Golden Cockerel, New Opera NYC. Directed by Igor Konyukhov, conductor J. David Jackson, costume design Olga Maslova, set design Zachary Crane, lighting design Greg Mitchell, Sheen Center for the Performing Arts, New York, NY. OPERNWELT, leading German and European magazine critic's nomination for the best costume designfor the Golden Cockerel, October 2017.

Olga Maslova’s spectacular costumes blended the multi-hued palette of Russian Neo-Nationalist artists such as Rimsky’s collaborator Mikhail Vrubel and Ivan Bilibin with Disco-era silhouettes and sultry accouterments (including electric lights sewn onto both the Astrologer and the Queen of Shemakhan.) Beautiful stage images alternated with the cherished “high tastelessness” that Russians term poshlost
— David Shengold, for Opera News Magazine (August 2017)

Bonnie Frauenthal as Cockerel

Afron and Gvidon, Tsar's sons, performed by Antonio Watts and Dmitry Gyshpling

The costumes combine 1960s psychedelia with the primitive oriental look which Rimsky and librettist Belsky associated with czarist Russia. Day-Glo luminescent colors predominated. Rimsky would have enjoyed seeing the hippie attire of this production; he himself chose to wear blue-tinted, wire-rimmed glasses, even when he was in his 60s
— DCMetro Arts (May 2017)
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“These mad Russians, through sheer guts, improvisation, and imagination, whipped up a wild spectacle that surprised and dazzled the eye and ear.”
— Gay City News, (June 2017)
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Since fashion is increasingly becoming the default language of cultural diplomacy, costume designer Olga Maslova (University of Illinois at Urbana/Champaign) has been tasked with creating a wardrobe capable of translating the tale’s universal truths into trend-savvy style symbols”...”Research into the world of new wealth and its exuberance infused with addiction to attributes of nationalism allowed me to create a royal court that I would call Babushka a la Versace...It’s fun, funny and instantly recognizable for the Instagram-ready audiences,” notes Maslova
— Forbes (April 2017)
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The entire production team brought visual splendor to all this aural delight. The eye-popping costumes were by Olga Maslova who seemed to combine Russian folk themes with Star Wars and Hair and several other influences. We were reminded of Heartbeat Opera’s Mozart in Space last Halloween. We were constantly astonished by the originality which is difficult to describe
— Voce di Meche (May 2017)
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