In contrast to most of the other costumes in this opera, the Count’s costume must emphasize his nobility. Class divides should be meticulously made through design. Modern-day productions find new ways to convey this power dynamic. Costume designer Jenny Tiramini from Opera Australia explains that when designing the costumes, “the outdoor servants are wearing linen and wool, the most favoured servants wear silk, finer linens and wool, and the Count and Countess wear fine linens and fine wool, silks, lace and lots of silver and gold metal threads.”
15.10.1870 | Wien Staatsoper
Franz Xaver Gaul
In the image above, this is definitely illustrated. The Count is bedazzled in numerous silks and laces, depicting his power, wealth, and authority. While the point of this power dynamic is to make a political statement against the matriarchy, it is one of the more exquisite and exciting pieces that a costume designer makes. Another interesting point that Tiramini makes regards the coloring of costumes, “The aristocrats wear rich black, red and golden yellow — expensive dyes. The Count wears exquisite lace — lace that would have cost as much as a house.” This is more of a historically accurate approach to costume design, rather than creative or practical.
Images from Guy Little Theatrical Photograph
Photograph
1874 (photographed)
Photograph of Henry Neville as Count Almaviva in The Marriage of Figaro at the Olympic Theatre.
Modern-day production design
“What other period would be as sexy yet still work with this archaic law?” is the question that led Rob Howell to choose a 1930’s theme for The Metropolitan Opera’s 2014 production. As author Ellen Lampert-Gréaux writes in her review on livedesign.com, the design of this production “evokes upscale pre-WWII Europe as well as Hollywood”. The divide between the upper and lower classes is very apparent in this production, and in some ways, this early 20th-century theme is more historically accurate than most productions. The glamorous costumes and set are targeted at an American audience that views this era as something similar to how Vienna audiences would have viewed Spanish-influenced design.