Nobody Styles Like Opera: Meet Head of Wigs Franca Vaccaro
Head of Wigs Franca Vaccaro is among Calgary Opera's backstage artists who bring our stories to life.
You've seen her work in the exaggerated fun of The Barber of Seville, the period-drama beauty of Don Giovanni and The Marriage of Figaro, and the fairytale wonder of Hansel and Gretel, just to name a few. Designing wigs and hairstyles that read on the big stage of the Jubilee Auditorium — and are comfy enough for our singers to sport while they make their own magic onstage! — is a true art: in our exclusive interview, Vaccaro lets us in on the craft and joy of her work with Calgary Opera:
Do you have any Calgary Opera moments, either during rehearsal or in performance, that you'll never forget?
FV: "When I first started once upon a time ago, I had a very quick change with only seconds, and I accidentally put a hat on backwards. I wasn't laughing at the time…
"I am grateful that powers above me have trust in me and in the process that it takes from the beginning. Once the lights go on stage, the magic begins :)"
What's unique about designing hairstyles and wigs for opera, versus straight theatre?
Franca Vaccaro: "Opera wigs need to have a strong foundation to withstand the heat generated by the immense vocal power from the singers. Principal wigs in opera need to be durable and are typically more exaggerated in size with a bolder look, so the character's look reads from a distance. Theatre productions often have a smaller venue with more performances, versus operas with a larger venue and fewer shows."
What's the biggest difference between designing for stage, compared to screen?
FV: "Definitely the distance from the audience and the scrutiny of the camera in film. Stage requires exaggerated dimensions in styles, and the styles must accommodate quick changes that happen backstage. Once the 'curtain goes up', it is out of my hands what happens on stage.
"Touch-ups can happen during or in between takes for film scenes. Styles are typically softer and more natural for film; hairstyles for wigs have a very realistic hairline for HD and 4K cameras. The cost per wig for film versus opera can be a difference of several thousand dollars."
What have you learned from singers since working in opera?
FB: "I like to collaborate with all the singers along with the director. The actions and mannerisms of the character they are playing, as well as their costume, aid in my visualization for their look, and how it will withstand their character."
What has been a highlight during your time working with Calgary Opera?
FV: "It has been an incredible journey and learning curve for me with my hairstyling skills. I am so grateful for all that I have learned, and in collaboration with the costume designer and make-up artist. The many relationships I have gained from meeting so many artists around the world, I am also grateful for. I continue to have fun in facilitating the creation of a character.
"Being with Calgary Opera has also given me a greater appreciation and understanding of opera. Blending grand human emotion with elaborate singing, costumes, hair, make-up and scenery is extraordinary."
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