THE HIGH NOTE

Opera costume and set designer Tracy Grant Lord is setting the scene for her best show yet

- Caroline Moratti

Tracy Grant Lord was only 23 when she designed the costumes and set for her first opera, an experience she recalls as terrifying. “When you are young, with such opportunities, each step of the way is a completely new set of circumstances. You dive in and do your best – it’s sink or swim,” she says. “Thankfully, I swam.” Tracy swam her way to a renowned international career in costume and set design, where she’s worked with the creme de la creme of the stage world. Her new work, Le comte Ory, might be her most ambitious yet.

What drew you into the world of costume and set design?

I had strong skills around drawing and making objects when I was growing up. I began my professional career as a stage manager assisting with scenic painting and props making. Once I pursued a career in theatre, my natural skill set led me into design. Fortunately, I was trained at a time when both set and costume design were taught together as one complete skill. I now feel this is one of my strengths as a designer for stage.

What are the considerations you need to take into account for opera, compared to ballet or theatre?

The overriding consideration is the support the performers need for their best musical performance. For a designer, this is both within a spatial and physical context. Designing acoustically supportive scenery and positions onstage for the best delivery of performance are always a priority. That’s alongside costume comfort and required support assistance, such as firmness of garments for the best manufacture of sound.

You’ve designed for iconic stories such as Romeo and Juliet and Sleeping Beauty, how do you go about putting a fresh interpretation on a tale that’s been retold countless times?