzburg Music Festival in 2005, the production’s scarlet flouncy floral brocade dress has been worn by leading sopranos around the world. From Anna Netrebko to Natalie Dessay, the pictorial research was readily available. Hitherto, my only sewing projects amounted to a yukata sewn for Madama Butterfly and a mop cap for my Hebrew slave costume for Nabucco. To take on a complex dress, I needed a real pattern. And after months of scouring and rumination, I found it !

It’s even red ! McCall’s 6834

With a full pleated skirt and the promise of Palmer and Pletsch fitting, I was elated to begin sewing McCall’s 6834 as my Traviata pattern. But obviously, some alterations needed to be made to elevate the style to the Violetta Valéry standard.

Michael Fabiano as Alfredo and Sonya Yoncheva as Violetta in La Traviata / Metropolitan Opera

First adjustment ─ the front and back neckline. My goal was a “rounded square scoop” neckline for the front and so I fiddled with whittling down the existing pattern to how I intended it to look. But I needed help, especially with the curve of the back, so I pulled out an old sleeveless dress pattern from my mother’s bulging pattern box and used its pieces for the design of the straps and necklines. So far, so good !

See & Sew by Butterick 6398 / Circa 1988

The dress was a near replica of the one worn in the opera. So uncanny was the resemblance that a nearsighted lady, slowly forging her way towards the concession stand during intermission, came close to bumping into me where she halted and gasped, “You look just like Violetta !” The greatest of all compliments was received.

Because this was my first commercial sewing pattern project, I made many mistakes. My sizing was off and goodness, the rosy polyester satin frayed terribly ! The fibers continued to shed and tickled my bare legs with every step. Carefully, I toddled around the theater in my shiny crimson pumps, allowing a twirl every now and then.

Pondering life’s toughest questions: which party to attend next and with whom ?

The evening encore outing was a moderate success, however I look forward to seeing a more traditional Traviata in the not-too-distant future. Whether in a flouncy red cocktail dress or a grand antebellum ball gown, one thing remains constant: the emotional power and beloved recognition of Verdi’s timeless opera, La Traviata.

Toi, Toi, Toi,

Mary Martha

Cast and Credits:

La Traviata ─ Giuseppe Verdi (1853)
Live in HD air date: March 11, 2017
(Encore seen: March 15, 2017)

Cast:
Violetta Valéry ─ Sonya Yoncheva
Alfredo Germont ─ Michael Fabiano
Giorgio Germont ─ Thomas Hampson

Credits:
Conductor ─ Nicola Luisotti
Production ─ Willy Decker
Set and Costume Designer ─ Wolfgang Gussmann
Associate Costume Designer ─ Susana Mendoza
Lighting Director ─ Hans Toelstede
Choreographer ─ Athol Farmer
Live in HD Director ─ Matthew Diamond
Host ─ Isabel Leonard

Adriana Lecouvreur

It has been quipped that in order to perform Adriana Lecouvreur successfully, real-life divas must be cast. Art must imitate life and despite thrilling drama and chest-heaving music, the current stock of bona fide divas is rather sparse. Therefore, Adriana Lecouvreur remains mostly on the shelf of the operatic repertoire. However, the Met assembled a perfect bill of spectacularly strong singers for the star-studded Live in HD broadcast. The heat was on !

Piotr Beczała as Maurizio and Anna Netrebko as Adriana Lecouvreur / Metropolitan Opera

Sir David McVicar’s elegant production embodied the powder and pomp of 18th century French theater. With a bust of Molière gracing the stage like a god watching and listening in silence to his progeny perform, one could almost immediately grasp the nucleus of the opera: no one is faithful to anyone in love.

A scene from Adriana Lecouvreur / Metropolitan Opera

A love triangle with deadly stakes, my brain was twisted in two trying to unravel the deception of it all. But probably the most anticipated of all the action was the impending battle between Anita Rachvelishvili and Anna Netrebko. This was to be Round 2 of the Anna vs. Anita vocal boxing match ─ the first occurring in Aida just a few months prior.
“They bit, they glared, gave blows like beams, a wind went with their paws;” to quote from the famed poem by James Leigh Hunt… I loved every moment of it !

Anita Rachvelishvili as the Princess of Bouillon, Ambrogio Maestri as Michonnet, and Anna Netrebko as Adriana Lecouvreur / Metropolitan Opera

While the plot twists and intrigue of the opera were at times difficult to untangle, my 18th century gown was anything but a chore, which surprised even me !
Using the Simplicity 4092 pattern that included pocket hoops for support of a proper silhouette (a terrific perk to Andrea Schewe’s delightful design), I made the featured gold version on the envelope (B), and began working on my Rococo-inspired gown as the very first project on my brand new Baby Lock sewing machine and serger.

Simplicity 4092 / Designed by Andrea Schewe

But the real secret to such a regal gown without breaking the bank on luxurious silks and brocades is that I used extra wide width polyester curtain fabric, which significantly cut down on the costs of materials. (Can someone say, “Scarlett O’Hara” ?) According to the pattern instructions, the gown called for close to 5 yards of fabric. However, with the 3+ meter width of the green and gold floral damask upholstery material I used, I only needed to purchase 2 yards (2 yards @ 120 inches wide ≈ 6 yards) in addition to 1 yard of a contrasting cream material for the stomacher and underskirt. Instead of spending over $100 on standard width material (54-60″), I rounded my totals to just under $33, minus the shipping costs ─ what a steal !

Fabric used for the bodice and overskirt

Fabric used for the stomacher and underskirt

My alterations were few: I lowered the neckline slightly in order to achieve the peeking bosom look of the era as well as slimming down the sleeves to fit more snugly. Bows were a must and frilly trims, too. But the bow pattern that was included in the packet was much too “cartoonish” in its original format for my taste, so I reworked those to better suit the width of the front stomacher. They were so cute !

And check out the pocket hoops ! Although not as wide as traditional panniers, they provided just the right “oompf” to the pleated skirts of the gown.

Perfectly fashioned in the 18th century style, my mother had the task of arranging my hair. Didn’t she do a great job ? It reminded me of Belle from the ballroom scene in “Beauty and the Beast”.

This was a fabulous gown worn to an equally glamorous opera with captivating historical backstories ! Marie Antoinette would’ve been proud.

Toi, Toi, Toi,

Mary Martha

Cast and Credits:

Adriana Lecouvreur ─ Francisco Cilea (1902)
Live in HD air date: January 12, 2019

Cast:
Adriana Lecouvreur ─ Anna Netrebko
Maurizio ─ Piotr Beczała
Princess of Bouillon ─ Anita Rachvelishvili
Michonnet ─ Ambrogio Maestri
The Abbé ─ Carlo Bosi
Prince of Bouillon ─ Maurizio Muraro

Credits:
Conductor ─ Gianandrea Noseda
Production ─ Sir David McVicar
Set Designer ─ Charles Edwards
Costume Designer ─ Brigitte Reiffenstuel
Lighting Designer ─ Adam Silverman
Choreographer ─ Andrew George
Associate Director ─ Justin Way
Live in HD Director ─ Gary Halvorson
Host ─ Matthew Polenzani

Aida

Aida is a grand opera. There are horses. There are ballet numbers. There are massive sets and ornate costumes. And what could be grander than having Anna Netrebko headline the Met’s 2018-2019 Live in HD season opener ?

A scene from Verdi’s Aida / Metropolitan Opera

I’ll be the first one to admit that Aida has never interested me. Whether it be the mercilessly hot desert locale of Egypt or the tension of two women fighting over one man (I infinitely prefer two disparate, but equally impassioned, suitors sparring over one fair maiden in my ideal operatic amorous affair), the opera has never been a very important “must see” for me except for its fame alone.

But this was Anna Netrebko’s Met role debut as Aida… how was I to miss that ????

Anna Netrebko as Aida / Metropolitan Opera

We all knew that Netrebko would be lauded as the star of this opera. More surprisingly, she had arguably one of the toughest battles of her career up against her mezzo-soprano rival, Anita Rachvelishvili’s fearsome Amneris. Hailing from Georgia (and I don’t mean the state), Rachvelishvili prowled the stage like a lioness eyeing her prey. Gripped and enraged, her stentorian voice roared during the showdown scene with Netrebko upon learning of her slave’s concealed love for the warrior, Radamès. I ate it up like a meaty dish of stew, salivating for more. It was the highlight of the opera for me.

Anna Netrebko as Aida and Anita Rachvelishvili as Amneris / Metropolitan Opera

The opera fizzled to a slow burn after the early fireworks between Netrebko and Rachvelishvili. Was my opinion changed after seeing Aida for myself ? Not particularly. Oh, well… There is a possibility of my future attendance, but only if Anna and Anita are cast in the starring roles ! Another toe-to-toe contest of prodigious prowess would be worth the sullen bore of the plot.

Anna Netrebko and Anita Rachvelishvili in Aida / Metropolitan Opera

Due to a previous project which swallowed up my sewing schedule unexpectedly (ahem, Dalila), I had under a month to conceive, curate, and craft my costume for Aida. I doubt I’ll ever do that again. Since the Met’s production has been around for over 30 years, the pictorial research wasn’t difficult. While the obvious choice would have been to masquerade as the titular Ethiopian slave/princess, I was more drawn to her glitzy Egyptian rival, Amneris, and began my work on mimicking the character’s garb, almost as if I was to be her doppelgänger.

Anita Rachvelishvili as Amneris in Aida / Metropolitan Opera

The outfit came together in the nick of time and was a fun way to immerse myself in the ancient Egyptian culture. Though I based my costume off of pictures from the opera, I still engaged in my usual research for historically-based operas.

The lamé cape was my favorite part… as well as the patrons of the theater ! I was repeatedly asked to spread its golden folds to reveal its full glamour.

Later in the month, I wore this same costume for Halloween as it was perfectly acceptable for Cleopatra. While the flocks and droves easily recognized me as the most famous Queen of the Nile, I wonder how many of them knew of the other great Egyptian Royal… the one in Verdi’s grand opera… Amneris !

Toi, Toi, Toi,

Mary Martha

Curious about how I crafted my Egyptian ensemble in such a hasty dash ? Read my tutorial post detailing the creation of my lookalike costume ! http://costumeclosetcouture.com/2020/06/16/amneris-%e2%94%80-from-broadcloth-to-egyptian-glamour-in-under-a-month/

Cast and Credits:

Aida ─ Giuseppe Verdi (1871)
Live in HD air date: October 6, 2018

Cast:
Aida ─ Anna Netrebko
Amneris ─ Anita Rachvelishvili
Radamès ─ Aleksandrs Antonenko
Amonasro ─ Quinn Kelsey
Ramfis ─ Dmitry Belosselskiy
The King ─ Ryan Speedo Green

Credits:
Conductor ─ Nicola Luisotti
Production ─ Sonja Frisell
Set Designer ─ Gianni Quaranta
Costume Designer ─ Dada Saligeri
Lighting Designer ─ Gil Wechsler
Choreographer ─ Alexei Ratmansky
Live in HD Director ─ Gary Halvorson
Host ─ Isabel Leonard