Don Giovanni in Lyon. 1.

Don Giovanni, which opens tomorrow night is the third of the Mozart Da Ponte operas that I have designed the costumes for here in Lyon. The Director is Adrian Noble, set designer - Tom Pye. It's been a terrific experience, and indeed it is one of the great joys of working in opera that you get the opportunity to really get to know such works the best way possible, if your not a musician, that is.

The idea is to revive the operas as a trilogy in January 2011. Through-cast where possible, though so far the only singer who has been in all three is the extraordinary Markus Werba as Guilemo in Cosi, Count Almaviva in Figaro, and as Don Giovanni himself.

We set Cosi on a beach in 2006 with an exceptionally young and beautiful cast, Figaro went back 30 years to the 1980s of the White House. We didn't want it to be set in the 18th century, [surprisingly hard to be sexy in such a self-conciously pretty period] but it had to be set somewhere where the abuse of sexual power made sense. And for Giovanni, Tom had the brilliant idea of going to "little Italy" in 1930s New York.

It works very well, I think. And for the party at the end of Act 1, we turned that into a masked ball in fancy dress, with a nod to the 18th century in the costumes - hence that sketch of a lady in a corset and panniers. We even found the most wonderful black and silver embroidered coat for Don Giovanni which was actually from a very old production of Figaro. It pleased me to give such beautiful costumes another airing, and looks really interesting.

Fanciulla

Fanciulla del West - The Girl of the Golden West, or in Danish, something that looks oddly like Pig del Vest, is very late Puccini, written in America about Californian gold miners, the 'girl' of the title, Minnie, who runs the only bar in the miners' shanty town, and her relationship with gang boss Dick Johnson [the tenor - of course] and the nasty sheriff, Jack Rance - the bass.

I got very fond of it in the end, but it has been rudely described as 'Puccini without the tunes' and it did take a bit of getting into.

It's actually very difficult indeed to design and make interesting and convincing work clothes from another period, 1880s in this case... they tend to come out boring, un-real or just plain wrong.

In the end I went for pencil drawn photo-realism. I had been provided with photos of all the chorus, and managed to find pix of the principals on the internet, and worked with a method that involved the computer a good deal, printing out the photos, drawing the costumes over, or alongside, then scanning them back in again, framing and adding simple back-grounds in photo shop, and printing them out again on heavy art paper. A bit laborious, but it worked beautifully, and the cast greeted their drawings with little cries of delight as they recognised themselves and each other!

Belated Fanciulla

Fanciulla del West actually opened in Aarhus on August 16th, which meant that I returned home precisely 10 days before Suzi and John's wedding. There was no time really for blogging, as I had quite a bit of wedding sewing to do. The wardrobe kindly lent me a machine, and my flat was splendidly light and clean, so the dressmaking bit was actually easier than at home in Duck Street, where there are too many dog hairs for comfort. I made Sefa's yellow silk dress, my own jacket in a tastefully wild Briget Rileyesque printed silk, and cut out several miles of bunting.

There are 600 and something pictures of the wedding on
http://www.flickr.com/photos/martineauwedding/
so I shan't put any more up here!

I did manage to visit the Old Town, [Die Gamlie By] an extraordinary re-constructed village of nearly 80 buildings from all over Denmark, dating from 1500 onward. It managed to avoid the Disneyland effect danger, and was actually very interesting.
I very much liked the patterns of sunlight on the wooden floor of the newly opened, very brightly painted Merchant's House.
And there was even a tiny theatre built in 1817 and moved from Helsingor, [yes, Hamlet's Elsinor] I home the home town didn't mind, I shouldn't have been pleased if such a delightful theatre, complete with little dressing-rooms and working hemp scene change system had been taken from my home town, but maybe they got a fine new one in exchange.