Issue link: https://digital.copcomm.com/i/1530961
20 • THE ARTISAN SPRING 2025 photos I had seen in my research of her. is was aer she had retreated from her public life. is also added to her vulnerability and her failing health. I was trying to show how her appearance had gone through an emotional shi as well. I feel that hair styling is a powerful tool in transforming an actor. With Angelina to portray an iconic opera singer, it would help to take her through the glamorous looks to the more vulnerable ones. e hair styles that I designed are not just a visual representation but telling a story with careful attention to detail. e hair that we did for this movie is a testament to beauty and art coming together and it can tell a powerful story. OPERAS I spoke about her Madame Butterfly look in a dream sequence and the hardships we had with the rain machines for an entire scene. Earlier in that day, we were shooting the older Maria and had to change out the wig for this look, but this was something we had to do usually every day. One of the more fun operas was Medea. It was an iconic look (1953). I put a red wig on her for this one, the director gave me a little wiggle room, and the red wig looked great. To get the length right and to best portray what we needed, I sewed two wigs together and worked on it for about a week to get it right. Turandot (1957) was another beautiful one. e head piece was so heavy I would have to come in aer they called cut each time and hold it up to give her neck a rest. One of my favorites was Norma (1956). We put a very blonde wig on her and I sewed two wigs together for this one, too. Having no experience with doing operas, I had to learn quickly, this type of performance hair. CONCERTS Her farewell 1973 concert in London with the beautiful blue-and- white dress was interesting. We had been shooting all day and had to shoot this performance in another part of the city, so we didn't have a lot of time. To be able to get the scene shot, I had to leave the wig on she had from earlier in the day and deconstruct, then attach the second wig to that one and style them as one. is gave me the volume I needed but was a bit tricky. e Norma concert (1958), she wore a beautiful red dress and had the fringe on her forehead. e bang piece I had did not work so I ended up cutting the front of another wig to make a bang piece that worked. Last, but not least, I would like to thank my partner, Pamela Goldammer, and her expertise in doing make-up side by side with me. We had very little time and Zsofia Zamborszky who assisted us and was so generous with her time. •