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

La Traviata: The Real Violetta

With the satellite repaired at my local haunt, I returned to the theater to punch my ticket for La Traviata, an opera, which, while not a favorite of mine, is one that cannot be denied no matter how many times it is shown in the theaters ─ the music is just too good ! After all, who can resist a bubbling brindisi and soaring arias ?

Nadine Sierra as Violetta / Metropolitan Opera

Although there were some initial issues with the picture quality and crackling sound in the cinema, the performance waxed better and better, culminating in one of the greatest finales I’ve ever seen incarnated in the opera. The tears were real. The emotion was all-encompassing… I love a good death scene and this was it ! Bravi, Nadine and Stephen !

Nadine Sierra and Stephen Costello in La Traviata / Metropolitan Opera

Twice had I seen La Traviata in the theaters before this current jaunt and as I was beginning to think of ideas for my latest outfit, I had one prohibition: I did not want to wear another red dress ! My opinions about Michael Mayer’s revival production haven’t changed much from my first time seeing it in 2018 and Susan Hilferty’s costumes, although beautiful, were not something I wanted to replicate for my own closet. Rather, I was inspired by the original Violetta, the one immortalized in Alexandre Dumas Jr.’s novel, La Dame aux Camélias.

Marie Duplessis, converted to Marguerite Gautier and Violetta Valéry in written and theatrical texts, was the real-life Parisian courtesan who lived and died during the 1840’s. Over the summer, I read La Dame aux Camélias and was caught between frustration and pity over Marie’s hapless fate. I wanted to recreate her. And so, I began researching the time period and everything central to women’s fashion.

Early Victorian Style: Queen Victoria and Prince Albert, circa 1840’s

Janet Arnold’s Patterns of Fashion 1 was my treasure trove for resources and my aim was to use one of the extant designs as the basis for creating my dress.

A gown from Janet Arnold’s Patterns of Fashion 1

Although enlarging the corresponding pattern pieces in the book to their proper scale (800%), an initial mock-up proved that more alterations would be needed in order to have the dress fit my figure. Time was like quicksand through the hourglass and the thought of applying modern day adjustments was a hopeless endeavour. Another thought popped into my mind: draping !

I had never draped in my life, but it seemed like the more expeditious route to pursue. What did I have to lose ? Using the magnified patterns as a guide, I attempted my first draped garment. My results were appealing.

Transferring the darts and adding seam allowances to the muslin pieces made for quick work, but more fitting issues arose as the bodice was cut too short and the waist was left too loose for my corseted figure. Oh, well ! It wasn’t too shabby for my first attempt at a couture technique.

With a hairdo that had my mother revolting in horror, I was ready to enact my tribute to Marie Duplessis, the “real” Violetta.

In addition to draping, I also tried my hand at cartridge pleating for the skirt, piped the armholes and waistline, and used a hook and eye placket to close the back. So 1840’s !

The creamy white satin was stunningly gorgeous, but by far my favorite part of the outfit was the wooden camellia magnet corsage that my cousin, Rosemary, fashioned for me.

Thank you, Rosemary !

With naturally preserved salal leaves, the bloom completely set off my outfit. Rosemary has a tremendous business creating real-look softened wood florals for weddings and events. And she ships worldwide, too, so be sure to check out her site ! https://www.rosemarysgardenflorals.com/

I loved wearing this outfit along with all the Maria Callas/Scarlett O’Hara vibes it brought me. Through a sickly, “kept” woman, I learned much about the 1840’s and opera’s greatest heroine. Marie Duplessis: the real Violetta.

Toi, Toi, Toi,

Mary Martha

Cast and Credits:

La Traviata ─ Giuseppe Verdi (1853)
Live in HD air date: November 5, 2022

Cast:
Violetta Valéry ─ Nadine Sierra
Alfredo Germont ─ Stephen Costello
Giorgio Germont ─ Luca Salsi

Credits:
Conductor ─ Daniele Callegari
Production ─ Michael Mayer
Set Designer ─ Christine Jones
Costume Designer ─ Susan Hilferty
Lighting Designer ─ Kevin Adams
Choreographer ─ Lorrin Latarro
Revival Stage Director ─ Sarah Ina Meyers
Live in HD Director ─ Gary Halvorson
Host ─ Renée Fleming

Medea: The Opera That Wasn’t, The Outfit That Was

Clopping up the stairs to the ticket booth at my local theater, I received devastating news: “Unfortunately, there will be no opera today. Our satellite is down and nobody came to fix it this week,” said the bespectacled man behind the glass. Imagine my abject disappointment. With no other options, I called my ride and headed back home without the chance to hear Cherubini’s splendid music or see the marvelous singers display the prowess of their gifted larynxes.
Despite the cinema’s snafu, I still had an outfit to wear, and I wasn’t about to let that go unseen.

Concept

The drab, tortured promotional photos for Medea gave me no inspiration as to what to create for the Met’s inaugural production of the opera. There are only so many times a black dress can be worn without the accompaniment of jaded yawns, no matter how haute (or grunge) the variations. Black was not in my future, at least for Medea.

Sondra Radvanovsky as Medea / Metropolitan Opera

Matthew Polenzani and Sondra Radvanovsky in Medea / Metropolitan Opera

For advanced enrichment, I read Eurypides’s play to prepare for Medea. Subsequently, my plan was to draw from Medea’s story of an outsider brought to Corinth for the purpose of lament and revenge. A Grecian-style dress in drapey jersey knit seemed to be an auspicious beginning. However, that thought was discarded like a gum wrapper onto the pavement by the advent of something more scintillating. During the summer, my friend, Judi, had given me a garbage bag full of high end upholstery samples that she had received from a friend who owns an interior design firm in Ft. Lauderdale. The samples were sumptuous ! Most particularly, I was attracted to a one yard piece of embroidered serpentine fabric with stylized pomegranate seeds.

Anar Trellis Serpentine in Crimson / Zoffany

Execution

The design was wildly exotic and could effortlessly represent both the harrowing scenes of ancient Greek tragedy and the fruits and vegetation of the Near East. A column skirt seemed to be the standout choice since preserving every inch of the embroidered material was a top priority. But what else to go with the skirt ?
All of the manufacturer’s tags were left on the samples so I researched the brand and found plenty of inspiration from enticing design stills.

The Cotswold Manor Collection from Zoffany

Although I wouldn’t have originally thought of it, Zoffany paired the exact same trellis fabric I had in my hands with vivid cobalt blues. And serendipitously, I had a piece of cobalt blue velvet in the bag of samples. A sartorial love match was made !

Immediately, I had my vision: a boxy crop top that would be simple enough so as to not interfere with the wildness of the skirt, but elegant and accented enough to stand on its own. It was a fine line to balance, but I knew it could be done.
Fabrics-store.com offers a range of free sewing patterns to complement their bread-and-butter linen. To the shoestring costumer, ‘free’ is such an appealing word and so I downloaded the Agustina Boxy Top pattern to use with the pelagic blue velvet.

Agustina Boxy Top Pattern / Fabrics-store.com

While the pattern had its merits, my fabric wasn’t exactly the “suggested” material and therefore rendered the need for additional tailoring. Should I add darts ? No─ I had a better idea: create vaulted pleats pinched at the center front ! This produced the shorter-in-the-front, “scooped” crop top look I had dreamed in my head and after shortening the sleeves, I had an architectural masterpiece.

Shaping at the hips omitted the need for side seams while a back vent and coordinating zipper allowed for movement.

I fashioned a waist yoke with leftover linen from my Boris Gudonov sarafan and it was a perfect match in color and texture. Gorgeous !

Life isn’t always as expected. And although I missed Medea, I didn’t regret my couture ensemble that could rival the cover of any fashion-forward magazine. My only hope is that the theater’s satellite issues are resolved before the next transmission.

Toi, Toi, Toi,

Mary Martha

Lucia di Lammermoor: A “Mad” Bridal Tradition

Manners, manipulation, mysticism, and morbidity permeate Sir Walter Scott’s gothic novel of thwarted romance like a damp fog over the rugged Scottish Highlands. After an article recently published for suggested opera reading, I dove into a delightful immersive study of reading opera’s literary forerunners. “The Bride of Lammermoor” was near the top of my list since its theatric counterpart was due up for the Met’s 2021-2022 Live in HD season.

Artist depictions from “The Bride of Lammermoor”

I loved the novel. Even with its gloomy pallor, I found myself pleasurably enveloped in the formality and class distinctions of the early 18th century Scottish setting. But how would the opera, slightly amended in its story and characters, fare against the benchmark book ─ especially with a radical, modern day-set production ?

Nadine Sierra in a promotional photo for Lucia di Lammermoor / Metropolitan Opera

Uncharacteristically for me, I was rather indifferent towards Simon Stone’s half opera/half movie production. Many parts of the story felt plausible in the present day Rust Belt setting while other stunts left me nonplussed. While both the action of the opera on stage and the cinematic video screen projection above were cleverly produced, I felt they would have been more effective as separate entities rather than interpolated within the same space (sensory overload !). Unquestionably, the singing was explosive ─ bel canto has a penchant for fireworks !

A scene from Lucia di Lammermoor / Metropolitan Opera

The outfit for Lucia was obvious: the famed “bloody” wedding gown from the Act III mad scene is so ubiquitously tied to the opera (regardless of the decade or production) that it’s almost clichéd.

Lucia’s Mad Scene

Splattering scarlet paint over a delicate display of satin and lace wouldn’t allow me many opportunities for wearing the designated dress again, although the thought was tempting… especially since the gown worn in the new Met production looked uncannily similar to my mother’s actual wedding gown from 1987.

What’s old is new again ─ Nadine Sierra wearing Lucia’s wedding gown in 2022 and my mother’s wedding gown from 1987.

Fear not; I wouldn’t do that to my mother’s dress (or anyone else’s, for that matter). With a modern production and no prior hint to its styling, I decided I would take a more interpretative approach to the blood-stained garment while still keeping an oft-chanted bridal tradition.

Something Old

Gloves were originally not going to be part of my outfit, but yet as I studied the John Everett Millais painting, I realized it was fitting.

“The Bride of Lammermoor” by John Everett Millais (1878)

These gloves were given to me by a friend and neighbor, who used to wear them out and about in Wisconsin, as was the proper thing to do at the time. Thank you, Miss Johanna !

Something New

Because there was no possibility of saturating a real wedding gown in blood (or the likes thereof), I wanted to have something that was evocative of blood without actually looking like it. I’ve had my eye on a Vogue pattern for sophisticated bolero jackets for several years and knew I would use it to my bloody advantage. Initially aiming to sew the ¾ sleeve version with the pleated ruffles, I altered my plans when I came across an irresistible fabric deal: corded nylon lace with sequins ─ $2.99/yard. I bought five yards.
Changing styles was seamless since the bell flounce sleeves of View D reminded me of the 18th century, which directly mirrored the time in which the original story was set. (Note: I had my mother style my hair based off the images on the pattern envelope… so haute, so mad !!)

Views C and D from V8957

The way that the pattern was drafted, I needed to alter the length of the sleeves in order to have the flounce sit higher on my arm and not look so much like a 1970’s disco queen. Eight inches were subsequently removed from the sleeves, which gave me that 1700’s feel.

Something Borrowed

The dress I wore is very special because it played a starring role in someone else’s life. Charmingly, the white satin A-line gown employed to represent Lucia’s wedding gown was not intended for a bartered bride, but rather… a debutante !

My friend, Borden, wore this same gown in the early 2000’s when she made her debut. And after many years, it still looks great. Thank you, Borden !

Something Blue

And what would the bridal tradition be without Something Blue ?! Well, there was no question as to what that would be…

Bought for $16.99 at a resale store (thank you, Miss Michelle !), my royal blue and rhinestone studded stilettos steal the show wherever they make an appearance ─ from the “Pavarotti” documentary to Anna Netrebko’s Viennese concert. ‘Fabulous’ doesn’t even begin to describe their glamor.

My last opera of the 2021-2022 Live in HD season hit all the right notes. Indeed, it was a bloody mad time !

Toi, Toi, Toi,

Mary Martha

Cast and Credits:

Lucia di Lammermoor ─ Gaetano Donizetti (1835)
Live in HD air date: May 21, 2022

Cast:
Lucia ─ Nadine Sierra
Edgardo ─ Javier Camarena
Enrico ─ Artur Ruciński
Raimondo ─ Christian Van Horn

Credits:
Conductor ─ Ricardo Frizza
Production ─ Simon Stone
Set Designer ─ Lizzie Clachan
Costume Designers ─ Alice Babidge and Blanca Añón
Lighting Designer ─ James Farncombe
Projection Designer ─ Luke Halls
Choreographer ─ Sara Erde
Live in HD Director ─ Gary Halvorson
Host ─ Anthony Roth Costanzo

Turandot ─ My Favorite Opera

How much do I love Puccini’s final opera, Turandot ?

Well…

I own two complete recordings, which I listen to very often…

…have a poster in my room…

…and it has been rumored to be true that I’ve flown out of my bedroom like a bat when the sound of someone singing “Nessun dorma” on a television in an adjacent room wafted its way to my ear during the early part of slumber.

Yes, I love Turandot ─ the music, the armrest-gripping drama, the fiery passion all wrapped up in a splendid love story for the ages. It never gets old… neither do the chills and goosebumps I inevitably feel whenever listening to the opera. While these factors are not conducive to healing from adrenal fatigue, the liability never stops me from attending a performance, regardless of the cast.

Liudmyla Monastyrska (center) and Yonghoon Lee (left) in a scene from Turandot / Metropolitan Opera

Oddly, Turandot is one of the few operas that is not entirely dependent on the merits of the four principal leads (at least to me, anyway !). Rather, having an exceptionally vibrant chorus and a taut and affecting conductor on the stand makes the real difference. With that in mind, the orchestra and chorus shone as the brightest stars during this run of Franco Zeffirelli’s magnificent production. But a mention should be made of the principal singers… instruction in Acting 101 would have been advisable for most of them. The icy princess was truly frozen and the blind man was discovered to be only intermittently blind as he readily anticipated his steps and conversations before they had begun. Oops !
Despite some hiccups, they were mostly rendered moot: the opera is always a winner !

An excerpt from the finale from Turandot (2009) / Metropolitan Opera

Zeffirelli’s Turandot production is a landmark. It’s so powerful in its impact on audiences that it’s been in existence at the Met for over 30 years. Why mess with perfection ?! This was the attitude I adopted as I contemplated what I would wear for Turandot 2022.
When I created my costume for Turandot 2019, I didn’t think I could top it. It’s glitzy, dramatic, and oh so Chinese. I didn’t see a reason why it shouldn’t be worn again. So that’s just what I did.

One element I tweaked for this particular Turandot was opting to wear my long black wig, which I donned for Madama Butterfly in 2019. With it, I felt even more like ‘la Principessa altera.’

Of course, my cardboard and wooden skewer headpiece had to make another appearance. It has taken a lot of wear and tear from the time since I first created the accessory in late 2015/early 2016, but there’s nothing a dab of Krazy Glue won’t fix !

This may have been my third trip to the theater to see Puccini’s posthumous piece, but I highly doubt I will ever become jaded by the opera. Festive excitement builds as the 100th anniversary of its premiere approaches in 2026. And I already have plans for a poster-inspired outfit to celebrate !

Toi, Toi, Toi,

Mary Martha

Cast and Credits

Turandot ─ Giacomo Puccini (1926)
Live in HD air date: May 7, 2022

Cast:
Turandot ─ Liudmyla Monastyrska
Calàf ─ Yonghoon Lee
Liù ─ Ermonela Jaho
Timur ─ Ferruccio Furlanetto

Credits:
Conductor ─ Marco Armiliato
Production ─ Franco Zeffirelli
Set Designer ─ Franco Zeffirelli
Costume Designers ─ Anna Anni and Dada Saligeri
Lighting Designer ─ Gil Wechsler
Choreographer ─ Chiang Ching
Live in HD Director ─ Gary Halvorson
Host ─ Nadine Sierra