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The second part of the blocked hat multiples series is coming soon, but first, on to the next installment of my interview series, with Hallie Dufresne, who runs the crafts department of the Los Angeles Opera.
I worked for Hallie when I lived in LA (back in 2005-06), when i had the good fortune to be hired as a member of her crafts team for a several-opera stint which included a spectacular new design of Der Rosenkavalier by the artist Gottfried Helnwein. Opera gives you the opportunity to do some incredible craftwork, often on a fabulous scale so it will register in the large proscenium spaces in which opera plays, on performers moving around on usually quite epic-scale sets. Opera companies also often spare little expense when producing new work, not only because the expectation of quality is high from their patronage, but because it's a smart investment in the continuation of opera itself--because of the more limited "canon, many costume-building opera companies can loan a production's costumes as a package to other opera houses who subsequently present the work. The clothes and crafts need to be made to stand up to years and years of performances.
I feel so fortunate that I had the opportunity to work on Hallie's team. The LA Opera shop is a wonderful facility and the crafts we did while I was there were incredible. We have stayed in touch and I'm pleased she agreed to be interviewed for this series in the blog!
Here is our interview: ( Read more... )
I worked for Hallie when I lived in LA (back in 2005-06), when i had the good fortune to be hired as a member of her crafts team for a several-opera stint which included a spectacular new design of Der Rosenkavalier by the artist Gottfried Helnwein. Opera gives you the opportunity to do some incredible craftwork, often on a fabulous scale so it will register in the large proscenium spaces in which opera plays, on performers moving around on usually quite epic-scale sets. Opera companies also often spare little expense when producing new work, not only because the expectation of quality is high from their patronage, but because it's a smart investment in the continuation of opera itself--because of the more limited "canon, many costume-building opera companies can loan a production's costumes as a package to other opera houses who subsequently present the work. The clothes and crafts need to be made to stand up to years and years of performances.
I feel so fortunate that I had the opportunity to work on Hallie's team. The LA Opera shop is a wonderful facility and the crafts we did while I was there were incredible. We have stayed in touch and I'm pleased she agreed to be interviewed for this series in the blog!
Here is our interview: ( Read more... )
