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Welsh Winter: Bryn Terfel Live in Concert

Published on December 22, 2020December 22, 2020 by operazhenshchina1Leave a comment

Listening to Bryn Terfel is like stepping into a vast, storied library: you’re not entirely sure what you will discover, but you undoubtedly know it will be a rich experience full of wonder and abundant surprises. In an ode to the Christmas season, my friends and I gathered to watch Bryn and an assembly of varied musicians perform a concert entirely composed of Christmas carols from the Brecon Cathedral in Wales.

Natalya Romaniw, Bryn Terfel, and Trystan Llŷr Griffiths performing at Brecon Cathedral in Wales / Metropolitan Opera

Traditional and contemporary alike, the carols were sung with joy and charisma. Bryn’s infectious charm and playful personality twinkled like the stars in the night sky while his generosity was clearly evident: invited to perform with Bryn were two young Welsh singers along with the eclectic folk group, Calan. Joined by the talents of pianist Jeffery Howard and harpist (and Bryn’s wife) Hannah Stone, the gang delivered a program full of spirit and hope; my favorites included the multilingual “Still, Still, Still”, Ivor Novello’s “I Can Give You Starlight”, and the harmonious “O Come, All Ye Faithful” to close the concert.

Bryn Terfel performing “I Can Give You Starlight” / Metropolitan Opera

The Cuisine

Our food was partly a throwback to previous concert gatherings─ with an assortment of cheese and charcuterie, I almost felt like I was back at the Jonas Kaufmann concert in July…

…and Jayne’s sparkling rosé was also poured during our French Riviera fête in August…

But the Welsh addition came in the form of Chris’s Pwdin Eva, a kind of apple cobbler…

The food was tastefully presented and shared by musically minded friends. Cheers !

The Clothes

When I think of Wales, my mind is drawn to craggy coasts and rugged landscapes dotted with sheep and sturdy kinfolk, both equipped to survive the battered climates of Great Britain. Although the skies are often painted a dreary gray, the bright red dragon atop the green and white striped national flag belies any sort of unpleasant regional weather.

This dragon, known as the “Draig Goch” in Wales, was the inspiration for my outfit. Who would have thought that a web search inquiry for Welsh fabric companies would lead me to some of the cheeriest fabric I’ve ever sewn ? When I landed on the page for a stamped organic cotton, I knew I had found my fabric. But what to make ?

With the winter weather in Florida being much milder than the northern latitudes of wet Wales, I erred on the side of conservative warmth and practicality. A pleated skirt paired with dark leather boots seemed like the perfect storm…
Carbon Chic’s tutorial was a helpful starting point for my knife pleated skirt, but I couldn’t make the numbers work. So, I freehandedly began pleating away in 2 inch increments, starting at the right side seam (with pocket) and moving left towards the second side seam. A zipper and button closure were installed at the back.

Paired with my mother’s classic red turtleneck and riding boots, I was pleased with my “up country” look.

(Psst ! Remember when these same boots marched off to La Fille du Régiment ?)

In a way, I felt my clothes emulated a schoolgirl, arms saddled with books, on her way to the library. And that library, wondrous and enchanting, was an afternoon in Wales with Bryn Terfel.

Toi, Toi, Toi,

Mary Martha

Cast and Credits

Met Stars Live in Concert: Bryn Terfel and Friends
Brecon Cathedral
Brecon, Wales
Live broadcast date: December 12, 2020
(Date seen: December 19, 2020)

Bryn Terfel ─ bass-baritone
Natalya Romaniw ─ soprano
Trystan Llŷr Griffiths ─ tenor
Jeffery Howard ─ piano
Hannah Stone ─ harp
Calan

Baby Clothes for Hope

Published on December 10, 2020December 11, 2020 by operazhenshchina11 Comment

I have a friend. She is very dear to me… Her name is Faith ! In 2010, we met on Twitter and hit it off almost instantly, whereupon we soon became pen pals. In a way, I have lived life’s major milestones through Faith: I’ve watched her marry the love of her life and then have a daughter of her own. When Faith announced she was pregnant, I knew I wanted to make some very special things for her precious daughter, Hope.

Her name is very sentimental. Faith and her husband Tyler had hoped for a baby for a long while. And they also hoped for a girl. See the connection ? No name could be better suited to someone who had so much hope behind her !

One of the patterns that my friend, Gisele, had offered me from her yard sale stash was a children’s pattern from the early 90’s. I thought it was darling and knew it would be adorable for Hope.

As I browsed the scant fabric aisles at Walmart, I fingered over the perfect fabric for the dress: peacock print ! Faith and her family have had peacocks as pets and have an affinity for them. What could be better ? In addition to Hope’s tie back dress, I decided to make a matching one for her cousin, Grace, born two months earlier.

And here are the two baby cousins wearing their matching dresses on Mother’s Day:

Faith, her sister, Angel, with their mother, Angela, and Hope and Grace

Didn’t I tell you they love peacocks ? Look at all the feathers !

But I wasn’t done ! In addition to the matching dresses, I also sewed the romper from the same pattern envelope in pink gingham with a scalloped border of lace… sweet, very sweet !

Rompers (and onesies) are the hallmark of comfort. Hope modeled the style when she visited Grandpa Joe over the summer…

I also wanted Hope to have a fancy outfit so I sewed her a pink dress in crepe back satin and organza leftover from my Manon ballgown. In a craft bin at Walmart, I found a matching flower clip, which could be removed to wash the dress. Baby clothes, regardless of how fancy or frivolous, need to be washable. Very washable.

The pattern in size “0-3 months” was free from the Melly Sews blog. https://mellysews.com/sew-a-baby-dress-with-free-pattern/ Thank you, Melissa ! Hope looked like an uptown girl in her coordinating floral dress…

I couldn’t resist the urge to sew some girly-girl ruffles so I made a diaper cover with layers of pink patterned flounces on the back. Using my Baby Lock serger to both finish and gather the ruffles made the process a bundle of fun. Out of everything I sewed for Hope, this one was my favorite !

And off she goes !

The last item I created for Hope was a pair of knitted booties. As a mainstay of baby showers, I felt this was a genuine way to celebrate Hope’s arrival. And while I was not able to attend the actual baby shower in Idaho, my handmade clothes and booties were unwrapped with greatest appreciation and delight. From Florida, with love…

Having a niece has been a delight ! Faith and I have already been discussing different dress ideas for when Hope grows up. Of these, the most anticipated design is a Cinderella gown─ a character and story that is as cherished to Faith as our friendship is to the both of us.

Very cherished, indeed.

Toi, Toi, Toi,

Mary Martha

Eugene Onegin

Published on November 28, 2020December 2, 2020 by operazhenshchina1Leave a comment

Prior to the latter months of 2015, a Russian opera wouldn’t have turned my head. Ha ! How uniquely situations can change… As an autodidact of the Russian language, I was so excited to see Tchaikovsky’s Eugene Onegin and even more enthused to witness another performance by Anna Netrebko, half of the reason I began learning Russian in the first place.

Anna Netrebko as Tatiana in Eugene Onegin / Metropolitan Opera

This was to be a reunion of sorts ─ three of the singers whom I first saw in Il Trovatore in 2015 (Anna Netrebko, Dmitri Hvorostovsky, and Štefan Kocán) were scheduled for Onegin, but sadly, circumstances beyond the control of human capacity altered these best forged plans. With Dmitri Hvorostovsky bowing out due to advancing brain cancer, Peter Mattei stepped into the shoes of the snobbish title cad.

Štefan Kocán as Prince Gremin and Peter Mattei as Eugene Onegin / Metropolitan Opera

Strangely, the entire cast was Slavic except the Swedish Mattei, who felt so much like an outsider because of it ! I don’t know if it was his non-native tongue, his towering stature, or his graying goatee, but there was an obvious distinction between him and his fellow cast members. Even in spite of the casting swap, I delighted in listening to the Russian words in hopes of recognizing a few. Surprisingly, I was able to distinguish brief passages of verses, which thrilled my scholarly applications. My broad smile was impenetrable.

Anna Netrebko as Tatiana and Peter Mattei as Eugene Onegin / Metropolitan Opera

For an operation that was almost purely Russian, an equally felicitous outfit was required. I knew I was going to wear my long black velvet dress, but what else ? A sleek, matching velvet stole factored into my plans of a stereotypical Russian oligarch look of winter temperaments. But the stole was dismissed in favor of the serendipity thrown my way: “I’ve got this long black velvet coat that I saw at the thrift shop ─ do you want it ?” my friend, Paula, asked me a few weeks before the date of the opera. Without a word, I nodded my head up and down in a manner that was akin to vigorously shaking a can of spray paint. Да, пожалуйста !

The long duster was a thrill beyond belief ─ each time I stepped forth, a trailing breeze would catch in the sails of the velvet. I felt like one of those guys in “The Matrix” !

With my outfit set, all that was needed was a trademark fur hat. Often called an ushanka, I needed a more basic pillbox version of the traditional Russian winter headwear. To start, I crocheted a base hat out of black yarn and then bought 6 inches worth of faux fur at Jo-Ann Fabrics. After covering the sides and top of the hat, I still had a fraction of the fur left over. The total cost ? Around $1. Now that’s what I call a deal !

Fur cuffed gloves and a stylish clutch completed my black-on-black ensemble that was purely по-русски.

Eugene Onegin was well worth the wait for the satisfaction of applying my new language skills. Maybe the next time I have the chance to see it, I’ll recognize even more of Pushkin’s verses while simultaneously being swept away in Tchaikovsky’s melodic score. Time to return to my studies…

До свидания !

Toi, Toi, Toi,

Mary Martha

Cast and Credits:

Eugene Onegin ─ Pyotr Ilyich Tchaikovsky (1879)
Live in HD air date: April 22, 2017

Cast:
Tatiana ─ Anna Netrebko
Eugene Onegin ─ Peter Mattei
Olga ─ Elena Maximova
Lensky ─ Alexey Dolgov
Prince Gremin ─ Štefan Kocán

Credits:
Conductor ─ Robin Ticciati
Production ─ Deborah Warner
Set Designer ─ Tom Pye
Costume Designer ─ Chloe Obolensky
Lighting Designer ─ Jean Kalman
Video Designers ─ Ian William Galloway, Finn Ross
Choreographer ─ Kim Brandstrup
Live in HD Director ─ Gary Halvorson
Host ─ Renée Fleming

Patrick Muehleise in Concert

Published on November 23, 2020November 23, 2020 by operazhenshchina1Leave a comment

“A Night of the Romantics !” the program read, as I took my seat on an unusually frigid November evening at a concert for Patrick Muehleise, a tenor in town. I must say, it’s not often the opera (in whatever form) comes so close to home, but when it does, I like to pounce on the opportunity much like a frisky kitten on a slowly pulled string.

Based on the leadup flyers and promotional materials I received in the mail, I was expecting the concert to heavily feature opera arias. I was rather mistaken. Although my thirst for opera was whetted only by an enchanting “En ferment les yeux” from Manon (recalling how the aria was sung with dearest tenderness by Michael Fabiano the month before), the program had its poking luminescence ─ a musically-set “Sea Fever” brought back recollections of when I had memorized John Masefield’s poem in my schooling years while Kurt Weill’s “Lonely House” displayed a rhythmic vigor and introduced me to a new-type genre.

Patrick’s diction was crisp and readable; it’s as if every word was distinguishable, even the foreign language passages. His voice, on the other hand, was more “pointed” than desired for solo pieces ─ many of my musically-inclined friends commented that he was better suited for choral work in a group setting. But I had an alternative judgement of where Mr. Mule-EYES-uh (this was how he instructed us to pronounce his surname) would best thrive: the characterizations of Aaron Copland’s “Old American Songs” was played to the hilt of hilarity that I could easily picture Patrick taking his talents to Broadway. I told him so much during the meet and greet afterwards where I was rebuffed by a flashing smile and a boisterous laugh of incredibility. So much for my thought !

Thinking of how I would dress, I wished to be elegant as well as in line with the atmosphere of the event. One of my standby favorites, the black velvet sheath dress with chiffon cowl collar and pleated back train, was perfect. But with the chilly temperatures (and evening status), I needed something equally stunning to use for warmth and cover. I recalled my consignment capelet in coincidentally matching black velvet and slung it over my shoulders. My mother styled my hair in a hurry and I was off to the Arts Center for a night of the romantics !

Toi, Toi, Toi,

Mary Martha

Cast and Credits

“A Night of the Romantics!”
Date: November 16, 2019
Lake Wales Arts Center

Patrick Muehleise ─ tenor
Dr. Jonathan Reed ─ piano

Sirupsnipper Cookies ─ No White Flour, No White Sugar

Published on November 18, 2020March 29, 2021 by operazhenshchina1Leave a comment

I haven’t consumed white flour or white sugar since 2009 when a medical condition forced me to change my lifestyle. And while there have been moments of deprivation and longing for conventional flour and sugar-laden treats, my sweet tooth has been mostly satiated since my refined baked goods breakup. Over the years, I have fiddled with adapting regular recipes of breads and sweets with questionable results. However, this cookie was a winner !

I have included a “no white flour/no white sugar” version of the original Sirupsnipper recipe from Sons of Norway The recipe is as follows:

Ingredients

9 Tbsp. cream
½ cup + 2½ Tbsp. maple syrup
½ cup + 2½ Tbsp. coconut sugar
7 Tbsp. butter
3¾ cups rye flour
1½ tsp. pepper*
1½ tsp. ginger*
½ tsp. anise*
1½ tsp. cinnamon*
¼ tsp. salt
¾ tsp. baking powder
¾ tsp. baking soda
blanched almonds for decorating

*Note: I came to these measurements based on trial and taste. They are on the spicy side this way, but the spices can certainly be adjusted down if they are too “hot” for the palate. Also, I ground half of a pod of star anise instead of using jarred spice. The freshly ground half pod came to a scant ½ tsp.

Instructions

1. Boil cream, maple syrup, and coconut sugar together. Stir in butter and let mixture cool until lukewarm.

2. Combine flour and dry ingredients and whisk together.

3. Sift in dry ingredients and mix thoroughly. Chill overnight.

4. Roll dough out as thin as possible and cut diagonal lines to make diamond shapes (or use cookie cutters in various shapes).

5. Place cookies on greased baking sheet or parchment paper covered baking sheet. These cookies barely spread so you’re safe to crowd them rather tightly on the pan.

6. Place a blanched almond in the middle of each cookie.
7. Bake at 350°F for 12-15 minutes (or until crispy).

*An optional egg wash may be used if you desire a shiny appearance. This, I omitted.

These Christmas cookies were a delicious treat for our Norwegian food spread fêting Lise Davidsen’s Met concert from Oscarshall Palace in Norway. Isn’t the forest of trees a lovely sight next to spiky coconut macaroons ?

Because of the exceptional outcome of this recipe adaptation, I plan to bake these for years to come. File this one under ‘Success’ in the No White Flour/No White Sugar recipe box !

Toi, Toi, Toi,

Mary Martha

Rusalka

Published on November 16, 2020November 16, 2020 by operazhenshchina1Leave a comment

Dvořák’s opera of a water nymph who desires to be human should be familiar territory to anyone who has read or seen “The Little Mermaid” in any of its contexts. Whether it be the Hans Christian Andersen tale or Disney’s beloved movie, “The Little Mermaid” has had an endearing effect on the public. As someone who grew up watching the Disney film and reading Andersen, Rusalka was a must-see for me during the 2016-2017 Live in HD season. It was now time for the Czech composer to shine in the thalassic classic.

Andersen and Disney: variations of “The Little Mermaid”

This was a new production for the Met and Mary Zimmerman’s designs were brought to life with forest fauna and frothing watering holes…

The forest sprites in Rusalka / Metropolitan Opera

This was fitting, but the glaring garishness of the palace where the prince lived was (intentionally) off-putting. Even Rusalka was ready to hightail it back to her pond !

Kristine Opolais (center) in a scene from Act II of Rusalka / Metropolitan Opera

An attractive draw to this performance was the casting of Kristine Opolais as the title character. As an actress, she’s evocative and affecting, yet her voice doesn’t tend to coat my ears in richness. However, my auditory senses were deliciously rewarded when Jamie Barton took the stage as Ježibaba, the cackling, steampunk-esque witch. She stole the show !

Kristine Opolais as Rusalka and Jamie Barton as Ježibaba / Metropolitan Opera

Yes, I was eager to attend Rusalka. Even more, I was excited to create a costume for the opera. With the scene set as the rivers and lakes amidst a cool forest, I played around with the thought of building a transitional outfit that started as “water” and gradually turned into a “land” ─ like an ecological ombré effect. Skirts and scarves in blues and greens would resemble the water and an Easter bonnet made of paper plates would have been a crafty representation of the flora above. Here’s my Easter bonnet from years ago:

But no ─ I couldn’t wear my flamboyant fascinator to the theater and cause the folks behind me to become utterly enraged. Farewell to the forest ! Returning to the water theme, a backstage video from the Met threw me a helpful costuming clue…

Rusalka costume discussion / Metropolitan Opera

Just as in the Met costume shop, I fashioned my own lilies for my skirts of “water”… except my lilies were not silk… they were coffee filters !

A stack of basic white coffee filters were snipped and twisted to create fanned water lilies with pale yellow stamens reaching forth. Atop my head was a lily pad, which was a crocheted doily I made for my mother years ago. And the crochet lace halter top ? I bought it at a consignment store. My outfit cost me next to nothing and was a worthy copycat of Kristine Opolais’s Act I gown.

Kristine Opolais in Act I of Rusalka / Metropolitan Opera

In “The Little Mermaid” as well as Rusalka, the price for becoming a human being is the seeker’s own voice and immortality. And while the ending in the opera was not a “happily ever after” scenario, I couldn’t have been more pleased with the result of my costume ─ all the fun of a water nymph for the day with no remote danger of losing my voice or life.

Toi, Toi, Toi,

Mary Martha

Cast and Credits:

Rusalka ─ Antonín Dvořák (1901)
Live in HD air date: February 25, 2017

Cast:
Rusalka ─ Kristine Opolais
The Prince ─ Brandon Jovanovich
Ježibaba ─ Jamie Barton
The Foreign Princess ─ Katarina Dalayman
Vodník, the Water Gnome ─ Eric Owens

Credits:
Conductor ─ Sir Mark Elder
Production ─ Mary Zimmerman
Set Designer ─ Daniel Ostling
Costume Designer ─ Mara Blumenfeld
Lighting Designer ─ T.J. Gerckens
Choreographer ─ Austin McCormick
Live in HD Director ─ Gary Halvorson
Host ─ Matthew Polenzani

Nabucco

Published on November 12, 2020November 12, 2020 by operazhenshchina1Leave a comment

Verdi’s breakout hit in 1842, with its themes of captivity and the longing for freedom, was a poignant piece during its debut as Italy battled for its independence amid wars and political reshuffling. Allegorical as it may have been to the Italians of the mid 19th century, I viewed Nabucco at its face value: an early Verdi work of biblical proportions.

A scene from Nabucco / Metropolitan Opera

Nabucco (Italian for “Nebuchadnezzar”) is loosely based on King Nebuchadnezzar’s conquest of the Israelites. However, it should be plain to anyone who has ever seen only part of Nabucco that the opera is misnamed. The real title should have been Abigaille after Nabucco’s power-hungry, domineering daughter. She had the most scenes, the heftiest arias, and the central “villainess” role. Plácido Domingo, the world-renowned veteran taking on the title baritone role, appeared to be a hapless pushover when shouldered next to Liudmila Monstyrska’s broody Abigaille.

Liudmila Monstyrska as Abigaille and Plácido Domingo as Nabucco / Metropolitan Opera

A lackluster love triangle storyline was almost enough to derail the entire the opera if it hadn’t of been for the true stars of the performance: the Metropolitan Opera Chorus. The one and only scene that rejuvenated the tepid opera was the Hebrew Slaves Chorus in Act III. So breathtaking and enlightening was the rendition that it was encored to great pleasure.

A clip from the Hebrew Slaves Chorus / Metropolitan Opera

Designing costumes for ancient-set operas is something that rarely sends my heart into ecstatics. Whether it be the hot desert dust or the use of ordinary sandals and figure-swallowing robes, I have to take extra measures to become motivated to sew for such settings. Fortunately, the Met’s classic staging of Nabucco offered me a generous hint for my costume. As mentioned above, the Hebrew Slaves Chorus was THE “wait for it” moment of the opera. Why not dress down for a change and become a slave for a day ? This I did.

Some of the Hebrew Slaves from Nabucco / Metropolitan Opera

My mother had a patchwork chambray dress in her closet that I used for my base. Although not darkened with dirt, the patches symbolized simplicity and frugality to me, which I thought fitting for a slave. Looking over photos from past performances of Nabucco, however, the Hebrew Slaves donned on their heads what seemed like Betsy Ross mop(b) caps from the Colonial times.

Betsy Ross and women sewing the American flag

Okay, I could do that… Actually, it was easier than I thought. All that was needed were two large circles of fabric, elastic, and a sewing machine. There are numerous tutorials online for making a mop/mob cap, but I found this one to be the most helpful, especially since this was to be my second sewing project ever. Just remember to cut larger circles if making one for an adult ! http://pattisoriginals-pattisplace.blogspot.com/2010/12/tutorial-mop-cap.html?m=1

Mop cap from pattisoriginals-pattisplace.blogspot.com

What’s slavery without bondage ? Some lightweight plastic Halloween chains added an obvious denotation to my outfit while a slouchy gray cardigan, grease-stained apron, and socked sandals helped me fit right in with the Metropolitan Opera Chorus.

And yes, dirt was part of the job. Or rather, brown and black eyeshadow brushed onto my face… While I may have looked the part of servitude, I didn’t desire to smell of it !

Toi, Toi, Toi,

Mary Martha

Cast and Credits:

Nabucco ─ Giuseppe Verdi (1842)
Live in HD air date: January 7, 2017

Cast:
Nabucco ─ Plácido Domingo
Abigaille ─ Liudmila Monstyrska
Fenena ─ Jamie Barton
Ismaele ─ Russell Thomas
Zaccaria ─ Dmitry Belosselskiy

Credits:
Conductor ─ James Levine
Production ─ Elijah Moshinsky
Set Designer ─ John Napier
Costume Designer ─ Andreane Neofitou
Lighting Designer ─ Howard Harrison
Revival Stage Director ─ J. Knighten Smit
Live In HD Director ─ Barbara Sweete
Host ─ Eric Owens

“Pavarotti” documentary

Published on November 10, 2020December 1, 2020 by operazhenshchina12 Comments

Sometimes, it is the decisions made on a whim that turn out to be the best. This is what occurred as I opened a regular, mundane e-mail from the Met promoting a new documentary on Luciano Pavarotti. I didn’t know much about Pavarotti, personally, although his voice had always pleased my ears. With the doldrums of the slow summer months poised ahead of me, I figured, “Why not ?” and alerted my theater friends of the occasion.

Trailer for “Pavarotti” documentary

The documentary was informative in that it taught me more about Pavarotti’s life and highlighted his ebullient, larger-than-life personality. However, there was one thing missing in the context of the film and that was the preeminent tenor’s notorious reputation for being “difficult”. Although there were glimpses into tumultuous family spats, most bouts of “divo” behavior were brushed aside like specks of dust on a woolen suit. Naturally, the film was devoid of any serious damages to Pavarotti’s persona, notwithstanding his extramarital affair with Nicoletta Mantovani.

Nicoletta Mantovani and Luciano Pavarotti

Without question, the summit for all was the extended clip of one of Pavarotti’s celebrated performances of “Nessun dorma”. Behind and around me, I heard uncontrollable sniffles and the muffled sounds of Kleenexes to congested noses.

Pavarotti singing “Nessun dorma”

Pavarotti’s homeland and heritage of Modena, Italy, inspired the theme for my outfit worn to the documentary: Dripping in Diamonds. Situated between the fashion hubs of Milan and Florence, the northern Italian location evoked thoughts of trendy couture gowns and the glamourous styles. Brash and gaudy like a movie star, but also regal and polished, I grabbed one of my standby dresses from my closet: a sapphire blue one shoulder chiffon gown with rhinestone detailing on the shoulder. Years ago, I bought this gown on clearance at a consignment shop and now it was getting its turn in the spotlight. The jewels and gloves (and a purse “dripping in diamonds” ─ also a consignment find) were the icing on the cake.

A high bun with ringlets spiraling down was just right for my Italian diva look…

Oh, and those shoes ? They’re used, too ! I bought them at a resale closet for $16. They’re Ivanka Trump stilettos whose heights reach the heavens !

Leaving the theater that night, I had to trot back inside because of a missing pair of glasses I thought I had left behind. When I inquired at the podium in the lobby, one of the young attendants remarked that I all needed was a British accent. “Why ?” I asked. “Because you look like royalty” replied the attendant.

A diva I was.

Toi, Toi, Toi,

Mary Martha

Credits

“Pavarotti” documentary
Date seen: June 4, 2019

From Dirndl to Bunad: How a German sewing pattern became Norway’s traditional dress

Published on November 7, 2020March 23, 2021 by operazhenshchina1Leave a comment

Similar in shape and style, the German dirndl and the Norwegian bunad could be long lost cousins ! Vests with front closures, long skirts with embellishments and embroidery, and bright national colors teem with patriotic esprit de corps. With a new, modern production of Wagner’s Die Fliegende Holländer scheduled for the 2019-2020 Live in HD season, I cast off the thought of trying to guess the heretofore unseen (and most likely abstruse) costumes for François Girard’s reimagining and veered toward the more traditional: a Norwegian bunad for the opera’s Scandinavian setting.

However, when Die Fliegende Holländer was cancelled the day before its cinematic broadcast in March, the nearly finished bunad was left thrown over the back of a chair where it sat in silence for months. That is, until the concert for Lise Davidsen popped up and suddenly the bunad became relevant again. Here’s how I made it…

The Pattern

I started by using a German dirndl pattern, which was given to me by a friend several months prior. When Gisele offered me any of the patterns in her garage sale stash, I looked over the Burda pattern thinking it was fashionable, but not something I could use for the foreseeable future. How clueless I was…

Noticing how similar the bunad and dirndl were, I began plotting how I was going to alter the original pattern; namely, removing the front zipper and transforming the front into a corset of sorts. A mock-up was made.

After determining the new design of the front, the muslin markings were transferred onto the tissue paper pattern piece.

According to the mock-up, the rest of the pattern appeared to be in good shape and now it was time to cut the real fabric.

The Fabric

I knew I wanted a bright red vest with a deep blue skirt and white blouse like many of the photos I found online…

Finding the perfect fabric was simple: a sample ordered online proved to be a brilliant scarlet with a subtle tonal floral pattern. Even better, the cotton fabric was Scandinavian in its origin. I do love to match my materials with their geographical creative counterparts !

The pieces were pinned onto the twice folded fabric (for the face AND lining) and cut out.

Sewing

Because adding decoration and details were important, I decided to pipe the seams of the bodice to set off the shaping of the vest. A regular zipper foot works just as well as any fancy piping foot…

Two rows of Rigilene boning were sewn onto the front vertical edges of the lining to support the lacing area. On the face side, the seams and piping allowances were pressed opened. All the corners were snipped to prevent bulk.

Rigilene boning for supporting the lacing area — Rigilene boning for supporting the grommets and lacing area

Pressed open seam allowances — Rigilene boning for supporting the grommets and lacing area

Now that both the face and the lining were complete, it was time to sew them together along the neckline edge. Bias binding was used to finish the armholes and the bottom of the vest.

Voilà ! The vest was almost finished. Holes were punched, grommets were installed, and then the garment was set aside.

The Skirt

The master Burda pattern came with a skirt design, but this, too, had to be adapted. There was a front zipper to be joined in connection with the bodice and this I removed by placing the pattern on the fold of the fabric. Speaking of, I bought the skirt fabric, a navy canvas-type material, from Walmart ! The pattern was laid out on the canvas…

…and a waistband was cut.

I sewed the skirt based on the instructions, which included front pleats and a gathered back. The single side pocket (why only one ?) was omitted. A regular zipper was installed. Folding the waistband in half, it was attached to the top edge of the skirt over the pleats and gathers. A buttonhole was made at the back and a bright blue button was sewn onto the other side of the back band.

Something that I found skewed about the pattern was the overall hem length. It was looooooooong ! Too long. Fortunately, the folded hem provided an excellent starting place for the decorative stitching I wanted to implement along the bottom edge. Did I ever think I was going to use more than 3 of the 100 stitches on my BabyLock sewing machine ? Heavens, no ! But I have ─ look how pretty the motifs look when sewn in bright scarlet !

That’s it ! The vest and skirt were finished and now it was time to put it all together. There was one thing missing and that was the classic white blouse that is worn beneath the vest.

Hmmm…

Searching through my mother’s closet, I found a suitable blouse in sleeve length… but it had an expansive scalloped collar satin stitched in crimson. No need to worry─ I just turned the collar right side in and the blouse was just perfect !

Together with a gold brooch and lapis jewelry, the outfit was a close resemblance to the traditional Norwegian bunad.

Toi, Toi, Toi,

Mary Martha

To read about my virtual escape to Norway wearing my bunad, check out my post on the concert for Lise Davidsen !

https://costumeclosetcouture.com/2020/09/07/met-stars-live-in-concert-lise-davidsen/

Dimitri Pittas in Concert

Published on November 1, 2020November 1, 2020 by operazhenshchina1Leave a comment

T’was the night before a chilly Sunday in January when I received a Facebook message from Aunt Countess alerting me to a concert at a nearby church. Why was it so special ? Dimitri Pittas, tenor, was performing a recital and the name seemed all too familiar. Scraping the midsection of my mind, I quickly recalled the name from when I had seen Otello in 2015. Dimitri Pittas sang Cassio in the performance. “Getting the chance to see a real life opera singer in person…?” Oh, yes, I HAD to go !

Željko Lučić as Iago and Dimitri Pittas as Cassio in Otello / Metropolitan Opera

For a knockout deal of $10, I stepped into the church to find Dimitri and his accompanist (and heavily pregnant) wife, Leah, chatting with audience members as they meandered into the sanctuary. The program consisted of classical favorites translated into English as well as some sports-themed selections, which carried more mirth and appropriateness than expected: NFL playoff games were occurring simultaneously and once during a break between songs, Dimitri hollered for an updated score of the Green Bay/Atlanta game.

Wrapping up the concert with “Una furtiva lagrima” from L’Elisir d’Amore and “Maria” from West Side Story, a reception of prepared foods and punch followed. And it was here that I had my moment to jest: as a die-hard New York Yankees fan, Dimitri glowered in frustration as I broke the news of my devotion to the Boston Red Sox. So prickled was he that in between chats about growing a beard for the role of Cassio and Thanksgiving dinner with Željko Lučić, he stopped to abruptly turn and greet Jennifer as she waited her turn to speak. I folded in half with laughter.

Dimitri was a good sport, all in all, and even allowed me to take a picture with him. Too bad that the one and only photo I have of meeting a real life opera singer is of inferior quality. Oh, well… It will have to suffice.

A last minute plan turned out to be a thrilling afternoon. I bubbled with pride and giddiness as I regaled my friends with the details of the concert. And best of all… I MET AN OPERA SINGER !!!!

Toi, Toi, Toi,

Mary Martha

Cast and Credits

Dimitri Pittas in Concert
First Presbyterian Church
Lakeland, FL
Date: January 22, 2017

Dimitri Pittas ─ tenor
Leah Edwards ─ piano