The equipment for the Bayreuth Festival is only needed for about three months a year: for the rehearsal and festival periods. Afterwards, sets and costumes are stored away again – as gently as possible and, of course, winter-proof. Especially with sensitive materials, the Franconian winter is not to be trifled with. The better the equipment is stored and protected from environmental influences, the less it needs to be worked on for the next festival season.
Winter in Upper Franconia is notoriously harsh. Temperatures down to -18 °C are not uncommon. This makes the long-term storage of productions a small challenge, especially since stage sets are often made of sensitive materials. This applies less to the load-bearing structures, and more to the surfaces, for example in Lohengrin: The walls of the “laboratory” stage set are covered with huge sheets of white artificial leather. The material can easily become brittle with temperature fluctuations and is also sensitive to changes in humidity – not to mention its light sensitivity.
The rehearsal stages serve as storage locations for the Bayreuth productions. They are true multi-functional halls: for work on the backdrops and substructures, they sometimes serve as assembly halls, as an extension of the carpentry, painting, and locksmith workshops. During the rehearsal period, productions are rehearsed here – as their name suggests – sometimes within the stage sets. During the festival season, backdrops not needed on stage are temporarily stored here. From autumn to spring, they again serve as storage halls: they are filled with backdrops in a colorful jumble, often standing close together. Depending on how many productions are in the repertoire, additional storage halls may need to be rented. To protect the surfaces from dust and sunlight, the constructions are covered with foils after thorough cleaning. Elements or paintings laminated with fabric or rubber are particularly delicate in this regard. Stubborn dust or discolorations may no longer be removable. Two of the rehearsal stages can be well heated and therefore serve as a refuge for sensitive elements that need to be stored in as constant an environment as possible.
When it comes to storing and caring for costumes, the equipment for the 150 choir singers presents the biggest challenge in terms of quantity and scope. The choir changing rooms are primarily used for storage. With 92 male and 58 female singers, there are a total of 8 changing rooms just for the choir, where the costumes are protected from frost and moisture. Much can be stored here over the winter, just as it is during the season: assigned by name to individual singers, sorted by production, including accessories. Each costume is custom-made, and the majority of choir singers return every year. There are only about 20-30 cast changes per season. “We generally assume that a choir singer will return”, explains equipment manager Monika Gora. “This means we thoroughly clean the costumes, and over the winter, they are gradually checked and repaired by the permanent staff.” In spring, it is determined who will be newly cast, then based on their measurements, the “vacated” costumes are reallocated and, if necessary, altered or remade. It is important for logistics that detailed illustrated lists are always available with the costumes. This way, participants or the wardrobe department quickly notice if the ideal condition is not met – even with the smallest details.
The rat costumes by Reinhard von der Thannen in Hans Neuenfels’ current Lohengrin pose a particular challenge for storage. The “neoprene” suits alone must be stored on 25 large wardrobe racks, plus four racks for the heads and two for hats. They spend their “winter sleep” on one of the rehearsal stages.
The soloists’ costumes also winter on clothes rails in the women’s and men’s solo changing rooms. There is ample space here, as they also need to be stored here during the festival. A few garments require particularly careful handling for long-term storage: the swan dresses from Lohengrin, for example, are dressed on mannequins and stored standing, thoroughly covered, to avoid damaging the heavy hoop skirts. Last year there was storage damage – this should not happen again this year. The knitted dress of Elisabeth in Tannhäuser, however, must be stored flat: on a clothes rail, it would become longer and longer due to its own weight and would eventually no longer be wearable. Overall, for costumes, in addition to thorough cleaning, the same basic rules apply as for the sets: protect from dust and light! And so, the blinds in the changing rooms usually remain closed in winter.