Metropolitan Opera – Page 3 – Costume Closet Couture

Diva du Jour ─ Anna Netrebko Live in Concert

Published on February 23, 2021March 27, 2021 by operazhenshchina11 Comment

“Diva assoluta del mondo.” “Prima donna.” “Showstopper.” Regardless of how you choose to phrase your expressions, the fact of the matter remains constant: Anna Netrebko is the World’s Reigning Diva. She is also my favorite singer. And so, when the time came for Anna Netrebko to be featured in the Met Stars Live in Concert series, there was no question that I would be watching.

Cleverly, the program was divided into Day and Night art songs ─ the first portion floated with some of Anna’s Russian repertoire calling cards while the latter half was devoted to darkness. While most of the selections were enjoyable (most ─ Debussy’s “Il pleur dans mon cœur” sparked the need for an antidepressant), I couldn’t help but wish for an injection of opera somewhere into the set list. Art songs can only be sustained for so long, even with Pavel Nebolsin’s nuanced piano playing…
What was delightful, however, was the addition of mezzo-soprano Elena Maximova to complete two duets. The girls were a pretty sight together and their Venetian masks worn in part for Offenbach’s Bacarolle painted a portrait of pure whimsy.

Anna Netrebko and Elena Maximova singing “Belle nuit, ô nuit d’amore”

The Cuisine

The Spanish Riding School offered an extraordinary venue for a concert. And its host city, Vienna, became the inspiration for the food. Anne’s cheese platter contained a mix of Muenster, Manchego, and Danish Blue. Something German, something Spanish, and something as blue as the Danube. Brava, Anne !

Chris’s canapes were a work of art ! Open faced sandwiches never looked better…

Ham, tomato, and sprouts; Gravlax with capers and dill; Liverwurst with watercress, onion, and pickle; Sliced turkey with hard-boiled egg

And what would an opera concert be without some bubbly imbibement ? From the bordering hills of Italy, I supplied a bottle of Prosecco.

But Vienna is probably best known for its renowned dessert: Sachertorte ! Who would of thought that a simple chocolate cake could be heightened to extraordinary levels by a smearing of tangy apricot jam and a bathing of velvety ganache ? Okay, that’s not too much of a profound pondering. We all had seconds !

The Clothes

While the storied city of Vienna may have supplied the inspiration for the food, it was Anna Netrebko herself who became the muse for my outfit. As a bona fide diva, Anna Netrebko wears gowns worth dying for. My research began by browsing online images of Anna’s past concert and gala gowns. The results led me to two conclusions: Anna Netrebko loves bright colors and bold styles. Other noticeable features were the repetitions of strapless gowns with coordinating waistband sashes. Using these as my standards, I set out to create a “Diva” dress, glam and all.

Bright colors ? Check ! Bold style ? You be the judge…!

My “Diva” gown, accentuated by an abundant organza stole, made me feel like I had stepped onto a Hollywood red carpet ! More appropriately, it fit the mold of my all-time favorite diva, Anna Netrebko ─ “la diva assoluta del mondo.”

Toi, Toi, Toi,

Mary Martha

Surely, you must want to know more about my jaw-dropping dress, right ? Details of its conception and completion can be found here: https://costumeclosetcouture.com/2021/03/09/designing-a-diva-dress-inspired-by-anna-netrebko/

Cast and Credits

Met Stars Live in Concert: Anna Netrebko
Spanish Riding School
Vienna, Austria
Live broadcast date: February 6, 2021
(Date seen: February 18, 2021)

Anna Netrebko ─ soprano
Elena Maximova ─ mezzo-soprano
Pavel Nebolsin ─ piano

Welsh Winter: Bryn Terfel Live in Concert

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

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

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

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

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

The Cuisine

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

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

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

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

The Clothes

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

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

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

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

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

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

Toi, Toi, Toi,

Mary Martha

Cast and Credits

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

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

Eugene Onegin

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

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

Anna Netrebko as Tatiana in Eugene Onegin / Metropolitan Opera

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

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

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

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

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

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

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

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

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

До свидания !

Toi, Toi, Toi,

Mary Martha

Cast and Credits:

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

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

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

Rusalka

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

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

Andersen and Disney: variations of “The Little Mermaid”

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

The forest sprites in Rusalka / Metropolitan Opera

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

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

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

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

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

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

Rusalka costume discussion / Metropolitan Opera

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

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

Kristine Opolais in Act I of Rusalka / Metropolitan Opera

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

Toi, Toi, Toi,

Mary Martha

Cast and Credits:

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

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

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

Nabucco

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

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

A scene from Nabucco / Metropolitan Opera

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

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

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

A clip from the Hebrew Slaves Chorus / Metropolitan Opera

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

Some of the Hebrew Slaves from Nabucco / Metropolitan Opera

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

Betsy Ross and women sewing the American flag

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

Mop cap from pattisoriginals-pattisplace.blogspot.com

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

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

Toi, Toi, Toi,

Mary Martha

Cast and Credits:

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

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

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

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

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

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

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

The Pattern

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

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

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

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

The Fabric

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

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

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

Sewing

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

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

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

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

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

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

The Skirt

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

…and a waistband was cut.

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

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

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

Hmmm…

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

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

Toi, Toi, Toi,

Mary Martha

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

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

Met Stars Live in Concert: Diana Damrau and Joseph Calleja

Published on October 28, 2020May 23, 2021 by operazhenshchina11 Comment

“Viva Italia !” my friends and I exclaimed when we heard that the location of the upcoming concert for Diana Damrau and Joseph Calleja had been moved from exotic seaside Malta to the Palazzo Reale in Caserta, Italy. On record as the world’s largest royal residence, the grand venue was ideal for the cinematic transmission of the latest Met Stars Live in Concert series.

The Palatine Chapel in the Royal Palace of Caserta, Italy

The combination of Diana Damrau and Joseph Calleja was a bit odd, especially when considering their “polar opposites” repertoire. The normally floating trills of the German soprano felt strained during the heavy Tosca numbers (“Vissi d’arte” was downright painful), which were salvaged by the charming apropos acting in a literal libretto location.

Diana Damrau and Joseph Calleja singing excerpts from Tosca in the Met Stars Live in Concert series

Calleja’s hearty voice squelched Damrau’s on more than one occasion, but most notably during the finale duet of “Ave Maria” where they each took turns with versed lines. In the past, I have always enjoyed Diana Damrau due to her ability to make me feel her characters with a voice of sweetly scented femininity. However, it was during this last selection that I wished she would just stand silent and let Calleja fill the cavernous chapel with his rich tone.

Joseph Calleja and Diana Damrau singing “Ave Maria” / Metropolitan Opera

The best part about the concert was guessing which wrap Diana would wear next ! For each musical number, she would emerge from the wings of the palace chapel with a new accessory to play off her strapless black velvet gown.

Diana Damrau and Joseph Calleja in the Met Stars Live in Concert series from Caserta, Italy

The Cuisine

Let’s talk about the food ! While we all struggled with the idea of Maltese cuisine (rabbit, anyone ?), the Italian switcheroo rendered the culinary preparation a breeze. Since the palace in Caserta was part of the Campania region (think Naples), Chris volunteered to make Neapolitan meatballs…

…and I was assigned the classic Caprese salad.

Anne brought the antipasti platter…

…and Jayne provided the Prosecco !

Our feast was complete… and delicious, too. We cleaned our plates !

The Clothes

When I first saw this concert on the lineup, I knew EXACTLY what I would wear, even after the location change. Years ago, I remembering thumbing through a catalog for Soft Surroundings and “oohing” and “ahhing” at the vibrant colors and relaxed refinery of the clothes. One dress, although simple, always jumped out at me along with the styling of the photo:

Santiago Boatneck Dress / Soft Surroundings

Something about the floor length knit dress in the earthy colors with the rustic jewelry just seemed so casually elegant. Coincidentally, I had several long necklaces that would look perfect with the dress. But when I checked the Soft Surroundings website, it appeared the boatneck style of dress had been discontinued. Even though I wanted to make my own dress, it would have been helpful to have more detailed pictures of what the website could offer. Nevertheless, I searched for knit maxi dress patterns and found a promising one from Hallå Patterns.

With a “just right” paprika colored French Terry knit, which was found in my October 2020 edition of Julie’s Picks swatch club, I sewed the pattern with the one tweak of lengthening the hem by 1½ inches, just in case. It was a perfect adjustment, but I do believe I would have allowed more width in the shoulders.

The dress was just what I desired ─ fall color, Old World jewelry, and casual stateliness for my imagined Neapolitan holiday. Best of all, I didn’t have to pay upwards of $100 ! It was a win-win-win !

Toi, Toi, Toi,

Mary Martha

Cast and Credits

Met Stars Live in Concert: Diana Damrau and Joseph Calleja
Cappella Palatina of the Royal Palace of Caserta
Caserta, Italy
Live broadcast date: October 24, 2020

Diana Damrau ─ soprano
Joseph Calleja ─ tenor
Roberto Moreschi ─ piano

Roberto Devereux

Published on October 24, 2020October 25, 2020 by operazhenshchina1Leave a comment

From the sextet of wives belonging the brutishly fickle Henry VIII to the bloody tug-of-war between Catholicism and Protestantism, the Tudor period in history is a meaty bone of tumult and fascination. The drama of the time must have captured Donizetti’s mind as well: his trilogy of Tudor operas is a tour-de-force for singers and a favorite haunt for acting potential. And so, here I was, at the finale of my first opera season, with the opportunity to see a spectacle of costumes and make-up prowess.

Sondra Radvanovsky in a promotional photo for Roberto Devereux / Metropolitan Opera

The buzz around this performance of Roberto Devereux was Sondra Radvanovsky’s daring run at the Tudor Triple Crown ─ she performed all three of the Donizetti Tudor queens in one season to riotous acclaim. However, I found more appeal in the light Italian strings of the overture than the flapping voice of Radvanovsky. Furthermore, the duets and trios were the hallmark in this opera, especially with the creamy-toned Elīna Garanča and the drama surrounding her character (caught between her husband and her forbidden love for the Queen’s favorite suitor).

Elīna Garanča as Sara, Duchess of Nottingham in Roberto Devereux / Metropolitan Opera

More than anticipated, the make-up was sensational, undoubtedly its very best on Sondra Radvanovsky’s aged Elizabeth. The perfectly coiffed paprika peruke was doffed at the opera’s end to reveal a withering white fray of “natural” hair that was a remarkable feat of theatrical trickery.

Sondra Radvanovsky as Queen Elizabeth in Roberto Devereux / Metropolitan Opera

Moving onto the costumes, I knew this opera would feature extremely intricate pieces that were beyond my scope of sewing skills. I did, after all, just teach myself to sew almost 6 weeks earlier for when I needed an outfit for Madame Butterfly. What was I to do ? An offhanded observation of Tudor portraits easily pointed out the garment of ubiquity, the ruff. Oh, yes, I MUST have a ruff, but a different kind of ruff… “Tudor Couture on the Cheap !”

Something that was crafty and unique was in order and the first thing I wanted to tweak was the color of the ruff. Instead of a glaring white starched collar, I imagined a more earthy accessory to compliment the neutral colors of the outfit I had planned to wear. Configuring the ruff was crucial: who would want to wear an all encompassing collar, especially when sitting in one of the high backed chairs of the theater ? No, that wouldn’t do. Rather, I opted for an open ruff, one that swooped around the back neckline and left the chest exposed.

Much better.

Now for the construction… Since sewing was out of the question, I devised a plan to use a large cardboard pizza round and cut away part of the front for the neck and chest opening, which worked well. But the most extraordinary feature of the ruff was the actual “ruffle” material: unbleached coffee filters ! With their curly edges and cost effective efficiency, the coffee filters were perfect when artfully folded and glued onto the pizza round. Both the top and bottom of the cardboard round were layered with the filters and attached using hot glue. All that was left was to glue two inward facing clothespins to the undersides of the ruff near the front points and I now had an accessory worthy of the Tudors.

Alas, I misjudged the back protrusion ─ throughout the day in the theater, I was forced to sit with my head bent downward and forward because of the ruff’s extended back edge. By the curtain call, I had a crick in my neck.

With my first opera season in the books, I unclipped the paper ruff and admired its beauty and ingenuity… but not its discomfort.

Toi, Toi, Toi,

Mary Martha

Cast and Credits:

Roberto Devereux ─ Gaetano Donizetti (1837)
Live in HD air date: April 16, 2016

Cast:
Queen Elizabeth ─ Sondra Radvonovsky
Roberto Devereux ─ Matthew Polenzani
Sara, Duchess of Nottingham ─ Elīna Garanča
Duke of Nottingham ─ Mariusz Kwiecien

Credits:
Conductor ─ Maurizio Benini
Production ─ Sir David McVicar
Set Designer ─ Sir David McVicar
Costume Designer ─ Moritz Junge
Lighting Designer ─ Paule Constable
Choreographer ─ Leah Hausman
Live in HD Director ─ Gary Halvorson
Host ─ Deborah Voigt

Otello

Published on October 17, 2020March 26, 2021 by operazhenshchina12 Comments

It was an easy decision. After my spellbinding first opera experience with Il Trovatore, I couldn’t wait to shell out another $24 at the ticket booth for a following Verdi tragedy 2 weeks later, Otello. Intriguingly, it was Otello that jumped out at me the most when viewing the Live in HD schedule in the summer of 2015: the drama based on Shakespeare’s play could have easily been my first opera. Thankfully, it wasn’t.

Aleksandrs Antonenko in a promotional photo for Verdi’s Otello / Metropolitan Opera

Bartlett Sher’s production, with frosted Lucite walls that were supposed to be a spoof from a quote by Verdi’s librettist about enclosing Otello in a glass house, mimicked frozen blocks of ice rather than the intended domicile of transparency. They were cold, lifeless, and ineffective from my point of view.

Željko Lučić as Iago in Otello / Metropolitan Opera

The cast was decent with a liquid Željko Lučić and a piercingly chill Sonya Yoncheva (fitting for the icy production), but I felt Otello suffered from an identity crisis: with his clothing and styling (not to mention his lack of blackface) just as drab as all the secondary characters and chorus, there was nothing to distinguish him among the throngs of people on stage. Shouldn’t he have looked more… Moorish ?

Dmitri Pittas (far right) as Cassio and Aleksandrs Antonenko (center) as Otello / Metropolitan Opera

While Desdemona’s final “Muoio innocente” was moving, I was left underwhelmed by the overall performance. Still, my exuberant, newfound interest in opera was undeterred by this small nick in the grand scheme of things.

Sonya Yoncheva as Desdemona in Otello / Metropolitan Opera

Dressing up for my first opera was almost as much fun as seeing the performance itself. There’s something vicarious and invigorating about feeling fancy as if you, yourself, are a part of the opera by the clothes you choose to wear. To my second opera, however, I wanted to “theme” my outfit for the sunny Venetian locale of Otello and Desdemona’s spotless disposition. “Something golden, something demure…” I mused.

*Othello Relating His Adventures to Desdemona*

The scarves and skirts of my closet were paraded in breezy seaside style as I toyed with layering and softly blending color schemes. I used my standby gold tank top, which I wore to Il Trovatore, and slipped on a long white linen skirt. Then the fun began. A metallic gold thread woven through the pinky-peach and cream striped scarf gave glints of gentility and coastal charm. When I tied its fringed ends together into a loose side knot, the effect was just right… at least for an outfit made from scarves and skirts !

A pair of lace gloves (thank you, Aunt Countess !), antique gold rings (such a faux pas when worn with gloves ─ fie, me !), and just the right assortment of necklaces and earrings helped me feel right at home as Desdemona. Do I look as if I’m about to be strangled ?

I styled my hair in a “twisted sections pinned up and back” sort of style. Nothing fancy, but very elegant when clipped together with a gold flower hair accessory.

An outfit for free, a better-than-front-row-seat ticket for $24… Enjoying the thrills of opera and the emulation of one of Shakespeare’s most virtuous heroines doesn’t have to be a ship-sinking occasion. If only the production of Otello had fared better…

Toi, Toi, Toi,

Mary Martha

Cast and Credits:

Otello ─ Giuseppe Verdi (1887)
Live in HD air date: October 17, 2015

Cast:
Otello ─ Aleksandrs Antonenko
Desdemona ─ Sonya Yoncheva
Iago ─ Željko Lučić
Emilia ─ Jennifer Johnson Cano
Cassio ─ Dmitri Pittas
Roderigo ─ Chad Shelton
Lodovico ─ Günther Groissböck
Montano ─ Jeff Mattsey
A herald ─ Tyler Duncan

Credits:
Conductor ─ Yannick Nézet-Séguin
Production ─ Bartlett Sher
Set Designer ─ Es Devlin
Costume Designer ─ Catherine Zuber
Lighting Designer ─ Donald Holder
Projection Designer ─ Luke Halls
Live in HD Director ─ Gary Halvorson
Host ─ Eric Owens

Cendrillon ─ Project MASSenet

Published on October 9, 2020October 9, 2020 by operazhenshchina1Leave a comment

How could I resist ?! When Cinderella slips her fair foot into the shoe of Massenet, it’s bound to be a ball ! My bubbling excitement aside, I was highly enthused when I espied Laurent Pelly’s whimsical production perched on the latter portion of the Met’s Live in HD 2017-2018 schedule. Would the slipper fit ?

A scene from Cendrillon / Metropolitan Opera

My motives for seeing the opera did not begin and end with the story of Cinderella, but rather Massenet─ Several years prior, I had been deeply moved by a recording of the “Meditation” piece from Thaïs as I was struggling with a health issue. The soothing sounds of the strings were beautiful as well as edifying to my body and spirit. Since then, I had long desired to attend a Massenet performance of any title.

A performance of the Meditation piece from Massenet’s Thaïs (video: TheClassicalmusicfan)

So how did I Cendrillon suit me ? Well, not as much as I had imagined. Thinking of a fairy tale, I expected the music to be joyous and buoyant. While there were moments of bombastic humor during scenes with Stephanie Blythe’s Madame de la Haltière and her two balloon-bottomed daughters, I wouldn’t describe the score as a perfect fit. However, the overall appeal of the story was enough for me to overlook the damp flaws in the music.

Maya Lahyani as Dorothée, Stephanie Blythe as Madame de la Halitère, and Ying Fang as Noémie in Cendrillon / Metropolitan Opera (photo via The New York Times)

Back to my bubbling excitement… The occasion of Cendrillon screamed out loud for me to wear a ball gown─ a BIG, b-r-o-a-d, beautiful ball gown ! A girl could only dream… Since teaching myself to sew in 2016, my projects had been kept to conservative accessories and commercial pattern dresses. But for such a grand occasion, I wanted to branch out and make something that was truly elegant and couture. Looking over the production photos, the creamy eggshell gown in the opera appeared to have been sewn from satin with its hem ombré dyed in charcoal.

Joyce DiDonato as Cendrillon and Alice Coote as Prince Charmant

Admittedly, I thought it looked odd and very unusable ─ would I ever be able to wear a gown with a blackened bottom out in public ? Emphatically, not ! No, the gown in the opera was not for me, at least not all of it. Since the price of a full satin skirt would have sent my pocketbook to the gallows, I opted instead for a thrifty gathered tulle skirt. Here are a few of my preliminary sketches:

My sketches and ideas for *Cendrillon* (I am NOT a sketch artist)

Searching for guidance, I stumbled upon a site called the Corset Academy and knew I had found my answer: I spotted the most beautiful tulle ball gown skirt I had ever seen and video recorded in easy to follow tutorials so I (and others) could emulate its cloud-like glory. I signed up for the free trial and eventually bought an annual membership.

Tulle ball gown skirt from the Corset Academy

While I did not wear a hoop skirt underneath the gown, a full crinoline suited the style better, especially since 50 yards of tulle wasn’t enough to disguise the appearance of a peeking steel bone from beneath the skirt’s lining. Even without the hoops, the gown was voluminous. I dubbed the creation of this gown as “Project MASSenet” for a reason…

The gown was complemented with a corset back closure on the creamy matte satin bodice.

My mother fashioned my hair into a stylish French twist. I just love the elegance of the pearly barrette in its rolled knot !

The process of sewing the ball gown was eye-opening: not only did I learn couture techniques for sewing formal garments, but I also discovered that my mother’s Singer sewing machine, which had been hibernating under her bed since the early 2000’s, was unbeknownst to me, broken. During the gathering of endless strips of tulle ruffles, the bobbin threads continued to snap and brought about a maelstrom of frustration. After the opera, I made an appointment with a local sewing shop to have the machine cleaned whereupon I learned its malady: cracked gears and irreplaceable damaged parts. The diagnosis was fatal and I had to part with my machine. But just as in the story of Cinderella, there is always a silver lining: I purchased a superior Baby Lock machine and serger and it has made all the difference in my sewing.

The slipper of Cendrillon may have been a misfit, but the quality and ease of my Baby Lock machines couldn’t be a more perfect fit.

Toi, Toi, Toi,

Mary Martha

Cast and Credits:

Cendrillon ─ Jules Massenet (1899)
Live in HD air date: April 28, 2018

Cast:
Cendrillon ─ Joyce DiDonato
Prince Charmant ─ Alice Coote
La Fée ─ Kathleen Kim
Madame de la Haltière ─ Stephanie Blythe
Pandolfe ─ Laurent Naouri

Credits:
Conductor ─ Bertrand de Billy
Production ─ Laurent Pelly
Set Designer ─ Barbara de Limburg
Costume Designer ─ Laurent Pelly
Lighting Designer ─ Duane Schuler
Choreographer ─ Laura Scozzi
Live in HD Director ─ Gary Halvorson
Host ─ Ailyn Pérez