Perhaps you can see the colors more clearly to the left and below:
What you can't see yet are the narrow stripes that represent the colors I saw in the sky while down in the canyon. (These colors were seen in Marble Canyon where the walls of stone are pretty close together and the water very fast and cold.) When the canyon opens out it takes on the name, the Grand Canyon. And grand it is.
Speaking of grand, tonight the Utah Opera Company performed Falstaff and I was there. The sets were very good (Designed by Wolfram Skalicki, and made by the Canadian Opera Company Scenery) and added to the whole experience because the Garter Inn was just seedy enough, The Fords' home elegant and understated, and Windsor Forest spooky and perfect for the second scene in the third act.
All the singers were good. I was particularly struck with the voices of Sharin Apostolou, our Nanetta, a pure and lovely soprano and Aaron Black, our Fenton, a tenor out of the mold of Jussi Bjoerling whose voice always sounded as though it emanated from the center of his forehead--no chest-y sounds at all. They made a delightful young couple. Steven Condy was our Falstaff and absolutely convincing with just the right voice for his part. He was pompous and self-absorbed and oblivious, utterly convinced that he was irresistible and a delight. The costumes were perfect, as always. This is the last opera where the costumes were designed by Susan Memmott-Allred who has been designing wonderful, beautiful and completely appropriate costumes since 1979. I based one of the Swatch Collections I used to do for Handwoven magazine on a costume she designed for the first act of Samson and Delilah many years ago.
I love looking at the colors in the sets and costumes and thinking about how they are designed to draw the eye to where I need to be looking and how the colors often suggest the nature or temperament of the characters in the opera.
All that and beautiful music, too! Who could ask for more?
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