Ever since I was a little girl, I always dreamed of having a “Santa” dress. The rich red velvet and white fur trim around the neck, cuffs, and hem would give me festive feelings of delight. Watching the classic film, “White Christmas”, would heighten this desire every year.
Vera-Ellen, Danny Kaye, Rosemary Clooney, and Bing Crosby in “White Christmas”, 1954
Despite my intentions, the hectic holiday season would always get in the way of my December dream. However, when I was approached to give a program to a retiree group highlighting the Christmas songs of the ages, I knew my time had come. The premise of the program was for me to wear an era-specific costume to match a song that was to be played after I modeled its corresponding outfit. The audience, in turn, had to guess when the song/carol was originally written based on my costume. For the 1990s, Mariah Carey’s “All I Want For Christmas Is You” was on the list.
Mariah Carey in the “All I Want For Christmas Is You” music video, 1994
Hooray ! The Christmas program gave me a fitting excuse to create my Santa dress. While the task seemed simple, it certainly had its challenges. I can’t count how many mock-ups I sewed of different bodice patterns, only to have them be too tight when sewn up in the desired stretch velvet. What was wrong ? Almost giving up, I tried one last pattern.
The Tessa Sheath Dress from Love Notions Patterns popped into my e-mail inbox one Friday as part of the company’s Feature Friday. For $5, I thought I would give it a try. My first mock-up was promising and when I added length to the bodice, it was perfect. Because I knew I was going to attach a circle skirt to the waist seam, I didn’t bother printing the rest of the PDF pattern. Once sewn together, I measured the circumference of the waist seam and used Mood Fabric’s Circle Skirt Calculator to map out my radius and fabric lay. The calculator worked its magic and gave me one circular piece of velvet, with no back seam to sew. Fluffy faux fur purchased from Amazon was sewn/glued to the appropriate places and… that was it ! I finally had my Santa dress.
This dress is so much fun ! I have worn it constantly over the season and love giving its skirt a twirl.
One of my favorite features of the dress is its red stretch velour, which hangs heavy in its drape.
Although it may seem unfathomable, in all my years of costuming I have never dressed in the fashion of the poodle skirt from the 1950’s. The iconic getup has never been one of my Halloween costumes, nor worn as an outfit to an opera. Frankly, no opportunities had ever presented themselves ! Last year when my friend, Jacob, raved about his time at a fundraiser for Silly Sock Saturdays, I knew I wanted to go the following year. Since the theme for the charity event was a 1950’s sock hop, my opportunity for soda shop bop had undoubtedly arrived.
Without hesitation, I turned to Folkwear for my pattern. I already owned the 256 At The Hop pattern, which I purchased during an e-mail flash sale to add to my burgeoning pattern collection. It seemed frivolous at the time, but I knew I would have a use for it… someday.
256 At The Hop / Folkwear Patterns
Keeping with tradition, I used a charcoal wool blend felt for the skirt, which I ordered from Fabric Wholesale Direct. Recently, FWD began a matching thread and zipper service, which made choosing complementary notions much less of a chore. The full circle skirt was sewn in a professional manner with its lapped zipper application.
Matching thread and zipper for the charcoal wool blend felt
What’s a poodle skirt without its playful canine ? I used pink and white felt for the main construction of the appliqué and then hand embroidered its outline with a stem stitch.
Fitting the blouse was more of a challenge. Previously, I had sewn a wearable muslin of the Peter Pan collared blouse included in the pattern envelope. While it seemed to fit from the front, a test of simple arm movements proved the blouse to be very constricting and an impossibility for dancing. In need of assistance, I reached out to Katrina Walker, one of my fit teachers. A broad back adjustment was applied to the paper pattern as was a full bust adjustment. After raising the armhole slightly, my new blouse was much improved. Thank you, Katrina !
Tight across the back and biceps and the entire blouse lifting while raising my arms ─ both signs of an ill-fitting garment.
A consignment cardigan, saddle shoes, pink poodle bobby sox, and a polka dot chiffon hair tie made my outfit complete. Don’t forget about the cat eye glasses ! They were given to me as a birthday gift years ago. Thank you, Aunt Countess !
Miss Poodle was ready for the hop. But what about my friend ? Still thinking of the variety and versatility of Folkwear’s vintage patterns, I recalled their 251 Varsity Jacket pattern and realized it would be perfect for Jacob.
251 Varsity Jacket / Folkwear Patterns
After taking his initial measurements, I embarked through my usual fitting processes and altered the pattern to suit his needs. Particularly, it was imperative to widen the neck and shorten the sleeves of the pattern. For ease of wear and care, I chose a soft and spongy Ponte knit for the body and sleeves of the jacket. Stay tapes and PerfectFuse interfacing added stability to the welt pockets and facings. A tip for sewists: don’t skip this step ! It will elevate your garments from amateur to professional in a jiffy.
Sewkeys-E Knit Stay Tape fused to the pocket openings and welts
My model was a perfect participant. Jacob would curiously ask me questions as to my experience with working with models whereupon I had to gently let him down that he was not my first model to fit. However, his face beamed like the sun reemerging from the cover of the clouds when I told him a secret: he was my first male model to fit. With supportive topstitching, striped ribbing, a fully lined interior, a machine appliquéd J, and silver snaps, the jacket was ready…
…and so were we !
My mother gave Jacob a ballpoint pen “tattoo” on his arm, just like all the greasers of the 50’s. He said it kind of tickled and was “a little relaxing.”
The fundraiser was a tremendous success ! Donations for socks and goodies were abundant and the music that played was hopping.
Rock around the clock !
In between root beer floats, a generous candy bar, photo booth, cotton candy station, and a barbeque buffet dinner, Jacob and I danced the time away while wearing his mother’s high school and college class rings. How neat is that ?!
Excitedly, we cheered at the end of the evening when we won two of the raffle prizes: trips to Top Golf and the Titanic Exhibit. Whoo hoo !
A thank you goes to the sponsors who made the event possible and for the benefactress who graciously invited me to sit at her table. Thank you, Mrs. Baker !
Whether attending a sock hop or just for confectionary fun, I highly recommend Folkwear’s vintage patterns for their authentic appeal and cultural connection. See you at the Hop !
It is already known how Madama Butterfly played a significant role in my life. In 2016, I taught myself to sew as I was preparing for my first outing to Puccini’s immortal tragedy. Because of that climactic moment, I hold a great reverence and affection for the opera.
My first sewing project ever ─ an authentic kimono for Madama Butterfly ─ in 2016
This particular Live in HDButterfly was probably the best iteration I’ve seen. Much of the weight of that statement is credited to Asmik Grigorian, the Lithuanian soprano with a vast voice, making her long-awaited Met debut. Although I didn’t feel she had the prettiest voice, her acting had me believing that I was Butterfly. When the character was scared, I was scared. During her moments of wild hope, my skin tingled. Vulnerability and despair coalesced into a perfect portrayal. Brava !
Lucas Meacham, Jonathan Tetelman, and Asmik Grigorian in Madama Butterfly / Metropolitan Opera
Japanese garments being the central focus of Madama Butterfly, my goal for my third time seeing the opera in theaters was to embrace a more modern, accessible approach to costuming by creating something that could be described as “East Meets West”. For this, I turned to Folkwear Patterns and their 129 Japanese Hapi and Haori pattern.
129 Japanese Hapi and Haori ─ Folkwear Patterns
While the authentic appeal of the lined haori attracted me, my practical reasoning knew that dealing with the hanging furisode sleeves would be a nuisance in the long run. The hapi it was !
Choosing the fabric was fun. At first, I looked for old bolts of kimono fabric on eBay, but wasn’t thrilled with the prices or inadequate yardage. Quilting cottons were suggested for the hapi so I checked around on my usual fabric sites. Searching through beautiful prints on Style Maker Fabrics, I found my fabric: a vibrant butterfly print on a teal background. Even more serendipitous, it was made in Japan !
To set off the busy material, I chose a diminutive turquoise cotton from my local quilt shop to serve as the neckband fabric. A striking contrast, don’t you think ?
Designed to be worn over western clothing, the hapi was a stylish topper over a persimmon colored camisole and wide-legged pants, the latter of which was sewn from a beige silk noil. So earthy, so luxe ! To make the pants, I used the Harlow Pajamas pattern, which I first sewed for the Kurzak/Alagna Met concert.
Wearing a cross necklace was indicative of Butterfly’s conversion to Christianity before her marriage to Pinkerton. Thank you, Faith !
Carefully, I threaded my handmade kanzashi hair stick (original to my 2016 outfit) into the chic geisha bun my mother styled for me. Why don’t we wear these more often ?!
Those straight cut, modest sleeves were not a problem at all !
And look at how cute this purse is ! Bought at Cracker Barrel, my mother gave it to me for Easter. Little did she know it would be flying off to Butterfly with me.
Now that the 2023-2024 Live in HD season has wrapped, I can breathe a bit and begin to work on projects for next season, which promises to be a delight. See you there !
Toi, Toi, Toi,
Mary Martha
Cast and Credits:
Madama Butterfly ─ Giacomo Puccini (1904) Live in HD air date: May 11, 2024
Cast: Cio-Cio-San ─ Asmik Grigorian Pinkerton ─ Jonathan Tetelman Suzuki ─ Elizabeth DeShong Sharpless ─ Lucas Meacham
Credits: Conductor ─ Xian Zhang Production ─ Anthony Minghella Director and Choreographer ─ Carolyn Choa Set Designer ─ Michael Levine Costume Designer ─ Han Feng Lighting Designer ─ Peter Mumford Puppetry ─ Blind Summit Theatre Revival Stage Director ─ Paula Williams Live in HD Director ─ Gary Halvorson Host ─ Anthony Roth Costanzo
Often billed as “the world’s greatest love story,” there was no question whether or not I would see Roméo et Juliette, Gounod’s French iteration of the Shakespeare classic, when it came into the theaters. As the curtain rose to the sounds of a mighty orchestra and hallowed chorus, I couldn’t help but feel that this opera was going to be golden.
Benjamin Bernheim and Nadine Sierra in Roméo et Juliette / Metropolitan Opera
Much of the greatness in the performance came from the pairing of the leads. Nadine Sierra and Benjamin Bernheim were a seamless match as the tragic couple with the latter having a glib command of his native language. Their love passages dripped like honey and their easy chemistry was undeniable. It’s too bad that the Met’s satellites were plagued by inclement weather in NYC. The interruptions in the live transmission caused our local theater to miss the pivotal, romantic moments, like Juliette’s first look at Roméo and much of the wedding scene. What a pity !
The wedding scene from Roméo et Juliette / Metropolitan Opera
Bartlett Sher’s current production of Roméo et Juliette mostly keeps with tradition while adding extravagance and taking modest artistic liberties. Despite the production moving the story to the 18th century, I was set on creating something that was more in line with the Renaissance styles of the original “Romeo and Juliet” without becoming too fussy or historically accurate. Without searching for it, I stumbled across the perfect pattern on Etsy.
The lacy neckline of View B (center on the envelope) screamed out as my opera dress. Gold it had to be, not only because of the comparison to Juliette’s Act I gown in the Sher production, but also for its representation of sunny Verona.
Surprisingly, the pattern came together quickly and was a simple sew, but gosh, that waistline was high !
The sleeves were a standout feature of the gown with elasticated bands separating the upper puffs from the lower bells.
My mother took pride in styling my hair, twisting it into whimsical braids. I loved it !
While my mother enjoys living out her hairdresser aspirations in styling my hair for the opera, she’s not always enthused about my costume creations. In fact, she gave Juliette’s gold satin gown the kiss of death by saying that it ranked “up there with the Russian one.” The blunt remark caused me to burst into peals of laughter.
Although I wasn’t crazy about the unnaturally high waistline, this dress gave me all the feelings of a dreamy Renaissance maiden, just like Juliette.
And now, Opie’s ready for his close up ! Juliette had to have been a cat lover, right ?
Toi, Toi, Toi,
Mary Martha
Cast and Credits:
Roméo et Juliette ─ Charles Gounod (1867) Live in HD air date: March 23, 2024
Cast: Juliette ─ Nadine Sierra Roméo ─ Benjamin Bernheim Stéphano ─ Samantha Hankey Tybalt ─ Frederick Ballentine Mercutio ─ Will Liverman Frère Laurent ─ Alfred Walker
Credits: Conductor ─ Yannick Nézet-Séguin Production ─ Bartlett Sher Set Designer ─ Michael Yeargan Costume Designer ─ Catherine Zuber Lighting Designer ─ Jennifer Tipton Choreographer ─ Chase Brock Fight Director ─ B.H. Barry Live in HD Director ─ Gary Halvorson Host ─ Ryan Speedo Green
I have a confession to make. Mozart puts me in a somnolent mood. Although I am quickly made to feel like an operatic pariah at my admission, Mozart has never riled my blood the way other composers do. But that didn’t stop me from seeing Don Giovanni, one of my four “must-see” Mozart operas.
A scene from Don Giovanni / Metropolitan Opera
As the Italianized tale of Don Juan, Don Giovanni is full of drama, but with a sardonic sense of humor, which adds levity to the dark subject matter. Included among the nearly flawless cast was one of my favorite baritones, Peter Mattei, whose velvety voice gave my ears a ticklish delight. Who would have guessed that the overtures of a serial rapist and murderer could be pure bliss ?!
Peter Mattei (center) as Don Giovanni / Metropolitan Opera
While the talents of the singers, orchestra, and conductor shone, the stage director’s did not. Lately, theatrical directors have been attempting to modernize classic productions with stripped down, avant-garde adaptions. Sometimes they’re brilliant (i.e. Agrippina), but other times they feel contrived, nonsensical, or are downright vulgar. With Ivo van Hove’s new, contemporary production of Don Giovanni, I was left with feelings of boredom. A dusty, gray stage is only appealing for a New York minute and the street style “costumes” were devoid of any visual excitement. Yawn !
A scene from Don Giovanni / Metropolitan Opera
My persuasions about modern productions being stated, there is a perk to designing clothes to wear to a present-set opera. When costumes look “off the rack” it opens up possibilities to create ready-to-wear garments that can be worn even after my outings to the theater. Thinking of the three ladies of Don Giovanni (Donna Anna, Donna Elvira, and Zerlina) and their three distinct social classes (aristocracy, bourgeoisie, and peasantry), I knew which gal would be my muse.
The spunky, unpretentious Zerlina has always been my favorite of the trio and her duet with Don Giovanni is an anticipated moment. As a modern iteration, I envisioned Zerlina as a free-spirited flower child who could unmistakably be seen attending an outdoor music festival. Seemingly, the costume designer for the production agreed.
Peter Mattei as Don Giovanni and Ying Fang as Zerlina / Metropolitan Opera
A simple, shaped sundress with buttons down the front was my projected look. Seeking out various patterns led me to Style Arc’s Ariana dress.
Ariana Dress from Style Arc
In the past, I haven’t had great success with Style Arc (their patterns tend to not fit me well) and this endeavour proved no different. However, after sewing a mock-up of the bodice and making a few tweaks, I was able to achieve a better fit.
The wrinkles of linen can be the bane of a fussy fashionista. But to the nonchalant peasant, they represent the uninhibited simple pleasures of life. Such was the scene of frolicking wedding guests as Zerlina made her entrance on stage, waking me from a light, Mozartian doze.
Toi, Toi, Toi,
Mary Martha
Cast and Credits
Don Giovanni ─ Wolfgang Amadeus Mozart (1787) Live in HD air date: May 20, 2023
Cast: Don Giovanni ─ Peter Mattei Donna Anna ─ Frederica Lombardi Donna Elvira ─ Ana María Martínez Zerlina ─ Ying Fang Don Ottavio ─ Ben Bliss Leporello ─ Adam Plachetka Masetto ─ Alfred Walker Commendatore ─ Alexander Tsymbalyuk
Credits: Conductor ─ Nathalie Stutzmann Production ─ Ivo van Hove Set and Lighting Designer ─ Jan Versweyveld Costume Designer ─ An D’Huys Projection Designer ─ Christopher Ash Choreographer ─ Sara Erde Live in HD Director ─ Gary Halvorson Host ─ Erin Morely
Richard Strauss must have had an unusual sense of humor. While Der Rosenkavalier is not as much of a cerebral conundrum as Ariadne auf Naxos, the wild comic relief of the former opera is enough to cement its composer as a farcical magician. Offsetting Hugo von Hofmannsthal’s risible libretto, Strauss’s music melts into euphoric rhapsody. Those Viennese parlor strings throughout the opera whisk me away to paradise like a celestial chariot racing towards the clouds.
Although Rosenkavalier is a longstanding favorite of mine, I was especially elated to hear such a wonderful cast. When Lise Davidsen is performing, it’s always a treat and I looked forward to seeing her as the Marschallin with Samantha Hankey as her teenage lover, Octavian. Both sounded superb. However, the gap in stature between the two made for awkward visuals on stage.
Samantha Hankey as Octavian and Lise Davidsen as the Marschallin in Der Rosenkavalier / Metropolitan Opera
The supporting cast more than contributed to the performance’s success. There is not a better Sophie, nor Baron Ochs, than Erin Morley and Günther Groissböck, respectively. Bravi !
Erin Morley as Sophie, Günther Groissböck as Baron Ochs, and Samantha Hankey as Octavian in Der Rosenkavalier / Metropolitan Opera
Besides the intriguing triple role play of the character Octavian, I am most fascinated by the Marschallin in the opera. She’s clever, foreseeing, a lady of means, and sings some of the most achingly beautiful music in Act I. When I think of Der Rosenkavalier, it is she who first comes to mind.
Lise Davidsen as the Marschallin / Metropolitan Opera
Wisely, Robert Carsen’s smart production is set in 1911 Austria, the year the opera premiered, and is a departure from the original 18th century dictates. However, the updated setting feels so hand-in-glove that I don’t long for the panniers and pompadours of old. With the year of the production as a fountain of inspiration, my objective was to create an outfit that was strictly 1911 in its silhouette and mode. I learned much of the fashion trends of the time from this article: http://thevintagesite.com/?p=1399
Fashions from 1911
A skirt suit with pleats and an endless supply of buttons seemed en vogue for the year. When I found a 1911/12 reproduction pattern on Etsy, I bought the PDF file and taped the printed pages together. Because I was concerned that a vintage pattern would be significantly smaller than my own measurements, I made a mock-up, which turned out fine. Time to cut the fabric !
Vintage Pattern Lending Library
Choosing the right material was key. After much deliberation and research, I found a sumptuous raw silk chevron suiting from Folkwear that was just the perfect color of cream to pair with some leftover black wool suiting that I intended to use for the collar and belt of the dress. With a modest price tag for 100% silk, it was a steal. Lastly, I used Elsewhen Millinery’s Imogen hat pattern for a voluminous “bird’s nest” hat straight from the 1910’s. The result was pleasing (albeit, my finished hat was a bit too snug).
Elsewhen Millinery’s Imogen Hat
And, ta-da… an Edwardian lady !
The instructions for the dress were sparse, yet adequate, but I didn’t follow them precisely. Instead, I scrutinized photos from a blog post of a lady who had sewn the pattern for a garden party. Her descriptions and detailed construction photos helped tremendously.
On purpose, I didn’t sew the back skirt pleats over the darts since I was concerned about the skirt being too tight. Gracefully, they fell in loose folds into a slight train at the back.
And a secret: I used Velcro to close the dress ! Although it was never my desire, time constraints forced me to do the unthinkable. Sometime, when life isn’t so busy, I plan to make things “right” with this dress and sew buttonholes or a more proper closure.
Wearing my comfy silk dress with it’s sharp black accents, lace chemisette, hat, and leather gloves made me feel like a First Lady ! So elegant and regal was the ensemble… why don’t women dress like this anymore ?!
A rambunctious romp, wistful reflection, and a silk suit dress worthy of a lady… Der Rosenkavalier makes for an artful trio.
Toi, Toi, Toi,
Mary Martha
Cast and Credits
Der Rosenkavalier ─ Richard Strauss (1911) Live in HD air date: April 15, 2023
Cast: Marschallin ─ Lise Davidsen Octavian ─ Samantha Hankey Sophie ─ Erin Morley Annina ─ Katharine Goeldner Italian Singer ─ René Barbera Valzacchi ─ Thomas Ehenstein Faninal ─ Brian Mulligan Baron Ochs ─ Günther Groissböck
Credits: Conductor ─ Simone Young Production ─ Robert Carsen Set Designer ─ Paul Steinberg Costume Designer ─ Brigitte Reiffenstuel Lighting Designers ─ Robert Carsen, Peter Van Praet Choreographer ─ Philippe Giraudeau Revival Stage Director ─ Paula Suozzi Live in HD Director ─ Gary Halvorson Host ─ Deborah Voigt
This alliteration advocate certainly appreciated the Met’s promotional tagline for the upcoming performance of Falstaff ! And on April Fools’ Day, it couldn’t have been more fitting. As the final opera of a venerable 79-year-old Giuseppe Verdi, Falstaff doesn’t follow in the steps of the slew of tragedies and dramas that emerged from Verdi’s pen. However, it’s an opera that is full of plucky delight and ebullient personality.
Michael Volle as Falstaff / Metropolitan Opera
While the comedy, based on Shakespeare’s The Merry Wives of Windsor, is set during the reign of Henry IV, Robert Carsen’s Met production places the opera in the 1950’s. This was brilliant. No part of the production conflicted with the concrete libretto and the stage flow felt natural to the circumstances. But really, the best part was the fashion ─ hands down !
Hera Hyesang Park, Ailyn Pérez, Jennifer Johnson Cano, and Marie-Nicole Lemieux in Falstaff / Metropolitan Opera
For Fifties Falstaff, opportunities abounded for sumptuous styles. Everything from wide collars to houndstooth was on the table, but I favored Alice Ford’s lemon yellow dress worn during Act II while working her wiles on Falstaff in her Betty Crocker kitchen.
Michael Volle and Ailyn Pérez in Falstaff / Metropolitan Opera
Simplicity 1459 was my chosen pattern because, although it wasn’t a carbon copy of Brigitte Reiffenstuel’s stage costume, it featured many of those retro details that make an outfit unmistakably 50’s: full skirt with crinoline petticoat, portrait neckline, covered buttons, and a cummerbund sash.
Finding an accurately matching yellow satin proved to be more difficult than expected. Samples turned out to be either too pale, too brash, or too exorbitantly priced for my tastes. Ultimately, I settled on a sample that seemed close to my vision. More than fiddling with shades of satin, another reality posed a problem with production. I now work a part-time job and my sewing time came down to the final 3 days before the opera. That’s right─ with 3 days before the performance, I had nothing to wear ! Can you imagine my stress ?
Sewing on the hooks and eyes of the sash the morning of the opera, my outfit was ready, but don’t look too closely at some of those seam finishes !
After a quick glance at the pattern envelope while writing this, I do believe I wore the cummerbund sideways. The opera wasn’t the only thing that was topsy-turvy on April Fools’ Day !
And that satin sample ? Well, the yardage that arrived turned out to be glaring in its intensity. Whether it was the same dye lot as the sample or not, I haven’t a clue. Its Crayola hue rendered my shoes a temperature mismatch, but who noticed ?
Fun Fact: That’s me in the picture above my shoulder when I was about 5 years old.
My mother styled my hair in a relaxed French twist, pearls were donned, and white gloves worn. Classic !
For just over 2 days worth of work, I was relatively pleased with my nifty Fifties dress, even laughing at times. Coincidentally, that adopted attitude corresponded with a main theme from the comedy. At the end of the opera, Falstaff and the cast of characters agree on one thing: “the whole world is nothing but a jest.”
Toi, Toi, Toi,
Mary Martha
Cast and Credits
Falstaff ─ Giuseppe Verdi (1893) Live in HD air date: April 1, 2023
Cast: Falstaff ─ Michael Volle Alice Ford ─ Ailyn Pérez Nannetta ─ Hera Hyesang Park Meg Page ─ Jennifer Johnson Cano Mistress Quickly ─ Marie-Nicole Lemieux Fenton ─ Bogdan Volkov Ford ─ Christopher Maltman
Credits: Conductor ─ Daniele Rustioni Production ─ Robert Carsen Set Designer ─ Paul Steinberg Costumer Designer ─ Brigitte Reiffenstuel Lighting Designers ─ Robert Carsen, Peter Van Praet Revival Stage Director ─ Gina Lapinski Live in HD Director ─ Habib Azar Host ─ Ryan Speedo Green
It’s no secret that I love a good secret, especially when that secret surrounds the identity of an individual. Much like my all-time favorite opera, Turandot, the German fairytale of Lohengrin is shrouded in mystery as to the name and origins of its central character. But my penchant for sworn confidences is only part of why Lohengrin reigns as co-champion for my favorite Wagnerian opera.
A scene from Lohengrin / Metropolitan Opera
Including the ethereal prelude, which felt like a cathartic sound bath under the spell of Yannick Nézet-Séguin’s rapturous orchestra, and the bated breath aria “In fernem Land” in Act III, I am moved to hallowed stillness by the nobility of the piece. The purity, blind faith, and exalted submission of the hero to a higher power elicits sighs of romantic grandeur from my heart. Perpetually, the opera inspires me to a greater character of soul. And while I have never been one to wear my heart on my sleeve, I think it can be veritably said that there is no female alive who does not inwardly swoon over a knight in shining armor, coming to the rescue of a damsel in distress. Myself, included.
Tamara Wilson, Günther Groissböck, and Piotr Beczała in Lohengrin / Metropolitan Opera
Before Lohengrin was ever scheduled to appear at the Met, I always knew what I would create for the occasion. Years passed before I could fulfill my vision for the opera, but my daydreams never waned. Finally, the moment arrived. Swan Knight Bridewas the culmination of central plot points in the opera: the swan that tows the skiff carrying the knight to defend the innocent Elsa, who then becomes his beloved bride. My idea was to assemble all these elements and blend them into a “Modern Medieval” look with simplistic styling. And so, the process began.
Creation
Starting with a proper foundation was important, especially since I had distinct parameters for how I wanted the gown to look. When I discovered the Sewist design website, I was in “dress dream” heaven. Below is the base gown I “designed” using the mix-and-match software offered for free by the company:
I loved the jewel sweetheart neckline as a sleek and stately alternative to a traditional Queen Anne neckline. Even with my customized pattern, I needed to do some additional fitting to account for my knit fabric and provide added stability around the pointed contours of the neckline. Taking a class from Katrina Walker on how to sew pretty necklines for knits paid off grandly as my heavy, slippery tricot fabric looked flawless after the techniques were applied. Thank you, Katrina !
Fitting the dress with a stabilized neckline
For the “knight” representation, my plan was to liberally bedazzle the shoulders of the gown with metallic rhinestones in a gradient effect as if some of the Grail’s mystic power had descended upon my shoulders. The plain gown underwent a resplendent transformation as each rhinestone was applied entirely by hand.
The knight’s “shining armor” in progress
What’s a bride without her veil ? Here is where I decided to implement “mein lieber Schwan.” Mirroring the gradation on my shoulders, my aim was to have the veil look as if feathers were gently floating in soft swishes. Originally, I was just going to gather several yards of an embroidered tulle, but after realizing the mesh was too soft and stretchy for a veil, I opted to extract the feathers from the mesh using scissors and a soldering iron and then attached them onto a more suitable tulle.
With all components complete, I added an oak leaf crown to symbolize the meeting place at the beginning of the opera as well as to lend a Medieval touch to the outfit. Swan Knight Bride, at last !
The crisply turned out neckline and the sparkle from the silver rhinestones made me feel so glamourous and noble.
With hundreds of jewels applied by hand, the gown’s decoration was a labor of love… but so worth it !
A Medieval gown cannot be without its bridal point sleeves ! Altering the sleeve pattern to include them gave me fits, but they were gorgeous in the end.
To Wagner’s Lohengrin, only one thing can be said… “I do !”
Toi, Toi, Toi,
Mary Martha
Cast and Credits:
Lohengrin ─ Richard Wagner (1850) Live in HD air date: March 18, 2023
Cast: Lohengrin ─ Piotr Beczała Elsa ─ Tamara Wilson Ortrud ─ Christine Goerke Telramund ─ Evgeny Nikitin Herald ─ Brian Mulligan King Heinrich ─ Günther Groissböck
Credits: Conductor ─ Yannick Nézet-Séguin Production ─ François Girard Set and Costume Designer ─ Tim Yip Lighting Designer ─ David Finn Projection Designer ─ Peter Flaherty Choreographer ─ Serge Bennathan Dramaturg ─ Serge Lamothe Live in HD Director ─ Gary Halvorson Host ─ Christopher Maltman
With the satellite repaired at my local haunt, I returned to the theater to punch my ticket for La Traviata, an opera, which, while not a favorite of mine, is one that cannot be denied no matter how many times it is shown in the theaters ─ the music is just too good ! After all, who can resist a bubbling brindisi and soaring arias ?
Nadine Sierra as Violetta / Metropolitan Opera
Although there were some initial issues with the picture quality and crackling sound in the cinema, the performance waxed better and better, culminating in one of the greatest finales I’ve ever seen incarnated in the opera. The tears were real. The emotion was all-encompassing… I love a good death scene and this was it ! Bravi, Nadine and Stephen !
Nadine Sierra and Stephen Costello in La Traviata / Metropolitan Opera
Twice had I seen La Traviata in the theaters before this current jaunt and as I was beginning to think of ideas for my latest outfit, I had one prohibition: I did not want to wear another red dress ! My opinions about Michael Mayer’s revival production haven’t changed much from my first time seeing it in 2018 and Susan Hilferty’s costumes, although beautiful, were not something I wanted to replicate for my own closet. Rather, I was inspired by the original Violetta, the one immortalized in Alexandre Dumas Jr.’s novel, La Dame aux Camélias.
Marie Duplessis, converted to Marguerite Gautier and Violetta Valéry in written and theatrical texts, was the real-life Parisian courtesan who lived and died during the 1840’s. Over the summer, I read La Dame aux Camélias and was caught between frustration and pity over Marie’s hapless fate. I wanted to recreate her. And so, I began researching the time period and everything central to women’s fashion.
Early Victorian Style: Queen Victoria and Prince Albert, circa 1840’s
Janet Arnold’s Patterns of Fashion1 was my treasure trove for resources and my aim was to use one of the extant designs as the basis for creating my dress.
A gown from Janet Arnold’s Patterns of Fashion 1
Although enlarging the corresponding pattern pieces in the book to their proper scale (800%), an initial mock-up proved that more alterations would be needed in order to have the dress fit my figure. Time was like quicksand through the hourglass and the thought of applying modern day adjustments was a hopeless endeavour. Another thought popped into my mind: draping !
I had never draped in my life, but it seemed like the more expeditious route to pursue. What did I have to lose ? Using the magnified patterns as a guide, I attempted my first draped garment. My results were appealing.
Transferring the darts and adding seam allowances to the muslin pieces made for quick work, but more fitting issues arose as the bodice was cut too short and the waist was left too loose for my corseted figure. Oh, well ! It wasn’t too shabby for my first attempt at a couture technique.
With a hairdo that had my mother revolting in horror, I was ready to enact my tribute to Marie Duplessis, the “real” Violetta.
In addition to draping, I also tried my hand at cartridge pleating for the skirt, piped the armholes and waistline, and used a hook and eye placket to close the back. So 1840’s !
The creamy white satin was stunningly gorgeous, but by far my favorite part of the outfit was the wooden camellia magnet corsage that my cousin, Rosemary, fashioned for me.
Thank you, Rosemary !
With naturally preserved salal leaves, the bloom completely set off my outfit. Rosemary has a tremendous business creating real-look softened wood florals for weddings and events. And she ships worldwide, too, so be sure to check out her site ! https://www.rosemarysgardenflorals.com/
I loved wearing this outfit along with all the Maria Callas/Scarlett O’Hara vibes it brought me. Through a sickly, “kept” woman, I learned much about the 1840’s and opera’s greatest heroine. Marie Duplessis: the real Violetta.
Toi, Toi, Toi,
Mary Martha
Cast and Credits:
La Traviata ─ Giuseppe Verdi (1853) Live in HD air date: November 5, 2022
Cast: Violetta Valéry ─ Nadine Sierra Alfredo Germont ─ Stephen Costello Giorgio Germont ─ Luca Salsi
Credits: Conductor ─ Daniele Callegari Production ─ Michael Mayer Set Designer ─ Christine Jones Costume Designer ─ Susan Hilferty Lighting Designer ─ Kevin Adams Choreographer ─ Lorrin Latarro Revival Stage Director ─ Sarah Ina Meyers Live in HD Director ─ Gary Halvorson Host ─ Renée Fleming
How much do I love Puccini’s final opera, Turandot ?
Well…
I own two complete recordings, which I listen to very often…
…have a poster in my room…
…and it has been rumored to be true that I’ve flown out of my bedroom like a bat when the sound of someone singing “Nessun dorma” on a television in an adjacent room wafted its way to my ear during the early part of slumber.
Yes, I love Turandot ─ the music, the armrest-gripping drama, the fiery passion all wrapped up in a splendid love story for the ages. It never gets old… neither do the chills and goosebumps I inevitably feel whenever listening to the opera. While these factors are not conducive to healing from adrenal fatigue, the liability never stops me from attending a performance, regardless of the cast.
Liudmyla Monastyrska (center) and Yonghoon Lee (left) in a scene from Turandot / Metropolitan Opera
Oddly, Turandot is one of the few operas that is not entirely dependent on the merits of the four principal leads (at least to me, anyway !). Rather, having an exceptionally vibrant chorus and a taut and affecting conductor on the stand makes the real difference. With that in mind, the orchestra and chorus shone as the brightest stars during this run of Franco Zeffirelli’s magnificent production. But a mention should be made of the principal singers… instruction in Acting 101 would have been advisable for most of them. The icy princess was truly frozen and the blind man was discovered to be only intermittently blind as he readily anticipated his steps and conversations before they had begun. Oops ! Despite some hiccups, they were mostly rendered moot: the opera is always a winner !
An excerpt from the finale from Turandot (2009) / Metropolitan Opera
Zeffirelli’s Turandot production is a landmark. It’s so powerful in its impact on audiences that it’s been in existence at the Met for over 30 years. Why mess with perfection ?! This was the attitude I adopted as I contemplated what I would wear for Turandot 2022. When I created my costume for Turandot 2019, I didn’t think I could top it. It’s glitzy, dramatic, and oh so Chinese. I didn’t see a reason why it shouldn’t be worn again. So that’s just what I did.
One element I tweaked for this particular Turandot was opting to wear my long black wig, which I donned for Madama Butterfly in 2019. With it, I felt even more like ‘la Principessa altera.’
Of course, my cardboard and wooden skewer headpiece had to make another appearance. It has taken a lot of wear and tear from the time since I first created the accessory in late 2015/early 2016, but there’s nothing a dab of Krazy Glue won’t fix !
This may have been my third trip to the theater to see Puccini’s posthumous piece, but I highly doubt I will ever become jaded by the opera. Festive excitement builds as the 100th anniversary of its premiere approaches in 2026. And I already have plans for a poster-inspired outfit to celebrate !
Toi, Toi, Toi,
Mary Martha
Cast and Credits
Turandot ─ Giacomo Puccini (1926) Live in HD air date: May 7, 2022
Cast: Turandot ─ Liudmyla Monastyrska Calàf ─ Yonghoon Lee Liù ─ Ermonela Jaho Timur ─ Ferruccio Furlanetto
Credits: Conductor ─ Marco Armiliato Production ─ Franco Zeffirelli Set Designer ─ Franco Zeffirelli Costume Designers ─ Anna Anni and Dada Saligeri Lighting Designer ─ Gil Wechsler Choreographer ─ Chiang Ching Live in HD Director ─ Gary Halvorson Host ─ Nadine Sierra
Costume Closet Couture 