Verdi’s Don Carlos offers audiences a gripping spectacle of grand opera. With the backdrop of the 16th century Spanish court during the Inquisition, the pallor of death reigns over the piece with dark drama eking out from every crevice. Furthermore, the interpersonal relationships and the conflict between duty, love, and country offer opportunities for theatrical greatness. Uniquely, this occasion marked the first time in the Met’s history that the original five act French version of the opera was performed. It was nearly five hours long.
Despite the long chair time, the opera carried enough interest to render it worthwhile. Each of the six principal characters was involved in a dynamic plot twist that was heightened by the thunderous orchestra and clever camera angles. The new production by David McVicar, whose work is admired by both traditionalists and innovators, was both edgy and elegant. Picking a favorite moment was tough. However, the end scene where Carlos perishes and the departed Rodrigue steps out of heavenly white light to lay his beloved friend to rest took my breath away. Well done !
Don Carlos may have been a marathon, but the creation of my costume was not. In fact, it carried a moniker relating to its rapidity: “Two Week Tudor.” Immediately following the last opera, I began sewing my outfit for the next performance in two weeks.
Choosing a pattern that was simple and effective was vital for the time crunch ─ since I was familiar with Andrea Schewe’s Simplicity Tudor pattern (it had been at the forefront of my preparations for Maria Stuarda that was to take place in May 2020), I turned to the out-of-print pattern for a quick fix. With little time to sew fussy, intricate pieces, I opted for View B on the pattern envelope.
Historical accuracy was not important as Brigitte Reiffenstuel’s Met costumes blended the semblance of the period with modern features, such as puff sleeves, shawl collars, and wrist cuffs…
During the cutting process of the main fabric, it became painfully obvious that there was not enough material to cut the entire dress. With the same material out of stock for the foreseeable future, I needed an alternate plan. Think, think, think ! And then, a lightbulb─ several years ago, I was given a bolt of upholstery fabric from my friends at the quilt shop, which I willingly accepted. My mother balked; taking others’ “stuff” to store at home is not one of my better habits. But something inside me knew that there would come a time of need for this autumnal printed bolt of fabric. Sure enough, there was.
Fortunately, I had a farthingale (hoopskirt) already made from my anticipation of Maria Stuarda. However, in my inexperience with sewing hoopskirts at the time, I foolishly used ½” wide steel hooping instead of a lighter weight ¼” hoop. Add into consideration the 12+ yards of material for the dress and then imagine sitting in a boxy movie theater seat for five hours while wearing it all. Shockingly, the entire dress, underskirt, and heavy hoopskirt only weighed around 8lbs.
With lots of gold jewelry and rings, I was suited up for the spectacle of the opera…
As serendipitous as the bolt of upholstery fabric was to the project, I was even more surprised by my mother’s reaction. The shape of the silhouette overlaid with the copious folds of woodsy fabric made her proclaim that it was the most beautiful dress I’ve ever made. Who would have guessed that something created out of necessity could have turned out so well ? As for the material that was set aside due to insufficient yardage, I have plans to revive it for the Italian version of Don Carlos in November. Hopefully, that performance won’t be quite as lengthy.
Toi, Toi, Toi,
Cast and Credits
Don Carlos ─ Giuseppe Verdi (1867)
Live in HD air date: March 26, 2022
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
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