How do they make John the Baptist

When Salome invites Jochaanan head, the capital opera can really give her. In Richard Strauss Opera SalomeAnd it is an adaptation to the play Oscar Wilde that dates back to the Bible, the princess Salome is in love with Jochaanan-is more likely known to lead the American Bible such as John The Bismist- and then calls his headed head from her knight husband, King Herod. After you get it, hold it and accept it. It is the peak of the story, accompanied by what the researcher Gary Schmidon described as “more striking in the opera.”

The creation of a pillar head is completely similar to Parton Peter Matti, who sings the role that starts on April 29, primarily to the MET-MET-MAT-makeup section of ten people headed by TERA Willis. “Many people use external sources most things,” says Mr. Jason Hamilton, the master of real estate. “We are lucky that there is a department dedicated to making pillars, a section for personal hair and makeup, a wardrobe, and a fashion store. There are not many theaters that can do so.” However, Willis said, ten people are a “steady” team for the amount of work they have to do, because MET is a huge performance performance factory, with new productions, offers in the reference, and singers come constantly and go. On the day we are talking, you think about Salomefilming Le Nuzz de FigaroAnti -two actors AidaAnd the next production for Anthony and Cleopatra and Queen of Bastone. In addition, at the back of her mind, there are changes for Madame Butterfly Next season, which will need a large number of new wig. Nowadays, everything should be ready for HD since Met Productions is photographed and broadcast to cinemas on screens where each silicone pore is ten cents. Willis also talks about all the demands in its section, it sometimes raises Emily in Satan wears PradaRemembering the reminder, “I love my job, I love my job, I love my job.”

This particular task, though, is unusual. Production comes from Russia, as it had the first race under the leadership of Claus Guth, which is also directed here, so MET designers knew what they were entering – an uncommon aesthetic for many, Stark and Smetting a little and therefore more exciting.

First, they have to throw a template on the Mattei himself, as Willis says, they start by taking steps so that Mattei does not stumble inside. “We put it in a bald hat and put vaseline through any hair in the face, eyebrows, and eyelashes, so we did not accidentally find” when the casting goes. Then the casting begins: “This green Goop that you see is called a double body, and it is a safe silicone for the skin. You really want to be ready because you want to be calm as well in this process. We have a person on his back and two people on the front really. H in the noses of people.

Mattei had a cold in the previous week and was somewhat tense to get a layer in Go, “but it was not a problem,” he says. “You just sit there and continue to put it in a very contemplative way. I think my pulse has really decreased.” Plaster dressings, the type used in bone mode molds, bypass GLP. Mattei describes the feeling as “a really heavy helmet.” “If you do not have a stable crust, it will not remain in its form,” says Willis. Then “you will feel that the plaster begins to treat,” and then the atmosphere becomes hot. “We would like to say that people get a steam face treatment. Then it cools, and this is when you are fine.”

Then they have to get it. “Usually we ask them to hold their hands in their faces and start making funny faces until the silicone begins to release,” Willis explains. “It has ended using a casting silicon that does not adhere to hair. It takes one minute to start, because we have two ears there, it’s very narrow, so we make people move. Matti, who grew up a little bit of phobia, fortunately he no longer has this issue. He says:” I had a summer job when I was 18 years old in a very bad place. ” I knew I had a lot of fear of fear, but there was no other way to do this. So I think I got rid of panic that summer. “

After finishing the template, the makeup team flows into the silicone in the color of the skin, and builds four layers-which, on this occasion, was a mistake. “We have not realized that he is in the world of show, the child must keep this head over his head for a large period of time,” says Willis. “Maybe I should have been drilling a little and found it out. But we sent almost the final product to the theater, and it turned out that it was much heavier than the rehearsal head they were working with.” They are trying to make adjustments to it, but this is still the weight he needs. This is when Willis realizes that they need a completely new head. “Calculation occurs while directly,” explains Willis. “We must be very flexible here.”

To fix the problem, Willis Susie Nolls, a member of her team, who knows, has skills to deliver a new and lighter head, using the same template, in one day. This time, they use only two layers of silicone, and the interior is “expanded foam – the Euritan foam – which is very lightly.”

Then they ask the team the scenery to help draw the head, because this team has already worked on the remaining half of Jochanaan – that is, the doll that stands on its body. Willis says they are somewhat lucky with the paint function, because the amazing nature of the mission means In The skin can look more cruel than usual. “Often, she takes out the singer and pour a positive plaster to arrest any air bubbles,” she says. “Then it continues to do so and intimidate these pieces away, then take another set of it. Then it is perfect. There were some defects and airbowns here, but because there is a treatment for the tight paint, I knew that he would not intercept our way. So we skipped this step. We were able to save a little time and money.”

Finally, it’s time to finish touches. All hair is usually inserted into a project like this in one silicon at one time, a process called by the “hair punch”. To save time, especially on the head that had to be reshaped in a rush, Willis discovered some solutions. “We have found a wig of work,” she says. “We found a beard already designed that would usually follow a person and mustache. In addition, we made some eyebrows.” From there, they end up with punching: “We fill the sites and go around us and do the front monotheism.” “So, instead of doing the full thing, we get 90 percent of the current hair, then we will finish 10 percent by punching the quality of the movie.” Looking at the job, Willis looks exhausted but proud. “No one will do this right mind,” she says. “We have turned this quickly, but this is just our education,” – Willis and Nols went to the North Carolina University College of Arts – “and” knowledge of products. ” “People often call us a charming team, which completely disturbed it. Our group of skills has greatly exceeded making people beautiful.”

All pictures of courtesy Morel Steink/Opera dead.