Nadine Sierra – Costume Closet Couture

Roméo et Juliette

Published on March 25, 2024March 25, 2024 by operazhenshchina14 Comments

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

La Traviata: The Real Violetta

Published on November 7, 2022November 7, 2022 by operazhenshchina17 Comments

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 Fashion 1 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.

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

Lucia di Lammermoor: A “Mad” Bridal Tradition

Published on May 23, 2022May 22, 2022 by operazhenshchina18 Comments

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.

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 !!)

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

Idomeneo

Published on May 25, 2020December 28, 2020 by operazhenshchina1Leave a comment

The brainchild of a 24-year-old Mozart in the spring of his career, Idomeneo embodies drama and torment on an intense scale. A Trojan captive bemoans her plight of wartime displacement. A runaway Grecian princess seethes with humiliation and jealousy from unrequited feelings. A father and king, crossed between the angry seas ─ and even angrier gods ─ suffers from the anguish of the cruel task that besets him.

A scene from Mozart’s Idomeneo / Metropolitan Opera

While the basis of the plot was heavy ─ the title king, after being saved by the gods during a disastrous storm at sea, must kill his own son as recompense ─ the music was quite the opposite. Comprised of a windswept coterie of strings and woodwinds, the score was typically Mozartian and showed the beginnings of his lauded career. Singing the trills of early Mozart was made to look easy as Matthew Polenzani gave a stirring performance as the king. His voice was unhampered, but his soul was not.

Matthew Polenzani singing an excerpt from “Fuor del mar” from Idomeneo / Metropolitan Opera

The women provided for some much needed romantic rivalry to break up the repetitious monotony of the staid opera seria format. It’s true─ the opera was far too longwinded and soporific for my withering patience as I reached my home well after 6 that evening. At least the textured costumes and the spastic mad scene provided ample attraction and distraction from my jadedness.

Nadine Sierra as Ilia and Alice Coote as Idamante in Idomeneo / Metropolitan Opera

Loosely based on the lace and jewels of Elettra’s gown, I snagged a favorite from my mother’s closet and made a simple alteration. The bright blue dress, being 8 sizes too big for me, would have swamped my figure more than the devouring seas of Idomeneo. A simple fix, I ran a line of baste stitches up the back of the dress and, voilà ! The dress fit. My mother was horrified with my action, let me tell you, but I assured her the stitching could easily be removed as I promptly pulled out the threads after the opera was over and the pictures captured.

My headpiece was a borrowed transformation. Previously, the black glittered tiara sported red rhinestones along the top points and an attached piece of black lace.

First popping out the red rhinestones, I replaced them with standard white ones and added gold fan sequins for seaside flare. They coordinated with my dress and the mantilla was beautiful enough for a princess. In case you were wondering, I removed all the sequins and replaced the original red jewels before I returned the accessory to its rightful owner.

Isn’t that necklace fabulous ? It’s a Metropolitan Museum of Art (also affectionately nicknamed “the Met”) replica given to me as a present from Aunt Countess. I cherish gifts from travels afar, much like the shell necklace and pashmina shawl that I wore to The Pearl Fishers the previous year. While New York City isn’t as far-flung as ancient Crete, the necklace made a statement worthy of Elettra’s tempered fury and Mozart’s fledgling opera.

Toi, Toi, Toi,

Mary Martha

Cast and Credits:

Idomeneo ─ Wolfgang Amadeus Mozart (1781)
Live in HD air date: March 25, 2017

Cast:
Idomeneo ─ Matthew Polenzani
Idamante ─ Alice Coote
Ilia ─ Nadine Sierra
Elettra ─ Elza van den Heever
Arbace ─ Alan Opie

Credits:
Conductor ─ James Levine
Production ─ Jean-Pierre Ponnelle
Set and Costume Designer ─ Jean-Pierre Ponnelle
Lighting Designer ─ Gil Wechsler
Live in HD Director ─ Barbara Willis Sweete
Host ─ Eric Owens