Tag Archives: sketch

Go Behind the Scenes with the Costume Sketches and Concept Art of Tyson Vick’s Photographic Mozart Illustrations

2 Feb

Whenever I take photos with big concepts, I start with concept art and costume sketches. Usually these aren’t so detailed that someone else can interpret them, but they are detailed enough for me to remember what I feel the need to include in an image. There are three types of art I can potentially do in order to help conceive my vision.

1. Costume Sketches

2. Concept Art

3. Thumbnails 

I use these three types of art to help me develop my ideas into costumes, find models and locations and compose images.


First up is a set of thumbnails I drew up for my illustrations of Ascanio in Alba. Interestingly, while I did photograph these things, I did not use any of these ideas in my final photograph.

Ascanio in Alba concept sketches

Ascanio in Alba concept thumbnails

Next is a sketch for Fiordiligi’s costume from the opera “Cosi Fan Tutte”. This character dresses up in her boyfriends military uniform.

Fiordiligi costume art for Cosi Fan Tutte

Fiordiligi costume art for Cosi Fan Tutte

Der Stein der Weisen was a fun opera to bring to life through illustration. Set in a fantastical Asian world, there was a lot to play with.

Der stein der Weisen concept sketch for Genie

Der stein der Weisen concept sketch for Genie

My genie is based off of Buddha and the maidens vying for his bird’s attention were drawn from Chinese inspiration.

Der Stein der Weisen costume concept for maiden

Der Stein der Weisen costume concept for maiden

The thumbnail below is followed by the image I produced.

Der Stein der Weisen concept sketch

Der Stein der Weisen concept sketch

Compare the thumbnail above to the finished image below to see how closely my concepts are followed.

Der Stein der Weisen Act 1. Photo by Tyson Vick. Hair & Make-up by Lizzie Hatfield. Models: Sierra Rae, Meilyn Saychow, Kolya Cain

Der Stein der Weisen Act 1. Photo by Tyson Vick. Hair & Make-up by Lizzie Hatfield. Models: Sierra Rae, Meilyn Saychow, Kolya Cain

Die Schuldigkeit des Ersten Gebots didn’t have such a big concept process, I only needed the thumbnail to get an idea of what I wanted to get out of the final picture.

Die Schuldigkeit des Ersten Gebots concept sketch

Die Schuldigkeit des Ersten Gebots thumbnail sketch

You can compare the thumbnail above to the finished image below.

Die Schuldigkeit des Ersten Gebots, Act 1 by Tyson Vick

Die Schuldigkeit des Ersten Gebots, Act 1 by Tyson Vick

Die Entfuhrung aus dem Serail was costumed out of clothes found in my friend and fellow costumer Camille’s closest. I thought about all the pieces she had available, and then combined them on paper as seen below.

A costume sketch based on Camille's costumes and set in the yellow void.

A costume sketch based on Camille’s costumes and set in the yellow void.

Below you can see some of these costumes in the finished image.

Mozart Project. Die Entfuhrung aus dem Serail. Photo by Tyson Vick.

Mozart Project. Die Entfuhrung aus dem Serail. Photo by Tyson Vick.

The Magic Flute is an opera I have extensively illustrated. When I first heard it, I was inspired to fill an entire sketchbook.

Queen of the Night Drawing

An early drawing of mine, illustrating the Act 1 Aria “O zittre Nicht”

But when I decided to use photography to bring these ideas to life, I did not know anything about costuming. So, I started petty small. I would probably go bigger today, especially with the Queen of the Night.

Papageno concept art

Papageno concept art

My costume ideas of Tamino and the Queen of the Night were based on what I could realistically make at the time.

Costume Sketches

Act 1 Costume Sketches for Tamino and The Queen of the Night

Tamino’s outfit is influenced heavily by Japanese history and video game costumes.

Tamino Costume Sketch for  my Magic Flute photos

Tamino Costume Sketch for my Magic Flute photos

Below you can see the outfit created from the above design.


Papageno was always meant to be a sort of bird version of a faun in my final image. I based his tattoos and look of of the Egyptian art of the Ba Spirit. A half-bird/half person creature represent a person’s soul.

Papageno costume sketch for my Magic Flute photos.

Papageno costume sketch for my Magic Flute photos.

Papageno was brought to life by Jon Sollee in the image below.

Die Zauberflote, Act 2 by Tyson Vick

Die Zauberflote, Act 2 by Tyson Vick

My Don Giovanni costume sketches were fairly blank, mostly focusing on shape.

Donna Elvira costume sketch for my Don Giovanni photos

Donna Elvira costume sketch for my Don Giovanni photos

In the end, Don Giovanni got a much more complicated white doublet, but the same cut still applies.

Don Giovanni costume sketch

Don Giovanni costume sketch

My thumbnails for Don Giovanni, below.

Don Giovanni concept art

Don Giovanni concept art

A set of Il Sogno di Scipione thumbnails.

Il Sogno di Scipone concept art

Il Sogno di Scipone concept art

Don Pippo of L’oca del Cairo and Lucio Silla, of Lucio Silla, costume sketches.

Don Pippo costume sketch for L'Oca del Cairo and Lucio Silla costume sketch.

Don Pippo costume sketch for L’Oca del Cairo and Lucio Silla costume sketch.

Compare the Lucio Silla Sketch to the final image.


La Finta Semplice was originally meant to feature five or so models, but they kept dropping out. Below was my last minute attempt to create some costumes that could be pulled from what I already owned.

La Finta Semplice costume sketches

La Finta Semplice costume sketches

The Marriage of Figaro photos were inspired by the image below, something I created after first hearing the opera a decade ago.

The Marriage of Figaro concept art

The Marriage of Figaro concept art

The Marriage of Figaro photos involved so many models and stylists, that I needed a thorough map of thumbnails to keep them straight.

The Marriage of Figaro Concept art

The Marriage of Figaro Concept art

I used the page below to keep track of which photos I had taken on the day.

The Marriage of Figaro concept art

The Marriage of Figaro thumbnail art

Compare the middle sketch above to the final image below.


For Mitridate, I based Aspasia’s outfit’s off of Historically accurate garb.

Aspasia costume sketch for my Mitridate photos

Aspasia costume sketch for my Mitridate photos

Farnace was also based off of History, but with a fantastical tattoo addition.

Farnace costume sketch for Mitridate

Farnace costume sketch for Mitridate

Compare the costume sketch above to the final costume below. I regret selling that cool pirate belt holding his cape up.

This is the photo that I will be showing you how I made! Mitridate, Act III, by Tyson Vick.

This is the photo that I will be showing you how I made! Mitridate, Act III, by Tyson Vick.

Finally, I end with the costume sketches for Zaide, another set of costumes pulled from my friend Camille’s closet.

Zaide costume sketches

Zaide costume sketches

I hope you enjoyed viewing all this concept artwork! I have much, much more, but none of it is scanned.

If you like following the creation of my illustrations of Mozart’s operas through photography, please feel free to subscribe to the blog! All you have to do is type your email into the box and the blog will be sent directly to your inbox from here on out! You don’t need to provide any information beyond your email!

Thanks for reading!

From Concept to Completion for Tyson Vick’s Mozart Photography Project!

19 Jan

Well, I’ve Run Out of Costumes to show you. Over the past three months I have shared nearly every costume I created for my photographic illustrations of Mozart’s Operas. There are three or four pieces hiding in the closet somewhere that I’d like to dig out and photograph for you guys, but then I will have showed you everything!

While this project is getting ready to be compiled and put together in a book, I wanted to show you how it all began!

One day I was walking home from the library after looking for some Mozart Operas to get through the inter-library loan, and I thought, “Hmmm. Maybe I could illustrate my favorite parts of these operas through photography!”

When I got home I drew some sketches on my opera list, which you can see below!

The first thing ever put on paper for my Mozart Photography Project.

The first thing ever put on paper for my Mozart Photography Project.

And after ten years, that list turned into this:

Half of the finished photographs all put together in a collage.

Half of the finished photographs all put together in a collage.

In the image above you can see a little over half of all of the photos I took to illustrate the operas of Mozart! You’ll have to squint, but you can even make out that two of the initial sketches seen in the top sketch image were brought to life and can be seen in the final grid of photographs– lol, it’s a lot of work but on the top image, far right sketch row, second box down (guy blowing away in wind) is the design for row 1 column 5 in the photo set. In the sketch far right, bottom, image of lady with severed head can be seen in the photos row three column 3.

Isn’t that fun to see an idea come to fruition?

Be sure to subscribe to this blog, because now you will start getting all of the information on the books progress! You’ll get to see some of the final photos, and the beautiful costumes, hair and make-up — both Historical and Fantastical! There are also a few costumes left to share with you once I get them photographed! These are exciting times!


Innovation, The Operas of Mozart

5 Jul

Mozart was an innovative operatic composer, in that his operas span every genre available at the time, and for one or two he created new genres. He wrote music for high drama, broad comedy, fantasy adventures, musical theater (Singspiel), religious pieces, intermezzos, one act-ers, festival theatricals (lots of ballet and chorus), private allegorically performances, cantatas and even oratorio.

Mozart wrote his first operatic work at ten years of age. It is interesting to note that he wrote many pieces that are operatic, but which he did not consider opera when tallying how many operas he had completed. This is most likely to do their length, subject matter and his maturity.

Some people may not know how operas are written, so I would like to clarify that Mozart composed music for “libretti” (which are little books of words and lyrics) written by different authors. He set someone else’s words to music and did not write the words himself. He collaborated with two notable authors in his lifetime: Varesco who wrote the book to his first mature work, “Idomeneo”, and the poet Da Ponte, whom he collaborated with on three of his most famous works, “Don Giovanni”, “Le Nozze di Figaro” and “Cosi Fan Tutte”. He also set quite a few of the texts written by the Shakespeare-of-Opera, Metastasio, an author whose plays were set by the most popular and influential composers of the 18th century, including Handel, Gluck, Haydn and Vivaldi. Metastasio did not hold what is known commonly today as a “copyright”, and therefore any work which he had written could be set and adapted by anyone who had access to his plays. This means that while Mozart set more works of Metastasio to music than any other librettist that he worked with, the two men never actually collaborated to create a new work together, except peripherally on “Lucio Silla”, on which Metastasio generously wrote the Act finales for the play’s struggling author.

Title Page Illustration from the First Edition of Don Giovanni. Engraving by P. Bolt after Vincenz Georg Kinninger.

Mozart often had a say in how the story was put together for an opera he was going to set, and he consistently chose texts about — or had the endings of texts altered to be about — “forgiveness”. Brotherhood and Forgiveness seemed to be Mozart’s inspiration from the start, and thematically link all of his plays (Though Don Giovanni inverts these ideas, and shows us what happens if we don’t treasure Brotherhood and what happens if Forgiveness is ignored and denied).

He was always inspired by his loving wife, as well, often writing music that would please her. Mozart also had a knack for finding inspiration in, and utilizing the talents of particular instrumentalists and singers, often linking them together in song. His most notable soprano music was inspired by and written for his sister-in-law, Aloysia Weber. Aloysia Weber was actually his teenage crush, as well, and pursuing her is how he met his wife!

The Queen of the Night from the Shinkel Magic Flute production of 1816 drawn by Carl Friedrich Thiele after designs by Sturmer

The most important operas of Mozart are: “Don Giovanni”, “The Marriage of Figaro” and “The Magic Flute”.  Don Giovanni is the most unique of all of his operas, belonging to an almost indefinable genre which encompasses intense psychological drama, broad comedy, romance, and most alarmingly of all, the supernatural thriller. Included in a full list of his mature works, you will also find, “Cosi Fan Tutte”, “La Clemenza di Tito”, “Die Entfuhrung aus dem Serail” and “Idomeneo”.

All of these pieces are wonderful! However, for a novice who has just started to listen to the operas of Mozart, “Cosi Fan Tutte” is psychologically unsettling, “Idomeneo” is set in an older style (but has monsters), and “Don Giovanni” can be overwhelmingly intense, both musically and dramatically. I would recommend starting with “The Marriage of Figaro” and “Die Entfuhrung aus dem Serail” (Which is more like a modern musical), or if you are a fan of fantasy, I would certainly recommend “The Magic Flute” as your starting point (It was mine).

Papageno from the Shinkel Magic Flute production of 1816 drawn by Carl Friedrich Thiele after designs by Sturmer

Mozart also wrote music to be inserted into other plays and operas, but these are generally singular arias or ensembles. Only recently was it discovered how much he contributed to the fantastical “Der Stein Der Weisen”. Not all of his contribution to this work is entirely documented, but a general rule to go by is, “If there’s a cat meowing in the scene, he wrote it.”

In this list I have included every theatrical work for which Mozart composed a significant amount of music. You will also find this list over on the right. It is how the blog is organized, and you can read posts about both each specific opera, and my photography and costume work on the photos of that opera. I hope to be organizing the blog better soon, where there will be posts about the making of one set of photos from beggining to end, giving away all of the secret details of the history, art, inspiration, and production of the operas and my photos.


Die Schuldigkeit des Ersten Gebots (Composed Act I of III)

Apollo et Hyacinthus

Bastien und Bastienne

La Finta Semplice


Ascanio in Alba

La Betulia Liberata (Oratorio)

Il Sogno di Scipione

Lucio Silla

La Finta Giardiniera

Il Re Pastore

Zaide (Abandoned)

Thamos (Incidental Music)


Die Entfuhrung aus dem Serail

L’oca del Cairo (Abandoned, Composed Act I)

Lo Sposo Deluso (Abandoned)

Der Schauspieldirektor

Le Nozze di Figaro

Don Giovanni

Cosi Fan Tutte

La Clemenza di Tito

Die Zauberflote

Der Stein der Weisen (Collaboration)

And Two Lengthy Cantatas


Davidde Penitente

Getting Ready For My Trip, Thumbnails

7 May

Next Month I am taking a trip to Los Angeles with a friend, and we will be doing some Mozart Project Shoots: “Don Giovanni”, “Thamos, King of Egypt” and “The Philosopher’s Stone”. I am very busy getting ready, and my blog will probably be pretty sparse until June. It takes just as much time to document the things I make as it does to make them, and right now I don’t really have much time to post.

However, I am going to show you a little about how I work when I photograph. Whenever I take a trip, I have a list of all the costume items every character in the photo wears, and I also have a picture list with little sketches of the images I need to take.

Before I shoot, I draw thumbnails of the images I need to take, and the check them off when they’re complete. Here are a few examples of the thumbnail compared to the image I took.

These little thumbnail sketches are drawn a day or a week before the shoot. As you can see, I have a pretty good idea of what image I need before I go into a photo shoot.

Some more thumbnails from Lucio Silla and Die Schuldigkeit des Ersten Gebots.

After I read “The Marriage of Figaro”, the reunion scene stuck out in my mind for many years. I drew a picture, or took a picture of this scene every year for three years! It’s still my favorite scene in the play. (Maybe my favorite scene out of all drama that I’ve encountered.) The song is “Riconosci in Questo amplesso”, a sextet from Act III, if you’re interested. I also drew a thumbnail of this image before I photographed the models.

Figaro Sketch and Pic

My original color drawing of the Figaro reunion was made back in 2002, the thumbnail a few days before the shoot in 2008 and the final image shortly after.

So, this is something that I have to do for my upcoming trip as well, and for Thamos in particular, I haven’t fully got down all the images I need in my mind yet. Drawing some sketches will help me out!

I’m sorry in advance if the blog slows down for a few weeks, but I assure you, it will pick up once I go to LA! Maybe I’ll even be able to post every day if I’m not too bewildered!

Eugenia’s Costume from The Disappointed Bridegroom (Lo Sposo Deluso)

30 Apr

Last week I talked about Mozart’s “Lo Sposo Deluso” and how it was one of the photos that, after I learned how to make clothes, I decided to re-shoot. I also promised to show you Eugenia’s costume this week!

First, let’s start with an image of Eugenia from “Lo Sposo Deluso”:

Eugenia from Lo Sposo Deluso by Tyson Vick.

Eugenia arrives on the steps of the palace, but there is no one to carry her luggage up the stairs. Indignant, she sings an aria about how she’s far too Aristocratic to carry her own luggage up the stairs, and that she has half a mind to turn around and go straight home again! The best part is the coloratura at the end of the song where she cascades up the vocal scales and then down the scales, indicating where she wants to be (the top of the steps) by singing the ascending scales,  and indicating the place she actually is (the bottom of the steps) by singing descending scales. It’s all very funny. If you want to listen to it, here’s a link to a youtube video featuring the song that somebody uploaded AND it features a fancy picture of a wedding cake for some reason! OH boy!

When I started to design Eugenia, my inspiration came from my recollection of two characters from my brother’s Manga, Miss Doublefinger and Miss Merry Christmas from Baroque Works in the Manga “One Piece”. If I can make someone look like they could be a “One Piece” villain, I consider it a job well done.

First, my Eugenia costume Sketch. Next, two "One Piece" villains -- the inspiration of Eugenia -- Miss Doublefinger and Miss Merry Christmas

In the following pictures of Eugenia’s costume, Elizabeth models the outfit. In these pictures the hat had been taken apart and there are no hoops in the skirt.

Elizabeth models the Eugenia outfit.

The jacket to this outfit is made out of a purple suiting fabric. It is boned with steel. It has split sleeves held together with jeweled buttons. The split sleeve is a medieval technique.

Front and Back.

The blouse and skirt are made out of black polyester, and carry more static than anything I’ve ever worked with. It’s like a walking electrical supply station. The skirt looks over-sized because it’s supposed to have hoops, but my hoops were out-of-order at the time this picture was taken.

Sleeve Detail. The sleeves are split and held together with buttons in a medieval style.

In the actual Mozart photo, you can see that Eugenia wears a hat with a silver Ibex and Quail feathers.  The hat is a Halloween store top-hat that has been covered by pleated fabric. The Ibex head is mounted to a belt buckle, which is pinned to the hat band. She also wears purple “John Lennon” glasses from a Halloween store.

You will also see that she wears a neck scarf with a jewel and black gloves.

So that’s Eugenia’s costume!

I leave you with a funny picture of Elizabeth!

Tha's one Bewildered Steampunk. Elizabeth models the Eugenia outfit for my Etsy shop.

The Magic Flute (Die Zauberflote) – Historical Stage Designs

18 Apr

I’ve been watching what my visitors like to read about, and the most popular page on my blog is devoted to The Queen of the Night in various historical productions. It’s also the post that’s the least commented on for how busy it is! I thought I’d vary a theme, and give my silent visitors another dose of Historical “Magic Flute” illustrations, from olden-timey productions!

We’ll start with what scholars believe may be designs from the first production!

This is possibly an illustration of the first scene from the first production of "Die Zauberflote". From Joseph and Peter Schaffer, 1791.

Tamino, Pamina and Papageno sit around jamming in their make-shift band. Tamino/Flute, Papageno/Magic Chimes, Pamina/Vocals. From Joseph and Peter Schaffer, 1791.

Next, we’ll move on to an early revival.

A lady (Papagena?) Indicates a Genie descending from the sky to Papageno. From Joseph Quaglio's 1793 production.

A Guard and what I can only assume is a completely nude Tamino, frolicking gaily in front of a temple of Firey Doom (Left) and a Temple of Watery Destruction (Right) -- like in Zelda but with more nudity! From Joseph Quaglio's 1793 production.

A group of Esoteric Priests of the Sun sing very, very slowly (on most recordings) about Isis and Osiris, numerous times. From Joseph Quaglio's 1793 production.

Next up is one of the more well known Early productions.

Before the Sun Temple, lo, the mighty Osiris, of whom many Esoteric Priests sing many long songs about! From Shinkel, 1816.

Sarastro's moody garden. This is probably where he goes to chillax whenever he needs a break from the endless, slow, praying to Isis and Osiris by the many Esoteric sun priests. From Shinkel, 1816.

The Queen of the Night's Palace. Notice the famous star arrangement in the background. This Screen was lifted to reveal the Queen sitting in those stars singing. From Shinkel, 1816.

Karl Friedrich Schinkel 1815

Here she is! Watch out, or she might ask you to stab somebody! She's got a thing for stabbing! Karl Friedrich Schinkel, 1816

Next up, another generation of Quaglio!

Palm Grove, with more stonework than palms. From Simon Quaglio's 1818 production.

Sarastro's camp. I think this is where Papageno wishes he was a mouse, so that he could hide from the mighty sorcerer. From Simon Quaglio's 1818 production.

The Temple of the Sun, with a Zodiac beam cutting through the esoteric symbolism of incense carrying ladies and wordy lines of latitude. The words are probably just the prayers to Isis and Osiris written out for the more forgetful Esoteric Sun Priests. I mean, they sing so Slowly, they're bound to forget the lyrics from time to time. From Simon Quaglio's 1818 production.

And here’s a straggler:

Papageno and Papagena rock the Magic Chimes like it ain't nobody's business! Schwerdgeburth after Ramberg, 1826.

Now all you lurkers, don’t be afraid to comment and talk about some of things you might like to see on my blog! I will be collecting historical pictures from all of Mozart’s operas, and whenever I get a good batch, I’ll be sure to put them up! See you all laters!

Mitridate – Illustrating an Opera, Part 5

19 Feb

For the past four weeks, I have shared the process that goes into taking a single Mozart Project photo. The picture that I have been describing is the illustration to Mitridate, Act III, which is the most well documented photograph that I have taken.

If you would like to catch up, Part 1 discusses the opera, music and design for the photograph. Part 2 tells about my trip to photograph the model. Part 3 shows various shots which were needed to make a composite image. Part 4 describes how I designed and created a Prison Tower in Miniature for the photograph.

This is the photo that I will be showing you how I made! Mitridate, Act III, by Tyson Vick.

This is the photo that I will be showing you how I made! Mitridate, Act III, by Tyson Vick.

In this fifth post, I will share with you how I used all these images to make a final composite image.

Final Composite

Now, as a warning to my more sensitive readers, the curtain will be lifted, and all the mystery of this image will disappear once you learn how it is composited. You may die a little on the inside. So, if keeping the mystery alive is important to you, please, go no further.

Beware. Beware!

Trevor Ivanich as Farnace

This is the original image of Trevor Ivanich used in the composition.

Once all of my images are collected, I begin to edit them, and put them together in a digital composite. I use a program called Corel, which is like Photoshop, however where Photoshop is an all-encompassing graphics program, Corel has gradually become more focused on re-creating artistic mediums (Paints, Pencils, Brushes).

Once I have scanned the image, I give it any necessary touch-ups. These can include removing blemishes from the model, removing scratches and dust from the film, adding highlights, correcting colors, etc. Next, I cut the image out of its original background.

Trevor removed from Background

Here is Trevor, revomed from his background to be placed in the composite image.

Now, I am ready to composite.

The first thing I do is create a digital “mock-up” of the image I want to make.

Using crude cutting and pasting methods, I create a little collage with all the elements I am considering. With Mitridate, I made one mock-up with the picture of Trevor, the model, when it was first edited, and I drew solid shapes in roughly where I wanted to place background elements.

After I had photographed the Tower and wall, I made a second mock-up. During this process, I look for a natural and attractive composition of the elements.

Mitridate Mock-ups

Two Mock-up Images. The first has a background drawn in. The second has the photographic elements roughed in. Originally, I was thinking of putting boats in the harbor.

While I do build the background and foreground separately in the computer, I also add them together and adjust the elements after every little change I make. For example, I put Farnace in the picture, then I add the wall behind him. I adjust the wall and the character until they are in a good place. Then, I remove Farnace to edit the wall. These edits can include re-sizing and re-coloring, as well as adding grain.

I do this until all the elements match up, and I am pleased with the result. Sometimes I have to take some time away from the image, not looking at it, to return to it fresh and see where any issues may lie.

Mitridate Act III composite Images.

Composite of Sky and Water
This is the farthest background part of the composite. The sky, the water and the tower have been combined, color matched, matched for grain, blurred, etc.
Tower added to sky and water

The next layer is off the birds flying out of the prison tower. This image has also been matched for light, grain, color, etc. The reason there is a blank spot in the corner is because that part of the image will be covered by the wall, and so there’s no point in putting anything there.

Broken wall added to Background

Next, the Broken Wall in the foreground is added. All these elements are built around each other to yield an attractive composition.

Mitridate Act 3 by Tyson Vick

Finally, Trevor (as Farnace) is situated in the photo. Like the others, he is matched to the light, the grain and the color. Now the photo is complete.

So, now the image has gone from the text of one man’s play, to the operatic setting of another man’s music; From the interpretation of one listener’s imagination, to the execution of this idea in real life. Which, hopefully, will interest somebody else in returning to the original play, and the whole process will start again, as our lives are connected by music, drama, emotional truth, friendship, adventure and life!

Mitridate Libretto, Sketch, Photo

The original title page to the Mitridate Libretto which inspired my Farnace sketch which was brought to life by Trevor Ivanich in my Photograph!

My ultimate goal with this project, when it is finished, is to share the joy I have experienced through the music of Mozart!

Again, here is the song which my photograph illustrates, to complete my post  “Mitridate – Illustrating an Opera”. Thanks for reading!