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snow, bridge, winter, scene

Personal Essay: December Is The Hardest Month

December is a glum month. The cozy, communal nature of this time, reinforced by a combination of weather, occasion, social ritual, the marking of time and season, plus the digital signifiers that Surely Everyone Is Having A Better Time Than You, means, for those lacking family and/or firm social network, a keen feeling of being forgotten, whether it is true or not.

Oh, but the very many will (and do) say, we’re all so busy. Never has a word been more overused, and December is a good reminder of the ease with which avoidance is casually wielded – for fun, for comfort, and yes, for an understandable want of calm. Sometimes people, even the most popular, actually-busy, super-hyper-social ones, simply want to pull a Garbo. I appreciate that, as someone who often, pre-pandemic, felt the desire to leave hot, crowded rooms, the feeling that I was being smothered made smile-laden socializing difficult and stressful; usually I’d continue smiling and guzzle down a gallon or two of water. Such smothering feels more pronounced now, intro/extrovert labels be damned; one falls between, around, over, and under such easy categorizations, in this, the Age Of Omicron. I want to spend time… but are you boosted? Let’s have dinner… but can we get a negative test first? I’d love for you to kiss me but… ? Having viewed casual contacts with some suspicion over the years, lately I feel a deep gratitude for any miniscule crumb of kindness; amidst pandemic, little things become big things.

I was reminded of this earlier in the week when I received close to one thousand well wishes for my birthday. While I would have loved to have thrown a big party, or travelled (or ideally done both, as I had done in years past), reality dictates otherwise. Living alone as a freelance writer and adjunct Professor means being ever-conscious of illness and its effects, financial and social, as much as physical. Thus does staying in and alone become less a choice than an exercise in logic. Choosing solitude, when one has the absolute privilege of people around them at any given moment (and never let it be forgotten that having people around – partners, family, associates, work colleagues, friendly neighbours, pets – is a very under-recognized form of privilege), is far and away a different thing from solitude as a lived, actual norm. The few in-person conversations I’ve had lately are accompanied by a counterpoint of constant anxiety, wondering and worrying if I’m talking too much, too loudly, too quickly, pontificating and pondering, desperate to be heard, and desperately happy for this one (poor) individual to really be sitting across from me. I am, I fear, turning into the Crazy Old Woman cliche, minus (so far) the cats.

“You’re different, that’s for sure,” my mother used to say, furrowing her eyebrows and judging, for the thousandth time, how it was she, one of those hyper-social, popular, widely-loved, togethery-with-all-sorts, could have possibly birthed… me. The thing she perhaps didn’t see, or more directly refused to admit until the very end, was her culpability: a single, beautiful, cultured woman in a grey, artless, firmly conformist environment could not possibly be anything other than an outsider. The most powerful lessons are those done through osmosis, and her position as a divorced (and again, gorgeous, glamorous, artsy, social) parent in a bleak Canadian suburban had an effect – how could it have been otherwise? Such an upbringing screws in a keen sense of individuality, of the pain of being an outsider, and its strange, strangely-experienced joys. If, her reasoning went, everyone was to settle for being “dowdy” (her word), well… she’d be the precise opposite, and damn them if they hated her for it (they did). To hell with the cost to her daughter. Those costs were indeed great but sometimes there were benefits. I could show up most everyone who’d mocked me/pushed me over in the playground/thrown snowballs at my head with ribbons of intricate piano playing sounds that always impressed adults, namely teachers. It was a talent which sometimes got me out of boring classes and into the cool, quiet environment of a tiny teacher’s lounge that happened to have a piano; it was always a treat to be plucked out of class and be told I could, for an hour or sometimes two, practise to my heart’s content. I can still remember my shop teacher’s face when he heard me one afternoon, the way he stopped and stared, dumbfounded.

“Has your mother talked to anyone about putting you in the gifted program?”

They said no. I already tried.

His eyes widened, but he was silent. Years later I ran into other teachers from that elementary era, and all of them, oddly enough (or not), said: “You really should have been in the gifted program, you know. I mean, we all said that.”

It was at my mother’s insistence that I took some classes with the gifted group and felt that I was being ferociously judged, fiercely rejected, in a more brutal manner than usual. You’re not one of us you plain-spoken, poorly-dressed imbecile. I remember the silent stares, the quiet eyerolls whenever I spoke (which wasn’t often; I was terrified). I wasn’t smart enough for them (or something), I wasn’t unique enough (or something), my work was (apparently) unoriginal; thus it was back to the land of the super-normals (or something) where I clearly didn’t fit in either. I could not possibly be a part of their club, or so their behaviour implied, repeatedly. I recognized that same anxiety in speaking with various academics, authors, managers and musicians over the years, and I can clearly count the times I didn’t feel I was being similarly judged. Not smart enough; not unique enough; stupid, unoriginal. Back to the land of normals; rinse, repeat.

Snippets of overheard conversations my mother had with close friends arrived with the sound of her sighs. She just didn’t know what to do with me. What I loved was considered “too” weird, “too” outside, “too” daring, even for the woman who had, once upon a time, tried so hard to fit in with a world that wasn’t going to accept her either; I think it hurt her to see me making the same sorts of efforts, and with the same sort of results. Her efforts to gain acceptance within the teensy-tiny bubble of small-town Canada were never going to be successful; so too, for her artsy, anti-social, book-and-music-loving daughter who had a predilection for doing things in her very own way, who’d been told by the “special” folk she wasn’t “special” enough, who learned how to hide everything behind masks of makeup, dresses, heels, who became adept at distraction and diversion, who contented herself to be the entertainment, to inspire desire and derision, envy and confusion, and of course, ostracization, exclusion, isolation. To clench jaw and smile at rejection. To give a middle finger with a bat of the eyelashes. It became second-nature; it still is.

There were eyerolls when I’d exit my high school history class early on Fridays; I was off to then-dingy New York. My mother had a subscription to the Met Opera; it wasn’t as fancy as everyone thought – we had seats in the gods – but no one in our little town knew or cared about such details. We were being fancy, snooty, pretentious; I was perceived as uppity, absurd, self-important.

“Have fun at the opera,” they’d sneer.

“Have fun at the mall,” I’d reply, slipping on my faux-fur coat over my ugly grey uniform.

Really, it wasn’t a question of my believing opera was somehow “elite” – I never thought it was; looking around at the Met on any given night, I’d see all sorts, dressed in all ways, and it was nice to feel part of a community where we could all come together and talk about this thing we all loved. How many excited conversations did my mother and I enjoy at intermission and post-performance, with people whose fashions mattered so much less to us than that they could speak about x singer in y performance with z  conductor; that, to us, was every bit as magical as what we had just experienced. How could any of my fellow students, in my crappy little town, possibly understand? I didn’t try to fit in with them; I used their cliched, outmoded perceptions of the art form I loved in a way that protected my own passions, musical ambitions included. Thus my teenage weekends weren’t filled with parties and dancing and snogs with boys I barely knew, but with the sounds of Tebaldi and Domingo and Pavarotti, dinners at little Manhattan restaurants (long since gone), trying on a much-needed new coat at Century 21, cocktails mixed in our hotel room before and after performances (my mother didn’t believe in mystifying alcohol), and oh, the happy expressions during and after every performance – the sighs, the exchanged looks, my mother’s quiet “aaach!” at hearing, or remembering various musical moments, sung or played. I hated coming back after such excursions; Monday morning became tearful. I did not want to face them.

“But we’ll be back in two months!” my mother would shout over her cassette of Maria Callas arias. “Put on some lipstick – you’ll feel better!”

Rejection and defiance are close bedfellows, as recent history attests; the constant feeling of being outside the perceived (usually strict) circles of perceived norms and related social interaction mean that head-tilting haughtiness, protective thought it may be, screws in the nails of an innate, proud different-ness which led, in some cases, to a terrible if perhaps predictable isolation. “If you send out the signals you don’t want to fit in,” pronounces the school principal  in the 1986 John Hughes film Pretty In Pink, “people will make sure you don’t.”

“That’s a beautiful theory,” retorts Andie (Molly Ringwald), maligned for her low socio-economic status as much as the unique fashion sense inspired by it. I loved that movie when it came out, not only for its style (I had wanted to be a fashion designer for years and still find myself sketching ideas for outfits to events I’ll probably never attend) but for its poor-girl-wins-for-being-weird theme. It’s one that is proven more and more within the realm of pure fantasy as a woman moves through life without hitting the predictable marks, rendering her invisible (or close to it), a position which not all of us have quite made peace with. The rise of digital media has created an algorithmically-dictated hierarchy of worth and attractiveness based on a youth that can only be conveyed through the erasure of physical indications of living – of experience, of endurance, possible wisdom. Difference comes with even sharper edges (deeper wrinkles, as it were) when one hits a certain age and is without family or close community; thus is one thrown into the bins of fetishistic sex fantasy or angry frump, with little if any room for (or interest in) nuance and all the fascinations such variance can (or should) afford. I am sure many perceive there to be something quite wrong, that my too-haughty shell  has led me here, that this is “the price” of such attitudes– a simple-minded calculation to smirk at. I didn’t expect my mother to die so young; neither did she. One of the last things she said to me six years ago (when she still had the strength to do so), was, “I’m sorry” – and it wasn’t just about that morning’s snappish behaviour, I knew; it was the same apology (the same words) uttered by my father at our final meeting eight years prior, an acknowledgement of wrongdoing that manifests on the face and in the eyes. I knew precisely what she meant, and she knew I knew.

“It’s okay,” I said, choking back tears. It had to be; she was dead three weeks later.

More than once I have written to close contacts that I don’t miss my mother, and it’s true, I don’t; that feeling changes in December, the most glum month, as I wrote, a month when being an outsider hurts in a way it doesn’t the rest of the year. Geography, and the cultural differences that such geography brings, can (does, in my case) make an immense difference, but of course there are a whole new set of circles and a far more knowable kind of separateness to be navigated, which is easier and more difficult, all at once. The feeling of being different never leaves, no matter the setting; it isn’t something to be celebrated, or indeed, something that should inspire any form of reaction at all. Different-ness, and its unmissable expression in life, can only be accepted, along with all of its itinerant branches, reaching like octopus arms across various facets of living, the one facet, which shows itself every December, is painful, for it is a reminder of lack. But so too is there reason to remember abundance.

The pandemic brought the worst of childish habits to the fore and social media gave such instincts a stage for amplification; recently I looked back on old postings (since deleted) with a mix of horror and fascination. Oh, the ways we continue to seek a validation we felt was always missing since childhood; oh, the means we have at our disposal to receive and encourage it. The performative aspects of social media have led to aspects of our private lives taking on the appearance of a shadow-play, stripped of the blood-and-guts messiness of real, authentic living. But oh, that real living is what is most missed; my mother made a fuss in December, the month of my birth, the month of her father and brother’s birth, the same month of their respective deaths. How to navigate such sadness with the miracle of giving birth (something I am told she never expected to do, which she did late in life, and amidst a hideous separation) – December was a loaded month for her, and it still is for me. Lately I walk around my tiny abode wishing for little more than the aroma of her annual baking: the almond crescents, the raspberry bars, the whipped shortbreads. Her frenzied gift-giving, not just to close contacts but to everyone in quotidian life – postal people, bank tellers, hairdressers, delivery drivers– was perhaps her own way to seek (and find) validation, to fill the perceived hole of her own outsider-ness, feel her presence was somehow, despite everything, valuable.

For every individual who took time to wish me a happy birthday this past Tuesday – to write on my wall, to send a kind note, to offer good wishes: thank you. Small things are big things – now, more than ever.

Essay: Finding The Right Fit (Or Not)

Manon Lescaut, stage, opera, Puccini, performance, culture, women, image, branding, singing, lingerie

A scene from the 2013 production of Puccini’s Manon Lescaut at La Monnaie / De Munt, directed by Mariusz Treliński, set design by Boris Kudlicka. Photo © Forster.

This essay started out as a love letter to fashion, within the context of the joys to be had in buying a dress amidst pandemic. Folded into this were contemplations on dressing up – for the opera, and otherwise; there were (are) quotes from Susan Sontag, Oscar Wilde, and Marlene Dietrich. I still intend to publish this essay in some form or another in future (hopefully sooner than later), but for now, it feels smarter, especially in light of the restart of live cultural events as autumn draws near, to explore my original idea, one I was encouraged to pursue by a longtime editor friend. It’s been in my mind to write this for a while, and the combination of seeing a production of Puccini’s Manon Lescaut recently, a closet full of pinned items, an overstuffed drawer of underthings I’ve come to despise, all seemed like cosmic signs urging me on.

Following my second jab in August I had an exchange with this individual which touched on issues of body image, fashion, fit, popular perceptions, and the longtime, frequently tortuous relationship I have with my body, and more specifically, my breasts. This time last year I arranged an appointment with a doctor to see about a reduction, a procedure I had long pondered. To relieve the near-constant shoulder and neck pain; to have the stacks of ribs, distorted by years of intense weight, corrected; to have things finally, at long last… fit… it seems, even now, like a distant and incredible dream. To have a breast reduction would (could) mean I might at last look like the actually-size-2 woman I am, that I might actually for the first time in my life, be in proper proportion without the aid of acres of close-fitting fabrics. I wouldn’t have to worry about stares, smirks, or judgement; I could wear what I like – a low-cut gown at the opera; a fitted turtleneck in the classroom; my strapless sundress in the supermarket. Ultimately I decided against the operation – for now. The thought of removing chunks of my own flesh, of living with permanent scarring on a part of my body to which I have an already-troubled relationship, of navigating postoperative pain, of courting judgement (and possibly real horror) from would-be lovers at the sight of my scarred body… such concerns created a mountain of anxiety I am not, even now, able to scale. So I contend with thick straps, well-padded cups, tight, strong bands; a good bra really is a piece of marvelous engineering, and a well-fitting one is something I will pay (have paid) good money for. Finding one that fits off the rack is (like any item of clothing) a rarity; I have a litany of bras sitting in a drawer, all of them impaled with pins in a desperate attempt to fit a much-shrunken frame (I have lost a significant amount of weight over the past eight months or so). It’s good enough for now, but oh, for the freedom of awakening without pain, of moving around without aches, of fitting things perfectly, of never having another button pull or another visible strap or of having to buy things two sizes too large. Oh, to never have to feel I am inviting lecherous stares, acrid judgment, social ostracizing, or risking professional advancement, credibility, acceptance, approval.

It’s an odd thing, to write a piece which might come off as a complaint, when one admittedly receives attention, and more specifically certain types of attention, over the very thing (things) one purports to dislike. I do get a jolt of joy from the reactions I elicit through my highly-curated posts; it bolsters the shaky confidence of an isolated woman whilst reassuring some form of public worth, however superficial. That satisfaction is finite (perhaps intentionally so), as I wonder why in hell I can’t seem to get over 100 likes on anything, all the while knowing the reason: algorithms don’t favour aging female bodies, or faces, unless scantily-clad and heavily-filtered – since wrinkles, cellulite, stretch marks (more precisely, real, lived experience) are unwanted within fantasy landscape celebrated and promoted throughout much social media, Instagram in particular. A thusly-filtered photo of me in a bikini, bum expectantly up, breasts prominently displayed, head orgasmically thrown back, ultra-posed, ultra-horny, ultra-algorithm-pleasing, would unquestionably hit that magical 100 (200? 400? 700?)-likes mark. Indeed, such measurement (of worth / goodness / hotness / popularity / desirability, and much else, maybe) is an unfortunate tool in the freelance world, one worth knowing how to wield, if requiring very careful handling. Post the wrong (so-called) things, and one is ignored, along with one’s work and oeuvre; post the right (so-called) things, and one’s work is read (my own analytics bear this out) but one courts judgement in the process, along with distinct and narrow forms of categorization. One risks judgment and labels as well: dumb, shallow, vain, needy, an attention-whore, wannabe, poser, super-bitch. Bimbo. Dilettante. Sycophant.

All of these labels (and worse) run through my head whenever I post anything imagistic; I often wish there was a “reduce giant boobs” filter that might lessen such anxieties, but then I wonder if it’s really me who has the problem(s). My mother certainly didn’t think so. Years ago she and I attended the opening night of an opera season; it turned out to be her final one. A night of dressing up was a blessed bit of relief between chemotherapy sessions and hospital runs, and she looked so pleased and proud as watched me descend the stairs of our house wearing a black, strapless Yves Saint Laurent vintage piece (found in a consignment shop for a song), a dress that fit perfectly. I knew there would be hate-filled stares entering the members’ lounge – those always greeted me, they were predictable, if very wearing; I was good at pretending such nastiness didn’t bother me; I still am. “I love how you scoop your hair up and put your shoulders back and stick your bust out and don’t care what anyone thinks,” she said later that night. I didn’t have to look at the faces in the lounge to actually feel their all-too-clear judgments; I threw my head back indeed, jutted chin out, batted eyelashes, gave a tremendous smile. It’s a skill I have come to perfect. To quote Marquise de Merteuil (from Christopher Hampton’s Dangerous Liaisons; play 1985, film 1988), “I learned how to look cheerful while under the table I stuck a fork onto the back of my hand.” Add to that making a tremendous middle finger.

There exists in my closet a lovely line of beautiful gowns, one a sumptuous, sweeping, super-low-backed, very fitted number, ordered in a fit of restlessness amidst the worst of the pandemic last year. I slipped it on at New Year’s in an attempt to summon some needed optimism. “If I ever have the nerve to wear this publicly,” I thought, “at least I’ll know what’s required.” (Two rolls of tape, carefully applied, and even more carefully removed; I will use more if and when that time ever comes.) But dare I court the inevitable judgment if I wear it? Dare I risk dumping whatever little professional credibility I might have (and have fought for), all for the sake of my innate love of fashion, and an even more innate need to feel the joy of wearing something that actually fits, and amidst (sigh, post) pandemic times, when dressing up is a pleasure that has been so long denied? I think, to a certain extent, many women, especially us large-breasted ones, are raised to ignore, to carry on, to try to keep head held high (when our necks and shoulders aren’t screaming in agony), and to fight against the high tides of judgement while riding the big, bouncy waves of attention. The digital era has brought a keen awareness of the pressures of playing to desire, of its inherently performative nature, of the idea of “sexy” being somehow divorced from presence (in the symbolic sense), of the lines between fantasy and reality blurring, of the perceived “power” in playing to a male-gaze-y algorithm that dictates what is seen, when, how, by whom. Susan Sontag wrote, in a 1999 essay “A photograph is not an opinion. Or is it?” (published in Women (Random House, 1999), a book of photography by Annie Leibovitz) thusly:

To be feminine, in one commonly felt definition, is to be attractive, or to do one’s best to be attractive; to attract. (As being masculine is being strong.) While it is perfectly possible to defy this imperative, it is not possible for any woman to be unaware of it. As it is thought a weakness in a man to care a great deal about how he looks, it is a moral fault in a woman not to care “enough.” Women are judged by their appearance as men are not, and women are punished more than men are by the changes brought about by aging. Ideals of appearance such as youthfulness and slimness are in large part now created and enforced by photographic images. And, of course, a primary interest in having photographs of well-known beauties to look at over the years is seeing just how well or badly they negotiate the shame of aging.

As an aging albeit large-chested woman with a chosen online presence – one I require and have cultivated as a freelance writer and educator within a particularly narrow cultural field – I am simultaneously aware of both the judgement and the attention, the inherent risk of professional punishment, and virtue-patrolling, to say nothing of professional discreditation and social ostracization, all of which run concomitant with potential benefits and possible advancement. (Whether that advancement manifests in actual dollars and opportunities remains to be seen, and various classical and academic ingenues might tell you something similar, however quietly.) Damned if you do; damned if you don’t; such has always been the case for women, and never more so than now, in the pandemic-ridden 21st century, whence a screen is professional, social, political, cultural, creative, and personal, all in one. My mother’s pre-boomer, always-wear-lipstick generation didn’t have to face this, but then, if she had, I’d suspect she’d be very popular.

My mother had a ballet dancer’s body: a long torso, long legs, just-right shoulders, a long neck, and perfectly (to me) small hips/bum/breasts. She had my ideal body shape, one I still covet and dream of having. Anything else, to my mind and literal body), is chubby, gross, vulgar. She was a “model” in the definition that still largely fuels the definition of Very Beautiful today. “You didn’t get those from me,” she’d say, staring at my chest. Shorter, fleshier women have a history of being placed into the tiresome bin labelled “curvaceous” (or the like), one that is wholly fantasy-driven and easy to discredit; she always used the word “voluptuous” as a compliment, but it never felt like one. I could never (and indeed cannot) find things that properly fit. While I’d watch my thin, small-breasted school friends go off and meet decent men, I always felt I’d been left with horny ones wanting naught but masturbatory entertainment. The work world was just as bad, if not worse. An early episode of the American television sitcom Three’s Company (1977-1984) features a large-breasted if wholly unqualified woman promoted over the more small-breasted Janet by a bug-eyed man in a cheap suit who speaks in a lusty rasp. The woman later visits Janet at her apartment, resigning in a fit of shame and exasperation, and explains the realities of navigating a world in which men only see breasts (and their related sexual desires) without seeing the attached whole person. “They say things like, “why don’t you stand over me and keep the rain off, baby!”” she says, holding back tears.

These days of course, that woman would have a huge Instagram following, post pictures of herself in tiny bikinis, call herself “empowered” and many would simply seal-clap along. I’m not so sure; to borrow from Charles Laughton’s character in the 1957 film Witness For The Prosecution, that line of thinking feels “too neat, too tidy, and altogether too symmetrical…” (Note: most breasts are not, in fact, symmetrical, let alone sitting at attention when one lies on one’s back; they tend to sloppily nod off to armpits, gravity being the great downer in all senses.) Swimwear always presents a challenge; modest is realistic if boring, but finding something that fits is impossible. I don’t own a bikini, and if I did, I wouldn’t wear it publicly, let alone post pictures of myself in it. “Be proud!” shout the masses, “do your thing!” The problem is, all the male things go up whenever I reveal too much tit in public, and though i can’t control the reactions, I hate that I inspired them at all, and find myself wishing, at such moments, after a galling incident or smutty, unwished-for attention, that I had those perfect, tiny, pert, ballet-dancer breasts. The scars, the pain, the thought of going into a hospital at all right now… tell me to sit, round-shouldered, and do another round of dreary sit-ups. Apparently strong abs are helpful, but they’ve yet to relieve an ounce of the pain.

Following my second vaccination, I came home and changed into a low-backed bodysuit, one I would never wear in public – too revealing, too honest, too real. (I love it.) ‘Real breasts versus fantasy ones’ is a distinction that needs to be made (one might say this about female bodies overall) – I consciously thought this, putting that bodysuit on – but the need to recognize that distinction points more directly at a need to acknowledge real people versus fantasy figures. A 2013 production of Manon Lescaut from Théâtre Royal de la Monnaie (Brussels), directed by Mariusz Treliński and featuring Eva-Maria Westbroek in the title role, caught my attention for just this reason. How refreshing, to see the soprano floppy-haired and braless and perspiration-soaked in the last act; yes, it’s the character, and yes it’s the opera, and of course, it’s part of the setting, but this was not the highly-stylized, romantic, dewy-doe-eyed suffering so often seen on opera stages. The transformation felt real, raw, and very visceral; it dared to explode the sexy-babe mythos into a thousand pieces, and dared its audience to see what was left. I wondered about two things, concurrently, as it concluded: Westbroek’s corseting (or apparent lack thereof, which is brave, and shouldn’t be, and yet) and, what would my opera-loving, glamour-obsessed mother make of it. In her younger years she so much resembled the younger Manon, poised and smiling across numerous images in photo albums spanning many decades. One shot features her wearing a green polka-dot bikini; she used to like to tell people how much she weighed when it was taken, some ridiculously low number, hiding the actual truth of her self-starving then, her utter self-loathing in fact, dating someone who eventually threw her over, having treated her like a diversion, a bit of fantasy, a sex doll. She wasn’t “curvy”; she didn’t have large breasts. I remember meeting him years ago, before she passed, wondering at her being so reserved around him then; I don’t wonder now.

And so I look at my closet-fulls of dresses, some of them my mother’s, many of them, like my underthings, full of pins and awaiting the skilled touch of my ever-patient tailor, and I wonder if I’ll ever wear any of them again. Do I want to? Dare I? Can I be floppy-haired, braless Manon and still have any worth? Still ignite any true desire? Does it matter? Can I be busty, non-music-degree-holding Catherine and still be perceived with any seriousness? Should I feel okay with being reduced? Am I not already? Oh, how I long for a good fit. A trip to the moon, even for a few hours, would not be so bad either; my shoulders, like much else, could use the rest. Maybe this is the season to fly, to not feel small, to not shrink, but to jut chin out, pull shoulders back, and at last, to truly smile, even, as the times dictate, it will be behind a mask or two.

Lisette Oropesa, Pentatone, album, soprano, singer, opera, classical, vocal, dress, fashion, Mozart, album, Ombra Compagna

Lisette Oropesa: On Mozart, Recording, And Why Opera Does Not Need Redefining

Certain sounds inspire one to sit up a little straighter, look away from the monitor, pull up the blinds, gaze out the window, and then remove the pandemic uniform of fleece loungewear and replace it with something more elegant and beautiful. Thus it is that those sounds – singers, operas, concerts, arias, and oratorios – have worked in tandem to provide a much-needed uplift over the course of the past fifteen months, aiding in a more focused, thoughtful, and elevated quality of energy than much of the classical internet, and its overdue if very often over/underwhelming digital pivot, tends to demand at any given moment in the age of Covid. Lisette Oropesa’s debut album, Ombra Compagna: Mozart Concert Arias, released via Pentatone earlier this month, provides such uplift, along with a hefty dollop of inspiration.

Recorded in August 2020 with conductor Antonello Manacorda and orchestra Il Pomo d’Oro, the album’s ten tracks showcase Oropesa’s poetic musical sense, as well as her talent for balancing the whirlwind spirals of drama with the straight-arrow trajectories of technique. Hearing such luscious sounds, one immediately adjusts one’s spine, fixes one’s hair, puts on a nice dress; it feels as if the artists, and composer too, would request nothing less, or more, in the era in which the album was recorded and released. Three tracks feature the words of Italian poet and librettist Pietro Metastasio (1698-1782): “Misera, dove son!”, (composed in 1781) “Alcandro, lo confesso – Non so d’onde viene” (1778) and the album’s closer, “Ah se in ciel, benigne stelle” (started 1778; completed 1788). The latter two arias were composed for Aloysia Weber (1760-1839), an accomplished singer whom the composer had taught and been enamoured with prior to his marrying her sister, Constanze (in 1782); the works are notable for the poignant musical ideas which fully anticipate more fulsome creative expression in Le nozze di Figaro (1786) and La clemenza di Tito (1791) . Oropesa’s handling of the aural and textual aspects of the respective arias expresses a touching emotional honesty; the knowing way in which the soprano delicately modulates her tone and breath, her studied phrasing and vivid coloration, imply a comprehension of things beneath, around, between, and beyond the words. “Alcandro, lo confesso”, for instance, is from Metastasio’s libretto for L’olimpiade (Olympiad), and was originally set to music by Antonio Caldara, who was court composer to Empress Elizabeth Christine of Brunswick-Wolfenbüttel (the work was originally meant to celebrate her birthday). As John A. Rice’s fine album notes remind us, “(t)he concert aria gave composers and performers flexibility in regard to the gender of the singer vis-a-vis the gender of the character portrayed. To be more specific: a female singer could freely portray a male character.” Such fluidity is conveyed with quiet elegance through Oropesa’s controlled if unquestionably heartfelt delivery, complemented by Manacorda’s stately tempo and dynamics:

Alcandro, lo confesso,
stupisca di me stesso. II volto, il ciglio,
la voce di costui nel cor mi desta
un palpito improvviso,
che lo risente in ogni fibra il sangue.
Fra tutti i miei pensieri
la cagion ne ricerco, e non la trovo.
Che sarà, giusti Dei, questo ch’io provo?

Non so d’onde viene
quel tenero affetto,
quel moto che ignoto
mi nasce nel petto,
quel gel, che le vene
scorrendo mi va.

Nel seno a destarmi
sì fieri contrasti
non parmi che basti
la sola pietà.

Alcandro, I confess it,
astonished by myself. His face, his
expression, his voice—they awaken
a sudden tremble in my heart
which the blood repulses through my veins.
I try to find the reason in all my thoughts,
but I can’t find it.
Good Gods, what is it that I feel?

I don’t know where this tender
feeling comes from,
this unknown emotion
that is born in my breast,
this chill that runs
through my veins.

Pity alone
is not sufficient to cause
those strongly opposed feelings
in my breast.

(English translation by Christina Gembaczka & Kate Rockett)

With a rich vocality displayed in the frequently challenging, wide-ranging works, Oropesa’s flexibility and confidence, together with her calculated blend of sass, class, and deep sensitivity, show an artist flowering in a range of colors and styles. The concert arias demand, as Oropesa writes in the album notes, “extremes of range, breath control, dynamics, and stamina” and the soprano’s versatile technique (well explored through her history with Italian repertoire, especially bel canto) is keenly studied, if easily received.

That’s the point, Lisette said when we chatted recently – the music should sound effortless, even if it’s anything but – in content, as much as in style. Having such multi-faceted awareness is, for the singer, central to understanding and expressing the depths of real, lived emotional experience within the music; even if the topics are mythological, the subtext is far more familiar.The album’s title (which translates as “companion spirit”), originates in the aria “Ah, lo previdi” (“Ah, I foresaw it”), used in a scene from Vittorio Amadeo Cigna-Santi’s libretto for Andromeda (1755); it uses the recitative form for maximal dramatic impact whilst offering a careful musical scoring that highlights aural power to convey the speaker’s grief over what she believes is her beloved’s passing. As Oropesa writes, “the most sublime music accompanies the journey between life and death, as the spirit of a loved one slips away.Though we may wish to follow them into the next life, we must stay behind. So to be an “Ombra compagna,” to be with someone in spirit”, when we say that, it is a comforting yet heartbreaking testament of love.”

https://open.spotify.com/album/3zGXZPYFNCDsSYsrFFSVn2?si=Vh0Q-mkAQr-BHktd6pJ5lg

Known for her work on the stages of Bayerische Staatsoper, Wiener Staatsoper, Teatro Alla Scala, Opéra national de Paris, and the Met, Oropesa is acclaimed for her performances of Italian, French, and German repertoire; she is especially known for her performances as Verdi’s Violetta (La traviata) and Donizetti’s Lucia (Lucia di Lammermoor). Zooming recently from Arizona, Oropesa was warm, funny, real, moving with ease and humour between discussing music approaches and dishing life lessons, with the same warmth and honesty as I remembered in our previous chat in 2019. Despite the challenges of the past year-plus, Oropesa’s upcoming schedule is busy, and, along with recordings and performances in Paris, Zurich, and Vienna, features concerts in California, Italy, and, in March 2022, a much-anticipated concert appearance at Teatro Real Madrid. January 2022 sees the soprano perform the title role in Bellini’s I Capuleti e I Montecchi, after being unable to perform at the season opener for the fabled house in December 2020 because of coronavirus-forced closure.

We began by discussing Ombra Compagna and how the project came to fruition amidst the numerous restrictions necessitated by the pandemic.

How did you choose material – why Mozart?

I didn’t actually pick that material! I am a big Mozart fan and I sing a couple of the concert arias; I studied them, but Pomo d’Oro wanted to record this material and they wanted me to sing it –they were the ones who reached out originally. I didn’t have a label at the time, so while I said yes to them and “it sounds great, send me a list of which arias you mean, there are so many and some are out of my realm of possibility but some are doable, I’d have to study them” – shortly thereafter Pentatone reached out. We had a meeting, and they said, “We want to offer you a package deal for six albums: three recital discs and three opera discs, and I said, would you consider this Mozart project? They said, “Yes, that would be a great first disc!” – so that’s how it happened. From there, Pomo d’Oro sent me a list of arias they were originally thinking of me doing. I chose which ones I wanted, and went on a journey; I got all this sheet music and spent a long time studying and listening to stuff, trying to find what arias were more well-known, ones that had and hadn’t been done. I did pick the arias but didn’t plan the project. In our business so much is given to you, and you either take it or you don’t; very few artists are capable of manifesting their own dreams into any reality. I had wanted a record deal for years, so I’m happy. To produce an album is akin to buying a house: to get an orchestra together, hire a conductor, order scores, find the space for recording, get in the right sound engineers… it’s a lot. So this was great, because someone else produced it. Pentatone is a label that very much cares about sound quality and specifics, and their producers have a lot of experience with orchestra and voices.

And artistically, if you offer me a Mozart project, I’ll never say no! In recording this, I had to find ways I could sing and interpret these works, because they’re all written for different individuals and that means, in a lot of ways, they’re tailored to specific voices: some might have amazing jumps, some might have great coloratura, some might have dramatic capabilities. Every aria has its own personal stamp, so I had to find my way of interpreting all of that, with the best of what I can do. I’m not a master of every single technical thing but I can do a lot of things okay enough that, I can probably pull from my experience – I can pull my flute experience here, I can pull my band experience there, I have my experience with recitative – and the fact I feel comfortable in Italian was very helpful too. The conductor (Antonello Manacorda) was a concertmaster and leads a lot of Mozart so we got on really well, and the orchestra are a great Baroque ensemble. They tuned down to 432Hz for some things; because I am not the highest-sitting a soprano right now, that made my life easy. It was fun, the whole thing. I loved it!

You really personalized the material in your approach.

You have to – really, you have to! I was telling someone the other day, with a lot of people singing Mozart, it’s like watching a gymnastics routine or an ice skating routine; we’re waiting for the jumps and flips and landings. And that’s fine, but those routines in particular, even though they’re sports, they’re also artistic: you’re looking for elegance and beauty and seamlessness of one move to the next, and the power of the gymnast who has their own way they move. In that respect, it’s like singing Mozart: you can’t just look at the technical demands and not go past that into what he is really about, which is depth of emotion. And you can’t do the emotion without the technical stuff – that’s a doorway into the realm of what I think Mozart really is, but you can’t start from that side of the door, you have to go through the technical door first. The problem is a lot of people – artists, industry people, listeners even – get very hung up on the door, but we have to get past it. It’s a tough thing to do, so I try to make the easiest-sounding door possible. Whatever technical demands there are, I try to make them sound easy, even though they’re not. But if I make it seem hard you won’t get past it.

Then all we’d hear is a door.

That’s right!

Lisette Oropesa, soprano, singer, vocal, vocalist, stage, artist, performance, performer, opera, classical, Spain, Teatro Real, Donizetti, bel canto, Artur Rucinski, blood

With Artur Rucinski in Lucia di Lammermoor at Teatro Real, 2018. Photo; Javier del Real

Your bel canto experience must have been good preparation too…

Tremendous. Bel canto helps you with learning to use recitative in a way that is emotionally effective. Mozart is a beautiful writer of recitative so I never had an issue. These arias are all accompagnati; the orchestra is playing, it’s not with just a harpsichord, which you get in his operas – so because these are concert pieces, the entire orchestra is involved, even doing recit, and you might be doing it for four pages before the aria starts. It’s odd to sing it in a way, but it’s also a dramatic part of the piece: you’re setting up the story and that’s very nice as a singer! The other thing is that being a former instrumentalist is really helpful; I learned to express music that didn’t have words, I learned how to express a musical intention, a phrase, without text. With text, sometimes it’s all singers obsess over, this “What about this consonant? What about this vowel? How should I put across all the immense poetry?” – and yes, all of that is important, but with Mozart, the text and the musical phrase are joined; the musical phrase is as vital as the text. Ideally, you marry those two things together when you perform.

Would you say they’re lieder-esque in a sense… ?

Yes, they are.

I hear a lot of Schubert and Beethoven being anticipated in these works, and especially in how you perform them, which made me consider how much I’d like to hear you doing these works in recital.

Thank you, that means a lot. I love lieder, especially the Viennese school and the German stuff; it’s some of the best rep in the world. One of the good things about the pandemic, one of the few silver linings, is that solo-singer-with-piano configurement has become much more popular; I have a massive book full of recital rep that I’m preparing for next year. It’s months’ worth of recitals – the bookers all want lieder, so honestly? Yay! I’m ready, I’m bringing it!

That echoes what Helmut Deutsch said to me earlier this year, that he feels the time has come for lieder. But of course, lots of people are still recording too.

Well yes, recording was the only thing people could do for so long, because orchestras were free and you could record, as long as you were distanced and the room was aired out, and you tested throughout the process. It was one of the only things still allowed to happen. I did three albums myself since this whole thing has happened, and realistically, I’d never be able to book them otherwise; most singers are never free, they need a week at least of just recording, and normally no one can spare the time, so (setting time aside to record) is a scheduling issue (in relation to opera houses). But this past year everybody’s been recording or rehearsing, or learning new roles.

What’s that like for you as a singer, to be taken away from audience energy but to get closer to your voice and to other musicians?

It is a chance to navel-gaze at our larynx, haha! And, not having the audience when you’re doing an album is not a problem because you’re focusing on just recording; you can rehearse, worry about the singing, you don’t have to please a director, you don’t have to wear a costume, you can wear the flat shoes, no makeup and do your thing. I never recorded with an orchestra before – this was my first taste of doing that, and even though we were distanced (so it was slightly less intimate than it would normally be), I was maskless and I could sing into the mic, start, then stop; repeat.

Now, doing performances like an opera or a concert, without an audience… that sucks. We can do it, but. What happens in rehearsal is, you’re basically rehearsing and then you run the whole show with an audience of your castmates, which is intimate and beautiful, but the next level is presenting it to the public; that is what you are preparing to do. And then to do that presentation with no public present, except on the internet – we can’t hear them, or see them – it almost feels like you’re still rehearsing somehow, like you painted something but didn’t hang it on the wall. There’s no finished feeling, and that’s odd; there is no energy back, and that’s odd. So you can sing your balls off and then you don’t hear any applause or reaction – you can’t feel what the audience’s energy is toward you – and that’s awful.

I read a piece about the LSO recently which underlined the point about the need for an audience. ”Why else are we doing this?”

That’s right, why else indeed?

But lately I feel I have to wave my arms about this; yes, you do it to fulfill an innate creative urge, but related to that, at least to my mind, is the desire for energetic feedback.

Exactly right. I mean the thing is, we, and this is what’s been hard, the public comes to us for escape in some ways. We are entertainment for many people; they come to the theatre to dream, and that’s been taken away from them, but, we as artists are expected to still perform at the same level, or a more high level, because everything is so hard now, so it’s “Please come perform on the internet for an audience you can’t see or hear!” You’re doing it for less money and for much more stress and much more risk, and the stakes are 100 times higher; as artists we’re stressed beyond belief doing this, and we still have to put that aside, and put emotions to the side. It’s hard enough when things are functioning normally – there’s enough difficulty in the business as it is – but now there’s far more; there’s world stress, there’s financial stress, there’s various forms of personal stress, and there’s still this attitude, like, “Sing for us! Entertain us! Sing under these circumstances!”

Lisette Oropesa, soprano, singer, vocal, vocalist, stage, artist, performance, performer, opera, classical, Spain, Teatro Real, Verdi

In La traviata at Teatro Real, 2020. Photo: Javier del Real

Your work as a singer is being filtered through the choices of a director as well; it must create a weird self-consciousness not only about how you sound, but how you look. 

I’ve talked about this with regards to opera in HD – you don’t get to direct what frame is on the screen at any given moment, so you might be on camera or not, doing all this great work, but no one will see it if the director doesn’t choose you. And then there will be these snap judgements – “He’s a bad actor!” – but in theatre you can pick where you want to look. The energy and electricity of performers reaches audiences in a different way live than through a camera. Cinematic awareness is something we are having to deal with more and more, yes – I made a movie in Rome of Traviata, and we did so many takes of every scene, live-sung, with the orchestra piped into a speaker. We had to follow as best we could, and I had no idea which take they ultimately took. My mother saw rough cut and said, “That director likes your back!” and a friend in film said, “Oh that’s a specific directorial thing, seeing what (Violetta) is seeing rather than presenting an outside perspective” but I was doing all these things with my face, because I have experience in theatre, and theatre is much more immediate.

It’s surprising how many don’t understand or appreciate that immediacy, implying the big digital pivot is somehow going to “save” opera and how it needs re-defining; I wonder if the real issue is better cultural education.

It is, because the art form does not need redefining – I 100% agree with you. Opera does not need redefining; it does not need watering down, it does not need censorship. It is actually more progressive than people have interpreted it as being, even though it isn’t always presented that way, but it can and should be presented in different and new ways. Opera also provides one of the very best opportunities for women to work: as a prima donna, as a lead character, as a very central if not entirely pivotal character on the stage. I mean, I’m lucky I don’t have to compete with men for my job.

The pandemic era has shown that a lot of companies definitely needed to up their digital game, but lately it feels like music is the last thing to be considered.

You’re right; it doesn’t seem like the music is that important sometimes. I feel at the moment that the focus is more on, “how many people can we reach”, “what are the numbers”, “what social message can we put out”. Some companies are trying to do innovative things, like performing in a parking garage, a racetrack, an airport… but I think, look, we’re not cars. We don’t belong in cement buildings. I know we’re trying to do the distance thing and I get the whys and wherefores of that, but an opera voice is meant to resonate in a concert hall that’s designed in a very specific way to showcase this very specific thing. It’s the same thinking as, ‘let’s put a ballerina on a cliff and make her dance’ and sure, she could, but her shoes aren’t made for that, her training isn’t made for that, it’s taking this very particular craft and sticking it in another medium it isn’t made for, and as a result it doesn’t come across the same way.

And it isn’t perceived the same way as a result; there’s pluses and minuses to thatBut to me the central issue is still one of education, or lack thereof. 

Yes, and so I’m hoping (the activities of the past year) are just a patch job and not a permanent thing. I know San Francisco Opera just built a whole outdoor theatre, a whole new one. I mean, their War Memorial War Opera House still exists…

… they might be trying to do what’s been done in other places in terms of adding to the outdoor summer festival scene. But the question of what role the music plays in all this still niggles.

Yes, I mean, where does the music go when these sorts of construction things happen? You lose a lot of the intimacy in those giant settings…

… sure, but it’s not a new thing;  Arena di Verona exists, and other spectacles have come and gone. I remember attending Aida at the local stadium as a kid, and that was really not about the music. The sound was horrendous but it looked impressive.

Some things don’t work outdoors, and some do. The problem is that (outside stages) force  singers to adopt a whole different way of interpreting the music, and Aida has a lot of intimate moments. How would you expect a soprano to sing “O patria mia” in a stadium? That’s a very internal moment, that aria, she isn’t barking  it – and sure, The Triumphal March works great, it’s 800 people and the orchestral scoring is very exciting right then – but for much of the opera, it’s just two people or one person singing on the stage. It’s a story about relationships, and you can so easily lose sight of that. It’s the same for any of these operas about individuals going through intimate experiences – in Aida or Traviata or Rigoletto. Actually, Rigoletto was staged at Circus Maximus – the stadium where the chariot race in Ben Hur was filmed – last summer; now, Rigoletto is about a father and a daughter, and a very complicated, close relationship, and … you know, in such a big space… I don’t know, it’s unusual. But somewhere like Arena di Verona, it’s an amphitheatre, it’s good acoustics, the stagings are done at night; there’s a special sort of vibe there.

Singing for the internet is a whole different thing, I’d imagine…

Oh yes – for broadcasts shown in a cinema or for the internet, you have to deal with a crappy little microphone hidden in your bosom or wig, and then try not to think about the fact that you’re singing for somebody’s crappy computer speakers. And: the majority are judging your voice. You are totally aware that the online audience are often critical and anonymous. Everybody’s a critic and has a platform to bitch and moan about not sounding good, but look, it’s not fair to watch and judge a singer’s voice on this platform; overtones don’t get picked up, color largely do not translate, subtle things you do with your voice do not translate, and there are these weird resonances. Now, a real hall has acoustics which are designed to promote those things in a proper way; at La Scala a voice bounces, as it should, and you can’t get that in speakers. I don’t know how else to explain it. When you train as a singer in school and take lessons you are not training to sing into a microphone; you are trained to sing over an orchestra and/or another instrument, playing loudly, in a hall. That is our training. If you tell me to take my training and do something else and expect me to be brilliant and get everything perfectly, there’s a problem.

And, we are not trained to act for a camera; we are trained for the theatre, our faces are meant to be open and expressive, and we are taught a certain level of exaggeration in ways that underline enunciation and presentation. You stick that on camera and it looks unflattering, over-exaggerated, not believable, silly. Then you get told, “Well tone it down for the camera” and you think, I’m supposed to be singing for 3000 people here, but apparently I should… be subtle? It becomes this whole issue, and then it goes into, “This person doesn’t look good on camera because they are old.” And they’re not old at all, they’re at a perfect age, they’re good-looking, and, yes, they sound amazing! But it’s become this new “normal” for singers, that they look “old” somehow.

Lisette Oropesa, Pentatone, album, soprano, singer, opera, classical, vocal, dress, fashion, Mozart, album, Ombra Compagna

Ombra Compagna was released via Pentatone in May 2021.

Right, we’ve discussed this Instagram issue and how tough that is for women especially – so again, the music gets left behind, because  follower numbers are more important, being sexy is more important, how it will all magically translate into ticket sales…

… exactly, “People love her, she has lots of followers, she looks hot in a bikini…”

“… and we have to attract a younger, hip audience, so…”

… “we have to attract a younger audience” is dog whistle for, “We have to get the heavy, unattractive, older people off.” Why are we trying to attract them? In Europe there are tons of young people going to classical events; if you make it cheap enough, the younger patrons will attend, and, if you don’t try to water it down into these headlines, like, “Passion! Jealousy! Opera!” That sounds like a telenovela, come on, they see through that. But the marketing to young people involves us singers now, too, so any singer with a decent following – organizations tend to use us to advertise, and that’s fine, they can do it; that’s the reality.

So much marketing adds insult to injury by implying knowledge is somehow bad, that it’s elite to educate your potential audiences. 

If people think they don’t like classical music, or that it’s elite, then ask them to turn on any movie/series/TV show, and tell me what it is they’re hearing and responding to. I’ll tell you: it’s classical instrumentation and writing. 90% of the time people are responding emotionally to a theme while something is happening. Classical is an art that deals in human emotion; it happens naturally. You can play a video game and the music is gorgeous, epic, classical music, most of the time, it’s otherworldly – so if people don’t think they’ll like it, well, they might. It shocks me sometimes, the ignorance, but classical is absolutely mainstream. And so I don’t think it’s any more elite than the Olympics. People think classical is so hoyty-toytoy – but it’s like going to a nice restaurant or a special dinner; you have certain protocols you follow. That should be something you look forward to doing, like going on a date. Do you really want to go in your PJs?

Ah, but that’s the uniform this year!

Right? Lounge-office wear is the fashion in 2021 now!

I actually took off the lounge-wear and put on a dress to listen to your album; I still do.

Oh thank you!

It felt elevating and inclusive at once, and that is an integration Mozart seems especially good at.

Mozart is not a composer who leaves people out – he’s one of the more easy-to-listen-to composers. It’s why so many of his works are known by so many people, in and out of the realm of classical music. It’s melodic, harmonic, theatrical, entertaining, not too much chromaticism, nothing people wouldn’t get, but so human. His work is a great introduction to classical music overall.

Various singers have told me they love returning to the music of Mozart because his music is a massage for the voice – is that true for you too?

It is, yes, and it can be a really great thing to get you in line vocally. If you are everywhere with your voice, Mozart is a very challenging composer. He demands you understand the door, to go back to our image from earlier; all the hinges have to be lined up, everything has to be right, and just so. Only then, yes – walk through that door; Mozart wants you to.

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snow, bridge, winter, scene

Essay: Puccini & A Red Satin Dress For Christmas

There is something within that always hesitates at publishing personal pieces. A Facebook post is one thing, a public post quite another. Courting judgment, creating low opinions, sacrificing credibility, reinforcing impressions of overwrought drama: 2020 is a year for many things indeed, but I am unsure which of these I dare encourage. The following piece did start out as a Facebook post, and so great was the response, so immense the encouragement, that I have decided to share it here, with revisions. It has opera (easily found on this website), it has my mother (also easily found). It has personal history, something I wince at sharing openly but which, in light of this awful year drawing to a close, feels somehow important, an act of acknowledgment and healing: Here Is A Bit Of My Self; Do As You Will.

Currently I am in the midst of editing another essay exploring the idea of being of service, inspired by a remark conductor/soprano Barbara Hannigan made during our lengthy conversation back in October. Barbara essentially said she is driven to do what she does out of a need to be of service, that if she had chosen to take a more conventional opera-singer route (Verdi and not Vivier, for example), such a need would have gone unfulfilled. Other exchanges with artists I admire have led me to wonder if my writing is, in fact, just this, a way of exercising that very need – to be of service – whilst integrating, in a more fulsome way, a desire to move my work into a more creative realm, away from the world of journalism. In any case, here are some thoughts, shared Christmas Eve, and lightly edited. Happy New Year.

~

Looking at the window at the heavily falling snow, inhaling the aroma of a baking tourtière, watching the flicker of candles and feeling the acid sting of cranberry on tongue, I remember a remark my mother made to me the year before she died: “I love how you just pile your hair up and put on your strapless dress and high heels and don’t give a sh*t what anyone thinks of you.” Considering she wasn’t one to offer compliments on my appearance, it was notable, and I often wonder if her words were meant to extend past the opera-going context in which they were given, specifically to the parties we would attend every Christmas Eve.

“You’re taking too long!” she’d scream as 8pm, then 9pm passed, and we weren’t yet out the door. “Why do you always have to make things so bloody difficult?!” This year, with naught but the company of the telly and a seemingly endless line of headlights out the window, I think back to those nights, how they always started with tremendous arguments, how they always ended in relative peace, with late-night cognacs and music and sweets, my mother and I smartly dressed and perched on puffy, cream-color loveseats facing one another. The sounds of La bohème floated across the dimly-lit, luxuriously appointed room. “Only one thing,” she would instruct, taking a gold-foil-wrapped package into her lap, clinking glasses and smiling at the clang of fine crystal as a myriad of Xmas tree lights swirled around the ornate, boozy orbs. “Maybe a chocolate too… “ as the Godiva box lid was popped off. “But you must turn this up…” as the voice of Pavarotti rang like a silver bell across the bronzen warmth of the room… “it’s just so… so...!” … An inevitable headshake of red curls. A sip of cognac. A broad, happy sigh.

We had no family, but we had traditions entirely our own. Every Xmas morning she would don her velvet Santa hat and buzz around with a fine china teacup in one hand and portable phone in the other, her laughing voice and “Hellloooooo soandso!” and “Merry Christmas!” cadences like little motifs through the tinsel-laden score of the morning. Her own beloved father had died on Xmas Eve when she was a girl; thus the occasion was, for her, just that, something to mark, to make merry for, to fuss over, and always, to give and give. December was a month when no one was forgotten: bank tellers, postmen, delivery people, cashiers, clients, old work colleagues, friends new and not, close and not. Her whole being, even without Xmas, revolved around giving. Indeed, her generosity was doled out in such quantities she would sometimes chide herself, realizing (as I had tried to point out in past moments) that her good nature had been taken advantage of. “I’m too generous, I’m too soft-hearted… I’m a naive bloody chump.”

xmas, Christmas, tree, tannenbaum, decor, ritual, tradition, Weihnachten

Photo: mine. Please do not reproduce without permission.

How different Christmas is now, and not only because of COVID19. I remember a glass-shelved console would be filled, from mid-November onwards, with a myriad of cards from around the world; some years they numbered in the hundreds. To quote Rilke’s “Requiem For A Friend”, “Oh, how we need customs. Oh, how we suffer from the lack of customs” – and this card-collection was but one of my mother’s. I look up at my four Christmas cards and acknowledge, of course, that such customs simply aren’t done anymore, but oh, how I miss some of the sensual ones that come with Xmas. I find myself wanting such things but largely blocked from their actualization; I can neither recreate in her fashion, nor create anew in my own. Not having a family means not having certain rituals to adhere to. And yet, this was the first time since 2017 that I have had a Christmas tree; I gave away the one I’d had with her years ago and most (not all) of the ornaments. Putting one up this year seemed like an act of love and defiance; I don’t have kids and the whole thing cost a small fortune, but oh, how fulfilling. I needed the exercise of such a custom more than I realized. “One of the only times you seem calm and happy is when you paint,” my mother used to say, “that and decorating the Christmas tree.”

My love of solitary activity was not something she always understood. My mother was Miss Popularity; she’d been a cheerleader in high school. That deep, warm generosity, a gaiety of spirit, a smiling lightness elegantly concealing a world of pain, her hands waving through the air to Musetta’s Waltz – people were drawn to her. It wasn’t magic; it was logic. And oh, she was the beauty queen, makeup in place, hair done just so, whether handing out sweets or pouring brandy into her tea Christmas morning, chatting gaily to faraway friends on the telephone, her fingers with their lacquered red nails moving between boxes of (homemade) whipped shortbreads and almond crescents and the infamous Godiva box. One year she decided to wear a red satin gown she’d initially bought for me;  I looked over the second-floor railing, bleary-eyed, and there she was, on the phone, waving up at me, her lipstick matching the fabric. Years before I emerged from a retail store changeroom wearing that dress; I still recall the swoosh-swoosh rustling across the spiky berber carpet. Its shiny redness a festive flag against the drabness of that little fluorescent-lit room.

“Ohhhhh,” was the immediate, cooing response. “that’s your birthday gift, then.”  Being broad-shouldered and tall it fit her like a glove, better than me, in fact; there was no pulling at the bust when she wore it (“You didn’t get those boobs from me; thank you father’s side of the family”) and thus it hung like it should, sans pooling around ankles, a puddle of satin where legs should be, and were, in spades, with her. I took a photo of her that morning, my beautiful, big-haired mother, in her sixties then, sitting with her signature movie-star-smile, on one of an immense pair of damask-patterned loveseats on Christmas morning. that dress in gorgeous contrast to the cream upholstery. She wanted to take a photo of me, as ever: “Come on,  smile, it’s easy… don’t be so grouchy!”

I gave those loveseats away this year, a donation to a charity — too old, too many memories, too much dust attraction. Living alone I have no need of such immense things, and having no family of my own it makes no sense — but I still have that photo of her somewhere, perched so perfectly that snowy morning, in that big house I sold two years ago. Amidst my giant downsize this year, I kept that photo, and more than a few related albums; at the time I hesitated, but in retrospect, it was the right thing. Putting the past into perspective doesn’t mean erasing it – or hiding it, being embarrassed by it, or feeling the need to apologize for it. My mother had a contentious relationship with her own troubled past; it’s something I don’t want to repeat. I gave away those loveseats – and the old Xmas tree, and some of the ornaments – because they were her things, not my things. 2020 was the year of My Things, tangible and not, good and (mostly) not. It has been a horrendous but tremendously important year; at times I have wept in ways I have not wept since her death in 2015. Loss comes in so many shapes; sadness has so many variations. The person I am now is not the person I was with her. I recall her saying I was too serious; too brooding, too critical and full of torment. Oh, if she could see me now. I’ve become a soft-hearted, over-trusting, over-generous chump. Apple, meet tree; chocolate, meet box; I inherited more than her slender figure.

woman, dress, nightgown, Christmas, Xmas, tree, festive, pretty, retro, vintage, December

This is not *the* dress (but clearly my mother loved red dresses). Photo: mine. Please do not reproduce without permission.

So this Christmas Eve is for tourtière, tears, and tender memories. December asks for acceptance, and offers hope. May 2021 bear the sweet fruit sewn by immense sadness; we could, all of us, use a fresh start.

Sei allem Abschied voran, als wäre er hinter
dir, wie der Winter, der eben geht.
Denn unter Wintern ist einer so endlos Winter,
daß, überwinternd, dein Herz überhaupt übersteht.

Anticipate all parting, as if it were behind
you, like the winter that’s now passing.
For under winters is one winter so endless,
only in overwintering can your heart overcome.

– Rainer Maria Rilke, Sonnets To Orpheus, II.13
(trans. Kinnell, Liebmann, 1999)

Power, Drama, And Grace: Pondering Dior’s Designs

ROM Dior

The designs of Christian Dior at the Royal Ontario Museum. (Photo: Julia Bachelor. Please do not reproduce without permission.)

“That’s straight out of Lucia di Lammermoor!”

Those were the words I exclaimed in setting sights upon a voluminous, stripped 19th century dress on display as part of the Dior exhibition, currently on view through March 18th at the Royal Ontario Museum (ROM). I was reminded of the opera yet again when I caught sight of a beautiful red-black piece nearby, complete with nipped-in waist and black gloves; never mind trying to impress Edgardo, it seemed certain Lucia certainly would have worn this for herself. Doing precisely that, by and for one’s self, feels like a powerful subtext of much of individual style, though certainly one has to be aware of the effect one might have at any given time. This feels especially true for Dior.

I attended the exhibition for a variety of reasons: my mother was a fan of the French designer’s work and owned a choice few items I now cherish; many of the women I admire, particularly within the arts world, were fierce fans of his work (“No Dior, no Dietrich!“); they are artworks — sleek and shapely as sculptures, textured and colorful as paintings, sensuous and free-flowing as dancers. Dior’s designs have a timeless and appealing blend of drama, elegance, power, and sophistication.

Dior ROM

At the Royal Ontario Museum’s “Dior” exhibition. (Photo: Julia Bachelor. Please do not reproduce without permission.)

At initial glance, some of the items on display seem flimsy, flouncy, frou-frou — but the experience of wearing them changes that perception entirely. The power of putting on a Dior dress is one thing, moving around in the world quite another. I have enjoyed that privilege (again, thanks to my mother), though at times I’ve wondered if I needed the charm lessons drilled into their original owner, a gentility that the garment seems owed. Then again, I remember the photos of Ava Gardner with the designer (who was also a friend), and I feel reassured that yes, us sailor-mouthed, earthy, padding-around-the-house-barefoot-laughing-too-loudly ladies can (nay, should) wear such finery.

The collection on display at the Royal Ontario Museum focuses specifically on the designer’s haute couture work between 1947 and 1957, an era notable for being a time of great social, cultural, and technological change. I love this era (particularly styles from the 1940s) for its incredible tailoring, elegant flourishes, and careful balance of (yet quietly happy rebellion against) perceived “feminine” and “masculine” notions: the broad shoulders, the nipped-in waistlines, the contoured bottoms, the boxy necklines, the S&M-esque buttons, and the fetishistic high necklines. There’s a mischievous quality at work in much of Dior’s work through this era, and it’s wonderful to stand and reflect on on it all against a backdrop of soft lighting, vintage photos, and billowing fabrics.

Dior ROM

Swatches of fabric at the ROM’s “Dior” exhibition. (Photo: Julia Bachelor. Please do not reproduce without permission.)

The show, presented by Canadian luxury retailer Holt Renfrew and curated by ROM Senior Curator Dr. Alexandra Palmer, features fashions from the museum’s own collection, with various items donated by Canadian society doyennes and their families. Although it is quite limited (more than a few “is that all?”s were overheard) and there remains, for me, curious gaps in contextualization, the exhibition makes up for these limitations by featuring a fascinating array of small delights which can be all too easily missed.

Dior_ROM

Jewelry at the ROM’s “Dior” exhibition. (Photo: Julia Bachelor. Please do not reproduce without permission.)

Carefully displayed along lengthy side cabinets, one can (should) marvel over the intricate embroideries, swatches of fabrics, ornate, if unapologetically statement-making jewelry, perfume bottles, old photos, and sleek footwear as one puts together mental ideas not solely between what is present within the room, but outside of it, in one’s own closet, in one’s own life. How would we wear these things? Where? And why? How would one smell? What would one drink? The collection invites meditation on possibilities within the realms of reality, fantasy, and the theatre of life. How measurable is one’s impact upon entering a room well-dressed? How does it make one feel? What’s the best way to put one’s foot initially forward? What about the second step? And the third? What would Mr. Dior say?

Dior ROM

A 19th century dress in “Dior.” (Photo: Julia Bachelor. Please do not reproduce without permission.)

I considered these questions as I looked again and again at the dresses, details, and the possible dramas contained therein. The smart, viewer-friendly displays reminded me very much of the rotating costume exhibits at the Metropolitan Opera in New York City as well as the ones at the Fashion Institute of Technology, each inspiring respective awe, admiration, wonder, and fascination. The drama of dress, of course, never ceases to amaze. We all play roles, onstage and off, each holding, inspiring, producing, reflecting, and releasing various levels of power and drama. How is it different as a woman now, versus a woman in 1947-1957?

I pondered this as I wandered the exhibition proper, and subsequently through the museum’s vast ancient collections, and into rooms devoted to various facets of Roman fashion. Some lovely pieces of gold jewelry were almost precise, early models of the Dior works I’d just admired. Dior’s connection to history is obvious; he based many of his designs on much older shapes, including corseting and lingerie, vital twin aspects whose absence was very much missed. Such shapes were both used, reflected, imitated, and recycled at various social events (including opera, of course) through the decades which followed.

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Dior at the ROM. (Photo: Julia Bachelor. Please do not reproduce without permission.)

Life imitates art, art imitates life, it is a constant cycle of giving, taking, inspiring, and expressing, a fact made clear to any fashion-lover, culture-vulture, opera-lover, and/or fascinated observer of humanity who may or may not know Dior, love Dior, or even be indifferent to Dior. You don’t need to know a lot about the particulars of style or tailoring to enjoy this sort of an exhibition; all it asks of visitors is to open themselves to the realm of elegant, meaningful, quietly powerful possibilities. Authority doesn’t shout; it doesn’t have to. Good design reminds of all this, and asks how we might manifest them with grace, goodness, and fortitude. I feel like we could use more of those qualities in our lives right now.

Opera ≠ Church

Simon Schnorr as Don Giovanni in Jacopo Spirei’s 2016 production
for Salzburger Landestheater. Photo: © Anna-Maria Löffelberger

People come to opera with many opinions and ideas. If they’ve never seen a production, or have only caught tidbits online or the television, have gone at the behest of a significant other for a special occasion, or, they’ve worked in the industry their entire lives in some capacity, everyone has an opinion: It’s the greatest art form there is. It’s stagnant. It sucks.

In speaking with director Jacopo Spirei recently, it seemed as if he was highly aware of all of these opinions, and moreover, had spent considerable time with groups who held a diversity of ideas around the art form. It’s this awareness, I suspect, that powers so much of his directing work; the Florence-based director has a powerful desire to reach through all the baggage a person carries (whether artist or audience member), to present something new and very immediate. Spirei, as I outlined in part 1 of our chat recently, spent the early part of his career working with British director Graham Vick, whose own stagings of operatic works have attracted their fair share of fans and critics. Vick is a figure who firmly believes in community involvement, and in reinforcing the art form as an intrinsic part of society.

Spirei has a similar approach. He has a number of acclaimed productions under his belt, including Rossini’s comic La cambiale di matrimonio (The Marriage Contract) for Theater an der Wien (Vienna) in 2012; another Rossini opera,  the beloved La Cenerentola (Cinderella), for Festival Internacional de Musica (Cartagena) in 2014. He’s also worked with the renowned Co-Opera Co., helming productions of Puccini’s Madama Butterfly and Mozart’s Le nozze di Figaro (The Marriage of Figaro) for the London-based organization. Spirei’s production of Mozart’s Cosi fan tutte won the audience prize for best production of the 2012/2013 season at the Salzburger Landestheatre, and he also helmed Gluck’s The Pilgrims of Mecca (La rencontre imprévue, ou Les pèlerins de la Mecque) there in 2013. Spirei’s resume is long and impressive, and extremely varied.

As he mentioned in part one of my interview with him, the busy director has been behind a few versions of Mozart’s Don Giovanni, including a popular, acclaimed version of the work staged at the Landestheater in 2011, and remounted in 2016. He’s set to direct Verdi’s Falstaff in Parma at the Festival Verdi in October.

With his recent San Francisco Opera debut,  Spirei was tasked with re-envisoning Gabriele Lavia’s 2011 production of Don Giovanni. The director and I spoke just on the cusp of the production’s opening (on now through June 30th); thoughts about the dastardly deeds of the Don, as well as the centrality of women in Mozart’s famous 1787 opera, led to a broader discussion on opera attracting new audiences, the vital role of education, and the particulars of opera fashion. To go casual or not to go casual? Read on.

You recently told Newsweek that in Italy, opera is more about “pretty pictures”; I was reminded of the ongoing debate between new and old productions. Some people love the contemporary take on works; others feel there should be a return to beauty.

Yeah the problem is, what is beauty? It’s such a wide concept. When something you put onstage doesn’t help the story or doesn’t tell us anything, it hasn’t got a thing to say, then it has no place on our stages — it’s very simple. In a way you have to tell the story that is in the piece, that is written down; that’s where you start from. Of course you do it through your own intellect and creativity, but you cannot start decorating it; it doesn’t need that. The art form is absolutely fine on its own. What it needs is to be alive. It needs absolute essence, which is the live performance.

The joint work the director does with the conductor and the singers is to lift the opera from the page, to take it away from what’s written and recreate it, reinvent it. There’s no such a thing as pretty show or an ugly show; there’s a good show or a bad show. That doesn’t mean in-period not-in-period; somehow it’s a fake problem. If the work is good and relevant and done with honesty, then it’ll get through. Some work is provocative, some not, sometimes it want to be thought-provoking and hit something; each (production) has its own definition of beauty and of art, which makes us grow and develop.

… and some productions aim to be purposely unpleasant.

If you think about Caravaggio and a lot of his stuff, they’re beautiful paintings with incredibly morbid subjects: people without teeth, rotting away; fruit disintegrating. There’s a reason it’s rough, with that very harsh lighting. Beauty is, first of all, a completely subjective thing — I like purple maybe you like red, you see what I mean — in those terms it’s one thing. There are different styles, there’s brutalism, there’s a more decorative style. What I said about Italy and opera is not the fact that beauty is wrong, it’s just, instead of it being the obsession it used to be for this country — I mean, even Pasolini his own own version of beauty! — the theater has stopped developing, and become just a showcase of pretty costumes and nice scenery.

You mean museum pieces?

Right. So then you don’t need to do new productions — (old ones) were beautiful and had a lot of money (put toward them), a fantastic costume designer, what more do you need in life?

Gillian Ramm, Laura Nicorescu & Tamara Gura in Cosi fan tutte from Spirei’s production for Salzburger Landestheater.
Photo: © Christina Canaval

The Met is grappling with this right now; the tension between those who enjoy what is called traditional stagings, and the group who say that’s boring and doesn’t move opera forwards.

First of all I think theater should be a leader, not a follower. The theater should lead an audience, teach an audience, make an audience grow, otherwise you end up with what TV has become, which is an endless number of reality shows, with no imagination, no creativity. In that sense the theater has to lead, in a way that works at every level; you have to show your audience a path and take them down that path. That’s one element of it, of course; the other element is the constant discussion about tradition. I find that very entertaining!

When we refer to “tradition” we’re basically referring to operas in the 1950s and 1960s. It’s a really narrow frame of time for almost 500 years of opera history. If you go and look at the operas written and performed in the 1920s and 1930s, the sets were different; if you look at some of the sets from the early music festivals, they did the most abstract, extreme productions that today would get completely trashed. We’re only referring to the system in the 1950s and 1960s, and little bit of the 1970s; what does it mean? Composers like Verdi cared so deeply about a piece, he would do anything to bring it to life. This debate on tradition, it means nothing!

What it is, is, it’s comfortable — and comfort is laziness. The comfort of it, it’s everything. Nowadays we live in a political world that is only looking backwards, thinking back at the supposed good old times, because we think we know what good old times were — but we never had good old times. Like, “oh remember the 1980s!”

Ines Reinhardt and Sergey Romanovsky in Spirei’s 2013 production of Gluck’s The Pilgrims of Mecca for Salzburger Landestheater.
Photo: © Christina Canaval

People romanticizing the past…

Yes! So we have to move forward; we have no choice. As human beings, there’s no going back.

Where does art and accessibility to newcomers, fit in? A lot of people have said to me that they find opera intimidating, they don’t know where to start, they think they won’t understand.

You’re absolutely right when you say “intimidated” — we just need to take the aura off it. It’s not a church, it doesn’t matter what you wear so long as you come and watch it. The San Francisco Opera is doing this thing where they’re showing the opera at the baseball stadium. It’s fantastic! I’ve been taking Uber cars around, the drivers all ask me where you from what you do, and when I tell them, they say, “Oh how cool, I’m curious!” And I say, listen if you want to see it, go to the baseball stadium, on thirtieth of June, you can see it, and they all say, this is great, cool!

The opening of the 2013-2014 Met Opera season; Eugene Onegin (with Anna Netrebko), broadcast live in Times Square.
Photo: mine. Please do not reproduce without permission.

It’s like the Met broadcasting its opening night in Times Square — I’ve gone to that more than once, and it’s fun. People bring thermoses and sandwiches. 

Wonderful! Really, there’s nothing wrong with the art form, it’s fine, it just needs to be taken to the people. Of course, if the people don’t come to the theater, the theater has to go to the people, and find a way to go to the people, maybe not via the big institutions — you need the big institutions to keep the art form alive — but you also need the new world of young companies to bring the artform to the people and even take the people into the theater, or not, at least then it’s an educated choice. People can then reasonably say, “I’ve seen it and I don’t like it” or “Wow, that’s great!”

At least plant the idea…

Yes.

My attitude is, if you do want to come with me to the opera house, please make an effort to look smart; I like doing something special, and it’s nice to see people having the desire to do that. That doesn’t mean opera is snotty or elitist —dressing up doesn’t mean those things. I feel like we have to demystify the opera house as an overall experience, and that extends to fashion.

Absolutely. If a person says, “I’m not wearing a suit but I’m still going,” in a way, from my point of view, that’s the priority (getting them in). It’s like going out on a Saturday night: you dress up, but it shouldn’t feel like, “OH MY GOD I HAVE TO PUT ON MY BEST TUX!”

Simon Schnorr und Sergey Romanovskys in Spirei’s 2013 production of Cosi fan tutti for Salzburger Landestheatre. Photo: Photo: © Christina Canaval

But seeing jeans and sneakers sometimes frustrates me; I feel like we’ve coddled everybody, especially in North America, to constantly feel the need for comfort, throughout every single experience. It seems as you say, lazy. You can look smart casual, but that’s not the same thing.

Ah, sneakers and jeans, you see them everywhere. You can spend more on jeans than an actual tuxedo, D&G and Cavalli make some very fancy jeans! Times change, and all that develops, it’s absolutely fine, and again, one can like it or not like it. You have all the right to say, “If you come with me, look decent” — I don’t have a problem. What I think is crucial is to bring opera to the people, as well as people to the opera.

Nowadays, unless you live in Germany or Austria or a few other countries, you don’t grow up with music, it’s not taught in schools, the opera house is not a place where you go. I worked a lot in Germany and Austria, and it’s completely part of the culture. You take your kids to it, they grow up watching music and go to the opera and they are completely unfazed by it. They are not shocked, they have a relationship to culture; they know what they’re talking about when they discuss it.

It’s woven into the fabric of society there.

Yes, moreso than in Italy. I’ve worked so little in Italy; life has brought me outside. There’s a lot one has to say “no” to; it also has to do with the funding, (Italian companies) can’t really plan ahead because they don’t know if they will have money next year or how much money they might have. Italy has been cutting things regularly, every year, sometimes mid-season. So theaters are trying. It’s harder for sure — but Italy has also mismanaged money for a really long time.

And now it’s catching up with them?

Of course.

Hannah Bradbury, Raimundas Juzuits, Florian Plock, Kristofer Lundin und Lavinia Bini in Spirei’s 2016 production of Don Giovanni for Salzburger Landestheater. Photo: © Anna-Maria Löffelberger

It’s always the arts that gets cut first…

Always, and it’s the biggest mistake a society can make.

Education and arts are essential; theater is essential; if you study it, if you go, if you do it, you learn to be in somebody else’s clothes, somebody else’s problems, you start to empathize with those problems and become more tolerant and less judgemental, you are a better person. And being an audience in a theater makes you a better person also. It teaches you to be in a room packed with other people, and to really listen to something, not interfering with it or with others, but sharing an experience.

Looking Good

Photo by Alexandar Antonijevic

Seeing The Nutcracker in Toronto is a special treat. Not only is there the wonder of James Kudelka’s sweeping choreography, Santo Loquasto’s beautiful, ornate design, and Tchaikovsky’s gorgeous, evocative score, the National Ballet of Canada’s yearly holiday production is also an opportunity to see people in formal attire.

“It’s really nice to see people dressed up,” noted my companion, “you don’t see it very often these days.”

There’s nothing wrong with being comfortable, of course, but lately it strikes me as if the dressing-down trend that defines so much of our attire indicates a certain… lackadaisical attitude socially, one reflected in a lack of effort extended  into relationships, education, basic curiosity: “Why should I initiate anything? Why do I need to bother with that person/idea/group? Why should I put myself in such a weird place? Why not just stay… comfortable?” The basic instinct toward comfort is understandable, in so far as the responsibilities of kids/jobs/mortgages/relationships/etc. can be difficult to balance at any given time, exhausting to maintain, and devastating upon crash. But the familiarity of comfort breeds the dangerous laziness of inertia, which so often leads to intransigence. A night out at the theatre can (and does) help combat this, in that its entails the effort of moving into a space many aren’t used to — but before you roll eyes, keep in mind it’s an effort that should be enjoyable, an effort reflecting grace, gratitude, gentility, and class, things sorely missing in the world.

This isn’t to say one needs become a full-time dandy like the ones photographer Rose Callahan documents so brilliantly in her work (impressive they may be), but simply to decry the lack of interest in formalism — in dressing up, and all it entails — in wider North American society. Attending the formal opening of The Nutcracker, and seeing mothers, fathers, grandparents, and children in formal attire was (as it is every year) a true treat, because it showed not only actual real effort on the part of patrons, it reflected a nice nod toward ritual, tradition, and yes, class. Dressing up isn’t so much about wiping one’s individuality out as it is underlining it in the most elegant/unique/fun possible way, and maybe even opening up your thinking in the most elegant/unique/fun possible way, too.

Photo by Bruce Zinger

Dressing up is, of course, one’s own form of theatre, aiding and enhancing both the occasion and one’s enjoyment of it. Attired in suit-and-tie/dress/etc, one plays a part, perhaps even a better or truer version of one’s self, as Oscar Wilde might argue. The Irish writer wisely noted the relationship between appearancemasks, and human character, and it’s one I tend to keep in mind, particularly at openings, though the experience begins percolating far before the curtain rises. The very process of getting ready to go out is, for me, a kind of meditation, and its own form of theatre, I suppose. I recall an interview with the performance artist Leigh Bowery some years back, where he confessed that he and his friends would sometimes do themselves up, and not go out; the act in and of itself was satisfying, its own kind of theatre. Likewise, re-defining what formal for yourself, as so many tend to do this time of year with things like festive suits and inspired costumes, is equally exciting (and fun!), demonstrating a wonderful curiosity and joie de vivre. There’s not enough of either, and it’s encouraging to see those instincts being expressed in fashion choices, especially at this time of year.

For many years, my dear mother used to decry the lack of dressy attire at various events we’d attend, namely the opera. This isn’t to say she didn’t enjoy Toronto-based company Against the Grain’s casual productions — she did, immensely (though she did smart casual when attending them, a tradition I tend to continue). AtG have done an amazingly smart job of mixing high art and casual approachability, and made opera a whole lot less scary for those completely new to its unique joys. But going to see opera in a fun pub is different than seeing it in a large house; the latter needn’t be scary, strange, and (horrors) uncomfortable; likewise with ballet. Going to The Nutcracker doesn’t require detailed knowledge of ETA Hoffman’s 1816 original work, or an in-depth interest in Tchaikovsky’s music, or even familiarity with the classic Baryshnikov performance.

Along with being a callback to her younger days, when zipping up a fancy dress and putting hair up and earrings on meant more than simply “getting dressed,” formal attire was for my mother (as it is for me) a way of giving back to the event artists: the musicians, performers, directors, and the designers. One look at the details of Santo Loquasto’s exquisite costumes and sets, for instance, and one is awed by the care, attention, and artistry required for such work. That giant golden egg! Those delicate flower-petalled skirts! The giant, waving arms of the festooned Christmas tree! The buttons! The tassels! Those crazy chickens! Then there’s the performers: Skylar Campbell‘s Peter is vibrantly youthful and spritely; Jillian Vanstone‘s Sugar Plum Fairy blends sharp technique and warm joy; Robert Stephen’s Uncle Nikolai is vibrant, passionate… dare I say sexy? (Surely, it is not a bad thing.) There’s the panoply of fantastical elements, too: the roller-skating bears, the dancing horse, the cancan-ing rats. Dressing up is more than a hat-tip; it’s a graceful bow to the mountain of creativity on the stage of the Four Seasons Centre. See if it you can. Dress up. You’ll love it.

“Money Creates Taste”

On any given day, I’ll plug a series of favorite tags into Tumblr to see what come up. I’m curious to see if there’s anything new, inspiring, or interesting about my favorite topics or people. Something that catches my eye might get a “like” or even a reblog. Tumblr has a pleasing immediacy of visual experience that’s utterly lacking in strict classification (unlike Pinterest), which makes it somehow more visceral and pleasingly jolting than other platforms (if also occasionally challenge to post to – you’re never sure just what’ll blow up, or why). Tonight I plugged in the name of a longtime favorite artist, just to see what came up. I wasn’t prepared for the result.

Jenny Holzer, it appears, has gone high-fashion. Her truisms are appearing in Vogue Italia alongside model/singer/actor Milla Jovovich, carefully posed and poised in a variety of high-end settings. Is this to coincide with the release of Resident Evil: Retribution? Is it making a political point? Is it trying to bridge the worlds of high fashion and art (not that they need help)? My initial reaction was deeply unsettled; I felt dismayed Holzer would sell her talent out to an industry that is so reliant on the ephemeral, the superficial, the temporal and the boringly inauthentic. Her art has always struck me as the precise opposite of those qualities; real, deep, fierce, and deeply, sarcastically challenging of the expected norm, it also possesses a deeply feminist quality that separates it from many other contemporary artworks. Holzer’s work is ferociously female and isn’t afraid to express that through her art, while retaining her sense of being a human being -and human creator- first and foremost. (For an interesting corollary -and contrast – check the work of Cindy Sherman, who recently collaborated with M.A.C.) And there’s something awfully disconcerting about seeing Holzer’s snippy, snide truisms stuck beside super-pricey, high-end frocks most people will never wear, much less be able to afford. What the hell is someone as smart as Holzer doing in the flaky, flimsy, aesthetically-obsessed, surface-worshipping world of high fashion? And why would it be with someone who’s known for being very pretty, but doing very little, outside of (wildly successful, if deeply lowbrow) zombie movies (and games), oodles of posing, a very mediocre album (yes, some of us bought it), and a mysterious Oscar appearance? Why Jenny, why? I’m sure my snobbery is showing at this point, but… c’est la vie.

In re-examining these images now, an hour or so later, I find myself intrigued, challenged, confused -and rather enjoying that mix of feelings. (Also, Peter Lindbergh’s photography work is truly gorgeous.) I recently told a friend, after she’d viewed the work of Egon Schiele in-person and found it “upsetting,” that art shouldn’t be about making one comfortable, that art isn’t about reassurance, or validating our world view; it’s frequently about riling up feelings of discomfort and challenging our smug, too-cozy preconceptions. I wrote this to her last week, and now I’m being confronted with that very experience. Karma, irony, just-desserts, call it what you will… but I’m glad I plugged Holzer’s name into Tumblr tonight. Maybe it’s about creating a strong contrast – between all that high-end frockery and the raw realness of Holzer’s art. Maybe it’s about confronting women like me with our pre-conceived ideas relating to art, fashion, self-image, and empowerment. Maybe, amidst the shallow parade of lights and finery, there’s some fierce depth going on.

Lesson? Not all art will conform to my definitions and world view -to my experience of being a woman, of being a writer, a culture vulture, a human being -and perhaps some of it -especially the work of favorite artists -shouldn’t.

Thanks for the confusion, Jenny. Thinking too much can only cause problems.

(Note: Title of this blog post is also a Holzer trusim!)

 

 

Sashay, Art, Eh

One of the many things I learned reading Patti Smith’s beautiful memoir Just Kids was that she loved Vogue Magazine as a child. Patti, the (I had supposed) anti-fashion poet? Trying to categorize her is impossible, and, I realize (as with many of the women I admire), that’s just how she likes it. Appearing on the cover of her first album in a man’s shirt (which she got, natch, from the Sally Anne) and rocking a strong, sexy, androgynous look ever since, Smith is one of those figures who stops me in my tracks on many levels, including how I think about fashion.

I had a conversation with a journalist-friend recently about the connections between culture and fashion, how one feeds into and is frequently informed by the other, but how frustrating it is that followers of each so rarely cross into other worlds. Save for the Gaga/Madonna/McQueen/Bjork/Warhol / Jacobs / Murakami types who a/ are super-rich b/ super well-known, and b/ don’t seem to care about categorization (in a more flamboyant if no less effective way than Patti), each world lives in a separate, distinct fifedom of fabulous, heady, arty, blissful ignorance. And that doesn’t seem right. Creative = Creative. And opportunities need to be created to foster that sense of the grandly creative and visionary -in any medium – and to properly to nurture and promote it. Enter Ukamaku.

My visit to the head office of the Canadian online fashion site inspired on various levels; partly because it was exciting to meet the people sewing/making the items -I consider them artists in their own right -and partly because, the way the items were displayed, it was, to my eyes, a mini-gallery of ideas and influences, the way any good exhibition is. And Ukamaku’s office itself is gallery-like: housed in a sprawling linked series of buildings featuring loft-like spaces with plenty of natural light, white-washed walls, and high ceilings and wood floors, it provided the perfect backdrop to the creations of people like Heidi Ackerman, Andy Hall, Paris Li, Breeyn McCarney, and David C. Wigley, among others.

I had the opportunity to exchange ideas around fashion and the founding of Ukamaku with a few of its principal players recently. It struck me, reading over their thoughts, that these ideas could just as well be applied to the art world -be it performance, visual arts, music -as to fashion. Let’s stop the lines and categories, says me. I think after reading this you might agree too.

Why did you start Ukamaku?

Chris Tham, Communications Director:

Ukamaku stemmed from our interest in creating an affordable eco-friendly brand. After looking at the costs involved with designing, manufacturing and marketing a fashion label, we decided that our talents and specialities aren’t enough to cover the different aspects involved. Talking to other designers gave us the same impression. We finally realized that instead of designing and manufacturing, we could help designers with their sales, and marketing their labels with a focus on e-commerce.

George Ng, Operation Director, also Founder/Owner:

We (George and Chris) started Ukamaku after seeing a need within the fashion industry. We realized that although designers are good at fashion design, some require additional help with marketing – e-commerce in particular, due to the cost and training involved. Based on our individual interests in fashion and in e-commerce, we decided to start Ukamaku.

Who do you think it’s for?

George Ng:

We created Ukamaku with two different groups of people in mind. First, Ukamaku targets customers who like purchasing high quality goods at a price that reflects the quality. These customers are people who want unique items that aren’t mass produced (i.e. custom made clothing or jewelery). Customers who want to support Canadian designers are also part of this group.

We also created Ukamaku for independent Canadian designers. Canadian designers wanting to sell their items beyond their physical market boundaries. They want worldwide marketing for their items. Ukamaku gives them the opportunity to enter a new market at a faster pace and an affordable cost. Designers no longer need to spend time creating their own websites, online marketing and shipping. Ukamaku covers all of these for them.

How do you choose designs / designers to feature? How much is it about being ‘trendy’ vs being simply unique & well-made?

Marcus Kan, Fashion Director:

We first look at their quality and designs when choosing designers to showcase on our site. We try keeping a balance between trendy and simple fashion pieces to fulfill our customer’s needs. Many of our designers do not mass produce their products, allowing our customers to purchase unique fashion pieces with high quality materials. A designer with a good reputation in the industry is desired by Ukamaku. However, we believe that new emerging designers are equally as important. We will working alongside the new designers to help improve their reputation within the industry.

The term “locavore” is being thrown around a lot in Toronto food circles -how much do you think it can (or should) apply to fashion as well?

Marcus Kan:

There are many hidden gems in the Canadian fashion industry. However, these designers do not seem to be able to gain their deserved exposure. We firmly believe that Canadians should play a role in supporting these designers. With each person pushing these designers a little bit forward, the Canadian fashion industry can be well known to the public, with some designers becoming household names. In turn, the exposure of Canadian designers would allow Canadians greater options to purchase Canadian designs.

How much do you see
ethical sourcing and production becoming the norm in Canadian fashion and overall in the fashion world?

Chris Tham:

There is a belief with the general public that Canada is environmentally friendly and an equal opportunity country. Many of our designers use environmentally friendly materials to produce their collections. We think they represent Canadian fashion very well. Being a Canadian company, we’ll continue supporting the designers in using eco-friendly materials for their collections. Hopefully one day, when people think Canadian fashion, they’ll think of trendy eco-friendly clothing.

Where do you see Ukamaku in five years’ time?

George Ng:

Similar to the meaning of Ukamaku – “That’s It!” -we’d like to see Ukamaku as the main source of Canadian fashion. We want customers to find Canadian fashion items on our site, and designers finding their customers through us. We’d love to run more fashion related events, not only in Canada, but outside of Canada to showcase the many talented designers we have in Canada.

To The Left

Trying to balance fashion design and ethical sourcing and production can be a right headche for many designers. Cleverly integrating past designs and looks with modern ideas can be just as hard. I thought about these issues as I took a wander through Canadian company Ukamaku‘s loft-style offices recently. Located in an up-and-coming, just-gritty-enough-to-be-hip section of west-end Toronto dominated by renovated factories, Ukamaku has a mission to promote young Canadian designers in new and innovative ways. A big “way” would be online, where you can go and buy all the items featured, read the designer blogs, and see just how much Ukamaku is trying to push the envelope in Canadian fashion with their offerings.

When I visited, it struck me just how many of the designers under the Ukamaku umbrella were interested in two things: one, trying to find that fashionable/ethical balance, and two, fusing the past with the present. This concern was made most obvious in my conversation with Heidi Ackerman. The bespecled young Canadian designer, who sports a huge set of green-black wings tattooed on her upper chest, has a sexy, cosy mix of styles but a consistent high-quality frame of cuts, colours, textures, and shapes. Her patterned cowl-neck dress proudly proclaims on its label that half its materials are bamboo, with the remainder of the dress’s fabrics being ethically-sourced soy. This label, running across the top of the garment, proudly adorns her other work as well. There was a real pride when Ackerman told me that, for the most part, she’s able to balance her design ethos with her ethical concerns, but she quickly added that design always comes first, and always will. Her work is reminiscent of the women’s pieces Sharon Wauchob designed for Edun this past fall, especially the modern, angular knits and Japanese touches. Ackerman captures something elegant, feminine, and experimental, all while balancing wearability and sustainability. Nicely done.

Worth By David C. Wigley also displayed an incredible flair for the fusion between forward-thinking and classic design. Like Ackerman, Wigley expressed a furrowed-brow over trying to balance sourcing and production with quality -and price point. Wigley’s work was among the most modern and stylish men’s design I’ve seen in a while in North America; eschewing the conservative dark palette most men’s designers favour, Wigley opted for an eye-popping furnace-red, sharply-cut suit. Like a lot of the Worth collection, it fuses punk-rock and dandy with more than a touch of hip-hop. This ethos extends into casual wear. My initial reaction to a Wigley-designed gold-studded hoodie jumper was, “I can see Jay-Z in this!” The response, met with a chuckle, was, “Everyone likes this one!” -and I can see why. Wigley is super-good at combining classic qualities -good tailoring, square shoulders, sharp lines -with modern sensibilities -bright colours, unique fabrics, details like studding and dyeing -and doing it in a high-quality way that is both cost-effective and entirely unique.

This talent for integration isn’t specific to menswear, either; he also for gals. Wigley’s angular, sexy, fitted crop dress has square, kimono-like sleeves that slit open from underneath, and sphere-like white embroidery that provides a nice contrast to the heavy charcoal color. Like other designers Ukamaku features, Wigley has a few tie-dyed pieces in his collection, notably a drapey hand-dyed silk dress that wouldn’t be out of place at an event like Open Roof Films next summer.

What accounts for the return of the 60s technique? “Designers like the organic quality,” Wigley told me, before adding, “you can’t control it.” It was interesting just how much this sentiment was echoed by other designers, and indeed, Marcus Kan, Ukamaku’s Fashion Director. “Retro theme is a major trend in the fashion world right now,” he said via email. “No one can forget the tie-dye trend back in the 80s. (It) gives off a fun, bright, care-free and funky feeling to the clothes, perfect for a Spring/Summer collection. If people are into technology more, laser print pieces is a great option. The feeling is similar to tie-dye pieces, but the laser prints are more precise and futuristic.”

Precision is one thing, spotaneity quite another. As Wigley noted, you can’t quite control what tie-dye on fabric will do, and that’s part of the joy for him as a designer. The sense of “happy accident” with the dyeing technique mirrors the sort of spontaneous, quasi-accidental artistic accidents that happen at something like Art Battle. Painters and some designers have this much in common: they’re willing to embrace the unknown if it makes the end result more interesting. They’re also willing to embrace the fantastical. While at the Ukamaku head offices, Wigley excitedly showed me another of his popular ladies’ pieces, a snappy fitted red coat that had a distinct Little Red Riding Hood vibe; the “hood” part was clevlerly. stylishly replaced by a massive sprawling grand collar that flattered the wide arms and fitted waist of the very-warm looking piece. It was like Kate Hepburn meets Sioxsie Sioux. Beguiling, sexy, adventurous.

This sense of creative exploration and spirited adventurousness most clearly seen in the work of Breeyn McCarney, whose 1950s-meets-punk-rock looks definitely makes her a stand out in the super-traditional world of fancy women’s wear. A myriad of cultural touchstones and figures, new and old, came to mind in looking at her stuff: Elvis Presley movies, Mad Men, Grease (the movie version), Johnny Suede, 1980s Madonna, 1990s Courtney Love, Tim Burton in Wonderland. A bright yellow party dress, a sheer, corseted, party-like black dress, another sheer lace number with big gold hearts… it was all very new and yet very vintage, all at once. McCarney has a distinct voice that defies easy categorization, which, I realized, is probably the way she wants it. Who wants to be stuffed into a box, in life, fashion, art, or otherwise?

In conversation, McCarney confessed her love of theatre, calling the dresses “costumes” and talking about the various elements of theatre she integrates into her work. Dressed in worn-looking leather boots, black leggings, and a ruffled, short-sleeved chemise with a spectacularly ruffled back, the petite designer gave off a vibe of punk, rockabilly, and pirate. In response to a question about inspiration, she, rather casually, responded with a bon mot I consider to be the good and proper mantra of artists of any discipline, at any given time:”Every day I wake up and wonder, ‘Who am I going to be today?’” (I would add, “Does this still fit me?”) McCarney’s adventurous, cute-sexy designs are clearly aimed for the downtown party-girl crowd who wants to make a statement with the confidence of modernity and the cool elegance of vintage. She’d have to be a theatrical gal for sure to pull off the numbers McCarney designs. I leaned towards a sheer, short, simply-cut polka-dot dress with a contrasting black polka-dot cloth belt; flattering, feminine, flowy… just plain pretty, the piece proves McCarney is a designer of many moods, visions, and talents. She, along with Ackerman and Wigley, will be ones to watch as the Canadian fashion designer scene expands further. It’s encouraging Ukamaku wants to be part of that road.

Later this week I’ll be posting a Q&A with a few of the people behind Ukamaku -why they started it, what it means. I think you’ll find it illuminating in terms of the cultural conversation around the role -and worth -of fashion in the 21st century.

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