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

“The Sound of Music” Easter Dress

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.

“The Sound of Music” movie poster (1965)

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.

Julie Andrews in “The Sound of Music”

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.

Honeycomb smocking at the neckline

“The Sound of Music,” sewing, and Easter… “These are a few of my favorite things.”

Happy Easter !

Toi, Toi, Toi,

Mary Martha

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.”

The Magic Flute

Mozart’s last opera also happens to be my favorite ─ similar to the way Puccini’s posthumous Turandot holds a dear place in my heart. In this abridged English adaptation of Die Zauberflöte, the German originator, the Met’s annual encore of The Magic Flute provides a holiday tradition that has become a classic on its own. Interestingly, The Magic Flute was the opera that spawned the Metropolitan Opera’s Live in HD series in December 2006. Having known this for years, it’s always been on my to-do list to attend one of the yearly December rebroadcasts, not only for the singing and story, but for curiosity’s sake as well… “What was the first Live in HD performance like back then,” I’ve wondered.
Because of scheduling conflicts or the inevitable “Christmas burnout”, my intended trip to The Magic Flute has never occurred… until now !

Ying Huang as Pamina and René Pape as Sarastro in The Magic Flute / Metropolitan Opera

Was the experience worth the hype ? Absolutely ! Not only did I feel like I was witnessing history, but it was also notable to see how young singers, like Matthew Polenzani, have improved in their vocal skills since 2006. Even the video production format has evolved: no welcoming host to preview the opera behind the curtain, no intermission interviews with the singers (The Magic Flute has been shortened to exclude intermissions), and limited backstage peeks in the inaugural telecast. Goodness, how the movie theater audiences are spoiled nowadays…!

Matthew Polenzani as Tamino in The Magic Flute / Metropolitan Opera

One element that felt familiar was Julie Taymor’s extant production, filled with imaginative sets and costumes. Whether a fan of opera or not, the visual and textural stimulation of the mystical world manufactured by the same creator as The Lion King on Broadway is scintillating enough to hold the interest of the least enthused.

Nathan Gunn as Papageno in a scene from Julie Taymor’s production of The Magic Flute / Metropolitan Opera

Just as The Magic Flute is a seasonal tradition at the Met, so I wished for my attire to grasp that same nostalgic feel, but with some updated tweaks. With only a few days notice, I wanted to theme a “modern retro” look that would scream “Holiday !”

And so, I hurried to my closets…

The button waist yoke dress, an original 1980’s garment from my mother’s closet, was the perfect teal green color to set off the beautiful brooch and earring set that I bought at an estate sale recently. Also coincidentally coordinating was the red felt hat, bedecked with green, red, and brown speckled feathers. Because my dear “adopted” Grandma could no longer make use of the pillbox, she passed it on to me. My gratitude knows no bounds.

The black gloves are some of my favorites with the sheer ruffle alongside the wrist and side seams. And those red stilettos ? I adore them ! They’ve traipsed the floors of many operas: Traviata, Rosenkavalier, Traviata again, etc.

Most likely, you’re probably thinking that I look like I stepped straight out of the 1940’s, right ? “So what’s modern about this ‘modern retro’ outfit ?” you might ask… Frankly, the fishnets ! From the front they seem tame, but the backs are are another story with racy lace climbing up my calves and hamstrings. I doubt the women of yesteryear would have worn something so daring… unless your name happened to be Ava Gardner or Rita Hayworth.

Red and green were never lovelier together… Almost as lovely as Mozart and the Met at Christmastime.

Toi, Toi, Toi,

Mary Martha

Cast and Credits:

The Magic Flute ─ Wolfgang Amadeus Mozart (1791)
Original Live in HD air date: December 30, 2006
(Encore seen December 7, 2019)

Cast:
Tamino ─ Matthew Polenzani
Pamina ─ Ying Huang
Papageno ─ Nathan Gunn
Sarastro ─ René Pape
Queen of the Night ─ Erika Miklósa
Speaker ─ David Pittsinger

Credits:
Conductor ─ James Levine
Production ─ Julie Taymor
Set Designer ─ George Tsypin
Costume Designer ─ Julie Taymor
Lighting Designer ─ Donald Holder
Puppet Designers ─ Julie Taymor, Michael Curry
Choreographer ─ Mark Dendy
English Adaption ─ J.D. McClatchy
Live in HD Director ─ Gary Halvorson