La Bohème: WNO Opera Look-In

About the composer…

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? Are the songs about regular people or celebrated figures?

Ask them to think about how these ideas can apply to an opera.

Giacomo Puccini

Fun with Instruments At the Look-In, 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.

About our guest storyteller…

Does the Look-In host look familiar?

That’s because she’s 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.

After the Look-In May We Interrupt?

Though it may seem as though characters are occasionally singing over one another or interrupting each other, this is actually intentional on the part of Puccini and his librettists. Try having students write their own bit of everyday dialogue, complete with plenty of interruptions, and have them read the conversations aloud. What about these interruptions makes the dialogue feel more believable?

Why do students think Puccini used this device?

Born in Italy to a gifted musical family, Giacomo Puccini (1858–1924) discovered opera at a young age and dedicated his life to the art form. His works, characterized by beautiful tunes and dramatic mood swings, contributed to a new style of opera that focused on presenting stories as realistically as possible without shying away from tough subjects like murder, scandal, or poverty.

Today, Puccini’s La bohème, Manon Lescaut, Madama Butterfly, Tosca, and Turandot remain opera house favorites.

Andrea Roane

Deborah F. Rutter President Darrell M. Ayers Vice President, Education

Michael L. Mael Executive Director Francesca Zambello Artistic Director General Dynamics is the proud sponsor of WNO’s 2014-2015 Season.

WNO acknowledges the longstanding generosity of Life Chairman Mrs. Eugene B. Casey.

Opera Look-In featuring scenes from Giacomo Puccini’s

La bohème With members of the Domingo-Cafritz Young Artist Program and the WNO Orchestra Conducted by Michael Rossi Production directed by Peter Kazaras Presented in the Kennedy Center Opera House

Generous support for WNO Italian opera is provided by Daniel and Gayle D’Aniello.

La bohème is a production of the Clarice Smith Opera Series.

Opera for Everybody

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

Welcome to an Opera Look-In, where you’ll discover that operatic stories can be inspired by anyone and everyone, from writers to painters to—as in the opera La bohème—the girl next door.

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

Additional funding for the Domingo-Cafritz Young Artist Program is provided by Judy and Billy Cox. Events for Students is made possible by Kaplan, Inc.; Mr. James V. Kimsey; The Morris and Gwendolyn Cafritz Foundation; and the U.S. Department of Education.

Major support for educational programs at the Kennedy Center is provided by David and Alice Rubenstein through the Rubenstein Arts Access Program.

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.

Spoiler Alert Though the first two acts of La bohème seem cheerful and upbeat, the opera may or may not have the happiest of endings. How do students think the story will end? What clues, if any, do they see on stage or hear in the music? (Hint: the trembling, uncertain strings that play when Mimì enters.)

www.kennedy-center.org/artsedge

Explore More!

Go to KC Connections on ARTSEDGE artsedge.kennedy-center.org/students/kc-connections

Cuesheets are produced by ARTSEDGE, an education program of the Kennedy Center.

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

Major support for WNO is provided

by Jacqueline Badger Mars.

David and Alice Rubenstein are the Presenting Underwriters of WNO.

Cuesheet

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.

David M. Rubenstein Chairman

PERFORMANCE GUIDE

For Teachers

A Few Things to Know Before Leaving Paris

Welcome to a Musical City of Light The Story Behind Bohème

S

tep into Paris, France, a place where people who live for art and love can live out their hopes and dreams in a city of bright lights and beautiful culture. Here, cafés are open late into the night and young people can meet, exchange ideas, sing songs, and, occasionally, fall madly in love.

Composer Giacomo Puccini (pronounced JAHkaw-moh poo-CHEE-nee) used not one but two librettists (people who write the words to an opera and help build the story) to create his famous version of La bohème (lah boh-EM). The team was inspired by a series of tales written by a French author about life in the poor sections of 19th-century Paris—a world full of art, music, and poetry. The stories were so popular, Puccini even found himself in a feud with another famous composer over the rights to set these “bohemian” (meaning creative and carefree) tales to music.

A Truthful Tale While many operas before La bohème involved stories of kings and queens, lords and ladies, and gods and goddesses, Puccini and his colleagues chose to center their opera on “ordinary” people that audiences would find familiar. The main characters in La bohème are poets, musicians, painters, and laborers—people you might meet on the street or see in your local coffee shop. As a result, their tale might feel more truthful and believable to you than some of opera’s other, wilder, more supernatural stories.

Creating a Classic L

a bohème is one of the world’s most popular operas—and has been for more than 100 years. Read on to learn more about what goes into a musical masterpiece.

What Is an Opera Anyway?

An “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. There’s also an orchestra that plays with the singers and uses different combinations of instruments at different times.

Things to listen for:

K

how the musicians help set a mood by playing or singing extra fast, extra slow, extra loud, or extra soft

K

how the solo songs feature instruments that support the singer but that sometimes play their own special melodies underneath

K

how some tunes or “themes” can be heard more than once in connection with a specific character, feeling, or place

What’s the Story?

La bohème follows the loves and losses of six Parisian bohemians as they struggle to make a living through a harsh winter and a bitter spring. At the Look-In, you’ll meet all six main characters and watch as poet Rodolfo and his neighbor, the lovely and fragile Mimì, fall in love at first sight on Christmas Eve. You’ll then follow Mimì, Rodolfo, and Rodolfo’s three artistic friends—Marcello, Schaunard, and Colline—to Café Momus, where, among the crowd, they encounter Marcello’s old girlfriend Musetta, one of the best-known singers in Paris.

Meet the Cast 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. La bohème features six main characters featuring four of the many different types of voices.

Main Characters Rodolfo, a poet (tenor–the highest male voice) Marcello, a painter (baritone–a middle-range male voice)

On Stage and Behind the Curtain It 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: Singers The ladies and gentlemen that are the stars of the production. Their voices are the most responsible for telling the story and expressing the emotions of the characters.

Sets and Props Things that give the opera a sense of place, including the tables and chairs of Café Momus and the shabby furniture of Rodolfo and Marcello’s apartment.

Schaunard, a musician (baritone) Colline, a philosopher (bass–the lowest male voice) Mimì, a seamstress (soprano–the highest female voice) Musetta, a singer (soprano)

Costumes Anything the characters wear, including coats, hats, and boots.

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.

Behind the Bohème Scenes: Orchestra Players 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 muchneeded support.

The Conductor 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).

The Technical Director Oversees technical (electric or mechanic) elements of the production, from lighting and sound systems to moving set pieces and beyond.

The Costume Designer 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.

The Choreographer Responsible for the opera’s coordinated movements, such as dances or fights.

Welcome to a Musical City of Light The Story Behind Bohème

S

tep into Paris, France, a place where people who live for art and love can live out their hopes and dreams in a city of bright lights and beautiful culture. Here, cafés are open late into the night and young people can meet, exchange ideas, sing songs, and, occasionally, fall madly in love.

Composer Giacomo Puccini (pronounced JAHkaw-moh poo-CHEE-nee) used not one but two librettists (people who write the words to an opera and help build the story) to create his famous version of La bohème (lah boh-EM). The team was inspired by a series of tales written by a French author about life in the poor sections of 19th-century Paris—a world full of art, music, and poetry. The stories were so popular, Puccini even found himself in a feud with another famous composer over the rights to set these “bohemian” (meaning creative and carefree) tales to music.

A Truthful Tale While many operas before La bohème involved stories of kings and queens, lords and ladies, and gods and goddesses, Puccini and his colleagues chose to center their opera on “ordinary” people that audiences would find familiar. The main characters in La bohème are poets, musicians, painters, and laborers—people you might meet on the street or see in your local coffee shop. As a result, their tale might feel more truthful and believable to you than some of opera’s other, wilder, more supernatural stories.

Creating a Classic L

a bohème is one of the world’s most popular operas—and has been for more than 100 years. Read on to learn more about what goes into a musical masterpiece.

What Is an Opera Anyway?

An “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. There’s also an orchestra that plays with the singers and uses different combinations of instruments at different times.

Things to listen for:

K

how the musicians help set a mood by playing or singing extra fast, extra slow, extra loud, or extra soft

K

how the solo songs feature instruments that support the singer but that sometimes play their own special melodies underneath

K

how some tunes or “themes” can be heard more than once in connection with a specific character, feeling, or place

What’s the Story?

La bohème follows the loves and losses of six Parisian bohemians as they struggle to make a living through a harsh winter and a bitter spring. At the Look-In, you’ll meet all six main characters and watch as poet Rodolfo and his neighbor, the lovely and fragile Mimì, fall in love at first sight on Christmas Eve. You’ll then follow Mimì, Rodolfo, and Rodolfo’s three artistic friends—Marcello, Schaunard, and Colline—to Café Momus, where, among the crowd, they encounter Marcello’s old girlfriend Musetta, one of the best-known singers in Paris.

Meet the Cast 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. La bohème features six main characters featuring four of the many different types of voices.

Main Characters Rodolfo, a poet (tenor–the highest male voice) Marcello, a painter (baritone–a middle-range male voice)

On Stage and Behind the Curtain It 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: Singers The ladies and gentlemen that are the stars of the production. Their voices are the most responsible for telling the story and expressing the emotions of the characters.

Sets and Props Things that give the opera a sense of place, including the tables and chairs of Café Momus and the shabby furniture of Rodolfo and Marcello’s apartment.

Schaunard, a musician (baritone) Colline, a philosopher (bass–the lowest male voice) Mimì, a seamstress (soprano–the highest female voice) Musetta, a singer (soprano)

Costumes Anything the characters wear, including coats, hats, and boots.

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.

Behind the Bohème Scenes: Orchestra Players 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 muchneeded support.

The Conductor 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).

The Technical Director Oversees technical (electric or mechanic) elements of the production, from lighting and sound systems to moving set pieces and beyond.

The Costume Designer 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.

The Choreographer Responsible for the opera’s coordinated movements, such as dances or fights.

Welcome to a Musical City of Light The Story Behind Bohème

S

tep into Paris, France, a place where people who live for art and love can live out their hopes and dreams in a city of bright lights and beautiful culture. Here, cafés are open late into the night and young people can meet, exchange ideas, sing songs, and, occasionally, fall madly in love.

Composer Giacomo Puccini (pronounced JAHkaw-moh poo-CHEE-nee) used not one but two librettists (people who write the words to an opera and help build the story) to create his famous version of La bohème (lah boh-EM). The team was inspired by a series of tales written by a French author about life in the poor sections of 19th-century Paris—a world full of art, music, and poetry. The stories were so popular, Puccini even found himself in a feud with another famous composer over the rights to set these “bohemian” (meaning creative and carefree) tales to music.

A Truthful Tale While many operas before La bohème involved stories of kings and queens, lords and ladies, and gods and goddesses, Puccini and his colleagues chose to center their opera on “ordinary” people that audiences would find familiar. The main characters in La bohème are poets, musicians, painters, and laborers—people you might meet on the street or see in your local coffee shop. As a result, their tale might feel more truthful and believable to you than some of opera’s other, wilder, more supernatural stories.

Creating a Classic L

a bohème is one of the world’s most popular operas—and has been for more than 100 years. Read on to learn more about what goes into a musical masterpiece.

What Is an Opera Anyway?

An “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. There’s also an orchestra that plays with the singers and uses different combinations of instruments at different times.

Things to listen for:

K

how the musicians help set a mood by playing or singing extra fast, extra slow, extra loud, or extra soft

K

how the solo songs feature instruments that support the singer but that sometimes play their own special melodies underneath

K

how some tunes or “themes” can be heard more than once in connection with a specific character, feeling, or place

What’s the Story?

La bohème follows the loves and losses of six Parisian bohemians as they struggle to make a living through a harsh winter and a bitter spring. At the Look-In, you’ll meet all six main characters and watch as poet Rodolfo and his neighbor, the lovely and fragile Mimì, fall in love at first sight on Christmas Eve. You’ll then follow Mimì, Rodolfo, and Rodolfo’s three artistic friends—Marcello, Schaunard, and Colline—to Café Momus, where, among the crowd, they encounter Marcello’s old girlfriend Musetta, one of the best-known singers in Paris.

Meet the Cast 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. La bohème features six main characters featuring four of the many different types of voices.

Main Characters Rodolfo, a poet (tenor–the highest male voice) Marcello, a painter (baritone–a middle-range male voice)

On Stage and Behind the Curtain It 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: Singers The ladies and gentlemen that are the stars of the production. Their voices are the most responsible for telling the story and expressing the emotions of the characters.

Sets and Props Things that give the opera a sense of place, including the tables and chairs of Café Momus and the shabby furniture of Rodolfo and Marcello’s apartment.

Schaunard, a musician (baritone) Colline, a philosopher (bass–the lowest male voice) Mimì, a seamstress (soprano–the highest female voice) Musetta, a singer (soprano)

Costumes Anything the characters wear, including coats, hats, and boots.

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.

Behind the Bohème Scenes: Orchestra Players 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 muchneeded support.

The Conductor 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).

The Technical Director Oversees technical (electric or mechanic) elements of the production, from lighting and sound systems to moving set pieces and beyond.

The Costume Designer 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.

The Choreographer Responsible for the opera’s coordinated movements, such as dances or fights.

About the composer…

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? Are the songs about regular people or celebrated figures?

Ask them to think about how these ideas can apply to an opera.

Giacomo Puccini

Fun with Instruments At the Look-In, 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.

About our guest storyteller…

Does the Look-In host look familiar?

That’s because she’s 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.

After the Look-In May We Interrupt?

Though it may seem as though characters are occasionally singing over one another or interrupting each other, this is actually intentional on the part of Puccini and his librettists. Try having students write their own bit of everyday dialogue, complete with plenty of interruptions, and have them read the conversations aloud. What about these interruptions makes the dialogue feel more believable?

Why do students think Puccini used this device?

Born in Italy to a gifted musical family, Giacomo Puccini (1858–1924) discovered opera at a young age and dedicated his life to the art form. His works, characterized by beautiful tunes and dramatic mood swings, contributed to a new style of opera that focused on presenting stories as realistically as possible without shying away from tough subjects like murder, scandal, or poverty.

Today, Puccini’s La bohème, Manon Lescaut, Madama Butterfly, Tosca, and Turandot remain opera house favorites.

Andrea Roane

Deborah F. Rutter President Darrell M. Ayers Vice President, Education

Michael L. Mael Executive Director Francesca Zambello Artistic Director General Dynamics is the proud sponsor of WNO’s 2014-2015 Season.

WNO acknowledges the longstanding generosity of Life Chairman Mrs. Eugene B. Casey.

Opera Look-In featuring scenes from Giacomo Puccini’s

La bohème With members of the Domingo-Cafritz Young Artist Program and the WNO Orchestra Conducted by Michael Rossi Production directed by Peter Kazaras Presented in the Kennedy Center Opera House

Generous support for WNO Italian opera is provided by Daniel and Gayle D’Aniello.

La bohème is a production of the Clarice Smith Opera Series.

Opera for Everybody

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

Welcome to an Opera Look-In, where you’ll discover that operatic stories can be inspired by anyone and everyone, from writers to painters to—as in the opera La bohème—the girl next door.

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

Additional funding for the Domingo-Cafritz Young Artist Program is provided by Judy and Billy Cox. Events for Students is made possible by Kaplan, Inc.; Mr. James V. Kimsey; The Morris and Gwendolyn Cafritz Foundation; and the U.S. Department of Education.

Major support for educational programs at the Kennedy Center is provided by David and Alice Rubenstein through the Rubenstein Arts Access Program.

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.

Spoiler Alert Though the first two acts of La bohème seem cheerful and upbeat, the opera may or may not have the happiest of endings. How do students think the story will end? What clues, if any, do they see on stage or hear in the music? (Hint: the trembling, uncertain strings that play when Mimì enters.)

www.kennedy-center.org/artsedge

Explore More!

Go to KC Connections on ARTSEDGE artsedge.kennedy-center.org/students/kc-connections

Cuesheets are produced by ARTSEDGE, an education program of the Kennedy Center.

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

Major support for WNO is provided

by Jacqueline Badger Mars.

David and Alice Rubenstein are the Presenting Underwriters of WNO.

Cuesheet

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.

David M. Rubenstein Chairman

PERFORMANCE GUIDE

For Teachers

A Few Things to Know Before Leaving Paris

About the composer…

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? Are the songs about regular people or celebrated figures?

Ask them to think about how these ideas can apply to an opera.

Giacomo Puccini

Fun with Instruments At the Look-In, 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.

About our guest storyteller…

Does the Look-In host look familiar?

That’s because she’s 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.

After the Look-In May We Interrupt?

Though it may seem as though characters are occasionally singing over one another or interrupting each other, this is actually intentional on the part of Puccini and his librettists. Try having students write their own bit of everyday dialogue, complete with plenty of interruptions, and have them read the conversations aloud. What about these interruptions makes the dialogue feel more believable?

Why do students think Puccini used this device?

Born in Italy to a gifted musical family, Giacomo Puccini (1858–1924) discovered opera at a young age and dedicated his life to the art form. His works, characterized by beautiful tunes and dramatic mood swings, contributed to a new style of opera that focused on presenting stories as realistically as possible without shying away from tough subjects like murder, scandal, or poverty.

Today, Puccini’s La bohème, Manon Lescaut, Madama Butterfly, Tosca, and Turandot remain opera house favorites.

Andrea Roane

Deborah F. Rutter President Darrell M. Ayers Vice President, Education

Michael L. Mael Executive Director Francesca Zambello Artistic Director General Dynamics is the proud sponsor of WNO’s 2014-2015 Season.

WNO acknowledges the longstanding generosity of Life Chairman Mrs. Eugene B. Casey.

Opera Look-In featuring scenes from Giacomo Puccini’s

La bohème With members of the Domingo-Cafritz Young Artist Program and the WNO Orchestra Conducted by Michael Rossi Production directed by Peter Kazaras Presented in the Kennedy Center Opera House

Generous support for WNO Italian opera is provided by Daniel and Gayle D’Aniello.

La bohème is a production of the Clarice Smith Opera Series.

Opera for Everybody

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

Welcome to an Opera Look-In, where you’ll discover that operatic stories can be inspired by anyone and everyone, from writers to painters to—as in the opera La bohème—the girl next door.

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

Additional funding for the Domingo-Cafritz Young Artist Program is provided by Judy and Billy Cox. Events for Students is made possible by Kaplan, Inc.; Mr. James V. Kimsey; The Morris and Gwendolyn Cafritz Foundation; and the U.S. Department of Education.

Major support for educational programs at the Kennedy Center is provided by David and Alice Rubenstein through the Rubenstein Arts Access Program.

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.

Spoiler Alert Though the first two acts of La bohème seem cheerful and upbeat, the opera may or may not have the happiest of endings. How do students think the story will end? What clues, if any, do they see on stage or hear in the music? (Hint: the trembling, uncertain strings that play when Mimì enters.)

www.kennedy-center.org/artsedge

Explore More!

Go to KC Connections on ARTSEDGE artsedge.kennedy-center.org/students/kc-connections

Cuesheets are produced by ARTSEDGE, an education program of the Kennedy Center.

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

Major support for WNO is provided

by Jacqueline Badger Mars.

David and Alice Rubenstein are the Presenting Underwriters of WNO.

Cuesheet

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.

David M. Rubenstein Chairman

PERFORMANCE GUIDE

For Teachers

A Few Things to Know Before Leaving Paris