Makeup design for Double Mixte – Winter production of the Freiburg University of Music
- Faye Ryan
- 11 hours ago
- 2 min read
This is already the eleventh year that I have been managing the winter production of the I will be accompanying the Freiburg University of Music together with my colleague Aline Manyas . This production is a fixed date in my calendar.
This year's production consisted of two one-act operas:
“Le Testament de la Tante Caroline” and “Alexandre Bis”.
The production thrives on clear images, precise music, and a deliberate reduction in costume and makeup, which allows the individual characters to stand out particularly well.
Preparation & Cooperation
In preparation, Aline and I sat down with costume designer Juliane Hollerbach and discussed the looks for the production.
The costumes are deliberately very uniform. This gives the makeup an important role in making the individual characters visible.
The choir wears a uniform mask , while the soloists differ only in minor details – for example, a different hairstyle or a slightly altered lip color. The 1920s served as a guide, not as a historically accurate model, but as a calm, understated atmosphere that suits the production.
Reduction as a design principle
All the performers share a similar foundation – a reduced color palette, clean lines, and understated surfaces. It is precisely this that creates the differences visible on stage, even though the costumes are uniform.
The characters are described through details :
Eye and lip shape, as well as lip color.
Hairstyles such as finger waves, clean partings or hair laid back smoothly.
Small variations that make an impact on the overall picture.
The looks are deliberately minimalist – not as a sacrifice, but as a design choice.
In this way, the makeup can be supportive without being obtrusive.
Teamwork, calmness & continuity
A large part of the work takes place directly in the dressing room during rehearsals and performances . Here, consistency is more important than change . This tranquility is particularly crucial for a university production, allowing the singers to focus on the music, the text, and their acting.
Collaboration with my colleague Aline is an integral part of the production. Together, we ensure a process that is reliable for everyone involved – and which demonstrates year after year how valuable teamwork and continuity are in the creative process.
I look forward to being part of this production every year.
Contributors
Anna Heinecke, Bernadette Heinrich, Elza Loginova, Jingjing Ma, Lea Krüger, Leonor de Pereira Pinto, Miriam Stelzer, Patrizia Pfauth, Sophie Hunold, Theresa Bertrand, Andy Haberer, David Rother, Jens Martens, Johannes Arzt, Johannes Blank, Jonathan Schlittenhard, Luis Denzel, Peter Kist, Sören Thiemann, Wei Chieh Tai and many other students from all vocal classes, Orchestra of the Freiburg University of Music
Musical direction:
Marius Stieghorst
Musical assistance:
Godeleine Catalan, Jiantao Yu
Choir rehearsal:
Dariia Holiatina, Pauline Moulin-Klimoff
Correspondence:
Kyeongseo Lee, Fridolin Bosse
Production Management:
Eva Kirchner
Stage direction:
Alexander Schulin, Fabian Lüdicke, Juliane Hollerbach, Emma-Louise Jordan
Makeup image:
Aline Manyas, Faye Ryan
Photos: Maurice Korbel
