Brb dahlings...off to the Opera!
A proud moment of 2019 as I take my bow at the Royal Albert Hall
“Benvenuto Cellini in top 10 concerts of the year”
Benvenuto Cellini, costumed by Sarah Denise Cordery wins spot in the Guardian’s top 10 concerts of the year.
The Guardian has selected The Monteverdi’s performance of Berlioz’s Benvenuto Cellini at the BBC Proms as one of their top 10 classical music events of 2019. The performance from the Monteverdi Choir and Orchestre Révolutionnaire et Romantique was the culmination of five consecutive performances of Berlioz’s music at the Proms from the MCO and was met with a resounding response from both public and press.
I spoke with the Head of Marketing for the Monteverdi, Conor O’Dwyer in an exclusive interview for the supporters of the Monteverdi newsletter.
Read how I got on below…
“ I’ve always had quite a vivid imagination”
Now rehearsals are underway, what are your main roles/responsibilities in preparing for the tour?
The first contact I have with the Choir and Soloists is at Fittings, which are conducted around the first rehearsals. This is always a fantastic time as it gives me the chance to meet the performers who bring my designs to life; learning more about them and hearing their feedback.
The costume department is kept busy with any alterations, organisation for touring, and the finishing of props and accessories such as the 31 feathered headdresses I’ve been hand sewing for the female choir.
This is usually the first time I am able to see all the costumes in one room, so the most integral part of my role now is to ensure that the costumes gel together, setting the scene to truly immerse the performers and audience into the exuberant, zany world of Cellini!
From where do you draw inspiration when designing costumes?
I’ve always had quite a vivid imagination, and the ability to find inspiration everywhere; anything from the shadows made by a cathedral tower to the colour of an onion that I’m frying for dinner!
However, for Benvenuto Cellini I began by looking into the very first Costume designs for Berlioz’s Benvenuto Cellini, in order to better grasp the original vision and intention for his characters. I then learnt more about Cellini, an exuberant, and dangerous man; a murderer, pardoned through his influence with cardinals of Rome, and know to dine with a pistol either side of his plate.
Art works of both Cellini and Andrea Del Sarto form a rich and zany palette, derived from natural pigments and dyes available at the time, such as Lapiz Lazuli, Saffron and Cardamom. Renaissance inspired catwalk trends then moulded the concepts for more modern shapes, complimenting the energy and attitude that Sir John Elliot promotes with contemporary use of staging and movement.
After conversations with Sir John Elliot and a reading of the final Score, I began narrowing down fabric choices and looking into references for individual costumes, for example, Grace Kelly’s iconic dress in ‘To Catch a Thief “1955 served to inspire the sexy draped design for Teresa’s carnival dress.
I was even inspired by festival-goers at various music festivals this summer, by the handmade leather belt bags many were wearing- similar to those used for the metalworkers of the choir.
How do you keep a production consistent while also making characters easily recognizable and individual?
For Benvenuto Cellini, the rich colour palette was the driver for this consistency and echoes the energy of the carnival, while the individuality is achieved through shape and cut of clothing, for example, Baldacci’s grand Robe signifying his pomp and ego, while Teresa’s daring split dress, suggestive of her desire to rebel.
The hierarchy of character is key, especially for a production such as this, where no set is utilised to aid the storytelling. This is portrayed through simplicity of dress of the metalworkers to the embellishment of the popes Cope.
How much collaboration is involved?
Before I even put pencil to paper, I will have already discussed practicalities such as budget, setting and performers physicality’s with the production team. Initial concepts are then presented to the Director, and soloists may be contacted if I am in need of specific details, such as the level of structured boning that a female lead is happy with for a corseted dress. After finalising designs with the Director, I will talk through fabrics and finishes with the maker, in this case the talented Anna Dixon. During rehearsals I am in continual conversation with the Stage Director if any props or alterations are needed.
I find there is always something to be learnt from those around you - For this production I’ve enjoyed working with the Performance Artist and Actor, Duncan Meadows, who has shared his expertise of stage make up techniques from his experience as a Human Statue, in Convent Garden!
What are the challenges in designing costumes for a production such as Benvenuto Cellini?
This production has been very fun to design, and relatively small in comparison to other productions, such as dressing a ballet troupe. The two month timeline from Brief to Opening Night required good levels of organisation, but luckily, having worked for over a decade in the fashion industry, I enjoy a fast pace, and have loved seeing everything coming together with thanks also to the brilliant team at Monteverdi.
Thanks again to The Monteverdi for this wonderful opportunity.
Laters, Lovers
Sarah Denise xx