The Princess and the ‘Piece ─ Turandot

My first Puccini opera… what a thrill ! Posthumously premiering in 1926, Turandot feels more like a Grimm Brothers’ fairy tale than an Italian opera ─ a haughty princess, arduous riddles, and a mysterious suitor sheltering a life-or-death secret all lead to a storybook outcome. Having heard the praises of Puccini (and the exulting melody of “Nessun dorma”), I was more than ready to attend the encore of Turandot in early 2016. I even unfurled my reproduction poster for the occasion !

Thanks, 303 !

Only Franco Zeffirelli could create the spectacular setting of Turandot. Still a Met favorite from when it debuted in 1987, the sets and choreography shine as brightly as the music itself. When the stage darkens during the scene change in Act II, the resulting lapse rewards the spectator with a breathtaking display of an ancient Chinese palace.

A scene from Turandot / Metropolitan Opera

Even more exhilarating was the famed Riddle Scene. Although I had read the synopsis and knew the correct answers to the enigmatic questions posed by the tyrannical princess, I still suffered from a classic case of head-to-toe goosebumps as Calàf won the hand of the hitherto unattainable Turandot. The victor’s salivating looks of desire and the fingering of the princess’s silky mantle were too seductive for words. My heart was aflutter !

Nina Stemme and Marco Berti in Turandot / Metropolitan Opera

Here I must opine… As the audience anticipates the much beloved “Nessun dorma” in Act III, I couldn’t help but wish for a supplemental scene prior to the big aria of a frazzled Turandot, pacing in her bedchamber with her servants while racking her brain as to what the stranger’s name could be… I think it would have added another dimension to the desperate drama.

Nevertheless, I adored the opera and everything about it: the treacherous secret (which cost Liù her life), the surrender to love, the happy ending ─ what’s not to like about Turandot ?

Alexander Tsymbalyuk as Timur, Anita Hartig as Liù, Dwayne Croft as Ping, and Nina Stemme as Turandot / Metropolitan Opera

“Chinese” is not a style typically engendered by my closets. However, there was something I could manufacture in order to convey the right amount of dynastic imperialism… While Zeffirelli’s sets are extraordinary, the costumes in Turandot are just as jaw-dropping, especially the ostentatious headpieces worn by the titular character. My goal was to create my own unique headpiece that was as visually stunning as it was logistically sound. Browsing ideas for Turandot headpieces, Birgit Nilsson’s ornate costume from 1961 was my favorite and became the inspiration for my own creation.

Birgit Nilsson as Turandot in 1961 / Metropolitan Opera

Before creation could begin, some engineering chicanery needed to occur since there were many obstacles in the way of the perfect head accessory. Just imagine ─ wearing the headpiece in the car on the way to the opera, leaning back on the headrest of the seat in the theater, potentially blocking someone’s view of the screen, etc. Using a basic headband as the foundation for the headpiece, I took measurements of height and width from the top and sides of my head in order to avoid any damages to the headpiece (and theater patrons) while realistically evaluating how tall and wide I could reasonably fashion the accessory.
There was also the ‘weight’ component to contemplate: when the entire superstructure is built off a cheap headband, the overall weight of the headpiece needed to be kept to a minimum. Keeping this in mind, I used bamboo skewers for the tall, emanating stakes and was careful to select materials that doubled as both fashionable and functional.

Decorated in sequins, rhinestones, and beads, a healthy spray painting of gold helped turn an ordinary cereal box and plain wooden skewers into a dazzling work of art.

The Turandot headpiece up close

Although my closets lacked chinoise appeal, I still tried my best to create a Chinese-themed outfit: a monochromatic red turtleneck and pants proved a reliable choice for the chilly February evening while the vibrant scarf I bought at the Port Authority in New York was just the right pop of color to match the headpiece’s prismatic brilliance.

The pre-work engineering paid off: I was able to ride to the theater with the finial just barely clearing the headliner of the car. And even though I accidentally bumped into the dark corridor on the way to my seat, no one was injured in the process, including the headpiece.

From Birgit Nilsson to Franco Zeffirelli, Puccini’s final opera is a fountain for artistic pleasure. Turandot may have been my first Puccini opera, but it certainly won’t be my last !

Toi, Toi, Toi,

Mary Martha

Cast and Credits:

Turandot ─ Giacomo Puccini (1926)
Live in HD air date: January 30, 2016
(Encore seen: February 3, 2016)

Cast:
Turandot ─ Nina Stemme
Calàf ─ Marco Berti
Liù ─ Anita Hartig
Timur ─ Alexander Tsymbalyuk

Credits:
Conductor ─Paolo Carignani
Production ─ Franco Zeffirelli
Set Designer ─ Franco Zeffirelli
Costume Designers ─ Anna Anni, Dada Saligeri
Lighting Designer ─ Gil Wechsler
Choreographer ─ Chiang Ching
Live in HD Director ─ Barbara Willis Sweete
Host ─ Renée Fleming

An Ode to the Don (Giovanni, that is)

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

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

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

Simon Keenlyside and Malin Byström in Don Giovanni / Metropolitan Opera

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

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

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

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

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

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

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

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

Toi, Toi, Toi,

Mary Martha

Cast and Credits:

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

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

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