![]() ![]() Sarastro has a coat made out of a neoprene fabric that could be mistaken for Alexander Wang. Her Queen of the Night will wear a twenties Madeleine Vionnet–inspired beaded gown that “feels like a dress you could wear to a gala.” Pamina wears a sweater skirt from Brooks Brothers Black Fleece. ![]() For her own take, she looked at a range of influences: everything from technical gear to hunter camouflage to traditional Native American garb to neoclassical dresses. ![]() Voyce plans to see the Chagall show, but has been too slammed to make it yet (“honestly, the legacy and history of this piece is incredibly daunting!” she admits). “Even in their most extreme, the costumes are definitely clothing.” “We were interested in exploring contemporary people trying to find balance and wholeness in life, finding oneself in nature,” I am told by the production’s costume designer Kaye Voyce, most recently responsible for outfitting Ewan McGregor and Maggie Gyllenhaal in last winter’s Broadway revival of **Tom Stoppard’**s The Real Thing. For an even more modern take on Mozart’s 1791 opera, museum visitors can head over to the local Glimmerglass Festival, where a new, completely contemporary production of The Magic Flute, directed by Madeline Sayet, goes up on Friday, and runs through August 23. ![]()
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