• About
    • Bio
    • Contact
    • Policies
    • Subscribe
  • Books and Reading
    • Reading Challenges
    • Salon Reading Lists 1-10
    • Salon Reading Lists 11-20
    • Salon Reading Lists 21-30
    • Salon Reading Lists 31-40
    • Salon Reading Lists 41-50
    • Salon Reading Lists 51-60
  • Film 101
    • Hitchcock 101
    • Horror 101
    • Screwball 101
    • Spielberg 101
  • Opera 101
  • Women 101

Sly Wit

~ Random musings on all things cultural

Sly Wit

Tag Archives: Fashion

Opera 101—Code Name Verity

12 Wednesday Sep 2018

Posted by Sly Wit in Music, Opera

≈ Leave a comment

Tags

Fashion, Opera, Verismo

Isn’t it rich?
Are we a pair?
Me here at last on the ground,
You in mid-air…
But where are the clowns?
Send in the clowns.
Don’t bother, they’re here.

—Stephen Sondheim, “Send in the Clowns”

A performer entertains the crowd in Pagliacci. Photo by Cory Weaver.

Cavalleria rusticana and Pagliacci are two short verismo operas that often appear together on a double bill, as San Francisco Opera has chosen to do for their 2018–2019 season, with a production originally from the Opéra Royal de Wallonie-Liège. The entire production is about three hours, including one intermission between the two operas.

Verismo is an Italian operatic style that emerged in the late 1800s and can be considered a realist (or naturalist) style, with plots taking their inspiration from real life. In other words, verismo presents everyday people with everyday problems, albeit at the usual operatic extreme. [Side note: The other major non-Puccini verismo opera is Andrea Chénier, which opened the 2016–2017 SFO season.] I can’t say I’m a huge fan, despite naturalist author Émile Zola being a favorite of mine. However, this was my first “Cav/Pag” as the kids say, so maybe I shouldn’t be too quick to judge.

In both Cavalleria rusticana and Pagliacci, the plot is fairly straightforward: a married woman is having an affair and her jealous husband kills her lover. But only one has clowns.

Pietro Mascagni, Cavalleria rusticana (Rustic Chivalry) (1890)
Based on: a novella and play by Giovanni Verga
Notable Cultural Reference: The Godfather Part III
Setting: Sicily, Easter Sunday, 1890s

Plot in 101 words or less: Villager Santuzza is pregnant by ex-soldier Turiddu, son of innkeeper Mamma Lucia. Before getting his gun on, Turiddu was with Lola, but when the cat’s away the mouse will marry someone else, namely Alfio. Because getting with Santuzza made Lola jealous (as planned), she and Turiddu start up again. Santuzza gets pushed around literally and figuratively, curses Turiddu, and tells Alfio what’s what. And… intermezzo. Everyone, drink! Well, everyone except Alfio, who refuses Turiddu’s wine and challenges him to a duel. Turiddu Mike Tysons Alfio’s ear—apparently it’s a Sicilian thing, not one of the “Ten Duel Commandments.” Justice is served.

Sung in: Italian
Memorable Music: the Intermezzo

Laura Krumm as Lola, Roberto Aronica as Turiddu, and Ekaterina Semenchuk as Santuzza in Cavalleria Rusticana. Photo by Cory Weaver.

Ruggero Leoncavallo, Pagliacci (Clowns) (1892)
Based on: an actual incident (maybe)
Notable Cultural Reference: Seinfeld, “The Opera” (clip 1, clip 2)
Setting: Calabria, Ferragosto (August 15), 1860s

Plot in 101 words or less: Traveling performers, including Canio—clowno numero uno—and his wife Nedda, come to town for a Ferragosto performance. Soon Nedda is by herself, singing Jenny Gump’s prayer. Tonio—clowno numero duo—tries to seduce Nedda, to no avail, mostly because she likes villager Silvio, who’s no fool. Unfortunately, Canio learns of their affair before they can run away together. The performance begins. Mise en abîme alert! The audience realizes too late that the jealous obsession playing out on stage is a little too real: Canio stabs Nedda, and then Silvio. In short, you are well advised to be scared of clowns.

Sung in: Italian
Memorable Music: “Vesta la giubba”

Amitai Pati as Beppe, Lianna Haroutounian as Nedda, and Dimitri Platanias as Tonio in Pagliacci. Photo by Cory Weaver.

While both of these operas as written take place in southern Italy, this production by Argentine José Cura sets both operas in La Boca, the Italian quarter of Buenos Aires. This mostly worked for me, although, if you didn’t read the production notes, I can see why you might be confused at times since the characters in this production overlap. For example, Pagliacci opens with Turridu’s coffin, Santuzza appears noticeably more pregnant in Pagliacci, and the character of Silvio now works in Mamma Lucia’s bar from Cavalleria. In fact, it is Mamma Lucia who utters the famous closing of Pagliacci—“La commedia è finita”—which I found a distinctly odd choice, whatever the rationale.

Ekaterina Semenchuk as Santuzza (seated) in a scene from Cavalleria Rusticana. Photo by Cory Weaver.

As this was my first Cav/Pag, I went in fairly open to both operas. From what I had read, Cavalleria seemed to be considered the more “musical” of the two, but I came out highly predisposed to Pagliacci. The construction is far more creative, including the complex “play within a play” and the breaking of the fourth wall with the prologue, but it is also stronger from an emotional perspective and had more “breakout” arias to these ears.

As for the singing, it seemed a bit uneven. While I really loved the tone of most of the singers, at times they felt underpowered. This was mostly on the male side, as the women came off fairly well.

The highlight for me was soprano Lianna Haroutounian as Nedda in Pagliacci. Mezzo-soprano Ekaterina Semenchuk as Santuzza in Cavalleria was also impressive, although I don’t think she had much to work with. Her acting certainly stood out: Given that the role is not particularly sympathetic, I felt for her. (If you remember, Semenchuk was also a highlight for me in Luisa Miller. I was even impressed by some of the smaller parts, such as Laura Krumm’s Lola, which is rare for me.

For the men, one obvious highlight was tenor Marco Berti’s delivery of Canio’s “Vesta la giubba” (I was rather relieved when he delivered on that since I felt he cut short the final note of “Nessun dorma” when I last saw him in Turandot). Berti was also one of the better actors: Despite his heavy makeup and mask, I really felt his anger. I also liked Merola graduate David Pershall as Nedda’s lover Silvio. He has been in a few things I’ve seen but I’ve never made note of him before. His love duet Haroutounian was very nice. I thought Adler Fellow Amitai Pati had excellent tone as Beppe and stood out in his aria even if it was a bit soft. Dimitri Platanias, the sole singer to truly have a dual role and making his SFO debut, as Alfio in Cavalleria and Tonio in Pagliacci seemed to do a little better with Pagliacci, especially in the prologue.

Amitai Pati as Beppe as Arlecchino in Pagliacci. Photo by Cory Weaver.

A distinct disappointment for me was the dance interlude. Given the resetting, I was hoping for a fiery Argentine tango with its classic snap kicking and I felt the choreography did not live up to its potential.

What did live up to their potential were my fellow operagoers, whose outfits (mostly) rose to the occasion. Unfortunately, the San Francisco Chronicle’s coverage was fairly weak this year, so I’ve only included my own pictures below; however, I wasn’t able to capture all my favorite looks. For example, Komal Shah wore a beautiful Dolce & Gabbana floral number and Camille Bently donned a black, jeweled Christian Siriano gown, both of which were well suited for the “¡Viva La Noche!” theme.

There are six more performances of Cavalleria rusticana and Pagliacci at the War Memorial Opera House on September 12, 16 (2 pm), 19, 22, 28 and 30 (2 pm).

  • Click to share on Facebook (Opens in new window)
  • Click to share on Twitter (Opens in new window)
  • Click to share on Pocket (Opens in new window)

Like this:

Like Loading...

Sunday Pretty

14 Sunday Jan 2018

Posted by Sly Wit in Art, Film

≈ Leave a comment

Tags

Fashion

Today on Twitter, Bright Wall/Dark Room (@BWDR) decided to “class it up” for their regular Sunday twitter focus and asked followers to send their favorite #MovieDresses.

I had such fun looking at images to tweet ten of my favorites that I thought I would share my selections here. So, if the news is getting you down, here is some pretty to brighten up your week.

Of course, I probably could have chosen ten images from just Grace Kelly or Audrey Hepburn films, but I tried to have a mix of old and new and fantastical.

For my first selection, I went with a dress that struck me back in my Hitchcock project days, when I voted Madeleine Carroll in Secret Agent as “Best Dressed” in my post on Hitchcock’s British Talkies.

To represent Grace Kelly, although I could have chosen any number of dresses from Hitchcock films (she got “Best Dressed” in my Master of Suspense post), I instead went with her wedding dress in High Society—I do so love sleeves.

To represent Audrey Hepburn, I went with my favorite color—pink! (Otherwise, I might have chosen the lovely party dress from the black & white Sabrina above.) Shockingly, this pink outfit is not from Funny Face, but rather Breakfast at Tiffany’s.

Sticking with a 1950s look, we fast forward to my pick for Best Costumes only one year ago: The Dressmaker. (I should probably run out and see Phantom Thread, shouldn’t I?)

Another 2016 film that had great dresses was Jackie. Here is Natalie Portman wearing Dior in that film.

Although I found the costuming in Joe Wright’s Anna Karenina a bit slapdash overall, I coveted many of the dresses. This is just one of them.

While Anna Karenina did in fact get the Oscar for Best Costume, there was another nominee that year whose costumes I thought worked better to tell the story at hand and that was Snow White and the Huntsman. Ravenna’s look in that film would be great for Game of Thrones cosplay.

On the other hand, if you want to keep it simple—on your yacht—there is this number that Bérénice Marlohe wears in Skyfall.

I don’t know if this dress has pockets, but, if we are to believe Gal Gadot in Wonder Woman, it does hide a sword quite nicely.

Another dress I wrote about back in the day, when I talked about Cinderella and Jupiter Ascending, both of which had gorgeous costumes. This is Mila Kunis’s wedding dress from Jupiter Ascending.

So, those were the ten I originally tweeted. Here are a few I was reminded of while perusing the hashtag.

I nearly kicked myself when I realized I had forgotten this Eva Marie Saint number from North By Northwest. And, looking at it now, I see why I chose the dress I did for the opening night of the San Francisco Opera.

I don’t think I ever would have remembered it offhand, but I love this Monet-like dress that Carey Mulligan wears in An Education.

While I have never seen the film, I should have remembered this killer Hedy Lamarr dress from Samson and Delilah that I saw at the Hollywood Costume exhibit in Los Angeles.

And lastly, but certainly not least, the dress from one of my favorite cinema moments ever: when Bette Davis wears a red dress to the Olympus Ball, where all unmarried women are expected to wear white. Of course, since Jezebel is in black & white, you lose the full impact of the dress, shown here in all its glory.

Check out the hashtag #MovieDresses to see what looks others love and add your own!

  • Click to share on Facebook (Opens in new window)
  • Click to share on Twitter (Opens in new window)
  • Click to share on Pocket (Opens in new window)

Like this:

Like Loading...

Opera 101—Bang a Gong, Get It On

10 Sunday Sep 2017

Posted by Sly Wit in Music, Opera

≈ 2 Comments

Tags

Fashion, Opera, Puccini

Calaf contemplates risking it all in Turandot. Photo by Cory Weaver.

Giacomo Puccini, Turandot (1921–1926)
Based on: the plays Turandot by Carlo Gozzi and Turandot, Prinzessin von China by Friedrich Schiller
Notable Cultural Reference: Mission: Impossible – Rogue Nation; Paul Potts audition for Britain’s Got Talent
Setting: Peking, Imperial China

Plot in 101 words or less: A used and abused ancestor has turned the beautiful Princess Turandot against all men. [Insert obligatory #notallmen reference here.] Any man seeking her hand must answer three riddles correctly or lose his head. Never a gender to lack confidence, plenty have rung the challenge gong and failed, but Calaf is sure he’ll succeed despite all advice to the contrary. Meanwhile, ministers Ping, Pang, and Pong wish Turandot were more “likeable” because of course. SPOILER ALERT: Calaf guesses the riddles! Unsatisfied, he manages to create a situation whereby slave girl Liù sacrifices herself because he once smiled at her. Because of course.

Sung in: Italian
Memorable Music: “Nessun dorma”

Martina Serafin as Princess Turandot in Turandot. Photo by Cory Weaver.

I was a bit disappointed when I realized that opening night of the 2017–2018 San Francisco Opera season was going to be Turandot—since I had already seen this production back in 2011 and I remember hating the sets and costumes. Well, the good news is that the sets weren’t as bad as I remembered (though, after four uses they are probably ready for retirement), but the bad news is that the costumes were still mostly god-awful. I mean really…

Raymond Aceto as Timur, Toni Marie Palmertree as Liù, and Brian Jagde as Calaf in Turandot. Photo by Cory Weaver.

Musically speaking, I think this was a stronger production than in 2011 and, what’s more, I could better appreciate it this time because I’ve seen so many other operas in between. Brian Jagde, the former Adler Fellow who so impressed me in Tosca, and, more recently, Carmen, delivered an excellent “Nessun dorma” and Martina Serafin was very convincing as Turandot, particularly when she had her change of heart in Act III. While it is hard to beat Leah Crocetto’s excellent Liù, last-minute replacement Adler Fellow Toni Marie Palmertree did a respectable job, especially in her final number. Raymond Aceto made more of an impression as Timor this time around.

Ping, Pang, Pong contemplate Turandot’s bloody reign in Turandot. Photo by Cory Weaver.

That little one sure can sing!

—my neighbor upon Toni Marie Palmertree’s curtain call

As for those other costumes, I have to say, I didn’t love many of the dresses that made the Chronicle‘s opening night society wrap-up, but two beautiful items that I thought were also on point thematically are below.

Left: Yuka Uehara of Tokyo Gamine in her own creation. Right: Sara Griffith’s inspired modification of her grandmother’s jewelry box. Photos by Gabrielle Lurie for the Chronicle.

Luckily, I managed to surreptitiously snap a few pics of my own for posterity.

  

  

  

There are five more performances of Turandot at the War Memorial Opera House this month, on September 12, 15, 21, 24, and 30. Then it comes back again at the end of the season on November 18, 25, and 28 and December 3, 6, and 9. So there’s no excuse for missing this one. Tickets can be purchased here.

Riddle me this: All’s well that ends well? Photo by Cory Weaver.

  • Click to share on Facebook (Opens in new window)
  • Click to share on Twitter (Opens in new window)
  • Click to share on Pocket (Opens in new window)

Like this:

Like Loading...

Opera 101—Liberté, Égalité, Fashionité

10 Saturday Sep 2016

Posted by Sly Wit in Music, Opera

≈ Leave a comment

Tags

Fashion, Opera, Verismo

If it’s not too indiscreet, will you tell me who you are wearing? My friend really wants to know.

—A tuxedoed man to your not-so-humble blogger on opening night

Dance like no revolutionary's watching. Photo by Cory Weaver.

Dance like no revolutionary’s watching. Photo by Cory Weaver.

Umberto Giordano, Andrea Chénier (1896)
Based on: the life of French poet André Chénier
Notable Cultural Reference: Philadelphia
Setting: Paris, 1789–1794

Plot in 101 words or less: A winter’s ball, and the countess’s daughter is the envy of all, including servant Gérard and poet Andrea Chenier. But the Revolution’s coming and, after beggars crash the party, Gérard quits. Liberté! Flash forward to The Terror where the countess has gotten her comeuppance but daughter Maddalena is still able to pass her time writing anonymous love letters using former servant Bersi as go-between. Égalité! (Sort of.) As for fraternité, Gérard is now buddy-buddy with Robespierre and jealous of the new It Couple. A few shifting allegiances and a prison switcheroo later and it’s off with Andrealena’s heads. Vive la Révolution!

Sung in: Italian
Memorable Music: “La Mamma morta”; “Come un bel dì di maggio”

"Même Platon a banni les poètes de sa République"—Robespierre

“Même Platon a banni les poètes de sa République”—Robespierre

Andrea Chénier is a perfect opening night selection, with lovely arias to showcase the singers and excellent opportunities for creative and/or beautiful set design and costume work. San Francisco Opera’s production didn’t let me down on any of these scores. Nor did my fellow operagoers, whose outfits (mostly) rose to the occasion as well.

La Maratonista and I are always happy to see David Laudon and Randy Laroche, or, as we call them, Hat Guys. Photo by Doug Duran.

La Maratonista and I are always happy to see David Laudon and Randy Laroche, or, as we call them, Hat Guys. Photo by Doug Duran.

But first, the opera. With three San Francisco debuts as leads, it was anyone’s guess how the singing would fare, but overall this production was strong. Yonghoon Lee was probably the weakest of the three in the titular role—I thought his singing was a bit thin and his acting unconvincing, though he handled “Come un bel dì di maggio” towards the end just fine. Picking up the slack were Anna Pirozzi as Maddalena de Coigny and George Gagnidze as Carlo Gérard, both of whom earned tremendous applause after their arias (“La mamma morta” and “Nemico della patria” respectively). Unfortunately, beyond these few showstoppers, there’s not much melody to this work and I can’t say the opera itself will ever rank up there in my favorites.

George Gagnidze as Carlo Gérard (left) and Anna Pirozzi as Maddalena de Coigny (right) in Andrea Chénier. Photos by Cory Weaver.

George Gagnidze as Carlo Gérard (left) and Anna Pirozzi as Maddalena de Coigny (right) in Andrea Chénier. Photos by Cory Weaver.

I thought the sets by Robert Jones were quite impressive, but maybe that’s because I was so disappointed by most of the sets last fall season. In any case, they successfully took us from a palace ball to the streets, cafés, and tribunals of revolutionary Paris, and then finally to prison. The lighting by Adam Silverman was particularly effective in this final act, with the shadows of the prison bars cast across the stage. Finally, these transitions were aided and abetted by Jenny Tiramani’s terrific costumes, which were extremely varied and detailed throughout each act.

I didn't love the Easter egg colors used in Act I, but they contrasted nicely with the revolutionary colors to come. Photo by Cory Weaver.

I didn’t love the Easter egg colors used in Act I, but they contrasted nicely with the revolutionary colors to come. Photo by Cory Weaver.

Speaking of costumes…

Models with French poodles were on hand because of course. Photo by Laura Morton for the Chronicle.

Models with French poodles were on hand because of course. Photo by Laura Morton for the Chronicle.

Patricia Ward Kelly had the most beautiful dress I saw all night. Dress by Ali Rahimi. Photo by Leah Millis for the Chronicle.

Patricia Ward Kelly had the most beautiful dress I saw all night. Dress by Ali Rahimi. Photo by Leah Millis for the Chronicle.

This was perhaps my favorite look not captured by the press.

This was perhaps my favorite look not captured by the press.

Belinda Berry certainly caught one's eye in the foyer. Photo by Leah Millis for the Chronicle.

Belinda Berry certainly caught one’s eye in the foyer. Photo by Leah Millis for the Chronicle.

Clearly Komal Shah needs to stick to red and/or Oscar de la Renta. I hated this Marchesa number. Photo by Doug Duran.

Clearly Komal Shah needs to stick to red and/or Oscar de la Renta. I hated this Marchesa number. Photo by Doug Duran.

Deepa Pakianathan (aka head-cage lady) had a killer Alexander McQueen clutch this year. Photo by Leah Millis for the Chronicle.

Deepa Pakianathan (aka head-cage lady) had a killer Alexander McQueen clutch this year. Photo by Leah Millis for the Chronicle.

As God is my witness, one day, La Maratonista and I will make it to the official dinner and ball!

As God is my witness, one day, La Maratonista and I will make it to the official dinner and ball!

There are five more performances of Andrea Chénier at the War Memorial Opera House on September 14, 17, 22, 25, and 30. Better than a trip to the guillotine!

Yonghoon Lee as Andrea Chénier and Anna Pirozzi as Maddalena on their way to the guillotine in Andrea Chénier. Photo by Cory Weaver.

Yonghoon Lee as Andrea Chénier and Anna Pirozzi as Maddalena on their way to the guillotine in Andrea Chénier. Photo by Cory Weaver.

  • Click to share on Facebook (Opens in new window)
  • Click to share on Twitter (Opens in new window)
  • Click to share on Pocket (Opens in new window)

Like this:

Like Loading...

Oscar de la Renta

14 Saturday May 2016

Posted by Sly Wit in Art

≈ Leave a comment

Tags

Fashion

2016-05-14_Oscar de la Renta 13

This afternoon, in anticipation of stepping up my San Francisco Opera opening-night game, I took in the Oscar de la Renta exhibit at the de Young Museum. If you are in San Francisco this month, I highly recommend checking it out.

Here are some of my favorite looks:

2016-05-14_Oscar de la Renta Square 1

Fashion_Oscar 01

Fashion_Oscar 03

Fashion_Oscar 04

2016-05-14_Oscar de la Renta Square 2

Oscar de la Renta: The Retrospective is at the de Young until May 30.

  • Click to share on Facebook (Opens in new window)
  • Click to share on Twitter (Opens in new window)
  • Click to share on Pocket (Opens in new window)

Like this:

Like Loading...
← Older posts

About Me

Half American, half French, and
all-around opinionated.

“Maybe it’s the French in my blood. You know, sometimes I feel as if I’m sparkling all over and I want to go out and do something absolutely crazy and marvelous and then the American part of me speaks up and spoils everything.”--Bette Davis in The Petrified Forest

For my writing on travel, check out Worth the Detour.

Want Sly Wit delivered right to your inbox? Enter your email address below to receive new posts in convenient email form.

Subscribe to the RSS Feed

  • RSS - Posts
  • RSS - Comments

Musings on...

Art Books Dance Education Film Food and Drink History Holidays Language Money and Politics Music Opera Philosophy Podcasts and Radio Poetry Resolutions Sports and Leisure Technology Television Theater Travel

Battle of Wits (Top Posts)

  • Ballet 101—Romeo and Juliet
  • Film 101—Hitchcock III: Vintage Hollywood

Witticisms

Adaptations Awards Ballet Bel Canto Book Salon California Challenges Cocktails Donizetti Fashion Feminism Film Noir First Lines French Cinema French Literature Games Gilbert and Sullivan Goodreads Hitchcock Horror Media Mozart Musicals Myth and Legend Opera Oscars Puccini Random Musings Restaurants Screwball Comedy Self Help Silent Film Social Media Spielberg SYTYCD The Voice Verdi Wagner Wine Young Adult Fiction

Search This Blog

Skeletons from the Closet

Photos

The image in the header was taken in March 2011 at the Palais Royal métro entrance in Paris, France.

Matching Wits (Blog Roll)

Books and Writing

  • Annabel's House of Books
  • Dear Reader, I Can Explain
  • Following Pulitzer
  • Literary Relish
  • Savidge Reads
  • Shelf Love
  • The Captive Reader
  • Thinking in Fragments

City Life

  • A Beast in the Jungle
  • Civic Center
  • Peter's Paris
  • Reel SF

Film and Television

  • Film Studies For Free
  • Hell on Frisco Bay
  • Nitrate Diva
  • Out of the Past
  • Reel SF
  • Self-Styled Siren
  • She Blogged by Night

Food and Drink

  • Bourbon & Banter
  • Chocolate & Zucchini
  • Cocktail Enthusiast
  • Hunter Angler Gardener Cook
  • Living the Sweet Life in Paris

Money and Politics

  • French Politics
  • Get Rich Slowly
  • Mother Jones

Music

  • Iron Tongue of Midnight
  • Not for Fun Only
  • Opera Cake
  • The Opera Tattler

Witticisms

Adams Adaptations Agatha Christie Arkansas Artists Awards Ballet Baseball Bel Canto Bellini Berlioz Bizet Book Salon California Century+ Challenges Cocktails Cooking Dickens Donizetti Fashion Feminism Film Noir First Lines French French Cinema French Literature Games Gilbert and Sullivan Glass Goodreads Handel Hitchcock Horror James Bond Janáček London Louisiana Luddism Media Mississippi Mozart Museums Musicals My Life in Books Myth and Legend National Parks Opera Oscars Paris Pixar Poker Puccini Random Musings Religion Restaurants Road Trips Rossini Screwball Comedy Self Help Silent Film Social Media Spielberg SYTYCD Tchaikovsky The Voice Translation Verdi Verismo Wagner War and Peace Wine Young Adult Fiction

Want Sly Wit delivered right to your inbox? Enter your email address below to receive new posts in convenient email form.

Blog at WordPress.com.

Cancel

 
Loading Comments...
Comment
    ×
    Privacy & Cookies: This site uses cookies. By continuing to use this website, you agree to their use.
    To find out more, including how to control cookies, see here: Cookie Policy
    %d bloggers like this: