Vera Marzot

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Vera Marzot ( June 22, 1931 in Milan - February 20, 2012 in Rome ) was an Italian costume designer who worked for film , speech piece and opera , in particular with the Italian directors Luchino Visconti and Luca Ronconi .

life and work

Marzot's family is originally from Friuli . She studied at the Università di Studium Sociali and at the Centro Sperimentale di Cinematografia in Rome, albeit without a degree.

Movie

Marzot began working in film in the late 1950s as a costume assistant for well-known Italian outfitters - Dario Cecchi , Flavio Mogherini , Beni Montresor , Pier Luigi Pizzi and Piero Zuffi . In 1960 she took over the first time the sole responsibility for the costumes in the film Urlatori alla sbarra of Lucio Fulci . Costumes for films by Nanni Loy , Damiano Damiani and Joseph Losey followed . For his film Eva from 1962, she designed all costumes with the exception of those for the leading actress Jeanne Moreau . This was dressed by the couturier Pierre Cardin .

At the beginning of the 1960s she began working with the costume designer Piero Tosi , initially for the monumental task of furnishing the historical drama The Leopard by Luchino Visconti . Tosi, Marzot and Umberto Tirelli , who was responsible for the implementation, succeeded - in close coordination with the set designer Mario Garbuglia - both with the opulence of Ottocento and the realistic demands of the Macchiaioli in impressive images. The artists involved were united by an interest in historically accurate reproductions and a love of detail, and the film was celebrated as a masterpiece in the history of cinema. In the same year, Marzot assisted his colleague Tosi for Monicellis I compagni , which, on the other hand, was about showing poverty, worn clothes and bad fabrics.

Together with Tosi, the artist was responsible for the costumes for four films: in 1964 the surreal world of The Monkey Woman by Marco Ferreri and the change from bright colors to sad tones in Vittorio De Sica's drama of disillusion, wedding in Italian , played and worn by a brilliant Sophia Lorries . In 1969 and 1974 followed Die Verdammten , in the ambience of Nazi Germany of the 1930s, and violence and passion , a nostalgic elegy about aging and the transition from reality to memory, in which the elegance of Silvana Mangano contrasts sharply with the lack of any poetry was, even in costume.

Although Marzot preferred big costume films, such as La colonna infame by Nelo Risi , she has often worked for contemporary character films, but also for western comedies with Terence Hill and Bud Spencer . She also worked on television with the directors Edmo Fenoglio , Mario Ferrero , Ugo Gregoretti , Marco Leto , Alberto Negrin and Sandro Sequi .

Speaking piece

From the mid-1970s, Vera Marzot turned increasingly to spoken theater and opera, where she again worked with Luchino Visconti. But she also accepted orders for stage work with the directors Mario Ferrero , Gabriele Lavia and Wolfgang Storch .

With Ibsen L'anitra selvatica in January 1977 at the Teatro Metastasio in Prato, a long-standing collaboration between the artist and the director began Luca Ronconi in drama and opera. The stage designs for this production came from the famous architect Gae Aulenti . Subsequently, however, a triad established itself, consisting of Ronconi, Marzot and the Italian set designer Margherita Palli , whose productions could be seen in Perugia, Reggio Emilia and Turin, at the Festival dei Due Mondi in Spoleto and at the Maggio Musicale Fiorentino at the Teatro Argentina in Rome, at the Piccolo Teatro and at the Comédie-Française in Paris. These productions were dedicated to a broad spectrum of world literature - from Shakespeare, Goldoni and Alfieri to Henry James to Hofmannsthal, Ibsen, Maeterlinck, Pirandello and Chekhov.

Opera

From 1965 to 1967 Marzot was the costume designer in three style-defining productions of Luchino Visconti : first Verdi's Don Carlos at the Roman Opera , then Der Rosenkavalier and La traviata at the Royal Opera House Covent Garden in London.

The long-standing collaboration with Luca Ronconi and Margherita Palli also extended to the field of opera and led to highly successful results in the 1980s and 1990s, be it at the Teatro Regio di Torino , at La Scala in Milan , where the two created six new productions, including two season openings, or at the Salzburg Easter Festival , where Verdi's Falstaff was on the program, conducted by Sir Georg Solti . Three of the productions developed at Scala - Aida , Guillaume Tell and Tosca - also reached a wide audience as TV film adaptations. The collaboration with Ronconi and Palli also extends to the Bonn Opera , the Rossini Festival in Pesaro, the Teatri Comunali of Bologna and Florence and the Teatro Lirico di Cagliari . At the Maggio Musicale Fiorentino , Ronconi staged Schubert's seldom performed opera Fierrabras and a complete cycle of all three Monteverdi operas that have survived, each in the sets by Margherita Palli and with the costumes by Vera Marzot.

In some cases, the costume designer also worked with other opera directors, for example with Mario Martone ( Così fan tutte in Naples and Ferrara), Lamberto Puggelli ( Il corsaro in Parma and Trieste) and Federico Tiezzi ( La clemenza di Tito at Maggio Musicale Fiorentino 2003).

One day Marzot interrupted her professional activity, went to Brussels and studied painting at the Académie royale des Beaux-Arts . She was particularly interested in the techniques of marbre feint , faux-bois and trompe-l'œil . After that, she alternately devoted herself to painting and costume design.

She taught the history and technique of costume design at the Università Iuav di Venezia .

Quotes

"The long months of preparation for Il Gattopardo , together with Tosi and Tirelli, who looked after the realization of the costumes, represented my actual training."

- Vera Marzot : In conversation with Ginevra Munck, Vogue Italia , online: [1]

“When I started working there weren't even photocopies - and that wasn't in the 19th century. I spent hours and hours in libraries drawing - which was not bad for me. Once you've learned to draw a tie knot from 1820, you'll never forget it, never again. "

- Vera Marzot

Filmography

As a costume assistant

As a costume designer

 

Together with Piero Tosi

Theater productions

With the director Luca Ronconi

consequences

Source:

Opera productions (selection)

With the director Luchino Visconti

With the director Luca Ronconi

Sources for the Visconti productions :, for the Ronconi productions:

literature

From Vera Marzot

  • Accademia di Francia, Villa Medici: I piaceri ei giorni: la moda. , March 10 to April 17, 1983. Ed. By Vera Marzot. Catalogo della Mostra: Roma 1983 (ital.)

About Vera Marzot

  • Vittoria Crespi Morbio: Vera Marzot alla Scala , 2013, ISBN 88-422-2282-8 (ital.)
  • S. Masi: Costumisti e scenografi del cinema italiano , 1 ° vol., Roma 1990, pp. 213-23 (ital.)

Web links

Individual evidence

  1. ↑ Luca Ronconi : L'anitra selvatica , official website, accessed on August 31, 2016.
  2. ↑ a b Teatro stable del Veneto : Vera Marzot , short biography of the costume designer, accessed on August 31, 2016 (Italian)
  3. ↑ José Luis Martínez Montalbán: Obras de teatro de Luchino Visconti , August 22, 2008, accessed on August 31, 2016.
  4. ^ Teatro alla Scala (Milan): Risultato Ricera , keyword: Marzot, accessed on August 31, 2016.
personal data
SURNAME Marzot, Vera
BRIEF DESCRIPTION Italian costume designer
DATE OF BIRTH June 22, 1931
PLACE OF BIRTH Milan
DATE OF DEATH February 20, 2012
Place of death Rome