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

An Ode to the Don (Giovanni, that is)

Devilish and cunning, the rakish Don Giovanni swept into town.
His words beguiling and gestures disarming, his reputation carried more than a frown.
And now with his fellow, by name, Leporello, he made his latest attempt.
For poor Donna Anna, betrothed to Don Ottavio, could offer only contempt.
It was her elderly father of nobility’s blood that came to her rescue at once,
But “too little, too late” was the defense and at sword’s jab the man fell like a dunce.

Simon Keenlyside as Don Giovanni and Hibla Gerzmava as Donna Anna / Metropolitan Opera

With conquests left to behold, the Don ran after the rustling skirt.
If only he knew that the scorned Elvira would turn his life into trodden dirt;
A crusade and mission urged her on and from town to town she flew,
Warning the women (and most likely victims) of what they unknowingly knew.
From peasant to princess, no one was safe from Giovanni’s philandering curse.
Now to the banquet of happiest couple, shouldn’t I try to keep this terse ?

Simon Keenlyside and Malin Byström in Don Giovanni / Metropolitan Opera

Zerlina succumbed; Masetto enraged, he gathered together a mob,
To pluck from the earth the sly and brazen cad of unholy, calamitous job.
Backed in a corner, his person in peril, the man of misbehavior in doubt;
He swapped into clothes of his hapless friend (turned foe) and escaped without a shout.
His pursuits still vulgar, his actions unchanged, could the villain ever be stopped ?
A walk in the graveyard, perhaps the evening repast, could render the charges be dropped.

Serena Malfi as Zerlina and Matthew Rose as Masetto in Don Giovanni / Metropolitan Opera

Remember the man, called “Commendatore”, who departed with last breath spent ?
His ghost revived in chiseled stone with the dire last call of “Repent !”
But the obstinate rake refused to relinquish his grips on feminine flesh,
With no other choice, the floors agape, the hellish flames swallowed his body afresh.
The vermin extinguished, the story could end, but here’s the final sitch ─
When Mozart’s to blame, one should expect a lesson for both the poor and rich.

Kwangchul Youn as the Commendatore, Simon Keenlyside as Don Giovanni, and Adam Plachetka as Leporello / Metropolitan Opera

What should I wear, I asked myself, to an opera of class shown about ?
For distinctions are clear between master and slave, the truest of nobles and the notable lout.
Mozart’s maidens are timeless and fair regardless of rank or style of their hair;
From Anna, Elvira (both Donnas, you see), to lowly Zerlina, her dress with a tear.
Baffled and miffed, I wrestled with such: for whom to portray, which one of the doves ?
A closet of merit should cater to all, but given the choice, pass me the gloves !

A lady who’s worth her virtue at all must harbor her secrets from the presence of all,
But since I’ve managed to rhyme thus far, why not divulge both big and small ?
The golden tank of consignment birth, resurfaced from outings of drawer-bound dearth;
Yes, it’s true how much it is used, from Indian sari to Desdemona’s innocent mirth.
Demure was the purse, deluxe the skirt (whose waist was pinned after a bout of torque),
And best of all, this I confess, a velvet shawl from the Port Authority in New York.

What are those dots, which catch the eye, and bring to sight a glimmering shine ?
To keep at bay the disheveling wind, a thought ─ an act ─ must supplant the crowning line.
When a lady needs to look her best, she never leaves home with her hair in a mess;
Aristocracy gave need for address, for women of rank needn’t accept anything less.
And now with my hooks and needles aflight, a snood I fashioned with all of my might─
Yarn of alpaca to match the hue of my hair and beads of pearl knotted on tight.

Prim and proper, my hair was corralled like a breath-beaten filly who’s had it with crowds.
Accented with jewelry and earrings of gold (and let’s not forget the gloves of renown),
The outfit was ready to make its debut for all of them who bought tickets to view,
The opera, a gem for Mozart’s raptly devote, which escapes the feelings of only a few;
It’s part of that limited group to which I submit: with Mozart, I’m often not “over the moon”,
But the Don was persuasive, unscrupulous, too; no lady immune: all I could do was swoon !

Toi, Toi, Toi,

Mary Martha

Cast and Credits:

Don Giovanni ─ Wolfgang Amadeus Mozart (1787)
Live in HD air date: October 22, 2016

Cast:
Donna Anna ─ Hibla Gerzmava
Donna Elvira ─ Malin Byström
Zerlina ─ Serena Malfi
Don Ottavio ─ Paul Appleby
Don Giovanni ─ Simon Keenlyside
Leoporello ─ Adam Plachetka
Masetto ─ Matthew Rose
The Commendatore ─ Kwangchul Youn

Credits:
Conductor ─ Fabio Luisi
Production ─ Michael Grandage
Set and Costume Designer ─ Christopher Oram
Lighting Designer ─ Paule Constable
Choreographer ─ Ben Wright
Live in HD Director ─ Matthew Diamond
Host ─ Joyce DiDonato