Madama Butterfly: East Meets West

It is already known how Madama Butterfly played a significant role in my life. In 2016, I taught myself to sew as I was preparing for my first outing to Puccini’s immortal tragedy. Because of that climatic moment, I hold a great reverence and affection for the opera.

My first sewing project ever ─ an authentic kimono for Madama Butterfly ─ in 2016

This particular Live in HD Butterfly was probably the best iteration I’ve seen. Much of the weight of that statement is credited to Asmik Grigorian, the Lithuanian soprano with a vast voice, making her long-awaited Met debut. Although I didn’t feel she had the prettiest voice, her acting had me believing that I was Butterfly. When the character was scared, I was scared. During her moments of wild hope, my skin tingled. Vulnerability and despair coalesced into a perfect portrayal. Brava !

Lucas Meacham, Jonathan Tetelman, and Asmik Grigorian in Madama Butterfly / Metropolitan Opera

Japanese garments being the central focus of Madama Butterfly, my goal for my third time seeing the opera in theaters was to embrace a more modern, accessible approach to costuming by creating something that could be described as “East Meets West”. For this, I turned to Folkwear Patterns and their 129 Japanese Hapi and Haori pattern.

129 Japanese Hapi and Haori ─ Folkwear Patterns

While the authentic appeal of the lined haori attracted me, my practical reasoning knew that dealing with the hanging furisode sleeves would be a nuisance in the long run. The hapi it was !

Choosing the fabric was fun. At first, I looked for old bolts of kimono fabric on eBay, but wasn’t thrilled with the prices or inadequate yardage. Quilting cottons were suggested for the hapi so I checked around on my usual fabric sites. Searching through beautiful prints on Style Maker Fabrics, I found my fabric: a vibrant butterfly print on a teal background. Even more serendipitous, it was made in Japan !

To set off the busy material, I chose a diminutive turquoise cotton from my local quilt shop to serve as the neckband fabric. A striking contrast, don’t you think ?

Designed to be worn over western clothing, the hapi was a stylish topper over a persimmon colored camisole and wide-legged pants, the latter of which was sewn from a beige silk noil. So earthy, so luxe !
To make the pants, I used the Harlow Pajamas pattern, which I first sewed for the Kurzak/Alagna Met concert.

Wearing a cross necklace was indicative of Butterfly’s conversion to Christianity before her marriage to Pinkerton. Thank you, Faith !

Carefully, I threaded my handmade kanzashi hair stick (original to my 2016 outfit) into the chic geisha bun my mother styled for me. Why don’t we wear these more often ?!

Those straight cut, modest sleeves were not a problem at all !

And look at how cute this purse is ! Bought at Cracker Barrel, my mother gave it to me for Easter. Little did she know it would be flying off to Butterfly with me.

Now that the 2023-2024 Live in HD season has wrapped, I can breathe a bit and begin to work on projects for next season, which promises to be a delight. See you there !

Toi, Toi, Toi,

Mary Martha

Cast and Credits:

Madama Butterfly ─ Giacomo Puccini (1904)
Live in HD air date: May 11, 2024

Cast:
Cio-Cio-San ─ Asmik Grigorian
Pinkerton ─ Jonathan Tetelman
Suzuki ─ Elizabeth DeShong
Sharpless ─ Lucas Meacham

Credits:
Conductor ─ Xian Zhang
Production ─ Anthony Minghella
Director and Choreographer ─ Carolyn Choa
Set Designer ─ Michael Levine
Costume Designer ─ Han Feng
Lighting Designer ─ Peter Mumford
Puppetry ─ Blind Summit Theatre
Revival Stage Director ─ Paula Williams
Live in HD Director ─ Gary Halvorson
Host ─ Anthony Roth Costanzo

La Rondine

I was first introduced to Puccini’s operetta, La Rondine, as part of the Met’s free nightly streams during Covid. The stars were Angela Gheorghiu and Roberto Alagna. Notoriously, the performance marked one of their last engagements before their infamous divorce proceedings in 2009. Remembering how captivated I was by the glittering sets, jaw-dropping costumes, and the soapy heartache I endured as the final scene played out made my most recent trip to the theater a much anticipated one.

Roberto Alagna and Angela Gheorghiu in La Rondine / Metropolitan Opera (2009)

A due share of my attraction to La Rondine is the theme of true love over riches and fame. As a courtesan, the disguised Magda cannot forgive herself when Ruggero wishes to marry her at the end of the opera. She has deceived him about her identity and virtue and cannot continue her lie into marriage and motherhood. In the 2009 performance, the breakup ripped my heart out. But due to a lack of chemistry between the two leads in the 2024 revival, I missed out on the emotional catharsis I was so eagerly expecting. For an operetta whose entire success depends on the strength of chemistry between the leading lovers, I was left unmoved and unsatisfied.

Jonathan Tetelman as Ruggero and Angel Blue as Magda in La Rondine / Metropolitan Opera

Rondine represented an opportunity for me to sew an artsy dress from the 1920’s, which stoked my creativity like an open flame. Looking through different designs of patterns with geometric influences, I aimed to have something similar in my dress that would be appropriate for the Art Deco era. A vintage construct from Lekala fit the bill.

Lekala 1920’s dress pattern

What made this pattern one of interest were the simple, yet striking, details. Having previously struggled with bias cuts of fabric and worse, sewing blocks together at inverted angles, I was a bit intimidated to tackle another slippery nightmare. The sparse instructions didn’t help. However, I was wholly surprised to find that the pattern came together so quickly and so easily.

The pictures don’t do this fabric justice ! I used a rayon/nylon shimmer satin from designer Maggy London in a dusty grape/mauve color. As with most of my fabric purchases, I bought this beauty from Fabric Mart Fabrics.

Confession: I don’t always accurately estimate the amount of fabric I need for each project. Such was the case with this dress. Therefore, I had to piece the lower back portions together and finished the new back seam (and side seams) with French seams. Piecing is period correct, correct ?

My mother was proud of her hairstyle for this one and I loved it. So elegant !

In order to make my flapper headband, I went to Joann Fabrics and found some odds and ends that seemed suitable: black sequin elastic on clearance, a brooch for $3.50, and plumage in the floral section. Shockingly, the headband only took me 10 minutes to fashion and that includes warming up the hot glue gun.

What’s a lady of the house to do without her strings of pearls ?! Accessorizing with lustrous orbs can never be out of vogue.

It truly is a pity that the operetta seen in theaters was without its springing passion. While many denounce La Rondine as being far from Puccini’s best work, it is filled with splendid music that aches for the true, soul love wealth cannot bring.

Toi, Toi, Toi,

Mary Martha

Casts and Credits

La Rondine ─ Giacomo Puccini (1917)
Live in HD air date: April 20, 2024

Cast:
Magda ─ Angel Blue
Ruggero ─ Jonathan Tetelman
Lisette ─ Emily Pogorelc
Prunier ─ Bekhzod Davronov
Rambaldo ─ Alfred Walker

Credits:
Conductor ─ Speranza Scappucci
Production ─ Nicolas Joël
Set Designer ─ Ezio Frigerio
Costume Designer ─ Franca Squarciapino
Lighting Designer ─ Duane Schuler
Live in HD Director ─ Gary Halvorson
Host ─ Julia Bullock

Roméo et Juliette

Often billed as “the world’s greatest love story,” there was no question whether or not I would see Roméo et Juliette, Gounod’s French iteration of the Shakespeare classic, when it came into the theaters. As the curtain rose to the sounds of a mighty orchestra and hallowed chorus, I couldn’t help but feel that this opera was going to be golden.

Benjamin Bernheim and Nadine Sierra in Roméo et Juliette / Metropolitan Opera

Much of the greatness in the performance came from the pairing of the leads. Nadine Sierra and Benjamin Bernheim were a seamless match as the tragic couple with the latter having a glib command of his native language. Their love passages dripped like honey and their easy chemistry was undeniable. It’s too bad that the Met’s satellites were plagued by inclement weather in NYC. The interruptions in the live transmission caused our local theater to miss the pivotal, romantic moments, like Juliette’s first look at Roméo and much of the wedding scene. What a pity !

The wedding scene from Roméo et Juliette / Metropolitan Opera

Bartlett Sher’s current production of Roméo et Juliette mostly keeps with tradition while adding extravagance and taking modest artistic liberties. Despite the production moving the story to the 18th century, I was set on creating something that was more in line with the Renaissance styles of the original “Romeo and Juliet” without becoming too fussy or historically accurate. Without searching for it, I stumbled across the perfect pattern on Etsy.

The lacy neckline of View B (center on the envelope) screamed out as my opera dress. Gold it had to be, not only because of the comparison to Juliette’s Act I gown in the Sher production, but also for its representation of sunny Verona.

Surprisingly, the pattern came together quickly and was a simple sew, but gosh, that waistline was high !

The sleeves were a standout feature of the gown with elasticated bands separating the upper puffs from the lower bells.

My mother took pride in styling my hair, twisting it into whimsical braids. I loved it !

While my mother enjoys living out her hairdresser aspirations in styling my hair for the opera, she’s not always enthused about my costume creations. In fact, she gave Juliette’s gold satin gown the kiss of death by saying that it ranked “up there with the Russian one.” The blunt remark caused me to burst into peals of laughter.

Although I wasn’t crazy about the unnaturally high waistline, this dress gave me all the feelings of a dreamy Renaissance maiden, just like Juliette.

And now, Opie’s ready for his close up ! Juliette had to have been a cat lover, right ?

Toi, Toi, Toi,

Mary Martha

Cast and Credits:

Roméo et Juliette ─ Charles Gounod (1867)
Live in HD air date: March 23, 2024

Cast:
Juliette ─ Nadine Sierra
Roméo ─ Benjamin Bernheim
Stéphano ─ Samantha Hankey
Tybalt ─ Frederick Ballentine
Mercutio ─ Will Liverman
Frère Laurent ─ Alfred Walker

Credits:
Conductor ─ Yannick Nézet-Séguin
Production ─ Bartlett Sher
Set Designer ─ Michael Yeargan
Costume Designer ─ Catherine Zuber
Lighting Designer ─ Jennifer Tipton
Choreographer ─ Chase Brock
Fight Director ─ B.H. Barry
Live in HD Director ─ Gary Halvorson
Host ─ Ryan Speedo Green

Revved Up Carmen

As a welcome reprieve from my hectic work life, I walked into the Met’s new Carmen with a mind weighted in skepticism while simultaneously struggling to maintain its openness. Modern productions are not my cup of tea. Revolting staging or not, one thing would be certain: the music would be terrific ! Here, I was delighted. Aigul Akhmetshina, the star out of nowhere, wowed me from the first note of her Habanera, albeit was marred by the hideous chain link fencing that first obscured her from view.

Aigul Akhmetshina in a scene from Carmen ─ Metropolitan Opera

I didn’t hate the new production, which was set in a southern Texas border town replete with cowboys and contraband, but it didn’t resonate with me the way that the directors would have hoped. Some parts felt conceivable, like Escamillo’s spin as a rodeo champion, while others were contrived. Instead of in a cigarette factory, the girls in Act I worked for a weapons manufacturer, wearing pink uniforms. That was lost on me.

Kyle Ketelsen as Escamillo / Metropolitan Opera

A scene from Act I of Carmen / Metropolitan Opera

I’ve already pontificated about how the Met’s new, modern direction has mostly converted costume designers into professional shoppers (seriously─ all the clothes I saw in Carmen could be bought from Amazon or Goodwill), but it does allow me to create ready to wear garments for my regular wardrobe… or use pieces from my closet ! All of the clothes that I wore for Carmen were either created for other events or bought years ago at a consignment shop. Since cars and trucks were a focal point in Carrie Cracknell’s production, what could be a better photo backdrop than the cars and trucks in my own driveway ?

I wore the pleather pants I had sewn for the 2021 Wagnerians concert and the red scalloped lace bolero that was to resemble Lucia‘s “blood” back in 2022. Both were equally suitable for an edgy, “revved up” Carmen.

A metallic cylinder necklace, which was used in my Queen of the Night outfit for Die Zauberflöte, coincidentally mirrored the tubular LED lights that represented fast-passing highway lights in the production. How cool is that ?!

A scene from Carmen / Metropolitan Opera

Despite my ignorance of vehicular matters (I don’t drive), I enjoyed the assembly of automobiles used in the opera. That red Jaguar was saucy !

Kyle Ketelsen as Escamillo / Metropolitan Opera

But I had to settle for a white Chevy pickup truck instead.

Although I was amused by the updated landscape of the new production, I missed the glamour and languid luxury of a more traditional, Sevillian setting. All of these contemporary productions are starting to look the same: chain link fences, barbed wire, Walmart clothes, freakish facial tattoos, the unbathed masses… Hopefully there will one day be a reversal of trends and a renewed appreciation for art as beauty. Opera is too fine to be smothered in exhaust fumes.

Toi, Toi, Toi,

Mary Martha

Cast and Credits:

Carmen ─ Georges Bizet (1875)
Live in HD air date: January 27, 2024

Cast:
Carmen ─ Aigul Akhmetshina
Don José ─ Piotr Beczała
Micaëla ─ Angel Blue
Escamillo ─ Kyle Ketelsen

Credits:
Conductor ─ Daniele Rustioni
Production ─ Carrie Cracknell
Set Designer ─ Michael Levine
Costume Designer ─ Tom Scutt
Lighting Designer ─ Guy Hoare
Projection Designer ─ rocafilm/Roland Hovarth
Choreographer ─ Ann Yee
Live in HD Director ─ Gary Halvorson
Host ─ Matthew Polenzani

Die Zany Zauberflöte

After my rather scathing, soporific remarks about Mozart, I must attempt to redeem myself in the eyes of my esteemed readers and genuinely declare that Die Zauberflöte is my favorite Mozart opera. Never (okay, rarely) do I feel sleepy while listening to the composer’s final opera nor do I wish for an hour to be erased from its duration. It endlessly enchants. More importantly, I revere the values of virtue and their role as a precursor to love and friendship in the opera.

A scene from Die Zauberflöte / Metropolitan Opera

Quirky and inventive, Simon McBurney’s new production was a conceptual magnum opus. The real-time visual artist providing the backdrop for the stage and the foley artist creating sounds that I thought I could only hear in movies were fascinating. Additionally, the emphasized use of the opera house and the raised orchestra pit made for charismatic camaraderie between the singers, orchestra members, and the audience.

A scene from Die Zauberflöte / Metropolitan Opera

With so many varied devices employed to bombard the senses with stimulation, it was easy to forget about one thing: the music. By the end of the first act, I was mentally exhausted from trying to keep up with whatever clever ruse was occurring on stage at any moment that I had to make an arduous effort to listen for my favored melodies.

When ruminating over what I experienced, I’m glad I witnessed the new production as I’ve never seen anything like it in all my life. However, I don’t think I would have the same reaction a second time. It’s like opening a gift; the magic happens only once.

Thomas Oliemans as Papageno with Ruth Sullivan, the foley artist / Metropolitan Opera

Following on the heels of the modern street wear Don Giovanni, the new production of Die Zauberflöte was even more ambiguous as to the style of costumes. “Was there even a costume designer ?” I mused as I consulted the cast sheet. Track suits, business suits, tattered sequins, and quilted vests that looked like they belonged to a careless auto mechanic were the fare of the day. My only possibility for something decent came from the promotional still published by the Met.

Lawrence Brownlee as Tamino and Erin Morely as Pamina in Die Zauberflöte / Metropolitan Opera

The white shirtdress used to represent Pamina’s innocence piqued my interest as I could easily work the finished dress into my wardrobe after the opera. Indie patterns were not suitable to my tastes. Instead, I sought after patterns that had timeless style and settled on B6576, a Butterick release from 1993.

A crisp white stretch shirting from Julie’s Picks swatch club was just right for the application. And although my mother couldn’t think of me as anything other than a nurse while wearing this dress, I was pleased with how the details took shape even in monochromatic tones.

While the finished garment would have looked stunning with a wide leather belt, I couldn’t find one to fit my parameters and chose to use the sash pattern from my previous shirtdress as a substitute. Minimalist styling may have been used for Pamina in the opera, but I needed my pearls to accessorize !

My beaded clutch with the abstract rays of a sun was a nod to Sarastro and his realm of enlightenment.

The opera and its production were zany, but even I could not escape my own trial of mischief at home.

That’s Opie (or as we often say, “Dennis the Menace”) inserting himself into every photo he could. Who’s even looking at the pretty white bow in my hair or the rolled cuffs of the sleeves ?!

Between the two of us, he was by far the more photogenic and a natural for the camera. A Met debut may be in his future.

Beauty and Wisdom were the triumphs of the day in what was a stupendous way to cap off the 2022-2023 Live in HD season. Now, it’s time for rest. And of course, preparing for the next opera season.

Toi, Toi, Toi,

Mary Martha

Cast and Credits

Die Zauberflöte ─ Wolfgang Amadeus Mozart (1791)
Live in HD air date: June 3, 2023

Cast:
Pamina ─ Erin Morely
Queen of the Night ─ Kathryn Lewek
Tamino ─ Lawrence Brownlee
Monostatos ─ Brenton Ryan
Papageno ─ Thomas Oliemans
Speaker ─ Harold Wilson
Sarastro ─ Stephen Milling

Credits:
Conductor ─ Nathalie Stutzmann
Production and Choreography ─ Simon McBurney
Set Designer ─ Michael Levine
Costume Designer ─ Nicky Gillibrand
Lighting Designer ─ Jean Kalman
Projection Designer ─ Finn Ross
Sound Designer ─ Gareth Fry
Live in HD Director ─ Gary Halvorson
Host ─ Ben Bliss

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

Fedora, Princess Fedora

A Russian princess, a murdered fiancé, fatal misunderstanding, poison… count me in ! As a rarely performed verismo piece in the opera repertoire, how was I to pass up my chance to see such a tempestuous treat as Fedora ?! While Umberto Giordano may not be as well-known a composer as Verdi or Puccini, his glorious melodies were worthy of all the passion and praise heaped onto his compatriots.

Sonya Yoncheva in a promotional photo for David McVicar’s new production of Fedora / Metropolitan Opera

Once again, the Met’s new Fedora was a David McVicar production, which initially evoked a stifled yawn from me. Lately, his productions have been starting to look the same and I was in no humor for a repeat. Surprisingly kept traditional and set in the early 1880’s, the sets and costumes (and jewels !) were over the top in opulence, especially Brigitte Reiffenstuel’s gowns with their copious displays of bustled satin skirts and cuirasse bodices. Boredom ? What boredom ?!

A scene from Fedora / Metropolitan Opera

The singers themselves were fine; Sonya Yoncheva and Piotr Beczała were a verismo power couple with comedic blips from Rosa Feola and Lucas Meacham. But while the visual glamours and vocal displays were enlivening, my favorite part of the performance occurred during one of Giordano’s masterful orchestral interludes when Fedora reunited and danced with her deceased “ghost” fiancé in her Parisian apartment. Perhaps that was a theatrical invention on McVicar’s part, but the powerful combination of tender passion and heartrending music gave me trouble in preventing sooty tears from streaming down my cheek. Enchanting !!

Piotr Beczała as Loris Ipanoff and Sonya Yoncheva as Fedora / Metropolitan Opera

“The name’s Fedora… Princess Fedora.” I have my dear friend, Faith, to thank for the inspiration for my outfit. A few years ago on my birthday, Faith gifted me with the most gorgeous beaded rhinestone appliqué belt. My eyes were dazzled at its sight and the thoughts of rich ball gowns waltzed through my head. Unfortunately, many metal-plated settings tarnish to pewter with no auxiliary assistance and so in order to not be disappointed by a lackluster embellishment, I let the belt sit unattended for over two years to “test” its mettle (and metal ─ ha !). The result was encouraging; not a single change came to its patina during its prescribed indolence. Its time to shine was now.

Because the gown on which I was to use the belt was to be a tribute of thanks to Faith, it had to be royal blue, no question ! Faith’s favorite color is blue. The satin was ordered months in advance. However, I did not begin work on the dress until nearly three weeks before the opera ! Fortunately, through Tatiana Kozorovitsky’s detailed lessons in her Dressmaking Academy, I was not in a panic since I knew the secrets of cutting and sewing couture gowns with marked celerity. This endeavour proved no different, although I was exceedingly pleased with the fit of the bodice in comparison to past gowns I’ve made. Experience really does help !

A cold front rendered the need for a coat and boy, did I have a pretty one ! This vintage fur-trimmed, gold and cream brocade coat was bought years ago at a resale store.

Cheap white gloves (Walmart’s finest), and an economical crown bought on Amazon made me feel like the regal princess I intended.

I told my mother that I wanted my hairstyle to look like one of Kate Middleton’s elegant chignons…

Not bad !

Thank you, Faith, for the most beautiful inspiration piece ! It made my gown absolutely perfect. Feeling like an imperial princess of the surest nature, I was able to surrender to all the charms and passions of the performance. Isn’t that what opera is about, anyway ?

Toi, Toi, Toi,

Mary Martha

Cast and Credits:

Fedora ─ Umberto Giordano (1898)
Live in HD air date: January 14, 2023

Cast:
Fedora ─ Sonya Yoncheva
Loris Ipanoff ─ Piotr Beczała
Olga ─ Rosa Feola
De Siriex ─ Lucas Meacham

Credits:
Conductor ─ Marco Armiliato
Production ─ David McVicar
Set Designer ─ Charles Edwards
Costume Designer ─ Brigitte Reiffenstuel
Lighting Designer ─ Adam Silverman
Movement Director ─ Sara Erde
Live in HD Director ─ Gary Halvorson
Host ─ Christine Goerke