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Porgy and Bess

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Folk tale. Sing-a-long staple. Twentieth century masterpiece. Porgy and Bess is beloved for many reasons, but there’s probably none greater than being America’s opera. The title protagonists ─ lovable cripple, Porgy, and well-meaning drug addict, Bess, offer glimpses of an unlikely love by an even more unlikely pair in the Gershwins’ classic, which features hit tunes like “Summertime”, “I Got Plenty O’Nuttin'”, and “Ain’t Necessarily So”, just to name a few.

Angel Blue as Bess and Eric Owens as Porgy in Porgy and Bess / Metropolitan Opera

This was the first time in over 30 years that Porgy and Bess was making an appearance at the Met. In James Robinson’s new production, a highly skilled ensemble cast sauntered around the planked floor of Catfish Row, a slum in Charleston, South Carolina. Tough-talking matriarch Maria (played by veteran mezzo-soprano Denyce Graves), devoted young parents Clara and Jake, Bible-thumping Serena, slithering Sportin’ Life, and Bess’s brutish ex-lover Crown rounded out the cast of dynamic characters. While intentionally created to be rudimentary in its design, the linear wood slats of the settlement almost looked like a playground jungle gym with its inhabitants hanging out of open window frames and weaving around the pilings below.

A scene from Porgy and Bess / Metropolitan Opera

Also swinging beneath the rafters was Gershwin’s jazzy score, which easily identified itself as a frequenter of non-operatic revues. Because of its atypical approach in music (it’s not your run-of-the-mill bel canto or verismo !), I couldn’t help but think that Porgy and Bess belonged more on Broadway as a musical than it did at the Met as an opera. There was too much talk and jive and not enough singing for my tastes. Nevertheless, the opera made for an enjoyable afternoon of spirited routines and recognizable melodies.

A scene from Porgy and Bess / Metropolitan Opera

Porgy and Bess takes place during the early 1930’s as the Great Depression doles out its hardships. Along with the coastal Charlestonian locale, where a battalion of reeds stand tall on bordering estuaries, I had plenty of costume ideas swirling in my head… Ultimately, my plan was to blend the two setting features into a feedsack print sundress that would be perfect for a picnic on Kittiwah Island, just as in the opera. Using the past performance pictures from the English National Opera and Dutch National Opera as my inspiration (the Met’s production would be identical), I had my vision set.

Nicole Campbell as Bess and Nmon Ford as Crown in English National Opera’s Porgy and Bess

Bess’s picnic dress conveyed a myriad of 1930’s details in its design: underbust gathers, a separate waist yoke, and buckle tie bows to embellish the frock. Locating the right material was the first step and boy, did I find it ! I had one uncompromising requisite when shopping and that was that the fabric chosen HAD to match a pair of strappy block heel sandals I had in my closet. No exceptions ! Although I had perused the web and ordered samples in search of my ideal “feedsack floral”, I wasn’t wholly satisfied with the printed patterns and/or the colors… until I opened the newest edition of my swatch club mailer and pointed to a cotton stretch poplin. “That’s it !” I rejoiced.

Cotton stretch poplin and coordinating pocket lining material with block heel sandals

The fabric matched the shoes almost perfectly and I was (mostly) pleased with my cute 30’s sundress. Too bad the weather was nasty the day of the opera… I had to bundle my bare legs in a blanket at the theater because of the cold, wet February front that had wafted its way across the state. Ick !

The weather may have been less than ideal that day, but the warmth of “Summertime” and the endearment of America’s greatest opera, Porgy and Bess, were enough to hearten the shrillest skies.

Toi, Toi, Toi,

Mary Martha

Curious about how I fashioned my feedsack frock ? Check out my tutorial post on its creation !

Cast and Credits:

Porgy and Bess ─ George Gershwin (1935)
Live in HD air date: February 1, 2020

Cast:
Bess ─ Angel Blue
Clara ─ Golda Schultz
Serena ─ Latonia Moore
Maria ─ Denyce Graves
Sportin’ Life ─ Frederick Ballantine
Porgy ─ Eric Owens
Crown ─ Alfred Walker
Jake ─ Donovan Singletary

Credits:
Conductor ─ David Robertson
Production ─ James Robinson
Set Designer ─ Michael Yeargan
Costume Designer ─ Catherine Zuber
Lighting Designer ─ Donald Holder
Projection Designer ─ Luke Halls
Choreographer ─ Camille A. Brown
Fight Director ─ David Leong
Live in HD Director ─ Gary Halvorson
Host ─ Audra McDonald

Met Stars Live in Concert: Lise Davidsen

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Relatively unknown to the world, dramatic soprano Lise Davidsen has been forging a meteoric rise to stardom with her powerful voice that has some critics calling her “the great Wagnerian promise of her generation.” With as much hype (and height ─ Lise is nearly 6’2″ !) surrounding the shy, Norwegian native, my interest in seeing this uncut gem perform was keener than usual.

Lise Davidsen performing at Oscarshall Palace with James Baillieu accompanying / Metropolitan Opera

Although lacking the total confidence that accompanies decades of professional stage experience, Lise’s humble, offhanded spirit brought a refreshing genuineness to her performance, which included a weighted set list of Wagnerian arias, Grieg, Verdi, and Strauss. There was a little bit of everything, so much so that the program felt like a potluck dinner party. Britten’s “Johnny” was playful with sultry low notes, Strauss’s Op. 27 was sublime, and “I Could Have Danced All Night” was a sugary charmer with James Baillieu’s scrumptious piano tip-tapping away. Adding to the ambiance was the stately Oscarshall Palace dining room, which easily recalled images of “Beauty and the Beast” to my fairy tale mind.

Lise Davidsen and James Baillieu performing at Oscarshall Palace in Oslo, Norway / Metropolitan Opera

The Cuisine

Known for its simplicity and seafood, catering our escape to Norway brought out new ideas and enticing recipes to attempt. Chris couldn’t resist trying her hand at gravlax and it was a smashing success ! Cured with salt, sugar, peppercorns, and dill, the sliced salmon was flavorful yet subtle.

Pairing marvelously with traditional mustard dill sauce, minced red onion, and a dribbling of capers, the feast was in running order. Please examine the filigreed handle on the spoon: coincidentally, it says ‘Oslo’ ─ how fitting !

Caraway crackers and rye bread were used as the foundation for the salmon and just look at how gorgeous Anne’s cheese tray was next to my platter of homemade cookies !

From left to right: Danish blue, Jarlsberg, and Havarti with dill

We do eat well at our little opera watch parties, that’s for certain ! The table was spread with delicacies from “The Land of the Midnight Sun” with a fanfare of ligonberry napkins serving as a makeshift flower arrangement.

You wish you were here with me !

Originally planning to bring a rye flour cardamon yeast bread with raisins, I scrapped that endeavour after the initial test run was a complete flop. I then switched my focus to traditional Norwegian Christmas cookies, like sirupsnippers and coconut macaroons…

Because of my dietary restrictions, I made the cookies with rye flour, coconut sugar, and maple syrup ─ no white flour, no white sugar ! The macaroons were especially artistic with their torched tips of flaked coconut.

The Clothes

When the concert location was announced, there was no hesitation as to what I would wear. Earlier in the year, I had sewn a Norwegian bunad costume for The Flying Dutchman that never was and so I’ve had a skirt and vest laying around the nether regions of my bedroom for months. Now with the perfect opportunity, I wore one of my mother’s blouses (swooping collar turned right side in for greater authenticity) under my sewn additions, which were based off a German dirndl pattern.

The palm trees in the background certainly don’t match the sub-arctic Norwegian landscape, but at least my outfit resembled the North Country. Mission accomplished !

Told by the cut caricatures of the sirupsnipper cookies, the fourth Met Stars Live In Concert event could be summed up as such:

“From the forests of Norway…

…rising star Lise Davidsen brought her talents to a concert…

…broadcast around the world…

…where she won our hearts !“

Hopefully, Lise Davidsen’s return to the Met will be soon; her voice (in addition to her country’s culinary specialties) were delectable !

Toi, Toi, Toi,

Mary Martha

Cast and Credits

Met Stars Live in Concert: Lise Davidsen
Oscarshall Palace
Oslo, Norway
Live broadcast date: August 29, 2020
(Date seen: September 2, 2020)

Lise Davidsen ─ soprano
James Baillieu ─ piano

La Traviata ─ the Red Dress Disaster

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At last ─ a new production of La Traviata ! If you recall, I was not a fan of the previous Met production of Verdi’s timeless tale. A gender fluid mob of tuxedoed chorus members and a bald-faced clock certainly didn’t fit within my perceptions of the glittering Parisian world of Violetta Valéry.

Willy Decker’s production of La Traviata / Metropolitan Opera

Thankfully, that production is now old news. With Michael Mayer stepping in to create a new Traviata, I was more than enthused to supplant a fresh image in my mind of how La Traviata should be staged. The released promotional design concepts seemed promising for an enchanting, whimsical production.

Design concept for Michael Mayer’s production of La Traviata / Metropolitan Opera

While living up to my expectations of a more traditional Traviata, I wouldn’t call it a hands-down winner. Christine Jones’s sets were beautiful, as were Susan Hilferty’s costumes, but the brightness of the colors and the curly embroidery detailing on Alfredo’s jacket (and the chorus members’ attire) could only summon to mind a Disney musical on Broadway.
All things considered, I was pleased by this production of La Traviata and how it partially fulfilled what had been my initial hope: to see a traditionally set performance of opera’s immortal tragedy.

Juan Diego Flórez as Alfredo Germont and Diana Damrau as Violetta Valéry in La Traviata / Metropolitan Opera

Costuming possibilities are rich for Traviata ! Voluminous skirts, statement bodices, and historical implications all play a part in most mainstream performances. Since Michael Mayer’s production was making its world debut at the Met, I had no past performance pictures to reference for designing my costume. All that was available was one promotional sketch released by the Met.

Ambiguously lost between the 18th and 19th centuries, the image lacked the clarity I needed to carry out my design plans. My struggles with coming to a creative solution reached near delirium as I fiddled with different gown styles and ornamentation to no avail…

Eventually, I e-mailed Susan Hilferty, the costume designer for the opera, fishing for possible details. Unsurprisingly, the bait remained on the hook.
With time running out, I resignedly choose a similar style as the promotional sketch. And since the Live in HD broadcast was scheduled just 10 days before Christmas, how could I go wrong with a stylish scarlet gown ?

I categorized this dress under ‘Couture’ because of its showstopping grandeur and formality. But don’t be fooled─ its interior was a mess ! In preparation for draping the outside of the bodice, I sewed the lining only. Multiple fittings promised a success.

Less than a week before the opera, I carefully began folding and manipulating strips of my red matte satin and pinning them to the bodice, arranging them attractively as I went. Once the drapes were secured, I steam pressed them and was ready to try on the gown for the final fitting…

However, when I slipped into the gown, it swallowed me like an engulfing wave ! The dress was HUGE and I didn’t know why… It fit perfectly before I applied the drapes. Panic struck as it was the day before the opera and I didn’t have a dress to wear ! The rest of the day was spent taking in the central back seams and resewing the zipper innumerable times. Each alteration led to another problem and now I was seriously contemplating a Plan B. Finally, at 8:30 p.m., I finished altering the dress to where I felt confident that it wouldn’t fall to the floor as I wore it to the opera. What a close call !

Oh, but I wasn’t out of the woods yet… Throughout the day at the theater, I felt the dress becoming larger and looser with every movement. Fear of a ebbing gown pressed against the forefront of my mind as I consciously made efforts to prevent an embarrassing situation from occurring.
Unzipping the gown in the evening was an utter relief ─ I made it through the opera without a wardrobe malfunction !

Pretty on the outside, tragic on the inside… It’s almost as if the dress had been Violetta herself. And also like Violetta, the long red dress was permanently retired.

Toi, Toi, Toi,

Mary Martha

Cast and Credits:

La Traviata ─ Giuseppe Verdi (1853)
Live in HD air date: December 15, 2018

Cast:
Violetta Valéry ─ Diana Damrau
Alfredo Germont ─ Juan Diego Flórez
Giorgio Germont ─ Quinn Kelsey

Credits:
Conductor ─ Yannick Nézet-Séguin
Production ─ Michael Mayer
Set Designer ─ Christine Jones
Costume Designer ─ Susan Hilferty
Lighting Designer ─ Kevin Adams
Choreographer ─ Lorin Latarro
Live in HD Director ─ Gary Halvorson
Host ─ Anita Rachvelishvili

Rolling on the Riviera ─ Aleksandra Kurzak and Roberto Alagna in Concert

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“The dynamic husband-and-wife duo of tenor Roberto Alagna and soprano Aleksandra Kurzak give a concert of arias and duets, accompanied by string quintet, from an outdoor terrace in Èze, France, with a spectacular view of the Mediterranean.”

Two for the price of one ? A string quintet ? A château on the French Riviera ? Count me in ! If the description for the third installment of the Met Stars Live in Concert initiative wasn’t appealing already, the set list for Aleksandra Kurzak and Roberto Alagna’s concert was the icing on the cake. Favorites from Puccini and Verdi seamlessly mixed with adorable folk songs from Mexico and Italy, all richly accompanied by the Vienna Morphing Quintet. Below is an abbreviated video of highlights from the concert:

Aside from being a technical feat, the vistas overlooking the pelagic Mediterranean Sea were arresting. Several times during the concert, I found my eyes floating over the floral garlanded railing to espy sleek motor yachts and nearby barrier islands as Aleksandra and Roberto charmed me with their singing and effortless chemistry. Their intuitive camaraderie led to dynamic and touching duets, which also included an overflowing dose of mirth. In what is rapidly becoming the duo’s calling card, the hilarious “love potion” duet from Donizetti’s L’Elisir d’Amore involved a clever prop and crafty English ad libs ─ I was rollicking with laughter watching the two perform !

Aleksandra Kurzak and Roberto Alagna singing “Caro Elisir” from L’Elisir d’Amore in concert / Metropolitan Opera

There were more serious moments as well with Aleksandra singing Desdemona’s “Ave Maria” followed by a melting rendition of the love duet from Otello, in which the darkening sky serendipitously played a role in one of the final lines. Singing “The Pleiades are low in the heavens”, the pair turned to face the azure sky and motioned to the stars just as they were beginning to illuminate. Chills !!!!

Aleksandra Kurzak and Roberto Alagna singing the love duet from Otello in concert

The Cuisine

The concert locale, above all else, provided the best (and most straightforward) watch party theme: Rolling on the Riviera. Provence, with its uniqueness of sights and senses was the central inspiration behind our small gathering at Chris’s home. Each of us chipped in to make the get-together unforgettable. Jayne knew of a terrific French sparkling rosé wine while I was elated to try out Ina Garten’s Provençal Potato Salad, which was chocked full of Provençal ingredients: black olives, capers, haricot verts, cherry tomatoes, scallions, red onion, lots of fresh herbs, flaked tuna, hard cooked eggs, and anchovies. The freshness was equivalent to lounging on a sun-soaked beach chair with the sea mist brushing across your face. In the words of Ina Garten, “How bad can that be ?” The salad is so gorgeous that it was featured as the cover image on the original Barefoot Contessa cookbook from 1999.

The Barefoot Contessa Cookbook and Jayne’s sparkling rosé

I highly recommend the wine and the niçoise-inspired potato salad for an instant summer getaway.

Anne sure knows how to arrange a cheese platter ! Roquefort, Boursin, and Brie, oh my ! And of course, my favorite prosciutto…

Even Chris, our gracious hostess, made blackberry sorbet to be accompanied with chocolate covered French cookies. Bon appétit !

The Clothes

Imagine partaking in a leisurely promenade along one of the coastal towns of the Riviera… what would you wear ? For me, the answer was obvious: beach pajamas !

Made popular in the 1930’s, beach pajamas (or pyjamas) were all the rage on the Riviera where the rich and famous would rendezvous. Women would wear flowy fabrics with grace, oftentimes to dressier occasions spanning into the evening hour. Casual and comfortable, while still oh-so chic, I knew I wanted to sew a set of these beloved beach clothes.

Seeking a two piece style, I contemplated designing my own set until I came across a FREE pattern online from Gertie’s Charm Patterns brand. With a complete sew-a-long tutorial on YouTube showing the details of making the pajamas, the pattern was just right for my needs. With this being my very first “Gertie” pattern, I wasn’t sure what to expect, but found that the pattern was accurately sized with differing cup sizes for an even better fit.

Using a soft rayon challis I bought in June from Julie’s Picks swatch club mailer, I paired it with an equally sumptuous berry-colored material from Fabric Mart’s gorgeous selection of rayon/nylon shimmer satins. Softness and style united as one.

I loved wearing my 1930’s beach pajamas to what transpired as a joyous afternoon in Provence. From the cliffs of Èze to the rolling hills of central Florida, the pleasures of the French Riviera were abundant ─ an uplifting concert, delicious food, and lively conversation… what could be finer ?

Toi, Toi, Toi,

Mary Martha

Cast and Credits:

Met Stars Live in Concert: Aleksandra Kurzak and Roberto Alagna
Château de la Chèvre d’Or
Èze, France
Live broadcast date: August 16, 2020
(Date seen: August 20, 2020)

Aleksandra Kurzak ─ soprano
Roberto Alagna ─ tenor

Vienna Morphing Quintet

Carmen

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“Love is a rebellious bird that no one can tame… And if I love you, watch out !”

Act I ─ Carmen

Opera’s most notorious femme fatale finally sashayed her way into the theater after keeping me waiting for years. Truthfully, I have longed to see Carmen for two reasons. First, the bouncing music, which is both tuneful as well as recognizable, is an alluring draw to Bizet’s landmark opera. And then there’s Carmen herself, a meaty role for any mezzo-soprano. Clémentine Margaine, French by birth, slipped into the black dress for this Live in HD performance.

Clémentine Margaine as Carmen / Metropolitan Opera

Gritty, but perfumed, Clémentine Margaine balance crude manners with beguiling charm. Watching her sent my mind into vacillations of resolve as to who she really was: a woman who looked attractive at first glance, but on further inspection was nothing more than a broad wearing lipstick and eyeliner. There was a hardness about her ─ an earthiness ─ that befit the role of the tempestuous gypsy well. This baseness was especially noticeable when compared to the sweet and singular Micaëla, played by Polish soprano, Aleksandra Kurzak, who also happens to be the real life wife of Roberto Alagna, the opera’s Don José !

Aleksandra Kurzak as Micaëla and Roberto Alagna as Don José in Carmen / Metropolitan Opera

While the songs were as exciting as I hoped they would be, I wouldn’t say that Carmen ranks as one of my favorite operas. It’s too long for a story that feels humdrum and predictable. From a personal standpoint, Bizet’s earlier work, Les Pêcheurs de Perles, was much more intriguing in terms of plot and outcome. Nevertheless, I was happy to be able to check Carmen off my list of must-see operas.

A scene from Carmen / Metropolitan Opera

Just as the singer who plays Carmen often relishes the chance to live vicariously through the role, so I also wanted to step into the clicking heels of a Spanish gypsy through my portrayal. Although Richard Eyre’s production is set in Seville during the 1930’s, I felt many of the costumes seemed pertinent to the present day and so I decided to model my look after the dancing ensemble worn by Carmen in Act II.

A scene from Act II of Carmen / Metropolitan Opera

A voluminous bell sleeve blouse and lace skirt swings in time to the rousing Gypsy Song while a black corset exemplifies Carmen’s signature seduction. Planning my version of the outfit was easy, especially when I thought of the coral colored crinkle skirt in my mother’s closet that would be perfect for the part. Marking the tiers with rows of beads, it was destined for bohemian couture. Two yards of Raschel lace, which I bought for a bargain during a Black Friday sale, were draped and pinned on the outside of the skirt like a sarong.

The lower half of the outfit complete, I moved onto the fun parts ─ the corset and the blouse !

Yes, I made a corset. It was easy with the patterns and instructions from the Corset Academy, which I use often when making structured garments. Shaping my figure, the corset was mostly hidden beneath the flouncy tie bottom blouse I sewed using the free wrap blouse pattern from Anke Herrmann’s website for Flamenco Dressmaking. Her advice and support were valuable as I altered the style slightly to suit my needs. Once I found a festive dot crepe fabric on closeout online, I was ready to sew my blouse.

Making the bell sleeves was not as difficult as I anticipated, especially using a circle skirt cutting layout. And I loved using the rolled hem setting on my BabyLock serger ! It made the edges of my bell sleeves frilly and polished.

“But what about your hair ? Is it real ?” Yes and no. Looking over past Met performance pictures, I knew I needed tightly curled locks to match that of the character’s and so I related my plight to my mother (also known as my hairstylist) whereupon she gauged that trying to curl my naturally soft and wavy hair was a futile effort. Ultimately, she suggested I find some hairpieces. Well, I did, but the entirety of that story is not fit for publication. It involved a shady shop on the wrong side of town and a man who tried to convince me that he bore an uncanny resemblance to Che Guevara. Fearful for my life ? Just a smidge.
Doing her best, my mother mingled my hair with the newly bought hairpieces to capture the Spanish vibe I was seeking.

Steeped in Sevillian style, I thoroughly delighted in playing opera’s most infamous gypsy, especially when twirling around in the theater on the way back to my seat. Olé !

Toi, Toi, Toi,

Mary Martha

Casts and Credits:

Carmen ─ Georges Bizet (1875)
Live in HD air date: February 2, 2019

Cast:
Carmen ─ Clémentine Margaine
Don José ─ Roberto Alagna
Micaëla ─ Aleksandra Kurzak
Escamillo ─ Alexander Vinogradov

Credits:
Conductor ─ Louis Langrée
Production ─ Sir Richard Eyre
Set and Costume Designer ─ Rob Howell
Lighting Designer ─ Peter Mumford
Choreographer ─ Christopher Wheeldon
Live in HD Director ─ Gary Halvorson
Host ─ Ailyn Pérez

The Princess and the ‘Piece ─ Turandot

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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)

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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

Madama Butterfly (2016)

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Tragedies have always attracted me. Fully aware that the ending will be sad and the experience will most likely cause some degree of physical and emotional depletion, I still find myself being drawn to the most dramatic literary form like a batty moth to a glaring light. And when one of opera’s most famous tragedies is set to some of the most beautiful, heart-soaring music, the call to attend is heeded without question.

Intriguingly, Madama Butterfly could have been my first opera: glancing over the 2015-2016 Live in HD schedule, I thought it would be a perfect “first-timer” opera since its title is readily on the lips of laymen. But other decisions were made and now stepping into the theater in early April 2016, my opera attendances had now totaled beyond what could be counted on one hand.

The opening pantomime from Madama Butterfly / Metropolitan Opera

So what did I think of Madama Butterfly ? I loved it ! The music was thematic and stunning while the costumes were colorful and imaginative. Also appropriately mimicking the clean, Japanese aesthetic were the sets designed by the late director, Anthony Minghella.
Of course, there was heartbreak, but the unwavering balance created by the supporting characters of Suzuki and Sharpless added stability to an otherwise distressing story.

Kristine Opolais as Cio-Cio-San and Maria Zifchak as Suzuki / Metropolitan Opera

However, my winner of the day goes to Kristine Opolais, who sang Butterfly. What a sublime actress ! Her ability to convey both tenderness and frustration as the unfortunate geisha was unmatched, even though her voice sounds a bit too “hollow” for my liking. If only she and Roberto Alagna (Pinkerton) could have swapped heights… Too many times did I notice Opolais purposefully stooping as she pattered on stage in order to diminish the deficit between her head and that of her leading man’s.

Kristine Opolais and Roberto Alagna in Madama Butterfly / Metropolitan Opera

“Now, what to wear…?” Hitherto, I had been able to furnish themed costumes out of accessories in my closets with limited issues. Butterfly was a different story. Not knowing anything about the opera beforehand, I first toyed with the idea of draping a long skirt in a scarf printed with bright butterflies and donning a pair of child’s dress-up butterfly wings… Just as Pinkerton abandoned Butterfly, so I also jettisoned that silly notion.

Madame Butterfly ? Not quite…

Desperate for a solution japonaise, I realized I had no other option but to make my own kimono. But where to begin ?! I didn’t even know how to operate a sewing machine ! Determination, however, was stronger than Doubt. Unearthing the old Singer sewing machine, sheathed in dust, from under my mother’s bed, I sat on the floor of my bedroom trying to understand how the machine worked. Turning the hand wheel and observing how and where the needle fell was a fascinating procedure, but I wasn’t gaining ground on my endeavour. Thank goodness for online articles and YouTube ! After many failed attempts at propelling the needle on its journey, something finally clicked and I sewed my first line of stitches. Eureka ! Now to begin the staggering challenge of sewing a yukata…

Inspiration while working on my yukata: cruise line travel brochures !

Keeping my project a secret, I worked late hours in my bedroom following the instructions for a homemade yukata. Astoundingly, I learned and retained more information about kimonos, yukatas, and Japanese geisha culture than I ever imagined. One of the greatest benefits of sewing costumes is the amount of research needed to facilitate an authentic look and therefore, the knowledge gained in the process. Differentiating the method from textbook learning is the hands-on approach that ensures greater retention even after the project is complete. Even now, I can name off all the parts of a kimono and some of the little intricacies of geisha manners.

Nearly all the design aspects of my cotton yukata are traditional (except the contrasting bachi eri, but that’s only because I ran out of the main fabric !). From the ohashori (pouched fabric beneath the obi) to the left-over-right okumi panels (NEVER right-over-left ─ that’s for corpses only !!!!), my yukata was fit for a Japanese festival. I even made a matching kanzashi chopstick hairpiece to tie into the tropical print of the yukata.

Kanzashi hairpiece and obi tied into a bow

Overall, I was proud of my very first sewing project─ wearing my creation to the theater made me feel as if I had conquered an unimaginable feat !
With Madama Butterfly, my taste for tragedy was well satiated. In matters of sewing, my palate had just been whetted.

Toi, Toi, Toi,

Mary Martha

Cast and Credits:

Madama Butterfly ─ Giacomo Puccini (1904)
Live in HD air date: April 2, 2016

Cast:
Cio-Cio-San ─ Kristine Opolais
Pinkerton ─ Roberto Alagna
Suzuki ─ Maria Zifchak
Sharpless ─ Dwayne Croft

Credits:
Conductor ─ Karel Mark Chichon
Production ─ Anthony Minghella
Director and Choreographer ─ Carolyn Choa
Set Designer ─ Michael Levine
Costume Designer ─ Han Feng
Lighting Director ─ Peter Mumford
Puppetry ─ Blind Summit Theatre
Live in HD Director ─ Gary Halvorson
Host ─ Deborah Voigt*

*Matthew Polenzani originally scheduled to host broadcast.

Die Walküre

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I couldn’t have asked for a better opera for my first outing of Wagner: from Bugs Bunny to WWE wrestler walk-up music, Die Walküre‘s fame and legacy permeates all realms of music and culture. Who hasn’t heard the irresistibly iconic “Ride of the Valkyries” or been amused by the warrior women with braids and Viking helmets ?

Part of an epic tetralogy know formally as “Der Ring des Nibelungen”, Die Walküre explodes with mythological drama and some of the most involving music ever written. Ever since I began attending operas, I’ve always heard mentions of Wagner’s “engrossing” music and how spectators loose track of time while taking in a performance, despite the harrowing length of most of Wagner’s works. Knowing this, I was a little apprehensive about how I would fare at my first Ring opera.

Jamie Barton as Fricka, Greer Grimsley as Wotan, and Christine Goerke as Brünnhilde in Die Walküre / Metropolitan Opera

I shouldn’t have been worried ─ I loved Die Walküre and was hooked on the Ring Cycle ! While the layered story dipped into several previous arcs that occurred in Das Rhinegold (the first opera in the tetralogy), I found I was able to keep pace with the action and inevitably slipped into that intoxicating Wagner “trance”. Brutish warriors and incestuous twins aside, there were greatly tender moments as well. The final farewell between Wotan, the flawed God of Valhalla, and his disobedient Valkyrie daughter, Brünnhilde, nearly sent my mascara running !

Greer Grimsley as Wotan and Christine Goerke as Brünnhilde in Die Walküre / Metropolitan Opera

What is a ‘Valkyrie’ anyway ? In reading up on Norse mythology, I learned how Valkyries were immortal female fighters who aided in the battles among men on earth and safely carried the fallen heroes to Valhalla where they would live and serve Wotan in happiness. Although generally styled as Viking women with horned helmets and long braided pigtails, the Met’s Robert Lepage production has altered the women’s accoutrements to have filigreed chrome wings mounted to diadems and textured skirts of a metallic mylar material. As a costume that would unmistakably smack of cosplay, I set out to replicate the shiny scaled armor bodices and flashy skirts of the Met’s fearless Valkyries.

A scene with the Valkyries: Christine Goerke as Brünnhilde and Eva-Maria Westbroek as the Wälsung, Sieglinde / Metropolitan Opera

Sourcing the materials was the first step. Initially, I thought of using a spangle sequin fabric for the chain mail bodice, but decided against it in favor of hand cutting my “scales” out of versatile silver pleather for a more authentic look. In order to use my hot knife on the pleather, I needed a stencil and a sturdy one at that ! A branding pen devours paper like the flames of Brünnhilde’s bridal fire ─ I transferred my paper patterns onto an empty soda can and burned both pleather and black matte satin using their forms.

With long lengths of scalloped scales simultaneously cut and sealed, I sewed them alternately onto a princess bodice I drafted to fit my figure using patterns from the Corset Academy. Wax paper was the saving grace while stitching sticky, scrunching pleather…

Wax paper stitched on top of the pleather

Just a note─ I don’t suggest making a lining out of heavy polyester satin, especially if you live in hot and humid climates like I do. While I could quell my mascara from running down my cheek, the sweat down my spine I could not. The bodice was a polyester sauna !

Bodice lined, boned, and topstitched along seams

One of the most distinguishing features of the costume was the lofty pair of wings, glinting in the flashes of battle. Using pictorial resources available on the web (particularly, Deborah Voigt’s portrayal), I drew a freehand version of the openwork wing on paper and transferred it onto a thin cardboard cereal box to be spray painted later.

Deborah Voigt as Brünnhilde / Metropolitan Opera
The paper wing stencil

Once the wings were painted, they were affixed to a pleather covered foam diadem. Wrist cuffs out of the same foam/pleather combination anchored the tapered ends of the fishnet mesh sleeves. All that remained was the skirt, which was created from steely stretch taffeta by a series of angled half circles formed into a wrap style. The costume was finished and I was ready to take flight as a Valkyrie !

In spite of the poor choice of lining material, wearing this costume was a thrill ! After all, how many people can claim that they’ve been a Valkyrie ? This outfit also doubled as my Halloween costume for the year and just as at the theater, it sparked otherworldly interest.

“Hojotoho !”

Toi, Toi, Toi,

Mary Martha

Cast and Credits:

Die Walküre ─ Richard Wagner (1870)
Live in HD air date: March 30, 2019

Cast:
Brünnhilde ─ Christine Goerke
Sieglinde ─ Eva-Maria Westbroek
Fricka ─ Jamie Barton
Siegmund ─ Stuart Skelton
Wotan ─ Greer Grimsley
Hunding ─ Günter Groissböck

Credits:
Conductor ─ Philippe Jordan
Production ─ Robert Lepage
Associate Director ─ Neilson Vignola
Set Designer ─ Carl Fillion
Costume Designer ─ François St-Aubin
Lighting Designer ─ Etienne Boucher
Video Image Artist ─ Boris Firquet
Live in HD Director ─ Gary Halvorson
Host ─ Deborah Voigt

Met Stars Live in Concert: Jonas Kaufmann

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Is there anyone who doesn’t love Jonas Kaufmann ? He’s handsome, personable, full of charisma, and one of the greatest tenors to date. When it was announced that Jonas would be headlining the Met’s new concert initiative, how could I resist the opportunity to see the spectacular tenor perform ? For the cost of $20, one could be treated to an intimate and breathtaking performance with the craveable comforts of home. It was to my delight when my dear friend, Chris, invited me over to view the event on her mega screen TV, fully equipped with augmented surround sound.

Broadcast live from the historic Polling Abbey in the tenor’s native region of Bavaria, the recital was stunning, as was the sacred setting. With songs ranging from popular Puccini favorites to more obscure operatic selections (like Ponchielli), Kaufmann dazzled with his attention to vocal detail and tempered interpretation of the music. Particularly moving was piano accompanist Helmut Deutsch’s rendition of the Intermezzo from Manon Lescaut and the engaging aria “Un dì all’azzuro spazio” from Andrea Chénier. Of course, my favorite has been and will always be “Nessun dorma”, which never ceases to thrill me.

Jonas Kaufmann singing “Nessun dorma” with Helmut Deutsch accompanying on piano

If I could have changed anything about the format of the concert, I would have preferred to have heard more songs and less “filler” that was injected into the program after every couple of numbers ─ it’s not difficult to find and watch snippets of Jonas’s past Met Opera performances on YouTube ! Personally, it would have been more meaningful to me if there had been a series of short, sit down interviews with Kaufmann and Deutsch that had been previously recorded specifically for this concert, giving insight into the songs, the challenges (if any) of performing without an audience, etc. This addition would have made the pay-per-view price well worth the cost in terms of value.

The Clothes

Given the opportunity to dress up, I will take it ! And since I was going to attend a concert for the esteemed Jonas Kaufmann, why shouldn’t I look my best ? Nothing in my closets tickled my fancy and I was coincidentally distraught that a lining material I had ordered for another project was regrettably unusable for its purpose. However, I had an idea. Instead of hording the unfit fabric in a closet for years, crossing my fingers that I would eventually find a use for it at some indeterminable point down the road, I decided to make a “mock-up” dress of the untested pattern for which I originally bought the too-bright lining material.

The purple ITY knit lining material
Lekala Pattern #4078

Pressed for time, I completed the dress in a weekend. Although there were minor fitting issues with the pattern, I was pleased with the final result ! Styled in classy and chic fashion, I paired my new ruched dress with monochromatic stockings and heels and accented the look with gold jewelry. Don’t be deceived by the pictures─ neither the purple material nor the vanda orchid are nearly as blue toned as in the photos.

The Cuisine

A new dress for the event was only the start. Chris planned to serve wine and cheese for the gathering and I wanted to bring some “themed” food for the festivities. Since Kaufmann is from Bavaria and the concert was taking place in Bavaria, what better dessert to bring than my great-grandmother’s beloved Bavarian Apple Torte ?

Bavarian Apple Torte

Shingled with sliced almonds to shelter the cinnamon apples and cream cheese filling cohabiting beneath, the torte was a hit ! Another supplement of mine, a chilled bottle of Riesling wine which had been awaiting its moment of glory for many years in the refrigerator, was supple and sweet.

The sliced salami, prosciutto, and capicola were right up my alley ! I’ll never reject dry-aged salted meats !

All that was needed was a smattering of brie on a tangy sourdough rye cracker…

…and the sharing of laughter among friends. Who said classical music was stuffy ? Take me at my word: when Jonas Kaufmann is the subject of conversation and critique, there’s plenty to discuss !

Toi, Toi, Toi,

Mary Martha

Cast and Credits

Met Stars Live in Concert: Jonas Kaufmann
Polling Abbey
Polling, Bavaria
Live broadcast date: July 18, 2020
(Date seen: July 27, 2020)

Jonas Kaufmann ─ tenor
Helmut Deutsch ─ piano