Vintage dresses, with their timeless design and classic charm, are always on my radar for potential projects. In recent years, there have been numerous independent sewing pattern companies that have sprouted forth with vintage-inspired designs. One of the earliest pioneers of this specialized category is Sew Over It Patterns, based in the UK. While I have been an admirer of the pattern company for years, I had never bought one of their patterns. However, this changed when I took the plunge and purchased their iconic Betty dress (and additional Add-On Pack) while it was on sale.
Sew Over It Betty Dress
Inspired by the early 1960’s and the TV series, “Mad Men”, the Betty dress was right up my alley: the stately bateau neckline, fitted bodice, and a full circle skirt made for twirling on the dance floor. I was ready to sew ! Coinciding with my new project was a series of videos produced by the team at Sew Over It, showcasing the fitting steps and how versatile the simple dress could be.
Watching the videos, along with reading several blog posts and sewing a plethora of mock-ups, helped me achieve a near perfect fit on a bodice block that was far from my measurements and bone structure. My first dress was made out of a stretch cotton sateen bottomweight in a vibrant floral print. Its first public appearance was at the Florida State P.E.O. Convention during the Friday night social and helped me to feel like a butterfly, flitting around the dance floor in that voluminous skirt.
Cheers !
With the success of my first Betty dress, I wanted to make another one, but this time, modify the neckline using the Add-On Pack. I opted for the V-neck version.
A wild foliage print on a cotton/polyester stretch shirting made for a delightful summer dress, especially when paired with a linen button down shirt as a cool topper.
Sew Over It Betty Dress (V-neck, sleeveless) styled with Pattern Emporium’s All In Shirt
There were now two Betty dresses in my closet, but I still craved more. It was time for a solid frock (and a fancy one, too), I thought. A fall wedding on my calendar was just the excuse I needed to make my desired design.
With the wedding being a semi-formal affair, I extended the skirt to a midi length and used the scoop neck template from the Add-On Pack. Can you guess where I spent most of the evening ?!
As you can tell, the Betty dress easily transitions from a casual daytime look to chic evening attire. And, if you sew like I do, it could become a versatile closet staple and your next sewing addiction.
The evening of February 9, 2024 was one I couldn’t forget. My first experience at Night to Shine made an impact so great that I almost liken the feeling to that of my first opera outing. Before the DJ’s equipment could be packed away and the thousands of twinkling lights unstrung, my attentions turned to the following year and that all-important question: What was I going to wear ?
The end of a magical evening ─ Night to Shine 2024
The story of how Jacob and I met is well documented in all its grocery glory. As I considered a myriad of styles for my prom dress, I weighed each option by the measure of Jacob’s outspoken preferences in fashion. He favors the color blue and voices a vehement abhorrence for sequins. Moreover, I didn’t want to overshadow Jacob’s “puteet” stature with a gown of staggering dimensions. Curiously, I was most attracted to the sleek and classic lines of 1930’s style gowns. But it wasn’t until I chanced upon one of Gertie’s monthly Patreon patterns that I was completely sold on the idea.
Gertie modeling the Starlet Gown (Patreon, December 2023)
The Starlet Gown, made out of stretch velvet with no fiddly closures, seemed right up my alley for a fuss-free evening. After mulling it over, I signed up for a monthly subscription to Patreon and downloaded the pattern. The sew-along video that was included with the membership fee offered helpful techniques on how to sew with stretch velvet and finish the lined bodice. Weighting the cowl neckline was essential, and therefore, a quarter was listed in the required notions. As a tribute to Jacob, I sewed in a coin that was minted in 2000, the year my Ilja was born.
I opted for the back modesty panel, not necessarily for the look, but for the functionality. Ultimately, I’m glad I made that choice.
With glam accessories, like rhinestone earrings and long white gloves, I felt like a regal queen. But it was the carnation corsage, slipped over my wrist, that made me feel complete.
The King and I… ready to party !
The crowning of each and every King and Queen kicks off the celebration…
…while walking the red carpet is the highlight for all. The cheers and applause from the “paparazzi” never ceases to bring tears to my eyes.
After months of practicing in the car, we were finally able to sing our karaoke duet, “Don’t Go Breaking My Heart” by Elton John with Kiki Dee. Should we take our act on the road ? Maybe !
Sorting through the various props available, it was time to take our picture at the photo booth. I always remind Jacob to be disciplined in saving and investing his money so he can become a богатый американец (bogatiy amerikanets ─ rich American).
Of course, the first question my mother asked me when I came home at the end of the evening was, “Did you get a picture with Tim Tebow ?!” As it so happens, my mother and I have a standing agreement that I am to call her immediately if Tim Tebow makes an appearance at our local Night to Shine. So far, no phone call has been made. But there’s always next year !
Jacob loves to dance…
…and so do I.
Since God answered my prayer for a friend from Russia in the form of Jacob, I have become increasingly active in the special needs community, which has been an unexpected delight in my life. Sharing the love of Christ with those who need it most brings me a radiant joy, especially in the role of a Buddy to my own very special King.
And now… what will I wear to Night to Shine 2026 ?
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
A Russian princess, a murdered fiancé, fatal misunderstanding, poison… count me in ! As a rarely performed verismo piece in the opera repertoire, how was I to pass up my chance to see such a tempestuous treat as Fedora ?! While Umberto Giordano may not be as well-known a composer as Verdi or Puccini, his glorious melodies were worthy of all the passion and praise heaped onto his compatriots.
Sonya Yoncheva in a promotional photo for David McVicar’s new production of Fedora / Metropolitan Opera
Once again, the Met’s new Fedora was a David McVicar production, which initially evoked a stifled yawn from me. Lately, his productions have been starting to look the same and I was in no humor for a repeat. Surprisingly kept traditional and set in the early 1880’s, the sets and costumes (and jewels !) were over the top in opulence, especially Brigitte Reiffenstuel’s gowns with their copious displays of bustled satin skirts and cuirasse bodices. Boredom ?What boredom ?!
A scene from Fedora / Metropolitan Opera
The singers themselves were fine; Sonya Yoncheva and Piotr Beczała were a verismo power couple with comedic blips from Rosa Feola and Lucas Meacham. But while the visual glamours and vocal displays were enlivening, my favorite part of the performance occurred during one of Giordano’s masterful orchestral interludes when Fedora reunited and danced with her deceased “ghost” fiancé in her Parisian apartment. Perhaps that was a theatrical invention on McVicar’s part, but the powerful combination of tender passion and heartrending music gave me trouble in preventing sooty tears from streaming down my cheek. Enchanting !!
Piotr Beczała as Loris Ipanoff and Sonya Yoncheva as Fedora / Metropolitan Opera
“The name’s Fedora… Princess Fedora.” I have my dear friend, Faith, to thank for the inspiration for my outfit. A few years ago on my birthday, Faith gifted me with the most gorgeous beaded rhinestone appliqué belt. My eyes were dazzled at its sight and the thoughts of rich ball gowns waltzed through my head. Unfortunately, many metal-plated settings tarnish to pewter with no auxiliary assistance and so in order to not be disappointed by a lackluster embellishment, I let the belt sit unattended for over two years to “test” its mettle (and metal ─ ha !). The result was encouraging; not a single change came to its patina during its prescribed indolence. Its time to shine was now.
Because the gown on which I was to use the belt was to be a tribute of thanks to Faith, it had to be royal blue, no question ! Faith’s favorite color is blue. The satin was ordered months in advance. However, I did not begin work on the dress until nearly three weeks before the opera ! Fortunately, through Tatiana Kozorovitsky’s detailed lessons in her Dressmaking Academy, I was not in a panic since I knew the secrets of cutting and sewing couture gowns with marked celerity. This endeavour proved no different, although I was exceedingly pleased with the fit of the bodice in comparison to past gowns I’ve made. Experience really does help !
A cold front rendered the need for a coat and boy, did I have a pretty one ! This vintage fur-trimmed, gold and cream brocade coat was bought years ago at a resale store.
Cheap white gloves (Walmart’s finest), and an economical crown bought on Amazon made me feel like the regal princess I intended.
I told my mother that I wanted my hairstyle to look like one of Kate Middleton’s elegant chignons…
Not bad !
Thank you, Faith, for the most beautiful inspiration piece ! It made my gown absolutely perfect. Feeling like an imperial princess of the surest nature, I was able to surrender to all the charms and passions of the performance. Isn’t that what opera is about, anyway ?
Toi, Toi, Toi,
Mary Martha
Cast and Credits:
Fedora ─ Umberto Giordano (1898) Live in HD air date: January 14, 2023
Cast: Fedora ─ Sonya Yoncheva Loris Ipanoff ─ Piotr Beczała Olga ─ Rosa Feola De Siriex ─ Lucas Meacham
Credits: Conductor ─ Marco Armiliato Production ─ David McVicar Set Designer ─ Charles Edwards Costume Designer ─ Brigitte Reiffenstuel Lighting Designer ─ Adam Silverman Movement Director ─ Sara Erde Live in HD Director ─ Gary Halvorson Host ─ Christine Goerke
Manners, manipulation, mysticism, and morbidity permeate Sir Walter Scott’s gothic novel of thwarted romance like a damp fog over the rugged Scottish Highlands. After an article recently published for suggested opera reading, I dove into a delightful immersive study of reading opera’s literary forerunners. “The Bride of Lammermoor” was near the top of my list since its theatric counterpart was due up for the Met’s 2021-2022 Live in HD season.
Artist depictions from “The Bride of Lammermoor”
I loved the novel. Even with its gloomy pallor, I found myself pleasurably enveloped in the formality and class distinctions of the early 18th century Scottish setting. But how would the opera, slightly amended in its story and characters, fare against the benchmark book ─ especially with a radical, modern day-set production ?
Nadine Sierra in a promotional photo for Lucia di Lammermoor / Metropolitan Opera
Uncharacteristically for me, I was rather indifferent towards Simon Stone’s half opera/half movie production. Many parts of the story felt plausible in the present day Rust Belt setting while other stunts left me nonplussed. While both the action of the opera on stage and the cinematic video screen projection above were cleverly produced, I felt they would have been more effective as separate entities rather than interpolated within the same space (sensory overload !). Unquestionably, the singing was explosive ─ bel canto has a penchant for fireworks !
A scene from Lucia di Lammermoor / Metropolitan Opera
The outfit for Lucia was obvious: the famed “bloody” wedding gown from the Act III mad scene is so ubiquitously tied to the opera (regardless of the decade or production) that it’s almost clichéd.
Lucia’s Mad Scene
Splattering scarlet paint over a delicate display of satin and lace wouldn’t allow me many opportunities for wearing the designated dress again, although the thought was tempting… especially since the gown worn in the new Met production looked uncannily similar to my mother’s actual wedding gown from 1987.
What’s old is new again ─ Nadine Sierra wearing Lucia’s wedding gown in 2022 and my mother’s wedding gown from 1987.
Fear not; I wouldn’t do that to my mother’s dress (or anyone else’s, for that matter). With a modern production and no prior hint to its styling, I decided I would take a more interpretative approach to the blood-stained garment while still keeping an oft-chanted bridal tradition.
Something Old
Gloves were originally not going to be part of my outfit, but yet as I studied the John Everett Millais painting, I realized it was fitting.
“The Bride of Lammermoor” by John Everett Millais (1878)
These gloves were given to me by a friend and neighbor, who used to wear them out and about in Wisconsin, as was the proper thing to do at the time. Thank you, Miss Johanna !
Something New
Because there was no possibility of saturating a real wedding gown in blood (or the likes thereof), I wanted to have something that was evocative of blood without actually looking like it. I’ve had my eye on a Vogue pattern for sophisticated bolero jackets for several years and knew I would use it to my bloody advantage. Initially aiming to sew the ¾ sleeve version with the pleated ruffles, I altered my plans when I came across an irresistible fabric deal: corded nylon lace with sequins ─ $2.99/yard. I bought five yards. Changing styles was seamless since the bell flounce sleeves of View D reminded me of the 18th century, which directly mirrored the time in which the original story was set. (Note: I had my mother style my hair based off the images on the pattern envelope… so haute, so mad !!)
Views C and D from V8957
The way that the pattern was drafted, I needed to alter the length of the sleeves in order to have the flounce sit higher on my arm and not look so much like a 1970’s disco queen. Eight inches were subsequently removed from the sleeves, which gave me that 1700’s feel.
Something Borrowed
The dress I wore is very special because it played a starring role in someone else’s life. Charmingly, the white satin A-line gown employed to represent Lucia’s wedding gown was not intended for a bartered bride, but rather… a debutante !
My friend, Borden, wore this same gown in the early 2000’s when she made her debut. And after many years, it still looks great. Thank you, Borden !
Something Blue
And what would the bridal tradition be without Something Blue ?! Well, there was no question as to what that would be…
Bought for $16.99 at a resale store (thank you, Miss Michelle !), my royal blue and rhinestone studded stilettos steal the show wherever they make an appearance ─ from the “Pavarotti” documentary to Anna Netrebko’s Viennese concert. ‘Fabulous’ doesn’t even begin to describe their glamor.
My last opera of the 2021-2022 Live in HD season hit all the right notes. Indeed, it was a bloody mad time !
Toi, Toi, Toi,
Mary Martha
Cast and Credits:
Lucia di Lammermoor ─ Gaetano Donizetti (1835) Live in HD air date: May 21, 2022
Cast: Lucia ─ Nadine Sierra Edgardo ─ Javier Camarena Enrico ─ Artur Ruciński Raimondo ─ Christian Van Horn
Credits: Conductor ─ Ricardo Frizza Production ─ Simon Stone Set Designer ─ Lizzie Clachan Costume Designers ─ Alice Babidge and Blanca Añón Lighting Designer ─ James Farncombe Projection Designer ─ Luke Halls Choreographer ─ Sara Erde Live in HD Director ─ Gary Halvorson Host ─ Anthony Roth Costanzo
Long before I ever started dressing up in costume for the operas, I spent much of my Septembers and Octobers surreptitiously slaving away in my small bedroom on my Halloween costume for the year. Unsurprisingly, Halloween is my favorite holiday ─ not because of witches and ghouls and black and orange décor, but simply because I have always loved dressing up.
In the spirit of the season, I thought I would share some of my past outfits.
Before learning to sew on a machine, I had to rely on tape, garbage bags, and old sheets to create costumes. In 2013, newspaper was my material of choice…
I went as “Old News” ─ quite literally since all the newspaper used was out of date before the 31st dawned. This costume was well worn: in all, I slipped on the tiered skirt and laced up the “corset” bodice 7-8 times during the season. Thankfully, it never rained.
I love history. It’s an engaging escape for my antiquarian imagination. I also love to learn about the famous (and infamous) characters in history. Not knowing exactly what inspired it, I chose to be Marie Antoinette in 2014. The peruke and panniers were a crafting feat; both were constructed from plastic grocery bags and toilet paper rolls, but that’s where the similarities ended. Long stretches of white cotton were carefully hot glued to the cardboard “curlers” of the wig and then given a misting of watered gray paint. I crocheted the hairy tendrils. For years I kept the safety pinned skirt of tulle and sheets in a desolate drawer… until I realized that I was never going to wear flimsy cardboard panniers again and my mother wanted her sheets back. “Let them eat cake !”
In the same month that I was introduced to my first opera, my family went on a cruise ! Who would have thought that that cruise would wipe out 2½ months of social activities ? Yes, I came down with a horrible illness during the tail end of the trip that caused me to miss Tannhäuser in HD and Halloween 2015…
A Gold Rush Girl by day, Cleopatra’s doppelgänger by night… it was a whirlwind Halloween.
Brünnhilde the Valkyrie… Is there anything spookier than a mythical being whose primary purpose is to decide who lives and dies in battle and gathers up the fallen heroes to haul them to Valhalla ???
And just in case you’re wondering, I left my axe at home for the evening…
In all my years of dressing up, I don’t think I ever disguised myself as a princess; maybe a witch in a long, black gown or Miss America, but never a princess. The plush pink 1890’s ball gown from Manonwas my outlet for elegance and grace, living out every little girl’s fantasy.
Clearly my long-time love of dressing up has played a starring role in my life. The only question left is… what will I wear this Halloween ?
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” !
Keanu Reeves 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 !
Большое спасибо, Paula !
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
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.
If you have a penchant for fairy tales like I do, you’ll find genuine delight in Mozart’s final opera, Die Zauberflöte. Centered around a quest for truth and knowledge (and a damsel in distress), the opera is as noble as its hero, Tamino. Between stipulated testing and bravery of self-determination, I willingly succumbed to the dashing chivalry of the prince on a mission to rescue the princess, Pamina.
Charles Castronovo as Tamino and Golda Schultz as Pamina in Die Zauberflöte / Metropolitan Opera
If the pursuit of true love doesn’t tickle your fancy, the spectacular production by Julie Taymor (of “The Lion King” on Broadway fame) will surely elicit at least one or two gasps of wonder and amazement. The uniqueness of the costumes and puppetry fits seamlessly with the whimsical roots of the opera. There’s even creative comedy for those still unpersuaded.
Marcus Werba as Papageno in Die Zauberflöte / Metropolitan Opera
Still not convinced ? Perhaps a fearsome villain is more appealing to you and luckily Die Zauberflöte showcases one of the most despised in the bewitching Queen of the Night. While the name sounds like a beacon among the stars and moon, the wicked queen is far from harmonious and caused me a slight shiver, partially due to the most unattractive styling of the character’s costume and make-up. If there was any doubt as to whether the Queen could make a face turn later in the opera, her appearance alone body slammed those speculations onto the floor.
Kathryn Lewek as the Queen of the Night in Die Zauberflöte / Metropolitan Opera
With the Queen of the Night singing the most famous aria in the opera (and I’m sure you’ve heard it, too), it was without question that I would disguise myself as this otherworldly being for my outing to the opera. While the Julie Taymor costumes are original and ostentatious, I didn’t necessarily feel they best embodied the title of “Queen of the Night” so I imagined my own vision of the character.
Kathryn Lewek as the Queen of the Night in Die Zauberflöte / Metropolitan Opera
I had a long black velvet dress in my closet ─ that was a running start ─ and now I needed to accessorize the pitch black gown to fully realize its nocturnally regal potential. A queen needs a crown, right ? I thought so, too, and cut a pattern out of a corrugated cardboard box, spray painted it silver, and glued on separately cut star and moon shapes (spray painted and glittered) to the tiara. Silky black ribbons were used as the fastener. The Queen had her crown !
“But what else ?” I pondered. The idea of wearing various accessories whisked through my mind, but when I spotted a shimmery black organza printed with silver stars online, I knew I had found my answer. What could be more stunning than a floating veil of the night sky ? Using 2 yards of fabric, I gathered one widthwise edge and sewed it onto a hair comb. To the opposite widthwise edge, I drew arced lines creating a circular perimeter around what became the bottom of the veil. All raw edges and selvedges were finished and voilà ─ a veil ! Just look at how it sparkles in the evening breeze…
With all the articles combined together (including my long black gloves and jewelry), the outfit’s celestial beauty belied the cruelty of the Queen.
Psst ! This outfit also became my Halloween costume for the year. My bedazzled spider bracelet simply begged to be taken trick-or-treating…
As charming as the starry night, Die Zauberflöte goes down as my favorite Mozart opera. The music dazzles and the story is uplifting. But I’m a sucker for fairy tales, after all…
Toi, Toi, Toi,
Mary Martha
Cast and Credits:
Die Zauberflöte ─ Wolfgang Amadeus Mozart (1791) Live in HD air date: October 14, 2017
Cast: Pamina ─ Golda Schultz Tamino ─ Charles Castronovo Papageno ─ Marcus Werba Queen of the Night ─ Kathryn Lewek Sarastro ─ René Pape Speaker ─ Christian Van Horn
Credits: Conductor ─ James Levine Production ─ Julie Taymor Set Designer ─ George Tsypin Costume Designer ─ Julie Taymor Lighting Designer ─ Donald Holder Puppet Designers ─ Julie Taymor, Michael Curry Choreographer ─ Mark Dendy Live in HD Director ─ Gary Halvorson Host ─ Nadine Sierra
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Costume Closet Couture 