Tag: Puccini

The End of an Era

Published on by operazhenshchina15 Comments

For nearly nine years, I have lived for the opera. As soon as the golden jacquard curtain would make its final descent on the Met stage in New York, I would leave the cinema dreaming about my next opera and its corresponding outfit. The passion I felt when planning my opera outings would fuel me with a year-round energy that could only be described as the ultimate adrenaline rush. Truly, it was a love affair for the ages.
Sadly, an opera friend of mine delivered some devastating news in early October: the local theater where we would go to see the Live in HD simulcasts had been stripped of its standing and would no longer be carrying the Saturday matinees.
The news, which was magnanimous in its weight, left me subdued, but not surprised; the local attendance for the broadcasts had been steadily declining over the years and I had subconsciously questioned how long the theater would continue with the act. With my lack of transportation to the next closest movie theater (almost an hour away), I considered the news as the end of an era.
But don’t despair ─ I’ve always believed that when a chapter in life closes, a new one begins. I still plan to continue sewing and blogging, albeit, it won’t necessarily be centered around opera costumes. Besides, with the Met’s trend of embracing more and more abstract, modern productions, my window for creating real costumes was becoming narrower and narrower.

In celebration of the wonderful performances I have had the pleasure of seeing over the past 9 years, I thought it would be fitting to relive some of my favorite moments from my time at the opera.

My Top 5 Favorite Opera Performances

Although these are not ranked in any particular order, there is an undisputed #1.

1. Il Trovatore ─ October 3, 2015

Dmitri Hvorostovsky and Anna Netrebko in Il Trovatore / Metropolitan Opera

What can I say ? This is the opera that started it all for me. Not only did I almost bolt out of my seat at the shocking ending (he killed his brother ?!), but I was introduced to an artform that I never dreamed I would love. Additionally, because of this performance and two of its singers, I took an interest in watching concerts from Russia’s Kultura channel on YouTube and there started to teach myself the Cyrillic alphabet, which rapidly expanded into learning the Russian language.

2. La Fanciulla del West ─ October 27, 2018

Eva Maria Westbroek and Jonas Kaufmann in La fanciulla del West / Metropolitan Opera

There was no one more wrapped up in the romance of bandit Dick Johnson and saloon owner Minnie than me. It was my first time seeing Jonas Kaufmann on the big screen and I was smitten. Once I learned of the opera’s stage origins, I bought a novel adaptation of David Belasco’s “The Girl of the Golden West” and further immersed myself in the majestic California setting. And, I loved feeling like a frontier marksman with my Stevens .22 (no, it didn’t go to the theater with me).

3. Turandot ─ February 3, 2016

Nina Stemme in Turandot / Metropolitan Opera

How could I make a compilation of my favorite performances without including at least one from Turandot ? While each of the three performances I attended had its detractors, I chose the 2016 encore performance as my favorite due to my unsuspecting nature during my original outing. It was exhilarating, spine-tingling, and stunning. The way I felt while watching the Riddle Scene unfold was something I’ll never forget.

4. Der Rosenkavalier ─ May 13, 2017

Elīna Garanča and Renée Fleming in Der Rosenkavalier / Metropolitan Opera

Okay, I’ll admit it: I was in total belief of Elīna Garanča’s masculine alter-ego in this performance. Her movements combined with her statuesque height had me turning away from the screen while watching the hot love affair between Garanča’s teenaged Octavian and Renée Fleming’s seemingly much older Marschallin. Coupled with the sentimentality of both ladies retiring their respective roles from this particular opera, one could say it was a landmark performance. Strauss’s music wasn’t so bad either.

5. Les Pêcheurs de Perles ─ January 16, 2016

Matthew Polenzani, Mariusz Kwiecien, and Diana Damrau in Les Pêcheurs de Perles / Metropolitan Opera

Choosing a Top 5 was no easy feat, but Bizet’s buried gem was a treasure. I remember seeing this as my third opera performance and decided to throw around some sophomoric clout with an elderly patron buying her ticket at the theater. “Are you going to the opera ? I’ve heard Matthew Polenzani is very good in this performance.” I airily inquired. “Well, I’ve heard Mariusz Kwiecien is very good as well !” she smartly slung back at me. The combination of dreamy music, along with a production that blended the sacred with the modern, edged this performance as one of my most memorable.

Honorable Mention

Agrippina
Ariadne auf Naxos
L’Elisir d’Amore

Toi, Toi, Toi,

Mary Martha

Madama Butterfly: East Meets West

Published on by operazhenshchina14 Comments

It is already known how Madama Butterfly played a significant role in my life. In 2016, I taught myself to sew as I was preparing for my first outing to Puccini’s immortal tragedy. Because of that climactic moment, I hold a great reverence and affection for the opera.

My first sewing project ever ─ an authentic kimono for Madama Butterfly ─ in 2016

This particular Live in HD Butterfly was probably the best iteration I’ve seen. Much of the weight of that statement is credited to Asmik Grigorian, the Lithuanian soprano with a vast voice, making her long-awaited Met debut. Although I didn’t feel she had the prettiest voice, her acting had me believing that I was Butterfly. When the character was scared, I was scared. During her moments of wild hope, my skin tingled. Vulnerability and despair coalesced into a perfect portrayal. Brava !

Lucas Meacham, Jonathan Tetelman, and Asmik Grigorian in Madama Butterfly / Metropolitan Opera

Japanese garments being the central focus of Madama Butterfly, my goal for my third time seeing the opera in theaters was to embrace a more modern, accessible approach to costuming by creating something that could be described as “East Meets West”. For this, I turned to Folkwear Patterns and their 129 Japanese Hapi and Haori pattern.

129 Japanese Hapi and Haori ─ Folkwear Patterns

While the authentic appeal of the lined haori attracted me, my practical reasoning knew that dealing with the hanging furisode sleeves would be a nuisance in the long run. The hapi it was !

Choosing the fabric was fun. At first, I looked for old bolts of kimono fabric on eBay, but wasn’t thrilled with the prices or inadequate yardage. Quilting cottons were suggested for the hapi so I checked around on my usual fabric sites. Searching through beautiful prints on Style Maker Fabrics, I found my fabric: a vibrant butterfly print on a teal background. Even more serendipitous, it was made in Japan !

To set off the busy material, I chose a diminutive turquoise cotton from my local quilt shop to serve as the neckband fabric. A striking contrast, don’t you think ?

Designed to be worn over western clothing, the hapi was a stylish topper over a persimmon colored camisole and wide-legged pants, the latter of which was sewn from a beige silk noil. So earthy, so luxe !
To make the pants, I used the Harlow Pajamas pattern, which I first sewed for the Kurzak/Alagna Met concert.

Wearing a cross necklace was indicative of Butterfly’s conversion to Christianity before her marriage to Pinkerton. Thank you, Faith !

Carefully, I threaded my handmade kanzashi hair stick (original to my 2016 outfit) into the chic geisha bun my mother styled for me. Why don’t we wear these more often ?!

Those straight cut, modest sleeves were not a problem at all !

And look at how cute this purse is ! Bought at Cracker Barrel, my mother gave it to me for Easter. Little did she know it would be flying off to Butterfly with me.

Now that the 2023-2024 Live in HD season has wrapped, I can breathe a bit and begin to work on projects for next season, which promises to be a delight. See you there !

Toi, Toi, Toi,

Mary Martha

Cast and Credits:

Madama Butterfly ─ Giacomo Puccini (1904)
Live in HD air date: May 11, 2024

Cast:
Cio-Cio-San ─ Asmik Grigorian
Pinkerton ─ Jonathan Tetelman
Suzuki ─ Elizabeth DeShong
Sharpless ─ Lucas Meacham

Credits:
Conductor ─ Xian Zhang
Production ─ Anthony Minghella
Director and Choreographer ─ Carolyn Choa
Set Designer ─ Michael Levine
Costume Designer ─ Han Feng
Lighting Designer ─ Peter Mumford
Puppetry ─ Blind Summit Theatre
Revival Stage Director ─ Paula Williams
Live in HD Director ─ Gary Halvorson
Host ─ Anthony Roth Costanzo

La Rondine

Published on by operazhenshchina14 Comments

I was first introduced to Puccini’s operetta, La Rondine, as part of the Met’s free nightly streams during Covid. The stars were Angela Gheorghiu and Roberto Alagna. Notoriously, the performance marked one of their last engagements before their infamous divorce proceedings in 2009. Remembering how captivated I was by the glittering sets, jaw-dropping costumes, and the soapy heartache I endured as the final scene played out made my most recent trip to the theater a much anticipated one.

Roberto Alagna and Angela Gheorghiu in La Rondine / Metropolitan Opera (2009)

A due share of my attraction to La Rondine is the theme of true love over riches and fame. As a courtesan, the disguised Magda cannot forgive herself when Ruggero wishes to marry her at the end of the opera. She has deceived him about her identity and virtue and cannot continue her lie into marriage and motherhood. In the 2009 performance, the breakup ripped my heart out. But due to a lack of chemistry between the two leads in the 2024 revival, I missed out on the emotional catharsis I was so eagerly expecting. For an operetta whose entire success depends on the strength of chemistry between the leading lovers, I was left unmoved and unsatisfied.

Jonathan Tetelman as Ruggero and Angel Blue as Magda in La Rondine / Metropolitan Opera

Rondine represented an opportunity for me to sew an artsy dress from the 1920’s, which stoked my creativity like an open flame. Looking through different designs of patterns with geometric influences, I aimed to have something similar in my dress that would be appropriate for the Art Deco era. A vintage construct from Lekala fit the bill.

Lekala 1920’s dress pattern

What made this pattern one of interest were the simple, yet striking, details. Having previously struggled with bias cuts of fabric and worse, sewing blocks together at inverted angles, I was a bit intimidated to tackle another slippery nightmare. The sparse instructions didn’t help. However, I was wholly surprised to find that the pattern came together so quickly and so easily.

The pictures don’t do this fabric justice ! I used a rayon/nylon shimmer satin from designer Maggy London in a dusty grape/mauve color. As with most of my fabric purchases, I bought this beauty from Fabric Mart Fabrics.

Confession: I don’t always accurately estimate the amount of fabric I need for each project. Such was the case with this dress. Therefore, I had to piece the lower back portions together and finished the new back seam (and side seams) with French seams. Piecing is period correct, correct ?

My mother was proud of her hairstyle for this one and I loved it. So elegant !

In order to make my flapper headband, I went to Joann Fabrics and found some odds and ends that seemed suitable: black sequin elastic on clearance, a brooch for $3.50, and plumage in the floral section. Shockingly, the headband only took me 10 minutes to fashion and that includes warming up the hot glue gun.

What’s a lady of the house to do without her strings of pearls ?! Accessorizing with lustrous orbs can never be out of vogue.

It truly is a pity that the operetta seen in theaters was without its springing passion. While many denounce La Rondine as being far from Puccini’s best work, it is filled with splendid music that aches for the true, soul love wealth cannot bring.

Toi, Toi, Toi,

Mary Martha

Casts and Credits

La Rondine ─ Giacomo Puccini (1917)
Live in HD air date: April 20, 2024

Cast:
Magda ─ Angel Blue
Ruggero ─ Jonathan Tetelman
Lisette ─ Emily Pogorelc
Prunier ─ Bekhzod Davronov
Rambaldo ─ Alfred Walker

Credits:
Conductor ─ Speranza Scappucci
Production ─ Nicolas Joël
Set Designer ─ Ezio Frigerio
Costume Designer ─ Franca Squarciapino
Lighting Designer ─ Duane Schuler
Live in HD Director ─ Gary Halvorson
Host ─ Julia Bullock

Turandot ─ My Favorite Opera

Published on by operazhenshchina17 Comments

How much do I love Puccini’s final opera, Turandot ?

Well…

I own two complete recordings, which I listen to very often…

…have a poster in my room…

…and it has been rumored to be true that I’ve flown out of my bedroom like a bat when the sound of someone singing “Nessun dorma” on a television in an adjacent room wafted its way to my ear during the early part of slumber.

Yes, I love Turandot ─ the music, the armrest-gripping drama, the fiery passion all wrapped up in a splendid love story for the ages. It never gets old… neither do the chills and goosebumps I inevitably feel whenever listening to the opera. While these factors are not conducive to healing from adrenal fatigue, the liability never stops me from attending a performance, regardless of the cast.

Liudmyla Monastyrska (center) and Yonghoon Lee (left) in a scene from Turandot / Metropolitan Opera

Oddly, Turandot is one of the few operas that is not entirely dependent on the merits of the four principal leads (at least to me, anyway !). Rather, having an exceptionally vibrant chorus and a taut and affecting conductor on the stand makes the real difference. With that in mind, the orchestra and chorus shone as the brightest stars during this run of Franco Zeffirelli’s magnificent production. But a mention should be made of the principal singers… instruction in Acting 101 would have been advisable for most of them. The icy princess was truly frozen and the blind man was discovered to be only intermittently blind as he readily anticipated his steps and conversations before they had begun. Oops !
Despite some hiccups, they were mostly rendered moot: the opera is always a winner !

An excerpt from the finale from Turandot (2009) / Metropolitan Opera

Zeffirelli’s Turandot production is a landmark. It’s so powerful in its impact on audiences that it’s been in existence at the Met for over 30 years. Why mess with perfection ?! This was the attitude I adopted as I contemplated what I would wear for Turandot 2022.
When I created my costume for Turandot 2019, I didn’t think I could top it. It’s glitzy, dramatic, and oh so Chinese. I didn’t see a reason why it shouldn’t be worn again. So that’s just what I did.

One element I tweaked for this particular Turandot was opting to wear my long black wig, which I donned for Madama Butterfly in 2019. With it, I felt even more like ‘la Principessa altera.’

Of course, my cardboard and wooden skewer headpiece had to make another appearance. It has taken a lot of wear and tear from the time since I first created the accessory in late 2015/early 2016, but there’s nothing a dab of Krazy Glue won’t fix !

This may have been my third trip to the theater to see Puccini’s posthumous piece, but I highly doubt I will ever become jaded by the opera. Festive excitement builds as the 100th anniversary of its premiere approaches in 2026. And I already have plans for a poster-inspired outfit to celebrate !

Toi, Toi, Toi,

Mary Martha

Cast and Credits

Turandot ─ Giacomo Puccini (1926)
Live in HD air date: May 7, 2022

Cast:
Turandot ─ Liudmyla Monastyrska
Calàf ─ Yonghoon Lee
Liù ─ Ermonela Jaho
Timur ─ Ferruccio Furlanetto

Credits:
Conductor ─ Marco Armiliato
Production ─ Franco Zeffirelli
Set Designer ─ Franco Zeffirelli
Costume Designers ─ Anna Anni and Dada Saligeri
Lighting Designer ─ Gil Wechsler
Choreographer ─ Chiang Ching
Live in HD Director ─ Gary Halvorson
Host ─ Nadine Sierra

La Bohème ─ Mimì

Published on by operazhenshchina1Leave a comment

My pastor once referred to the plot of La Bohème as “the hippies in Paris.” And after catching a past Met performance of La Bohème on TV one evening, I had to agree. Rebellion against authority, communal living, and starving artists flood the stage with the modes of their free-spirit culture. While one of the most popular operatic works, which has influenced a host of artistic projects outside of opera houses (i.e Rent), I was not initially won over by the loose morals of “The Bohemians”. However, my indifferent attitude did not prevent me from taking the trip to the theater when a fresh cast mounted the open garret of Franco Zeffirelli’s iconic 1981 production. “I’ll give it another chance…” I reasoned.

Matthew Rose as Colline, Michael Fabiano as Rodolfo, Alexey Lavrov as Schaunard, and Lucas Meacham as Marcello in La Bohème / Metropolitan Opera

The pairing of Sonya Yoncheva and Michael Fabiano felt like an old photograph stuffed into an album presently displaced. They looked familiar, but where had I seen them…? Oh, yes─ in La Traviata just a year earlier. However, their wigs and wardrobes had changed drastically from the days of suits and satin sundresses.

From Traviata to Bohème: Sonya Yoncheva and Michael Fabiano / Metropolitan Opera

Did my second viewing of La Bohème transform my opinion of Puccini’s lovable opera ? Not particularly. While anticipating my favorite melodies (I judge a soprano by the number of goosebumps on my body when listening to “Sì. Mi chiamano Mimì”) was an entertaining highlight, I still wasn’t as emotionally moved by the plot as I had hoped. Perhaps the third time will be the charm…

A scene from La Bohème / Metropolitan Opera

There are times when an opera costume should be interpretive. This was not one of those occasions. No, I knew from the instant I decided to make plans for attending La Bohème that I would dress head to toe as either Mimì or Musetta. Since the more recognizable of the two is the former, and since masquerading as the latter would throw me into a mid-season panic of having to sew something from scratch, I threw in my chips for Mimì. The dishwater blue frock ─ so iconic to Zeffirelli’s sickly sweet Mimì ─ could easily be mimicked with the blue chambray dress in my mother’s closet.

A staple from my mother’s closet ─ her blue dotted chambray dress with lace

But it needed more…

The original dress, which is from the 1970’s or 80’s, hit at the mid-calf level, but this was too short for the floor length skirts of the 1830’s. I remedied my malady with a matching chambray ruffle, which I attached to the bottom hem of the dress.

Now I needed the shawl… Mimì is nothing without her crocheted shawl ! A plethora of images from past Met performances guided me when choosing a pattern…

Here’s the pattern I used: https://shyamanivas.blogspot.com/2017/06/latticed-spider-shawl-1.html

I devised my own border scheme based on the production pictures and with a pair of lace gloves and upswept hairstyle… voilà─ Mimì !

“Yes, they call me Mimì”… at least they did at the theater that day ! It’s always fun to replicate the style of a character to the nth degree and Mimì was a relative breeze. Although I’m not counted among the lovers of La Bohème, I’m certain that Puccini’s tunes will draw me back again someday. But next time, I plan to chart a new course for my costume… look out, Musetta, I’m coming for you !

Susanna Phillips as Musetta / Metropolitan Opera

Toi, Toi, Toi,

Mary Martha

Cast and Credits:

La Bohème ─ Giacomo Puccini (1896)
Live in HD air date: February 24, 2018

Cast:
Mimì ─ Sonya Yoncheva
Rodolfo ─ Michael Fabiano
Musetta ─ Susanna Phillips
Marcello ─ Lucas Meachem
Schaunard ─ Alexey Lavrov
Colline ─ Matthew Rose
Benoit/Alicindoro ─ Paul Plishka

Credits:
Conductor ─ Marco Armiliato
Production ─ Franco Zeffirelli
Set Designer ─ Franco Zeffirelli
Costume Designer ─ Peter J. Hall
Lighting Designer ─ Gil Wechsler
Revival Stage Director ─Gregory Keller
Live in HD Director ─ Matthew Diamond
Host ─ Kelli O’Hara

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

Published on by operazhenshchina11 Comment

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

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

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

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

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

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

The Cuisine

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

The Barefoot Contessa Cookbook and Jayne’s sparkling rosé

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

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

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

The Clothes

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

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

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

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

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

Toi, Toi, Toi,

Mary Martha

Cast and Credits:

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

Aleksandra Kurzak ─ soprano
Roberto Alagna ─ tenor

Vienna Morphing Quintet

The Princess and the ‘Piece ─ Turandot

Published on by operazhenshchina12 Comments

My first Puccini opera… what a thrill ! Posthumously premiering in 1926, Turandot feels more like a Grimm Brothers’ fairy tale than an Italian opera ─ a haughty princess, arduous riddles, and a mysterious suitor sheltering a life-or-death secret all lead to a storybook outcome. Having heard the praises of Puccini (and the exulting melody of “Nessun dorma”), I was more than ready to attend the encore of Turandot in early 2016. I even unfurled my reproduction poster for the occasion !

Thanks, 303 !

Only Franco Zeffirelli could create the spectacular setting of Turandot. Still a Met favorite from when it debuted in 1987, the sets and choreography shine as brightly as the music itself. When the stage darkens during the scene change in Act II, the resulting lapse rewards the spectator with a breathtaking display of an ancient Chinese palace.

A scene from Turandot / Metropolitan Opera

Even more exhilarating was the famed Riddle Scene. Although I had read the synopsis and knew the correct answers to the enigmatic questions posed by the tyrannical princess, I still suffered from a classic case of head-to-toe goosebumps as Calàf won the hand of the hitherto unattainable Turandot. The victor’s salivating looks of desire and the fingering of the princess’s silky mantle were too seductive for words. My heart was aflutter !

Nina Stemme and Marco Berti in Turandot / Metropolitan Opera

Here I must opine… As the audience anticipates the much beloved “Nessun dorma” in Act III, I couldn’t help but wish for a supplemental scene prior to the big aria of a frazzled Turandot, pacing in her bedchamber with her servants while racking her brain as to what the stranger’s name could be… I think it would have added another dimension to the desperate drama.

Nevertheless, I adored the opera and everything about it: the treacherous secret (which cost Liù her life), the surrender to love, the happy ending ─ what’s not to like about Turandot ?

Alexander Tsymbalyuk as Timur, Anita Hartig as Liù, Dwayne Croft as Ping, and Nina Stemme as Turandot / Metropolitan Opera

“Chinese” is not a style typically engendered by my closets. However, there was something I could manufacture in order to convey the right amount of dynastic imperialism… While Zeffirelli’s sets are extraordinary, the costumes in Turandot are just as jaw-dropping, especially the ostentatious headpieces worn by the titular character. My goal was to create my own unique headpiece that was as visually stunning as it was logistically sound. Browsing ideas for Turandot headpieces, Birgit Nilsson’s ornate costume from 1961 was my favorite and became the inspiration for my own creation.

Birgit Nilsson as Turandot in 1961 / Metropolitan Opera

Before creation could begin, some engineering chicanery needed to occur since there were many obstacles in the way of the perfect head accessory. Just imagine ─ wearing the headpiece in the car on the way to the opera, leaning back on the headrest of the seat in the theater, potentially blocking someone’s view of the screen, etc. Using a basic headband as the foundation for the headpiece, I took measurements of height and width from the top and sides of my head in order to avoid any damages to the headpiece (and theater patrons) while realistically evaluating how tall and wide I could reasonably fashion the accessory.
There was also the ‘weight’ component to contemplate: when the entire superstructure is built off a cheap headband, the overall weight of the headpiece needed to be kept to a minimum. Keeping this in mind, I used bamboo skewers for the tall, emanating stakes and was careful to select materials that doubled as both fashionable and functional.

Decorated in sequins, rhinestones, and beads, a healthy spray painting of gold helped turn an ordinary cereal box and plain wooden skewers into a dazzling work of art.

The Turandot headpiece up close

Although my closets lacked chinoise appeal, I still tried my best to create a Chinese-themed outfit: a monochromatic red turtleneck and pants proved a reliable choice for the chilly February evening while the vibrant scarf I bought at the Port Authority in New York was just the right pop of color to match the headpiece’s prismatic brilliance.

The pre-work engineering paid off: I was able to ride to the theater with the finial just barely clearing the headliner of the car. And even though I accidentally bumped into the dark corridor on the way to my seat, no one was injured in the process, including the headpiece.

From Birgit Nilsson to Franco Zeffirelli, Puccini’s final opera is a fountain for artistic pleasure. Turandot may have been my first Puccini opera, but it certainly won’t be my last !

Toi, Toi, Toi,

Mary Martha

Cast and Credits:

Turandot ─ Giacomo Puccini (1926)
Live in HD air date: January 30, 2016
(Encore seen: February 3, 2016)

Cast:
Turandot ─ Nina Stemme
Calàf ─ Marco Berti
Liù ─ Anita Hartig
Timur ─ Alexander Tsymbalyuk

Credits:
Conductor ─Paolo Carignani
Production ─ Franco Zeffirelli
Set Designer ─ Franco Zeffirelli
Costume Designers ─ Anna Anni, Dada Saligeri
Lighting Designer ─ Gil Wechsler
Choreographer ─ Chiang Ching
Live in HD Director ─ Barbara Willis Sweete
Host ─ Renée Fleming

Madama Butterfly (2016)

Published on by operazhenshchina12 Comments

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

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

The opening pantomime from Madama Butterfly / Metropolitan Opera

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

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

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

Kristine Opolais and Roberto Alagna in Madama Butterfly / Metropolitan Opera

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

Madame Butterfly ? Not quite…

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

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

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

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

Kanzashi hairpiece and obi tied into a bow

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

Toi, Toi, Toi,

Mary Martha

Cast and Credits:

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

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

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

*Matthew Polenzani originally scheduled to host broadcast.

Met Stars Live in Concert: Jonas Kaufmann

Published on by operazhenshchina11 Comment

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

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

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

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

The Clothes

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

The purple ITY knit lining material
Lekala Pattern #4078

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

The Cuisine

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

Bavarian Apple Torte

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

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

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

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

Toi, Toi, Toi,

Mary Martha

Cast and Credits

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

Jonas Kaufmann ─ tenor
Helmut Deutsch ─ piano


La Fanciulla del West

Published on by operazhenshchina12 Comments

When you think of the American Wild West, what comes to mind…? Cowboys ? Rocky mountains and perilous cliffs ? The California Gold Rush ?

What about Italian opera ?

Puccini’s stirring masterpiece, La Fanciulla del West, wrangled together the landscape and romance of one of America’s greatest periods in history into an absolutely captivating production. The opening score swept with vastness and virility, like the opera’s elusive anti-hero, Dick Johnson, played by an even more elusive Jonas Kaufmann. I had waited years to finally catch Kaufmann in a Live in HD performance (he had previously backed out of both Manon Lescaut and Tosca) and I was ready for my due !

Eva-Maria Westbroek as Minnie and Jonas Kaufmann as Dick Johnson in La Fanciulla del West / Metropolitan Opera

I loved nearly everything about this opera: the wholesome heroine, the realistic production setting, the old-fashioned romance, and the wily game of 5 card draw. I laughed, I didn’t cry, I swooned. In fact, I found the opera and production so endearing that I went to see the encore the following Wednesday !

Željko Lučić as Jack Rance and Eva-Maria Westbroek as Minnie in La Fanciulla del West / Metropolitan Opera

What struck me as so poignant in this opera was how the librettists wove the theme of the opera around a line of Scripture from Psalm 51: “there isn’t a sinner in the world who can’t find salvation.” Little did I know that that passage would play an enormous role later in the opera as the title heroine, Minnie, saved Dick from being publicly hung. The effect was monumental.

Jonas Kaufmann as Dick Johnson and Eva-Maria Westbroek as Minnie in La Fanciulla del West / Metropolitan Opera

There was no doubt that my outfit for Fanciulla would come direct from my mother’s closet. Wearing an unworn dress my mother bought at the Mast General Store in North Carolina years ago (the tag was still on it), I had a solid foundation for my costume. The diminutive flower print and lace detailing around the collar and sleeves were fitting features to match Minnie’s simplistic and pure character.

Alone, however, it wasn’t enough ─ it needed something extra… something “Little House on the Prairie”… I researched online and found a picture of a pioneer apron that I thought would be perfect for the outfit. Taking measurements, I drafted a quick pattern for a ruffled muslin apron with front pockets just like the one below:

Folkwear Historic 1800s Prairie / Pioneer Dress
Minnie’s long lost cousin ?

Now I looked the part ! But there was a missing piece to my frontier get-up ─ the addition of Minnie’s favorite companion: her rifle. This was essential to the character and also to my pictures, although you can imagine I left the gun at home while I went to the theater.

Thank you, Uncle Kim, for my .22 Stevens !

Ready, aim, fire !

While it is a known fact that Dick Johnson stole Minnie’s first kiss, it can also be confirmed that the tenderness of Puccini’s La Fanciulla del West stole my heart.

Toi, Toi, Toi,

Mary Martha

Cast and Credits:

La Fanciulla del West ─ Giacomo Puccini (1910)
Live in HD air date: October 27, 2018

Cast:
Minnie ─ Eva-Maria Westbroek
Dick Johnson ─ Jonas Kaufmann
Nick ─ Carlo Bosi
Jack Rance ─ Željko Lučić
Sonora ─ Michael Todd Simpson
Ashby ─ Matthew Rose
Jake Wallace ─ Oren Gradus

Credits:
Conductor ─ Marco Armiliato
Production ─Giancarlo del Monaco
Set and Costume Designer ─ Michael Scott
Lighting Designer ─ Gil Wechsler
Live in HD Director ─ Gary Halvorson
Host ─ Susanna Phillips