The poster is the very first thing someone sees about the opera. It is setting the tone for what is to come. You have large format prints at the window of the theater venue. You see it on the website and in ads of the event. There will be production photos for the flyers later to expand the campaign, but this is the very first thing people recognize.
The process is the same as with the theater backdrops. For Messalina, I talked with artistic director Céline Ricci, how she wants to approach the piece and what the opera is about. What message she wants to get across? I read the script first with not too much conception. Then I do lots of research. I look at films, paintings and research themes within the piece.
Sometimes the idea is clear, sometimes it is not. I try to get the essence from the character. She is a historic Venus, a siren - a phenomenal character, very distinctive and complex. I presented different stages of her development to Ars Minerva and that is where we ended up.
Once we decided on the direction we wanted to go, I asked Aurora who will be Messalina, to mimic the facial expression and pose for the painting. This was important to communicate her own interpretation of the character's personality - expressing emotions like she will do on the stage. The aim was to create a strong female character, who is on a quest for freedom.
We continued the tradition of old movie style posters. I took a similar color palette like the film poster of La Dolce Vita and melted the aesthetics together. It is a perfect mix of graphic design and a piece of art. We wanted a glamorous, provocative approach to the character as it is seen in La Dolce Vita. A big epic moment with the promise of action. In both posters, the women are a symbol of beauty - very graceful - men can hardly escape their charm. It's a little bit like history repeating itself. In Dolce Vita you have this intimate moment, where the journalist in the background watches the actress with reverence. The actress Anita Ekberg as Sylvia was branded a "sex goddess" and her performance was shocking for the audience in the 1960s. Even they don't look at each other, there is a very human connection that draws you into the poster. In my design, the viewer gets taken out of the position of the passive spectator. Messalina confronts and provokes the viewer with direct eye-contact. The painted face and her red lips represent her power. She doesn't need validation through anyone. She presents the feathers of the swan like a trophy to show her power. The feathers are an allusion of the mythological story "Leda and the Swan", where Zeus seduces or rapes Leda. I tell the story a little bit different - in my version it's a form of liberation. Messalina already explored all her needs and desires. Looking into the eyes of the viewer, she stays directly connected, shows self-direction, self-confidence and self-determination. She is beyond wanting to be wanted. The image is empowering women to understand and take control of their lives and actions. I toned down the colors to make it more dramatic. It's a very clean design with no prominent background. I chose a black and white Art Deco font, which is a mix of modern, geometric shapes with some elegant fine lines to add a retro touch. Sometimes less is more. The order is much stronger when it is simple. All elements support the character - there is no fighting for attention. It's a powerful, iconic presentation of Messalina that gives the viewer a glimpse of what to expect in the opera.
