Opera: Designing an Opera

Leila from Bizet's The Pearl Fishers

by Zandra Rhodes

People say to me "It must be such fun, designing for an opera!" Yes, it is, but every day throughout the process words from Ian Campbell echo in my head.

When he first approached me about designing for The Magic Flute (San Diego Opera, 2001) he said, "Think about it carefully, before you go charging blindly into it." It was good advice, although I was still eager to accept the challenge a second time with The Pearl Fishers.

In taking on such a project, I always have to balance it with the fact that I'm not just doing an opera - with all of its sets, props, costumes and such - I have to fit it in amongst all the rest of the things I'm already committed to do. On any given day, I've got fittings for customers as well as building the opera costumes. My own customers want things to wear to the opera or other functions, I've got interviews, meetings with Tiffany's (co-chair of the Gala), all the things I have to fit in with other events on the list that desperately have to be done. It really is a constant case of juggling to keep all the balls up in the air.

Maquette for The Pearl Fishers Set, Act II, Scene I

The best part is seeing the whole thing when it's on stage - the combinations of music and color on the stage is a very moving experience - something you can't really see like that in the costume sketches and the preliminary set designs. The strength of the imagery and music on your eyes and ears-you're getting more than one sense stimulated by what's on stage. But it takes a lot to get to that point.

Maquette for The Pearl Fishers Set, Act II, Scene III

Many steps go into a costume: you've got the original concept of the draw, then you start to make it take shape with what you can find. Then, for me, what will I do with it? Will I paint on it? Will I make a special design for a particular costume? You can't forget the girls who do the turbans or the hats.

We go to fabric shops and say, "Would this be right if we dyed it? What about the touch?" You think, " Does it really shine nicely? Can I print or paint on it to give it a very Zandra Rhodes touch?"

Maquette for The Pearl Fishers Set, Act II, Scene IV

Then you've got to work out the trim - on stage will the key guy offset against the lead singer? You have to look at each group as relating to the lead singer.

There are things most people don't think about. For instance, with an opera singer, you have to make sure their ears aren't covered. And they have to always - no matter how exotic the costume -- always be able to see the conductor. You have to think constantly of character and design, character and design. Fortunately, Ian and San Diego Opera have handed me a fantastic team. Missy West, the Costume Shop Supervisor, and her crew pull it all together.

It takes about three years for the process to get from initial sketches, to concert, to the stage. And when that curtain goes up, you can be sure we're all waiting to hear the audience reaction - that's our reward.