Opera from Foot to Foot

Stylized or contemporary, bizarre or conventional, sky-high and flat as a pancake, fit for a princess and for a horse. Shoes.

Courtesan’s shoes (extra) from Verdi’s opera "Rigoletto" by photo: Marcin ŁabuzTeatr Wielki - Polish National Opera

GOLD RUSH

Gold: the symbol of power and luxury. It elevates anybody who wears it, yet awakens dark desires. An object of envy in any epoch, it has adorned palaces and royal robes the world over. No wonder it is a permanent feature in theatre set and costume design.

Sultan’s shoes from Rossini’s opera "L’italiana in Algeri" by photo: Marcin ŁabuzTeatr Wielki - Polish National Opera

Proudly donned from head to toe by sultans, tsars, kings and queens in operas by Rossini, Verdi or Borodin, gold also embellishes the costumes of dancers in such ballets as Minkus’s gold-dripping La Bayadère.

Rajah Dugmanta of Golconda shoes from ballet "La Bayadère" by Minkus & Lanchbery by photo: Marcin ŁabuzTeatr Wielki - Polish National Opera

Venera’s shoes from da Gagliano’s "La Dafne" by photo: Marcin ŁabuzTeatr Wielki - Polish National Opera

Ballet shoes from Stravinsky’s "The Rite of Spring" by photo: Marcin ŁabuzTeatr Wielki - Polish National Opera

BALLET

The first ballet performances were danced in high-heels. The turning point came in the 18th century, when they were replaced with flats to make jumps possible.

Ballet shoe from the poster of Prokofiev’s "Cinderella", photo: Marcin Łabuz, From the collection of: Teatr Wielki - Polish National Opera
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Ballet shoes from Prokofiev’s "Cinderella", photo: Marcin Łabuz, From the collection of: Teatr Wielki - Polish National Opera
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As time passed and female dancers started to be expected to freeze in a romantic pose on the tips of their feet, ballet shoes with a rigid toe box became necessary. Enter pointe shoes. While they make the wearer look weightless and airy, dancing in pointe shoes requires strict discipline and intensive training.

Ballet shoes from Stravinsky’s "The Rite of Spring" by photo: Marcin ŁabuzTeatr Wielki - Polish National Opera

Shoes of Marie’s Son from Berg’s opera "Wozzeck" by photo: Marcin ŁabuzTeatr Wielki - Polish National Opera

GUYS ON HEELS

Before stilettos became a staple of women’s fashion, heels were worn by men. Courtiers of Henry II of France chose them over flats for a practical reason – they made horse-riding easier.

Shoes of the mimes from Tchaikovsky’s opera "The Queen od Spades", photo: Marcin Łabuz, From the collection of: Teatr Wielki - Polish National Opera
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God’s shoes from Hellstenius’s opera "Sera", photo: Marcin Łabuz, From the collection of: Teatr Wielki - Polish National Opera
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High-heeled pumps caught the fancy of Catherine de' Medici, soon becoming a sartorial must-have for 16th-century men and women. Royal fans of the style included Louis XIV, who wore red leather soles long before Christian Louboutin.

Handwerksbursch’s shoes from Berg’s opera "Wozzeck" by photo: Marcin ŁabuzTeatr Wielki - Polish National Opera

Handwerksbursch’s shoes from Berg’s opera Wozzeck, photo: Marcin Łabuz, From the collection of: Teatr Wielki - Polish National Opera
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Is it not surprising, then, to see men in heels on the opera stage. After all, they portray characters from different time periods or even different dimensions.

Shoes for Chorus from Puccini’s opera "Turandot" by photo: Marcin ŁabuzTeatr Wielki - Polish National Opera

Shoes for Chorus of Boyars and Townsmen from Musorgski’s opera "Boris Godunov" by photo: Marcin ŁabuzTeatr Wielki - Polish National Opera

ANDREW'S SHOES

designed by Andrzej Kreutz Majewski

Donner’s shoes from Wagner’s "Das Rheingold", photo: Marcin Łabuz, From the collection of: Teatr Wielki - Polish National Opera
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Andrzej Kreutz Majewski: world-famous set designer, painter and long-term chief scenographer of the Polish National Opera, where he is still remembered with almost cult-like reverence.

Shoes of Hetman Mazepa from Tchaikovsky’s opera "Mazepa", photo: Marcin Łabuz, From the collection of: Teatr Wielki - Polish National Opera
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Sylvia’s shoes from Małecki’s opera "The Row in Recco" by photo: Marcin ŁabuzTeatr Wielki - Polish National Opera

Without him, the opera house would not be what it is. Without him and his shoes. The shoes he designed.

Lyubov Kochubey’s shoes from Tchaikovsky’s opera "Mazepa", photo: Marcin Łabuz, From the collection of: Teatr Wielki - Polish National Opera
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Mime’s shoes from Wagner’s opera "Siegfried", photo: Marcin Łabuz, From the collection of: Teatr Wielki - Polish National Opera
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Fafner’s shoes from Wagner’s "Das Rheingold" by photo: Marcin ŁabuzTeatr Wielki - Polish National Opera

Shoes for a donkey from Hérold’s ballet "La Fille mal gardée" by photo: Marcin ŁabuzTeatr Wielki - Polish National Opera

SHOES FOR SPECIAL TASKS

In this day and age nobody is surprised to see a shoe-wearing dog or cat – getting your pet all glammed up has never been easier. What if you need to cobble up shoes for a horse though?

Shoes of The Nurse of the Old Mammals from Wojciechowski’s opera "Victory over the Sun" by photo: Marcin ŁabuzTeatr Wielki - Polish National Opera

Chemist’s shoes from Penderecki’s opera "The Devils of Loudun" by photo: Marcin ŁabuzTeatr Wielki - Polish National Opera

Strapped ones, not the usual iron variety. When it comes to ultimate shoe challenges, the opera house’s shoemakers are without equal.

Skates from Tchaikovsky’s ballet "The Nutcracker and The Mouse King", photo: Marcin Łabuz, From the collection of: Teatr Wielki - Polish National Opera
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Piper-Faun’s shoes from Moniuszko’s opera "Halka", photo: Marcin Łabuz, From the collection of: Teatr Wielki - Polish National Opera
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Shoes of Women with typhoid (Chorus) from Tchaikovsky’s opera "The Queen of Spades", photo: Marcin Łabuz, From the collection of: Teatr Wielki - Polish National Opera
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Shoes for a horse from Puccini’s opera "La Bohème", photo: Marcin Łabuz, From the collection of: Teatr Wielki - Polish National Opera
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Apart from footwear for horses and donkeys, they have shoes for a faun, phantom, superhero and Mickey Mouse under their belt.

Shoes of Miki Mouse (extra) from Berg’s opera "Wozzeck", photo: Marcin Łabuz, From the collection of: Teatr Wielki - Polish National Opera
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Shoes of Mini Mouse (extra) from Berg’s opera "Wozzeck", photo: Marcin Łabuz, From the collection of: Teatr Wielki - Polish National Opera
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Spook’s shoes from Moniuszko’s "Spectres" by photo: Marcin ŁabuzTeatr Wielki - Polish National Opera

Superhero’s shoes from Głowicka’s opera "Requiem for an Icon" by photo: Marcin ŁabuzTeatr Wielki - Polish National Opera

Shoes of Yurodivyj from Musorgski's opera "Boris Godunov" by photo: Marcin ŁabuzTeatr Wielki - Polish National Opera

Tamino’s shoes from Mozart’s "In The Land of the Magic Flute" by photo: Marcin ŁabuzTeatr Wielki - Polish National Opera

TO THE LOUVRE AND TO WAWEL CASTLE

Made of leather, velvet, silk and other pricey fabrics, footwear worn at royal courts came in many shapes and forms, depending on the period and region.

Emilia’s shoes from Janáček’s opera "The Makropulos Affair", photo: Marcin Łabuz, From the collection of: Teatr Wielki - Polish National Opera
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Shoes of Princess Eboli from Verdi’s opera "Don Carlos", photo: Marcin Łabuz, From the collection of: Teatr Wielki - Polish National Opera
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In 17th-century England the most common shoe colours were black and brown, while white footwear was donned for special occasions.

Zerlina’s shoes from Mozart’s opera "Don Giovanni" by photo: Marcin ŁabuzTeatr Wielki - Polish National Opera

Countess Almaviva's shoes from Mozart's opera "Le nozze di Figaro" by photo: Marcin ŁabuzTeatr Wielki - Polish National Opera

Shoes for Chorus in Moniuszko’s opera "The Haunted Manor", photo: Marcin Łabuz, From the collection of: Teatr Wielki - Polish National Opera
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Father’s shoes from Rihm’s opera "Jakob Lenz", photo: Marcin Łabuz, From the collection of: Teatr Wielki - Polish National Opera
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Embellishments such as buckles and bows were popularised by Charles II. The fashion spread across continental Europe, reaching the court of Marie Casimire d’Arquien, queen consort of Poland.

Shoes of Marquis from Duniecki’s opera "Pages of Queen Marysieńka" by photo: Marcin ŁabuzTeatr Wielki - Polish National Opera

Shoes for Chorus from Moniuszko’s opera "Verbum nobile" by photo: Marcin ŁabuzTeatr Wielki - Polish National Opera

MODERN WALKING

The modern era in shoe design began in the early 20th century and was jumpstarted by the developments in sportswear.

Shoes of the Red Characters from Chorus from Tchaikovsky’s opera "The Queen of Spades" by photo: Marcin ŁabuzTeatr Wielki - Polish National Opera

In 1910 the saddle shoe rose to prominence having crossed over from golf courses to the streets. The style quickly evolved into the Oxford shoe and loafer loved by men and women alike.

Shoes for Chorus from Puccini’s opera "Tosca", photo: Marcin Łabuz, From the collection of: Teatr Wielki - Polish National Opera
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Delia’s shoes from Rossini’s opera "Il viaggio a Reims", photo: Marcin Łabuz, From the collection of: Teatr Wielki - Polish National Opera
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Bersi’s shoes from Giordano’s opera "Andrea Chénier" by photo: Marcin ŁabuzTeatr Wielki - Polish National Opera

Shoes of extras from Verdi’s opera "Don Carlos", photo: Marcin Łabuz, From the collection of: Teatr Wielki - Polish National Opera
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Dziemba’s shoes from Moniuszko’s opera "Halka", photo: Marcin Łabuz, From the collection of: Teatr Wielki - Polish National Opera
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Another design to come into fashion were desert shoes originally worn by British officers serving in Cairo under General Montgomery.

Shoses of Male Chorus from Lehár’s operetta "The Merry Widow", photo: Marcin Łabuz, From the collection of: Teatr Wielki - Polish National Opera
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Shoes for Chorus from Moniuszko’s opera "Verbum nobile", photo: Marcin Łabuz, From the collection of: Teatr Wielki - Polish National Opera
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Shoes of The Queen od the Night from Mykietyn’s opera "Ignorant and Madman" by photo: Marcin ŁabuzTeatr Wielki - Polish National Opera

GOING ABOVE AND BEYOND

Ancient Egyptian butchers would don platform shoes to protect their feet from animal blood.

Courtesan’s shoes (extra) from Verdi’s opera "Rigoletto" by photo: Marcin ŁabuzTeatr Wielki - Polish National Opera

Greek actors wore them on stage to be more visible from afar. In the 16th century Italian women took to chopines, a type of platform shoe that could be 50 cm high and rendered the wearer incapable of walking without the assistance of a trusted servant.

Shoes of The Queen of the Night from Mozart’s opera "The Magic Flute", photo: Marcin Łabuz, From the collection of: Teatr Wielki - Polish National Opera
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Japanese’s shoes (Chorus) from Puccini’s opera "Madama Butterfly", photo: Marcin Łabuz, From the collection of: Teatr Wielki - Polish National Opera
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Platforms were ushered into haute couture by Salvatore Ferragamo as late as 1935. They were all the rage in the 1940s, then came back with a bang in the 70s during the disco era.

Shepherd’s shoes from da Gagliano’s "La Dafne" by photo: Marcin ŁabuzTeatr Wielki - Polish National Opera

Guard’s shoes from Verdi’s ballet "The Three Musketeers" by photo: Marcin ŁabuzTeatr Wielki - Polish National Opera

RULAR CHIC

The practice of wearing shoes throughout the year became widespread among Polish countrymen and women after the Second World War.

Shoes of dancers (Ballet) from Moniuszko’s opera "The Haunted Manor", photo: Marcin Łabuz, From the collection of: Teatr Wielki - Polish National Opera
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Shoes of Cravovians from Kurpiński’s vaudewille "The Superstition or Cracovians and Highlanders", photo: Marcin Łabuz, From the collection of: Teatr Wielki - Polish National Opera
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Earlier, the county folk would only don shoes during the cold months and in church (the actual trip would be made barefoot with the shoes in hand).

Widow’s Simone shoes from Hérold’s ballet "La Fille mal gardée" by photo: Marcin ŁabuzTeatr Wielki - Polish National Opera

When appearing on the opera stage, however, sons and daughters of the soil always have shoes on their feet. Often they are made of best-quality leather fitted with expensive appliqués.

Shoes of Ballet dancers from from Lehár’s operetta "The Merry Widow", photo: Marcin Łabuz, From the collection of: Teatr Wielki - Polish National Opera
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Narrator’s shoes from de Falla’s opera "El retablo de maese Pedro", photo: Marcin Łabuz, From the collection of: Teatr Wielki - Polish National Opera
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Miechodmuch’s shoes from Kurpiński’s vaudewille "The Superstition or Cracovians and Highlanders", photo: Marcin Łabuz, From the collection of: Teatr Wielki - Polish National Opera
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Banco’s shoes from Verdi’s opera "Macbeth", photo: Marcin Łabuz, From the collection of: Teatr Wielki - Polish National Opera
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Shoes of Flowermaidens from Wagner’s opera "Parsifal" by photo: Marcin ŁabuzTeatr Wielki - Polish National Opera

KNEES AND TOES

A common sight on today’s streets, boots have military origins.

Shoes of the Bird from Berlioz’s opera "La damnation de Faust", photo: Marcin Łabuz, From the collection of: Teatr Wielki - Polish National Opera
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Shoes from Prokofiev’s ballet "Cinderella", photo: Marcin Łabuz, From the collection of: Teatr Wielki - Polish National Opera
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Dating back to the 17th century, the footwear evolved from man’s riding boots. Having made their runway debut in the 1960s, the style became a hallmark of 1970s fashion.

Shoes of The Red Fur Cat from Ptaszyńska’s opera "The Magic Doremik" by photo: Marcin ŁabuzTeatr Wielki - Polish National Opera

Musetta’s shoes from Puccini’s opera "La Bohème", photo: Marcin Łabuz, From the collection of: Teatr Wielki - Polish National Opera
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Donna Anna’s shoes from Mozart’s opera "Don Giovanni", photo: Marcin Łabuz, From the collection of: Teatr Wielki - Polish National Opera
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Just imagine the disco era without the go-go boot! The over-the-knee variety is still a favourite with performers at go-go bars.

Shoes of the First Lady from Mozart’s opera "The Magic Flute" by photo: Marcin ŁabuzTeatr Wielki - Polish National Opera

Opera From Foot To Foot is presented in conjunction with the exhibition (Opera Gallery, Teatr Wielki - Polish National Opera, 17 March – 16 May 2016)

Curator: Marcin Fedisz

Exhibition online put together by:
Maja Kluczyńska

Translated into English by:
Monika Tacikowska

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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