Julia Abadie’s enchanting carré, Fleurs de l’Opéra, celebrates the vibrant floral life of the opera house. At first glance, the scarf bursts with a dazzling array of blooms. However, upon closer inspection, a delightful secret unfolds: hidden along the hem are the names of renowned operas and their composers, cleverly interwoven with the names of the corresponding flowers.
Now, the true artistry of this masterpiece becomes evident – a poetic fusion of music, nature, and art.
Where shall I begin? Perhaps with the more “obscure” references, like one of my favorite fragrant flowers, the Lilac.
Lilac belongs to Wagner’s Die Meistersinger von Nürnberg, where in the second act, Sachs, the main character, sings “Was duftet doch der Flieder…” (What scent but that of the lilac…) (link to the aria on youtube)
Charles Gounod’s opera, Faust, while loosely adapted from Goethe’s work, finds a pivotal moment in the Flower Garden. Here, the innocent Marguerite faces a fateful choice. She rejects a simple bouquet of flowers from her sincere admirer, captivated instead by the dazzling jewels offered by Faust. This Mephistopheles-guided seduction, where Faust bargains for Marguerite’s love with his devil’s pact, underscores the destructive power of greed and the allure of forbidden temptation.
In Bizet’s famous Carmen, the heroin wears a red Carnation (oeillets rouges) behind her ear.
The Wedding Bouquet (Bouquet de Noces), of course, goes to Mozart’s The Marriage of Figaro.
And how can Puccini’s Madama Butterfly not be associated with Cherry Blossoms?
In act III of La Boheme, the Lily is mentioned along with the rose, but Madame Abadie chose the lily to represent Puccini’s other famous Opera, because the Rose must go to The Rosenkavalier by Richard Strauss!
So what do we have left? Cavalleria Rusticana by Italian Pietro Mascagni takes the Orange Flowers. Why? This Opera is set in a Sicilian Village on Easter Morning when a young villager returns home from military service while the villager sing, “The air is sweet with orange blossoms“.
In Francesco Cilea’s opera Adriana Lecourvreur, Adriana, the main character gives her love interest a few violets to place on his lapel.
Finally, the prominent palm frond within the carré serves as a poignant symbol of Aida, Verdi’s beloved and universally cherished opera. Set amidst the clash of ancient empires in Egypt, Aida’s tragic love story continues to captivate audiences worldwide, enjoying countless performances each season, solidifying its place as a cornerstone of the operatic repertoire and this design.
This carré is the perfect accessory for any opera enthusiast, whether you are attending a performance at the Metropolitan Opera, the Palais Garnier, or La Scala … you will surely be a HIT!