Die Meistersinger von Nürnberg
Costume Design
Melbourne Opera at The Royal Exhibition Building, 2025
Conductor: Anthony Negus
Director: Suzanne Chaundy
Set designer: Andrew Bailey
Lighting Designer: Philip Lethlean
Movement Coordinator: Lisa Petty
Cast: Warwick Fyfe, Christopher Hillier, James Egglestone, Lee Abrahmsen, Deborah Humble, Robert MacFarlane, Steven Gallop, Michael Lampard, Henry Choo, Michael Honeyman, Bradley Daley, Darcy Caroll, Peter Tregear, Asher Reichman, Christopher Busietta, Alex Pokryshevsky, Henry Shaw, Amanda Windred, Breanna Stuart, Lily Ward, Leah Phillips, Josh Erdelyi-Gotz, James Penn, Timothy Daly, Hartley Trusler, Daniel Felton and Finn Gilheany and the Melbourne Opera Chorus directed by Raymond Lawrence
Photo Credit: Robin Halls and Alexandrena Parker
“Costumes, by Karine Larché, complement the same gently muted palette of the sets, often adding cheeky flourishes of humour to proceedings. Festival costumes are suitably grand, finished appealingly with colourful floral headwear.[…] While the idea of men competing to win a woman’s hand is hopelessly outdated, Lee Abrahmsen is certainly presented by designer Larché as an appealing “prize,” all golden curls and pale pink gown. “
Simon Paris, www.simonparismaninchair.com
Reviews
‘The costumes, by Karine Larche, deserve a special mention. Each character’s place in society was suggested, but so too were their personal aspirations. “
Clinton Dean, www.whatsmyscene.com
“Everyone is dressed in German Renaissance middle-class style, which Karine Larché interprets with a light palette throughout and abundance of floral headdresses for Act III. Her designs underline this production’s sincere, uncomplicated approach.”
Patricia Maunder, Limelight Arts
“Identities, particularly those of the Meistersingers and their respective trades, were quietly emphasised by their costumes (quirkily respectful, designed by Karine Larché). […] Hillier’s Beckmesser, in a Prince Valiant wig, sharply etched beard, and chequered bike shorts, looked the part even before he opened his mouth.”
Michael Schmith, ABR Arts
“ Suzanne Chaundy makes a point of focusing on the human side of this story and distances the production from the nationalistic aspects of the text. This approach allows the more light-hearted nature of the story to be brought to the forefront. The costume design (Karine Larché) is playfully evocative of the era and uses a large palette of rich colours to create a bright environment. The costuming is detailed and intricate and immediately evokes the psychological disposition of the different characters and their place in their community. This grounds the often-antiquated action and attitudes well within their historical context and becomes part of the humour of the way the story unfolds.”
Patricia Di Risio, www.stagewhispers.com
“ A major contribution to the visual interest of the performance, Karine Larché‘s thoughtful costume designs successfully evoked the period and reflected the occupations of the wearers.”
Heather Leviston, www.classicmelbourne.com.au
“Similarly, Hillier, in outrageous costume (the appropriately quirky and smartly respectful designs were by Karine Larché) never lost sight of the fact that Beckmesser, in spite of his pedantry, is at heart still a sensitive, creative man”.
Michael Shmith, Opera Magazine UK
