Moby-Dick: Washington National Opera Look-In

PERFORMANCE GUIDE

Cuesheet

Opera Look-In featuring scenes from Jake Heggie and Gene Scheer’s

MOBY-DICK With members of the Domingo-Cafritz Young Artist Program and the WNO Orchestra

Conducted by Evan Rogister Production by Leonard Foglia Presented in the Kennedy Center Opera House

Stories that Sing There’s more than one way to tell a great story. And sometimes—if you’re very lucky several types of storytelling can join forces to create one unique and thrilling adventure. Welcome aboard WNO’s Pequod, a majestic ship where beloved literature, soaring melodies, and the magic of theater meet in the opera MobyDick—a place where story can literally sing.

David and Alice Rubenstein are the Presenting Underwriters of WNO.

Performances for Young Audiences is made possible by

Whale ales W

hat kind of story is so big it can inspire a book and then goes on to inspire an opera based on that book? Simple: a story about the largest animal known to man.

SOME HISTORY FIRST For many centuries, the mysterious whale was an essential part of human life and the global economy. This was mostly because the fatty oil gathered from whale blubber was used to light lamps in the days before electricity. Many whaling ships sailed out of the small Massachusetts island of Nantucket, which became a headquarters for sailors bent on catching whales. From there, men journeyed around the world for years at a time, risking life and limb to capture these colossal whales.

A GREAT AMERICAN NOVEL The need for whale oil reached its peak in the 1800s, and the whale trade became so popular it prompted many 19th-century authors to write about whale hunting on the high seas. Novelist Herman Melville drew upon his own experiences as a whaler as well as true tales of violent encounters with the gigantic animals to create his 1851 masterpiece, Moby-Dick—a powerful story of friendship, ambition, and revenge.

A YOUNG PERSON’S GUIDE TO WHALES Around the same time as Melville was exploring whaling life in Moby-Dick, an author named Francis C. Woodworth was also tackling the subject of whales in his book Jack Mason, the Old Sailor. Disguised as storyteller Theodore Thinker, Woodworth introduced young audiences to the dangers of whaling through the character of Jack Mason, an experienced and well-traveled older man.

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From Page to (Opera) Stage C

MEET THE CAST

onsidered one of America’s greatest novels, the epic sea adventure captures this country’s spirit and voice during an important time in its history.

Operatic music calls for many different kinds of singing, from the very high to the very low, and singers tend to fall into separate categories, based roughly on how high or low they can sing.

Moby-Dick features eight main characters, seven of which you’ll hear today.

WHAT IS AN OPERA ANYWAY? “Opera” is a story told through music. Instead of speaking, the characters sing through their thoughts and emotions. Sometimes the characters sing by themselves (this is called an “aria,” pronounced AR-ee-yah), and sometimes they sing in groups of two or more.

MAIN CHARACTERS AHAB, captain of the Pequod (tenor – the highest male voice)

There’s also an orchestra that plays with the singers. Listen carefully for the way instruments act as “sound effects” while providing musical accompaniment. (For example, how trumpets sound like whales spouting water.)

STARBUCK, first mate (baritone – a middle-range male voice) STUBB, second mate (baritone) FLASK, third mate (tenor)

WHAT’S THE STORY?

QUEEQUEG, an island native and harpooner (bass – the lowest male voice)

The opera, Moby-Dick, takes place on a whaling ship known as the Pequod. On board, newcomer Greenhorn (later known as “Ishmael”) and his fellow sailors struggle to survive a perilous journey complete with treacherous seas and seemingly vicious whales. However, the men soon realize the greatest danger they face is their vengeful captain, the peg-legged Ahab. As the hunt drags on, the captain threatens to bring down the whole crew in his attempt to capture a white whale known as Moby Dick, the very animal responsible for the captain’s missing leg.

GREENHORN/ISHMAEL, a young whaler (tenor) PIP, the cabin boy (soprano – the highest female voice)* *note: when opera composers have females sing the parts of young boys it is often called a “pants” role

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On Stage and Behind the Curtain I

t takes a lot of work and a lot of people to create an opera—both on stage and off. As you watch today’s performance, keep some of these key players and important aspects of the show in mind:

IN THE SPOTLIGHT

BEHIND THE SCENES THE ORCHESTRA Located in the dark pit at the foot of the stage. Their instruments keep the opera on its musical feet and provide the singers with much-needed support.

SINGERS

THE CONDUCTOR

Gentlemen (and lady!) that are the stars of the production. Their voices are the most responsible for telling the story and expressing the emotions of the characters. Some of them even do their singing in mid-air.

In charge of all things musical, keeping the instruments and singers in time by maintaining a beat and also giving clues as to how the music should sound (i.e., loud, soft, or furious).

SETS

THE TECHNICAL DIRECTOR

Things that give the opera a sense of place, including the ship masts, ropes, and sails.

Those specially textured “scrims” (transparent screens) you’ll see count as set pieces, too.

Oversees technical (electric or mechanic) elements of the production from computerized projections on scrims, to lighting and sound systems, to moving set pieces and beyond.

COSTUMES

THE COSTUME DIRECTOR

Anything the characters wear, including a peg leg, hats, and shoes.

Takes care of how the singers look and feel in their costumes, shoes, and accessories.

The costume designer also decides who wears what and when.

LIGHTS Special lights that are set up all around the theater. These help you see the action onstage and give you clues about the story, such as the time of day. Plastic “gels” are used to change the color of the lights and metal “gobos” are used to create different shadows or textures.

THE CHOREOGRAPHER Responsible for the opera’s coordinated movements, such as dances or acrobatic performances. Some productions even have a special fight director, like the one you’ll meet today, who designs the battles onstage.

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For eachers DEAR TEACHERS: Here are some thoughts and activities to share with students before the curtain rises and a little bit of homework fun for when it comes down.

BEFORE THE LOOK-IN PRE-OPERA PREP Ask students what they think the experience of opera might be like. What sights and sounds do they expect? Be sure to point out that operas are similar to movies; they have something for everyone (comedy, action, thrills).

PLAYLIST SHUFFLE Have students consider what type of music they enjoy. Do any of their favorite songs tell a story? Ask them to think about how this idea can apply to an opera.

FUN WITH INSTRUMENTS Today, students will hear a full-sized orchestra. Can students list the four orchestra families? (Hint: strings, woodwinds, brass, and percussion.) Ask students what instruments they can identify by ear. Listen for these unique sounds during the show.

AFTER THE LOOK-IN CHARACTER CONFLICT Though they frequently sing together, Captain Ahab and Starbuck seem at odds throughout the opera. Have the students consider whether this is because the two men are very different or very alike. Ask students: What drives Ahab? What motivates Starbuck?

Have children create a “personality quiz� that explores which characters they themselves most resemble.

SPOILER ALERT Some musical themes in the overture can be heard again in later scenes. Why do students think these themes recur? Do they think music can help audiences recall certain plot points or emotions?

With older students, discuss foreshadowing and the ways it might be used on stage (Hint: music, sets, lighting, lyrics).

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Lowering Anchor: A Few Things to Know Before Leaving the Pequod

David M. Rubenstein Chairman Michael M. Kaiser President Darrell M. Ayers Vice President, Education

Michael L. Mael Executive Director Francesca Zambello Artistic Director

PHOTO BY ELLEN APPEL

Support for Opera Look-Ins is provided by the Paul M. Angell Family Foundation.

ABOUT THE COMPOSER AND LIBRETTIST…

PHOTO BY TONY RYAN

Jake Heggie

Moby-Dick marks the latest in a number of collaborations from music-writing team Jake Heggie and Gene Scheer. Together, the two have created several song cycles and musical dramas, along with yet another opera, Three Decembers. Though composer Jake Heggie began his career as a pianist, his operas are now in high demand across the globe.

Mr. Scheer, a renowned lyricist, is also a composer, and his music can be heard on both stage and screen.

Gene Scheer

The Domingo-Cafritz Young Artist Program is made possible through the generous support of The Morris and Gwendolyn Cafritz Foundation.

Additional support for Performances for Young Audiences is provided by Adobe Foundation; The Clark Charitable Foundation; Mr. James V. Kimsey; The Macy's Foundation; Park Foundation, Inc.; an endowment from the Ryna and Melvin Cohen Family Foundation; U.S. Department of Education; Washington Gas; and by generous contributors to the Abe Fortas Memorial Fund and by a major gift to the fund from the late Carolyn E. Agger, widow of Abe Fortas.

Education and related artistic programs are made possible through the generosity of the National Committee for the Performing Arts and the President’s Advisory Committee on the Arts.

ABOUT OUR GUEST STORYTELLER… Meet Andrea Roane, anchor for Washington D.C.’s WUSA TV, Channel 9 and host of the morning news. A broadcaster for more than 30 years, Ms. Roane has received many awards and honors. Look for her on TV!

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Learn more about education at the Kennedy Center at www.kennedy-center.org/education The contents of this Cuesheet have been developed under a grant from the U.S. Department of Education and do not necessarily represent the policy of the U.S. Department of Education. You should not assume endorsement by the Federal Government. © 2014 The John F. Kennedy Center for the Performing Arts