Cher Public

Separated at cleavage

Don’t tell Sonya Yoncheva, but it looks like Angela Gheorghiu has stolen her costume from Otello Act 3.  

Though thankfully not the wig!

Image of Gheorghiu via Facebook. Screen grab of Yoncheva from YouTube.

  • Will

    Or Christine Goerke’s Elektra gown.

  • kennedet

    Enjoying both sets of the twins,also!!

  • manou

    It seems they ran out of fabric for the bodice but had plenty left for the skirt and train.

  • Bill

    When I saw the second performance of Otello Sonya Yonsheva was not a blonde but a brunette and it looked
    more natural. Was she also brunette in subsequent
    performances ?

    • uwsinnyc

      I believe only in the dress rehearsal (and therefore a lot of the publicity clips) was she blonde. All performances were brunette.

      But a purveyor of women’s hair hues I am not and I could be wrong.

    • As I understand it, a decision was made among the interested parties that the blond wig designed for Yoncheva missed the mark: it was unflattering, or wrong for the character, or something. Sometime between the final dress rehearsal and the opening night it was decided to have the soprano wear her own dark hair, though so far as I could tell she wore a long fall or extension as well.

      A brunette Desdemona is almost as big an innovation at the Met as a light-complexioned Otello.

      • DellaCasaFan

        Interesting. I wondered why they didn’t do anything with her hair. Her hair was my only complaint about her Desdemona when I saw it live. It looked plain and, well, kinda peasantry.

  • steveac10
    • diva2themax

      Angela’s looks much better & more expensive. I knew she wouldn’t wear that dowdy thing she likes her girls on display!

  • DonCarloFanatic

    So interesting how it looks at first as if it’s the same dress, but clearly piece by piece it’s not. The costumers can be genius if they have a decent concept to begin with. Not much they can do if the designer wants the woman (or man) in a fright outfit.

    • Gualtier M

      Looks to me like they recut the bodices with shorter sleeves and more decolleté but the skirt may be the same. The chiffon that is trailing is Tosca’s wrap which may be longer for Gheorghiu.

      I must also mention that Gheorghiu seemed to have a dictum at the Met and at other theaters that no other soprano could wear her costumes during the run. This was a problem when she canceled suddenly which happened more than once. Gheorghiu canceled a “Traviata” and Mary Dunleavy took over (beautifully) and wore either cut down versions of Ruth Ann Swenson’s dresses or chorus dresses. Same thing with “La Rondine” -- Katie Van Kooten took over (Maureen O’Flynn replaced her in an earlier run with Alagna) and both I think had to wear dresses designed for the other cocottes or chorus singers or taken from stock. They looked distinctly dowdy for a prima donna in an opera like “La Rondine”.

      Seems as if the Met has given Angela special custom costumes for this run as it did for her “Traviata” performances -- she did not wear the original production gowns for that run. Fleming also had custom made costumes for her Violettas at the Met.

      • steveac10

        Customized costumes have become pretty common in the last decade. Dessay, Netrebko and Hong all had completely different gowns in Romeo. Pretty much every first cast Aida gets new costumes -- and only Urmana’s bear much resemblance to the originals. It’s also amusing to hit the archives to see Zajick’s Amneris garb provide increasing arm coverage as the years pass. It was sleeveless, then short sleeved, then long sleeved and in her last outing they replaced the fitted sleeves with giant pleated chiffon bell sleeves and lost the gold chiffon cape.

  • Lady Abbado

    The torture scene…:)

  • Lady Abbado