Opera Atelier in Versailles

Jake Rennie as Armour and Peggy Kriha Dye as Armide
Opera Atelier 2012, Photo by Bruce Zinger 2012

Soprano Peggy Kriha Dye said she felt a little bit like Cinderella after her triumphant performance as Armide in the Opera Atelier's production of Lully's Armide in Versailles, France on Friday night. Dressed in a lush, long red velvet gown by Magpie Design for the after-party, she told me that she was moved by the standing ovation and repeated curtain calls demanded by the audience. She also said she was glad that she hadn't known in advance that Armide has never been performed in Versailles before. Her performance set a standard that will be hard to follow, as did all the members of this Toronto-based troupe, who performed as if their lives depended on it.

Words can hardly describe the beauty and majesty of watching the talented group of artists of Opera Atelier perform in Versailles. Led by Marshall Pynkowski and Jeannette Lajeunesse Zingg, Opera Atelier incorporates ballet and performance into the opera. The performers do not simply stand on stage and belt out libretto. They act, they emote, and they move across exquisite stage sets designed by Gerard Gauci. Unfazed by the challenges of performing in a royal venue, not to mention jet lag and different voltages, Opera Atelier has already been asked to return to Versailles in 2014.

Going to Versailles to see a performance is an event in and of itself. Tiptoeing across cobblestones in my high heels wearing a slim fitting Prada sheath dress, I was glad at least that I did not have to wear a pannier or a train. It was an evening I'll never forget.

After today's matinee performance, Opera Atelier will return to Toronto for a rest before heading down to the Glimmerglass Festival in New York where they will perform Armide for a summer run. If you have a chance to see them perform in Glimmerglass, don't hesitate to buy a ticket, as this is opera as it was meant to be - rich, lush, and enchanting.

What's on the Fashion Calendar for May 2012?

May will be a hectic month, with the opening of several must-see exhibitions:

Schiaparelli and Prada: Impossible Conversations opens at the Metropolitan Museum of Art, Costume Institute in New York on May 10, 2012. In this exhibition, the affinities between Italian designers Elsa Schiaparelli and Miuccia Prada will be considered. Taking inspiration from Miguel Covarrubias's "Impossible Interviews" for Vanity Fair in the 1930s, curators Andrew Bolton and Harold Koda have orchestrated conversations between these iconic women to suggest new readings of their work. 

The exhibition will feature approximately ninety designs and thirty accessories by Schiaparelli (1890–1973) from the late 1920s to the early 1950s and by Prada from the late 1980s to the present, which have been selected from from The Costume Institute's collection, the Prada Archive, and private collectors. I'll be attending the press preview on May 7th and writing a review for Fashion Projects. 

Roger Vivier at the Bata Shoe Museum 2012

The Bata Shoe Museum in Toronto presents Roger Vivier: Process to Perfection beginning May 10, 2012. In this exhibition, the work of Roger Vivier, one of the 20th century's most important shoemakers, will be displayed for the first time in North America. Loans from museums around the world, including the Metropolitan Museum of Art, have been obtained to create a full picture of the work of this master shoemaker. I will be attending the opening party for this event on May 8th.

Armide by Opera Atelier, Photo by Bruce Zinger 2012

The spectacular production of Lully's Armide by Opera Atelier travels to Versailles, France and opens on May 11, 2012 in the Palace's Opera Royal for three performances. Shall we meet in Versailles or perhaps in Paris?

My upcoming exhibition at loop Gallery in Toronto opens on May 26, 2012. Constructions of Femininity is an exploration of the artifice of feminine dress and identity. This work juxtaposes the extreme silhouettes of 18th century dress with the armour of the modern day hockey warrior and was inspired by young women hockey players who have redefined femininity to include feats of courage, strength, and power. 

Opera Atelier: The Spectacle of Armide

Olivier LaQuerre as Chevalier Ubalde
Photo by Bruce Zinger

Opera Atelier's production of Armide, a tragédie en musique, is, in my view, a spectacle worthy of Versailles. First performed in Paris at the Théâtre du Palais-Royal on February 15, 1686, with scenery by Bérain, the Toronto-based Opera Atelier has layered the Middle Eastern aesthetic of the story over a Baroque sensibility, creating a feast for the senses. Captivating from start to finish, this production opens tonight in Toronto and runs until April 21, 2012. In May, the company takes Armide to Versailles, followed by a summer run at The Glimmerglass Festival in New York. 


Set during the time of the First Crusades, the story centers around the Muslim warrior princess Armide who captures the Christian knight Renaud with her magic spells. Instead of killing him, she falls in love with him and casts a spell to make him love her in return. Conflicted by her emotions, she calls on the Goddess of Hate to release her love for Renaud, but instead is condemned to eternal love. Renaud's spell is broken by fellow soldiers and he escapes from Armide. Even though he declares his love to an unconscious Armide, he abandons her. Tormented and despairing, Armide destroys everything within her reach, except for her love for Renaud. 


The interplay of cultures and time periods within this complex story has been masterfully handled by set designer Gerard Gauci (who also happens to be one of my favourite artists). Taking inspiration from the rich jewel tones, complex patterns and burnished gold elements of Persian miniatures, the set creates the illusion of courtly splendour for a complex story defined by passion. Playful use of scrims during the dream sequences adds another dimension of temporality to the production. 

Jake Rennie as Love, Peggy Kriha Dye as Armide
Photo by Bruce Zinger

The costumes highlight the spectacle of passion on stage and create the illusion of courtly splendour. The female characters and dancers are dressed in beautiful gowns of rich jewel tones lavishly decorated with gold trim. The male characters don velvet breeches and jerkins ornamented with "jewels" which catch the light and sparkle with vibrancy. In one scene, male dancers wear skirt panels that whip around their bodies as they twirl, highlighting the power of their energetic movement. Costumes are built as separates, allowing for multiple changes of look as the characters add or remove layers. And the wings of Love (shown above) are truly god-like in their exquisite other-worldly beauty. 


After attending a dress rehearsal preview of this production earlier this week, I believe that Opera Atelier's production of Armide is an opera that will appeal to both seasoned opera goers and opera "virgins". The lavish costumes and sets, the use of dance to develop and enhance the story and the passion and power conveyed on stage by the performers, all come together to create an enchanted spectacle. This is an opera worthy of Versailles. 


Tickets to Armide (April 14-21) are on sale at ticketmaster.ca. Tickets for the Glimmerglass Festival are available here 


Photos provided courtesy of Opera Atelier and are subject to copyright. 

Opera Atelier's Don Giovanni

Opera Atelier's Don Giovanni (Photo by Bruce Zinger)

Opera can be such a serious affair but in the case of Opera Atelier's presentation of Don Giovanni, the goal was laughter. Director Marshall Pynkoski introduced the opening night production by equating Mozart's character of Don Giovanni to Warren Beatty which in and of itself caused much mirth. He also said  that the two ways to create a comedic opera were 1. speed and 2. youth. By filling his cast with attractive and trim young singers, dancers and actors, and by keeping a lively pace, he achieved both goals and the audience responded with laughter throughout the show and with a standing ovation at the end.

Opera Atelier's Don Giovanni (Photo by Bruce Zinger)

Award-winning designer Martha Mann created costumes that achieved that difficult balance between period dress and modernity. Although the colours were subdued, and sometimes bordered on somber, the effect was harmonious. Subtle details like sequins and lace allowed the lighting effects to dance over the costumes, adding another dimension of sparkle. Of particular note were the glorious men's outfits, particularly the brocade vests and the velveteen breeches worn with fabulous thigh-high (Puss in boots style) boots. Another highlight were the swirling cloaks with colourful satin lining on the cuffs and hoods for the masquerade. With such a simple garment, the mastery of cut was evident in the movement and dimension created by these glorious cloaks.

Set designer Gerard Gauci did his usual magic with immense trompe l'oiel panels. His sense of humour was evident in the painted corner of the drop that curls to reveal the back of the canvas and the sheets of music that appear to float to the floor. Small details like a painted bush lifted up to reveal Act II added to the fun.

Although the opera is sung in Italian, I didn't need to look at the translation. The actors movements, gestures and changes in their voice conveyed the story beautifully. In fact, I think I've seen this opera several times before, but I don't ever remember enjoying it so much.

Opera Atelier's Don Giovanni is playing at the Elgin Theatre this week only:
October 30, November 1, 2, 4, and 5, 2011. The production will also be travelling to Ohio later this month. For tickets and more information, visit the Opera Atelier website. And by the way, Opera Atelier will be performing in Versailles in May 2012!


Photos provided courtesy of Opera Atelier and are subject to copyright.

What's on the Fashion Calendar for October

Saena Afternoon Scent Collection

October is chock-a-block with fashion and arts related events:

October 1-2: This is the last weekend to see The Fashion World of Jean Paul Gaultier at the Montreal Museum of Fine Arts. This exhibition is a celebration of the 30 years of visionary and groundbreaking fashion creations by Jean Paul Gaultier under the premise that there is no singular standard of beauty. The exhibition will move on to venues in Dallas (November 13 - February 12, 2011) and San Francisco (March 24 - August 19, 2012). My review of the show can be read on Fashion Projects here.

October 1 from dusk until dawn: Scotiabank Nuit Blanche is Toronto's all-night celebration of contemporary art. The menu of activities is too long to recount here, but one of the highlights will be a live performance called SLEEP as part of Gullivers' Rehearsal: Drawing into Performance at Loop Gallery.

until October 5: Paris Fashion Week.  I had two invitations to Paris Fashion Week this year neither of which I could accept.... Sigh! I am intrigued by the work of both of these talented young designers as they seem fresh and vibrant in their own way. I've mentioned Saena before as she appeals to my romantic side. Saena Chun is based in Berlin and creates modernist confections like the gorgeous dress shown above. The other designer who has caught my eye is Andrew Majtenyi who has created an edgy and fashion forward collection inspired by the Medieval trial of Katherina Hetzeldorfer in 1477. I am especially sorry to miss this one since I am currently doing research into how fashion designers reference history.

October 14: I will be giving the keynote address at the Costume Society of America mid-west conference on the topic of When Does Fashion Become Art?

October 17-21: The Spring/Summer 2012 Collections of LG (Toronto) Fashion Week Beauty by L’Oréal Paris will take place in their new home at the David Pecaut / Metro Square.  The SS12 Collections will include more than 40 shows and presentations filled with local talent.

October 20: The launch of my project tentatively titled  The Swing on this blog. I chose to do a creative project for one of my grad courses called Design, Text and Ideas and will be posting regular updates here as part of my progress reports for that assignment. This work takes its inspiration from the 18th century painting by Fragonard which is in the Wallace Collection. I will create a dress sculpture in a post-modern mash up of fabrics and using embroidery or other means as interventions to make the work into a conceptual art piece.

October 29: Opera Atelier’s 2011-12 Season opens with a glittering new period production of Don Giovanni designed by Martha Mann and my friend Gerard Gauci. The new production will be presented October 29, 30, November 1, 2, 4, and 5, 2011, at the Elgin Theatre in Toronto and will also be performed in Columbus, Ohio on November 25 and 27, 2011.

Photo provided courtesy of Saena.

Eye Candy at the Opera: Opera Atelier's La Clemenza di Tito

Photo: Bruce Zinger / Artists: Michael Maniaci as Sesto; Curtis Sullivan as Publio; Kresimir Spicer as Emperor Tito; Measha Brueggergosman as Vitellia; Mireille Lebel as Annio and Mireille Asselin as Servillia along with Artists of Atelier Ballet

As a visual artist, I drink with my eyes so to speak. There have been times when I've attended an opera  and had to close my eyes because of the discontinuity between what I see on stage and what I'm listening to. But my eyes were wide open at Friday's opening night performance of Opera Atelier's La Clemenza di Tito and rarely have I enjoyed an opera so completely.

Designer Gerard Gauci created exquisite backdrops that created grand illusions of Imperial Rome in 79 AD as it might have been imagined by artists in Mozart's time. His beautiful costumes also bridged the two periods with a harmonious colour palette and silhouettes evocative of the 18th century. I was especially captivated by Measha Brueggergosman's black gown trimmed with a jaunty striped bow. The gown was lined in red, perhaps referencing her blood-thirsty quest for revenge. She also carried a lace shawl that appeared to be attached to a ring and which magnified every hand gesture. (I think I need one of those!) 

With Opera Atelier's strong cast of talented vocalists, I didn't need to read the subtitles to follow this complicated tale of revenge and redemption. With spectacular voices, each cast member conveyed the emotion of their character with both grace and vigor. But what was a particular treat was to hear the male soprano Michael Maniaci sing the role of Sesto.  I had never heard a man sing in this range and it was a rare gift.

There are four performances left at the Elgin Theatre on April 26, 27 and 30 and May 1, 2011. For more information, visit the Opera Atelier website.

P.S. Although I was invited to attend as media, I bought my own tickets just in case I did not want to write about it. But this production was so extraordinary that I just could not keep it to myself.

Opera Atelier's Versailles Gala 2011

Opera Atelier Versailles Gala Fashion Show
Photo by Ingrid Mida 2011

I am a huge fan of Opera Atelier. Their productions of 18th century operas are unlike any other I've ever seen, combining the best of opera and ballet with costumes and sets that are both beautiful and true to the period.

This past week, Opera Atelier celebrated their 25th anniversary with a Versailles Gala. Having donated one of my photographs from my All is Vanity series in which I am wearing a gown from an Opera Atelier production of The Coronation of Poppea, I was thrilled to be part of this event. And what made it even more special for me was my seating placement beside Opera Atelier's ever-so-talented costume and set designer Gerard Gauci. (Gerard also happens to be an incredible artist who is known for his exquisitely beautiful oil paintings of rooms from great palaces and homes. He is represented by Leo Kamen Gallery and Galerie de Bellefeuille). 


As you might imagine, the event was an elegant affair from beginning to end. The evening began with a fashion show featuring some of the costumes from the Opera Atelier archive. With only a tiny point and shoot camera tucked into my evening bag, my photo taking ability was limited, but I think these out-takes convey the regal deportment of the dancers who were in the show.

Opera Atelier Versailles Gala Fashion Show
Photo by Ingrid Mida 2011

Another highlight was a performance by Canadian operatic superstar Measha Brueggergosman who sang a selection from her upcoming role in Opera Atelier's La Clemenza di Tito by Mozart. Although I was enchanted by her glorious voice, I have to say I also was impressed by her choice of gown. Brueggergosman wore this black ruched dress with aplomb, conveying the confidence of a woman that knows she is beautiful and talented.

Measha Brueggergosman at the Opera Atelier Versailles Gala
Photo by Ingrid Mida 2011

In case you are wondering what I wore to this event, I chose a black lace top and long black skirt with a train by Canadian designer David Finley. And no I don't have any photos of myself.

Opera Atelier's production of La Clemenza di Tito by Mozart begins on Friday, April 22 and runs through to May 1, 2011. Tickets can be purchased at Ticketmaster or at the Elgin Theatre box office.

What I learned about Costumes on Stage

On Saturday, the Friends of the Textile and Costume at the Royal Ontario Museum hosted an event called Costumes on Stage which featured co-director of Opera Atelier Marshall Pynkoski, freelance costume designer Martha Mann,  and costumer/cutter Rita Brown.  As the event photographer, I had only half an ear open to the presentation but I managed to scribble down a few notes nonetheless.

Detail from Costume designed by Martha Mann

Marshall Pynkoski, co-director of Opera Atelier, spoke with great enthusiasm about his love of the 18th century as inspiration for his productions. One of the challenges he expressed was how to bring forward the depths of emotion from the actors so that the production did not become "just a parade of gorgeous costumes". To show costumes in motion, four Opera Atelier dancers took to the stage.

Dancers from Opera Atelier

Martha Mann, who is designed Opera Atelier's costumes for the Marriage of Figaro including those shown above, talked about her process as a designer which encompassed:

1. Analysis: an initial analysis of the music and words to understand the period and setting of the production, the time of day, season of the year, social status of the characters
2. Concept Meeting with the Director: an effort to understand what the director is trying to say with this production and to clarify questions from her initial analysis
3. Research: a process which includes looking through picture files, paintings, books to identify motifs for the period, silhouettes and shapes of clothing, colour and styles of fabrics.
4. Rough drawings: development of initial pencil and watercolour sketches for costumes to establish shape, colour pallete for presentation and review with director, set designer and other parties
5. Final drawings: finalization of sketches as a communication tool for director. cutter, sewer, wig person, jewellery accessories, director and actor

Costume by Martha Mann for Opera Atelier, Marriage of Figaro

Although the sketches are "final", there still is much work to be done and that is when someone like Rita Brown steps in.  Before cutting can begin, the concept for the costume may have to be modified depending on the size of an actor. As well, the availability of fabrics can affect the desired result and must be considered. A cutter must work closely with the designer and the actor through the various fittings to help define the character in visual form.  According to Rita Brown, a "successful costume as one that is a blend of illusion and reality, clearly delineates the character, costs little, and wears forever".

Costumes from the Shaw Festival by Rita Brown

For both designer and cutter, two key challenges were identified. One was that the modern body is not corseted from a young age and that affects the creation of costumes with a defined period silhouette. Actors must be able to breathe and move freely and tight corsets are not comfortable on modern bodies. Another issue was the availability of fabrics for period productions. Since the stage never deals in reality, finding and choosing a fabric that meets budgetary constraints and which creates the illusion of belonging to a certain period is necessary.  In Martha Mann's words, "a costume will always reflect the aesthetic of now." 

Dr. Alexandra Palmer, Rita Brown, Marshall Pynkoski, Martha Mann

Culture Days

Culture is on this weekend's agenda. There are so many fun and fabulous cultural activities to chose from that it is hard to pick just one!

Martha Mann, Marshall Pynkoski, Rita Brown
Costumes on Stage
Photo by Ingrid Mida 2010

Costumes on Stage at the ROM:
Saturday, September 25, 2010 from 10 am to 1 pm
This event, presented by the Friends of Textiles and Costume at the Royal Ontario Museum, focuses on the process of costume creation - from the director's original concept to the garment worn on stage. The speakers will be Marshall Pynkoski of Opera Atelier co-artistic director; Martha Mann, costume designer for Opera Atelier's recent production of Marriage of Figaro; and Rita Brown, costumer for the Shaw Festival.  (Note: This event is not a free Culture Day event and advance registration is required at the ROM.)

Bata Shoe Museum

Saturday, September 25, 2010 at 1 p.m.

See a demonstration of traditional Tibetan boot making and a special one day exhibition of Tibetan footwear. There will also be two scheduled guided tours of the museum.

Canadian Art Hop Tour
Saturday, September 25, 2010 at 1 to 5 p.m.
Take a gallery tour around Toronto. Stops include galleries in these areas: Richmond Street West, King Street West/Tecumseth, Queen West, Distillery District, Yorkville, Ossington and Dundas Street West (loop Gallery, of which I am a member will be a stop at 320 pm). To learn more about what's on at loop Gallery, check out the loop Gallery blog, of which I am blogmaster!

Rehearsal of the Canadian Opera Company's Aida at the Four Season's Centre

Saturday, September 25, 2010 from 7:30 to 9 p.m.

The public is invited to an orchestra rehearsal of the COC’s new production of Verdi’s Aida. A pre-rehearsal chat in the Richard Bradshaw Amphitheatre gives audience members insight into the opera and the rehearsal process at 6:45 pm. Tickets to Rings 3 and 4 of R. Fraser Elliott Hall will be handed out on a first-come, first-served basis on Saturday. 

Culture Days is a cross Canada happening over September 24-26, 2010. It is designed to raise the awareness, accessibility, participation and engagement of all Canadians in the arts and cultural life of their communities. For more information on Culture Days please visit this link.

More Costumes on Stage

Feast your eyes on another beautiful costume design from Martha Mann, created for Opera Atelier's 2010 production of The Marriage of Figaro.  Created by Mozart and first performed in 1786, the opera features two female characters, The Countess Rosina and her maid Susanna, in a single day of madness in the Spanish court.

This lovely gown is for Susanna, the maid. Consider the lovely colour harmony in the choice of complementary coloured fabrics with peach tones for the Countess (see yesterday's post) and the lovely pale blue tones for Susanna.

Martha Mann will be speaking at Costumes on Stage event at the Royal Ontario Museum on Saturday, September 25, 2010 along with Marshall Pynkowski of Opera Atelier and Rita Brown of the Shaw Festival. Tickets are now available on the ROM website under events for September 25, 2010.

Costumes on Stage continued

Having had the privilege of photographing the costumes designed by Martha Mann for Opera Atelier's production of The Marriage of Figaro, I can attest to their exquisite beauty. The details of the gown for the Countess are simply breathtaking. I offer you my proof below in these photos. 

If you'd like to hear Martha Mann speak about the process of translating the director's vision into a design sketch, come to the ROM's panel discussion called Costumes on Stage on September 25, 2010. Tickets are available now.

Costumes on Stage

Opera Atelier Costume for the Countess, Marriage of Figaro
Design by Martha Mann
Photo by Ingrid Mida, copyright 2010

Have you ever wondered how a costume comes into being? How does a director express his vision, how does the designer interpret that into a sketch and how does the cutter translate the sketch into a garment? These are the questions that a panel of three distinguished speakers will address at the ROM's Costumes on Stage event on Saturday, September 25, 2010. 

Opera Atelier's co-founder and co-director Marshall Pynkowski will lead off the event in a discussion with Textiles and Costume curator Dr. Alexandra Palmer about the process of conceiving a vision for a production. Then dancers from the Opera Atelier will demonstrate costumes in motion with a performance on stage.

Martha Mann, Marshall Pynkowski and Rita Brown
Photo by Ingrid Mida, copyright 2010

Following a break, award winning costume designer Martha Mann will talk about the process of interpreting the the director's vision to create a costume sketch. And then Rita Brown, costumer/cutter for the Shaw Festival, will talk about the process of creating a garment from a sketch.  

This event, hosted by the Friends of the Textile and Costume at the Royal Ontario Museum,    is an absolute must for afficiandos of the opera, ballet or theatre, as well as students of fashion design, art history or theatre programs. Tickets are available now. 

Of Talent and Tutus, A Performance by the School of Atelier Ballet

Waiting in the Wings by Ingrid Mida 2010

Yesterday's performance of Favourite Operatic Excerpts by the School of Atelier Ballet at the St. Lawrence Hall Ballroom was worthy of an ovation. These talented young performers from the summer program entertained the jam-packed audience with dances from La Bourree D'Achille from 1687,  Napoli (1842), and the Peasant Pas de Deux from Giselle (1841), as well as excerpts from Mozart's operas the Marriage of Figaro, Don Giovanni and The Magic Flute.

Pre-performance Instructions from Marshall by Ingrid Mida 2010

Tutus on the Piano by Ingrid Mida 2010

Dancers in Motion by Ingrid Mida 2010

Dancers taking a Bow by Ingrid Mida 2010

A Young Opera Singer and her Partner by Ingrid Mida 2010

Pas de Deux by Ingrid Mida 2010

For more information about the School of Atelier Ballet's program in which students study various forms of dance along with music and drama, visit Opera Atelier's website here.

Photo credits:  Ingrid Mida 2010

A Performance by The School of Atelier Ballet

 Image provided by the Opera Atelier

This Friday, August 6th, the Opera Atelier presents a lunch hour performance by the students of the School of Atelier Ballet.  Excerpts from  The Magic Flute, Don Giovanni, and The Marriage of Figaro will be performed in the beautiful third floor of the historic St. Lawrence Hall. No tickets are required and the event is free.

The School of Atelier Ballet operates under the umbrella of Opera Atelier and is directed by co-artistic directors Marshall Pynkoski and Jeannette Lajeunesse Zingg. This performance is the culmination of the school’s summer program.


If you've never been inside The St. Lawrence Hall, it is one of Toronto's hidden gems.  I will be there to photograph the performance and I think it will be a treat to see the ballroom come to life with the talented young dancers of the School of Atelier Ballet.

Drama and Desire at the Art Gallery of Ontario

Edgar Degas, L'orchestre de l'opera 

Oil on Canvas 1870

Musee d'Orsay, Paris

A list of my favourite things would have to include art, music, ballet and opera but rarely am I able to combine them into one experience. And yet, the Art Gallery of Ontario has done exactly that in their current exhibition Drama and Desire.  

This exhibition includes over 100 paintings, drawings and theatrical maquettes by artists such as Degas,  Delacroix,  David,  Ingres,  Toulouse-Lautrec, and Vuillard. The works were borrowed from the collections of the Louvre, the Metropolitan Museum of Art, the Musée d'Orsay, the British Museum, and the Victoria & Albert Museum. 

Gerard Gauci, set designer for Opera Atelier, was the guest designer for this exhibition. With recreations of eighteenth and early twentieth century stage sets, sound and light effects, theatrical props and on-site performances, the art is dramatically brought to life. 

Visitors enter the exhibition by walking ‘onstage' through a life-size 18th-century set and a full-scale re-creation of an early 20th-century theatre maquette marks the finale of the exhibition. 

“Visitors to Drama and Desire will experience the exhibition as audience members, actors and even stage hands,” says Gauci. “Designing this exhibition has been like designing an opera with an overture, a series of distinct acts, special effects and a grand finale.”

Although the exhibition is open during regular gallery hours, you will be treated to an extra special experience if you are able to attend at one of the times listed below:

Sun. July 4: Artists of the Atelier Ballet, Opera Atelier (1:30 pm, 2:30 pm, 3:30 pm)

Sat. July 10: CanadianStage (between 1:30 pm and 3:00 pm)

Sun. July 11: Artists of the Atelier Ballet, Opera Atelier (1:30 pm, 2:30 pm, 3:30 pm)

Sat. July 17: CanadianStage (between 1:30 pm and 3:00 pm)

Sun. July 18: Artists of the Atelier Ballet, Opera Atelier (1:30 pm, 2:30 pm, 3:30 pm)

Sat. July 24: Single-Thread Theatre Company (between 1:30 pm and 3:00 pm)

Sun. July 25: Artists of the Atelier Ballet, Opera Atelier (1:30 pm, 2:30 pm, 3:30 pm)

Sat. July 31: CanadianStage (between 1:30 pm and 3:00 pm) 

Performances will include actors from Canadian Stage Company performing excerpts from High Park’s version of Romeo and Juliet. Opera Atelier will feature ballet demonstrations in their production ‘Degas and his Dancers’.  Single Thread Theatre Company will highlight key moments in Shakespeare’s dramas.

Drama and Desire runs until September 26, 2010.

Art Gallery of Ontario

317 Dundas Street West

Toronto, Ontario

M5T 1G4

416-979-6648

1-877-225-4246

Opera Atelier Costume Designer wins Award

Photograph of Sleeve Detail of Countess Almaviva Costume by Ingrid Mida 2010

A few weeks ago I had the distinct pleasure of photographing two of the Opera Atelier costumes from their recent production of The Marriage of Figaro. While handling these gowns during the shoot, I was struck by the exquisite detail and workmanship. Note the delicate sleeve detail with the ribbon roses in the photo above.

Photograph of Countess Almaviva Costume Petticoat Detail by Ingrid Mida 2010

I was compelled to photograph the beautiful petticoat peaking from underneath the overskirt of the gown worn by Countess Almaviva. This petticoat would not have been visible as it is otherwise completely hidden by the overskirt. Only a true artist would care what lies beneath. For this reason, it was not a surprise to me when I heard that costume designer Martha Mann won an award last night for her work on this production.

Martha Mann received her first Dora Mavor Moore Award yesterday for Outstanding Original Costume Design for Opera Atelier’s production of The Marriage of Figaro. The Dora Mavor Moore Awards recognize the outstanding achievements of Toronto’s performing arts industry annually in five categories: General Theatre, Independent Theatre, Dance, Opera, and Theatre for Young Audiences.


“Working with Martha Mann on The Marriage of Figaro was a thrill for the entire creative team,” said Opera Atelier’s co-artistic director Marshall Pynkoski.  “We are delighted that her superb artistry has been celebrated in her debut production with Opera Atelier.”

Congratulations Martha!

Opera Atelier Costume Sale - Part II

This glorious dancer costume from Opera Atelier was one of my finds at last night's Costume Sale Runway Show and Cocktail Reception. In fact, it was included in the Runway Show and I waited outside the dancer's dressing room to lay claim to it!

This beautiful pale yellow and blue silk "Round Peasant" gown was worn during an Opera Atelier performance by Lucy Calvett and comes with a pannier,  heavy petticoat and fully boned corset. Not having a lady in waiting on hand this morning to help me lace up the back, I had to hold the corset closed during the photograph. The gown weighs over ten pounds and gives me a new found appreciation for how graceful and elegant the dancers are in spite of that extra weight.

I also purchased a heavily beaded burgundy velvet with lace gown worn by dancer Natalya Gomez in Coronation of Poppea. That gown is also surprisingly weighty. I intend to photograph both gowns as part of my 18th century inspired self portrait series a la Cindy Sherman. And I'm tempted to go back to the sale today to see what other costume finds I might uncover.

Opera Atelier's Costume Sale continues today June 4 and tomorrow June 5 from 1-5 pm and is being held at:
All-Canadian Self-Storage
1 Laird Drive at Millwood Road

Opera Atelier Costume Sale

 Monteverdi's The Coronation of Poppea; Artist: Peggy Kriha
Dye; Photo Credit: Bruce Zinger 2009.

When I first heard that Opera Atelier would be having a costume sale, I was almost tempted to keep this information to myself. After all, the less people that knew about the sale, the better chance I'd have of acquiring one of their exquisitely made 18th century styled gowns or ballet dresses. But after chatting with Marshall Pynkoski, Opera Atelier's charming director, my conscience got the better of me and I'm shouting out the news to the world here.

Although it seems hard to fathom how this successful opera company can part with any of its costumes, Marshall explained that the idea first popped into his head a few years ago when he and co-director Jeannette Lajeunesse Zingg came across a sale of costumes at Opera Garnier in Paris. This sale, held about every ten years, made them realize that even a large company like the Paris Opera cannot afford to store every costume ever worn. Storage is very costly. And over time, a company's aesthetic changes.

In the beginning, Opera Atelier's costumes used to be driven by style and elaborate detail - with silk and lace with embroidery and beading. Marshall said "Each costume had an extraordinary amount of handwork and the costumes became so elaborate that you simply could not go any further. An enormous amount of money was spent on embellishments." 

It was during a rehearsal of Medee in 2002 that Marshall realized that it was time for a change. He watched an actor rake his hands through his hair to make a dramatic gesture but recognized that this would not be possible if the actor put on the elaborate wig for the period.  He asked himself "what was this scene really about?" and instead of allowing fashion to take pre-eminence over the drama,  dispensed with the wigs. With the change in hairstyle, the costumes needed to change. Marshall began to look for a more refined aesthetic, stripping away the extraneous embellishments but "keeping the silhouette of the period and the size and volume with less to distract the eye". In so doing, "fashion was the means to an end". The costumes became less about the external and more about the interior, "what was going on psychologically for the actors".

Mozart's The Marriage of Figaro; Artists: Nathalie Paulin and Daniel Belcher;
Photo Credit: Bruce Zinger 2003. 

This refinement in aesthetic and the mounting costs of storage have culminated in this sale of Opera Atelier costumes. With the help of his operational staff, Marshall looked at each and every costume from Opera Atelier's twenty-five years of productions.  The process was "both cathartic and nostalgic but also extremely difficult, especially the first round of picks". Often he would come across something that would remind him of a particular production, actor, or dancer and want to keep it. He had to force himself to become more ruthless. (I was sorely tempted to discuss the embodiment of memories and clothing at more length for my research). Two representative costumes were chosen from each production for archiving and a number of other important pieces were set aside for possible donation to a museum.

There will be approximately 400 Opera Atelier costumes for sale at prices ranging from $50 to $250. For the benefit of Opera Atelier, I hope many of you will attend the sale, but watch out for my sharp elbows!! (I am looking for a gown or two to use in my upcoming self-portrait series a la Cindy Sherman.)

Mozart's Don Giovanni; Artists: Curtis Sullivan and Nathalie Paulin; 
Photo Credit: Bruce Zinger 2004.

Opera Atelier Costume Sale
Runway Show and Cocktail Reception
June 3, 2010  6-9 pm   Tickets $25


Sale continues June 4 and 5, 2010 from 1-5 pm (free admission)

All-Canadian Self-Storage
1 Laird Drive (at Millwood Road)

Call 416-703-3767 ext 25 for more information

Opera Atelier and the Marriage of Figaro

Photo: Bruce Zinger / Artists: Phillip Addis, Wallis Giunta, Carla Huhtanen, Patrick Jang, Peggy Kriha Dye, Curtis Sullivan and Cavell Wood

If you have an affinity for Marie Antoinette or the 17th and 18th centuries, you will take great delight in seeing a performance of Opera Atelier. This Toronto-based company brings the 17th and 18th centuries to life on the stage by producing opera, ballet and drama from those centuries. Drawing on the aesthetics of that time and reinterpreting the experience for modern audiences, the company also makes the period more accessible to audiences by performing their operas in English.

Photo: Bruce Zinger / Artists: Phillip Addis, Carla Huhtanen and Patrick Jang

The Opera Atelier is currently performing Mozart's The Marriage of Figaro at the restored Elgin Theatre in Toronto. This enchanting comedy was first performed at the private home of Joseph Hyacinthe Vaudreuil prior to its official debut in Paris at the Comedie Francaise in 1784. Although I've seen this opera several times before, it wasn't until I saw the Opera Atelier's version that I appreciated the subtle nuances of the repartee between the main characters. Although some opera fans might disparage an English interpretation, I loved it, especially as it sparked new ideas for my Revolutionary Fashion series of textile works.  Plus there is much eye candy on display, including exquisite sets by one of my favourite Toronto artists Gerard Gauci, divine period costumes from the talented Martha Mann, and some very handsome actors wearing snug velvet breeches!

Photo: Bruce Zinger / Artists: Phillip Addis  and Peggy Kriha Dye

There are only four performances left on the schedule this week: April 27, April 28, April 30 and May 1st. If you don't live in Toronto, watch for Opera Atelier on tour as the company has been to New York, Houston, Stuttgart, Bremen, London, Singapore, Seoul, Tokyo and Chateau de Versailles in France.

Opera Atelier
416-703-3767 ext. 22