What does it take to transform an everyday person into Tosca, Don Carlo, or Figaro (besides, oh, years of vocal and stage training)? Every character on stage needs to have a distinctive look and personality, and theatrical costumes and stage makeup are an important part of making sure the character cuts an impressive figure even for someone watching from the Fifth Ring. Last week, a small group of COC donors were invited to view a makeup and costume demonstration, giving them a rare glimpse into the inner workings of this transformation. An audience member was transformed into Clorinda, one of Cinderella's stepsisters, wearing the same costume and makeup that will be used in our upcoming production. I took the opportunity to snap some photos of the process.
Posted by Cecily Carver / in 2010/2011 / comments (5) / permalink
Remember this picture? Since early last year it's been our marketing image for our upcoming production of Rossini's Cinderella (La Cenerentola). Upon discovering that the actual doll in the image, complete with hand-crocheted dress, was languishing in a box at the COC offices, we decided to let her have some air (we also decided to design a contest around her—everyone who played with dolls as a child, or wanted to, check it out!). This was the result:
Posted by Cecily Carver / in 2010/2011 / comments (0) / permalink
This week and last, the sets, props and costumes for our three spring operas (Cinderella, Orfeo ed Euridice, and Ariadne auf Naxos) began arriving in Toronto. I thought I'd share with you these photos of one of the Cinderella props in its shipping crate, since its colour and playfulness align so perfectly with the overall look of the production.
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Sara Fulgoni in the COC production of Bluebeard's Castle. Photo: Michael Cooper © 2001