La Bohème Study Guide

TABLE OF CONTENTS Welcome Letter from BLO Manager of Community Programs

3

History of Opera: An Overview

4

Science of Sound from BLO and Museum of Science, Boston

8

Puccini’s Biography

10

Principal Characters of La Bohème

11

La Bohème Plot Synopsis

12

Bohème Meets 1968: Insight from the Designers

14

1968 Student Revolts, Paris

15

The “Real World” of La Bohème

16

The RENT Connection

18

What to Listen For

20

Resources

22

Discussion Questions

23

Pre- and Post-Performance Study Guides

24

Esther Nelson Stanford Calderwood General & Artistic Director David Angus Music Director John Conklin Artistic Advisor

September 15, 2015 Dear Educator,

Boston Lyric Opera is pleased to invite high school and college students to Final Dress Rehearsals at the Shubert Theatre throughout our Season. We look forward to seeing you and your students at the theatre for this production of Puccini’s La Bohème, performed in a new riveting production set in the Paris of 1968.

The experience of seeing and hearing live, professional opera is second to none. However, we encourage you to explore the world of the opera in your classroom as well. We are proud to offer a study guide to support your discussions and preparations for La Bohème that includes special insights into the production process, the opera’s history, and ready-to-use pre- and post-performance lesson plans for grades 9-12.

Boston Lyric Opera’s mission is to build curiosity, enthusiasm, and support for opera. This new study guide is one way in which we hope to reach this goal and support the incredible work of educators like you, who bring this beautiful art form into your students’ lives. As we continue to develop these study guides this Season, we want your feedback. Please tell us about how you use this guide and how it can best serve your needs by emailing education@blo.org.

If you’re interested in other opera education opportunities with Boston Lyric Opera, please visit blo.org/learn to discover more about our programs.

We look forward to seeing you at the theatre!

Sincerely, Lacey Upton Manager of Community Programs Boston Lyric Opera

BOSTON LYRIC OPERA | 3

A SHORT BIOGRAPHY OF GIACOMO PUCCINI (1858–1924)

Giacomo Puccini was born to a long line of musicians in Lucca, Italy. He was expected to inherit the music position at the Cathedral of San Martino in Lucca, which was passed down from his great-great grandfather, through his family to his father. His family held this position at the Cathedral for 124 years, until Puccini’s father passed away unexpectedly in 1864. Puccini was only six years old at the time, and not old enough to continue his family’s musical dynasty. His uncles ensured that he was given a musical education during his youth and provided the funds for him to continue his studies at the Milan Conservatory.

While in Milan, Puccini himself lived a poor, bohemian life, even living with fellow classmate and composer, Pietro Mascagni, as a roommate. Not unlike the character Colline in La Bohème, Puccini was once forced to sell his own coat for money. It was during his time at the Conservatory that he attended a performance of Verdi’s Aida, and his life was forever changed. He believed from that moment on that he was destined to be an opera composer.

Puccini’s first opera was titled Le Villi. It was well-received by critics and caught the attention of the influential Riccordi publishing company, which assisted with the premiere by printing the libretto without charge. His next successful opera, Manon Lascaut, was an uncontested triumph. His career as a prolific, successful opera composer had truly begun.

Puccini is associated with the verismo movement in opera, which brought realistic situations to the opera stage. His next opera was La Bohème, based on the French book, Scènes de la vie de bohème, by Henri Murger.

Within a few short years, it had been performed at many of the major opera companies of Europe, Great Britain, and the United States. His love and attachment to the work was shown by the fact that he continued to make adjustments to the opera for two decades. La Bohème continues to be one of the most enduring and beloved stories of the struggling life of the artist, as well as friendship.

Photos (top to bottom): Giacomo Puccini, ca. 1907. Photo by Frank C. Bangs.

Puccini in April 1908. Photo by A. Dupont.

LA BOHÈME | 10

THE PRINCIPAL CHARACTERS of LA BOHÈME Rodolfo: A struggling poet who lives with three of his friends. When he meets Mimì, he immediately falls in love with her.

Mimì: A frail seamstress who immediately falls in love with Rodolfo. She is very ill with consumption (tuberculosis).

Marcello: A painter and one of Rodolfo’s three roommates. He still loves his former girlfriend, Musetta.

Musetta: A singer, and Marcello’s former girlfriend. She enjoys being flirtatious to make him jealous.

Colline: A philosopher, and one of the four friends and roommates.

Schaunard: A musician, and one of the four friends and roommates.

Benoît: The landlord to Mimì, and to Rodolfo and his roommates.

Alcindoro: A wealthy older gentleman who is one of Musetta’s many admirers.

Parpignol: A toy vendor.

Costume sketches by the designer for the 2015 BLO production, Nancy Leary.

BOSTON LYRIC OPERA | 11

PLOT SYNOPSIS

ACT I: It is Christmas Eve in Paris, France. Rodolfo, a poet, and Marcello, a painter, are unable to work in their tiny, one-room apartment because it is so cold. They tear the pages from one of Rodolfo’s latest works and throw them into the stove in hopes of warming the room. Their two roommates, Colline, a philosopher, and Schaunard, a musician, arrive home with enough food for everyone.

Benoît arrives, and demands that they pay their overdue rent. He drinks a bit too much wine while he is there, and the boys manage to kick him out. They decide to move their celebration to the Café Momus. Rodolfo decides to stay behind to finish his writing, but promises to join them soon. When everyone has gone, Rodolfo hear a timid knock on the door. It is their neighbor, Mimì. When he sees her, he immediately notices how beautiful she is. Mimì has come to ask if he could light her candle, which has blown out. After he has relit it for her, she realizes she has lost her key. They frantically search for it together. When he finds it, he quickly puts in his pocket to keep her from leaving so quickly, he then blows out his own candle. While they continue to search for the key, their hands touch. He notices how very cold her hands are. They spontaneously profess their love for one another.

They head off to the Café Momus, hand in hand, to join Rodolfo’s roommates.

ACT II: A crowd has gathered at the Café Momus to celebrate Christmas Eve. Rodolfo happily introduces Mimì to his roommates. The mood changes quickly as Marcello’s former girlfriend, Musetta, enters the café.

She is accompanied by a new admirer, the wealthy and older Alcindoro. Musetta tries to get Marcello’s attention. He tries to ignore her, but eventually he falls for her flirtations. She manages to rid herself of Alcindoro and falls into Marcello’s arms. When it is time for them to leave the café, they realize they do not have enough money to pay the bill. Musetta tells the waiter to charge everything to Alcindoro, and they quickly escape out into the crowd.

Images (top to bottom): Poster for the 1896 production of Puccini's La Bohème. By Adolf Hohenstein (18541928), published by G. Ricordi & Co. La Bohème Act II set. By Adolf Hohenstein (1854-1928).

LA BOHÈME | 12

ACT III: It is snowing at the Barriere d’Enfer, the gate to the city of Paris.

Mimì has entered, searching for Marcello, who is painting a mural at the local tavern. She tells him that she and Rodolfo have separated because of his extreme jealousy. Meanwhile, Rodolfo has arrived at the same tavern.

Upon his arrival, Mimì quickly hides nearby. Rodolfo tells Marcello that he wants to leave Mimì. He confesses that she is very sick, and that he knows her health has only worsened from living in their small, cold apartment together. Rodolfo hears Mimì coughing and realizes she has overheard their entire conversation. They reminisce about their past happiness, and decide that they will stay together until the spring, while Marcello and Musetta have a terrible argument and break up.

ACT IV: Several months have passed, and it is now spring in Paris.

Rodolfo and Marcello have separated from Mimì and Musetta and are back in their tiny apartment. Schaunard and Colline arrive with food, and they decide to lighten their spirits with a lively dance. Suddenly, Musetta barges into the apartment. Mimì waits on the streets below, too weak to climb the stairs. They bring her up. Musetta, Marcello, Schaunard, and Colline leave to sell some of their possessions so they can buy medicine for Mimì. Rodolfo and Mimì reminisce about the first time they met and their love for each other. She drifts in and out of consciousness while Rodolfo holds her in his arms. The friends return, but it is too late. Mimì is gone.

Images (top to bottom): Mimì's costume for Act I of La Bohème for the premiere performance, Torino, 1 February 1893. By Adolf Hohenstein (1854-1928) (Archivio Ricordi Milano) Costume sketch for the 2015 BLO production. Rendering by Nancy Leary, designer.

BOSTON LYRIC OPERA | 13

Bohème Meets 1968: Insight from the Designers The upcoming new BLO production is set by the director and designers in Paris of 1968, amid the idealism, energy, and passion of student riots and near-revolution. Why has the story been moved from the middle of the 19th century to 1968? Read on for insight from the designers and early sketches of their work.

A note from John Conklin, Set Designer, on the new BLO production: La Bohème is, without question, one of the most popular operas, both literally in number of performances but also in familiarity, recognizability, and depth of affection…Paris is a city that lends itself to the complications and timeless qualities of myth, and by now Bohème itself carries a mythical aura as well. So why has BLO chosen to surround the story of young artists, love, and death with the visual images and narrative thrust of the Paris of 1968, the Paris of a massive civil revolution which arose out of student unrest and desire? That troubled and violent historical era has itself has become a kind of myth: the heroic and, in the end, seemingly futile struggle between fervent youth and the tired clichés of the establishment, between idealism and the convenient, between freedom and repression...and ultimately between a life fully lived and the inevitable closure of death. Is this not the narrative and the emotional story of Bohème?

SKETCH #1—Act I: The Garret Official pronouncements: THIS BUILDING IS CONDEMNEDNO TRESPASSING Unofficial graffiti: IT IS FORBIDDEN TO FORBID, WE ARE HERE! A portrait of Godard, a placard of Che, and a movie poster for Masculin Féminin line the walls. The furniture has been gathered from what was discarded on the street or stolen from flea markets.

Set design sketch by John Conklin.

Nancy Leary, BLO Costume Designer, says…

“Our principal characters reflect the original roles in that they are struggling, disillusioned young adults trying to assert their ideals, foster change, and in the process fall in and out of love… The social time and place created a maelstrom of student activity which ended in shutdowns, protests, debates and marches that marked the very beginning of France’s alignment with the social change happening in the western hemisphere.”

Left: Leary’s sketch of Schaunard, the musician, is reminiscent of real musicians of the 1960s.

LA BOHÈME | 14

1968 STUDENT REVOLT, PARIS

The heavy hand of President Charles de Gaulle governed the prosperous, but rigidly conservative, country of France. During this time in French history, there was a monopoly on French television and radio. All news that was broadcast required government approval. Factory workers had no job security and could be fired at will. The education system was authoritarian, and homosexuality was a crime.

Women were not allowed to wear pants to work, married women needed the permission of their husbands to open bank accounts, and very few women held high political positions.

In May of 1968, the students of Paris began to challenge France’s capitalism, consumerism, traditional values, and status quo. Taking to the streets, the students organized daily marches, which usually ended with exchanges of rocks thrown by the students and tear gas thrown by the police. By the second week, it was estimated that over 200,000 student had joined the protests. From there, factory workers began to strike. Nearly 11,000,000 workers, 22% of France’s total population, demonstrated their unrest, and the strikes continued for weeks, bringing the entire economy to a virtual halt.

On May 29, the government announced that President de Gaulle was leaving for his country home in Colombey-les-Deux-Églises, but the president secretly flew to Germany to meet with a French military leader. For more than six hours, the world did not know where he was. Refusing to resign in the face of the unrest, de Gaulle held a radio address on May 30. He announced new elections on June 23 and said if necessary, he would use military force to restore peace. Thousands of people immediately responded with a demonstration that flooded the roads to the presidential home, the Élysées Palace.

As May passed into June, de Gaulle was swept back into power in the election. However, the students and workers did win some changes. The weeks of protest were the catalyst in a great era of selfexamination. Committees were formed to reform the educational system, the way that news was provided to the people, and it led to increased equality between men and women. May Parisians viewed the 1968 riots as the time when, “Paris S'eveille,” or “Paris wakes up.”

Image: Students threw rocks during the 1968 protests. Getty images.

BOSTON LYRIC OPERA | 15

THE “REAL WORLD” OF LA BOHÈME

The “bohemian” class emerged in France in the 19th-century in contrast to its well-established and well-to-do bourgeoisie (also commonly called the “middle class”). While the French bourgeoisie had a strict and nationalistic morality, the younger generation who rejected their parents’ patriotic and economic priorities. The bohemian believed in the Romantic ideal of artistic genius, but also had to rely on the marketplace to sell their creations and earn a living, instead of the older model of wealthy aristocratic patronage which could support their artistic ideals.

Bohemians were rebellious, flamboyant, loud, and seemingly shameless, often blurring the line between private and public life. Parisian bohemians in particular were inspired in their fashion by Gothic novels, fashionable romances, and romantic dramas.

Puccini’s opera and Murger’s book captured a very particular and fleeting period in Parisian history. Puccini set his Bohème in the 1830s, and at that time, the city was experiencing an influx of people from the countryside and other towns in search of jobs. Home to a population 40% larger than at the turn of the century, Paris was strained beyond its abilities. Only 20% of its buildings were connected to a water supply, and many tenants shared bathrooms, which were emptied every night by 2,300 night-soil carts. Cramped quarters and tight architecture were conducive to frequent interactions, spurring both creative and emotional connections.

To escape the poverty and claustrophobic living conditions, many working-class women, like Mimì and Musetta, turned to prostitution, either walking the streets or working at one of the city’s nearly 200 registered brothels. A poor, bohemian artist like Rudolfo was in no position to be a suitable breadwinner.

Beginning in the mid-19th century, Parisian coffeehouses became gathering places for bohemians such as artists, writers, thinkers, and more. Spending their time in coffeehouses—often to escape their unheated apartments—many painters and writers of the era depicted the complex and seductive café life in their artworks and novels (see the above painting).

By the 1860s, much of the quaint, artistic Parisian landscape had been bulldozed by Paris officials in order to rebuild and accommodate the growing population. Although the life of the Parisian bohème continued, things had changed.

Adapted from “The Historical Context of La Bohème” by Magda Romanska, BLO Dramaturg Image: “At the Café” by Édouard Manet

LA BOHÈME | 16

Question: Are the characters of La Bohème based on real people?

Answer: No.

Although the characters of La Bohème are drawn from Puccini’s own bohemian lifestyle in his youth, it is impossible to link the characters to specific individuals from his life. Puccini does highlight the qualities of his friends and colleagues that he finds most endearing, which creates an intimate and universal bond with the characters.

Question: Is the weather in La Bohème historically accurate?

Answer: No.

When we meet the characters of La Bohème for the first time, Paris is covered in a blanket of snow, and it is a cold Christmas Eve night. However, Paris has an oceanic climate causing mild temperatures year-round.

Generally, Paris receives 14 days of light snow per year. Why the vicious weather, then? Because Puccini never visited Paris in the winter, it can be speculated that he set the opera in the depths of the season to heighten the plight of the downtrodden artists.

Question: Who wrote the original story?

Answer: Henri Murger (1822-1861)

Although usually considered a novel, Henri Murger’s Scènes de la vie de bohème is a collection of short stories based on the adventures, romanticism, and hardships of the bohemian life.

Question: What is the Latin Quarter?

Answer: A neighborhood in Paris.

Situated on the left bank of the Seine River around the Sorbonne (University of Paris), the Latin Quarter gets its name from the Latin language. As it was considered the language of learning during the Middle Ages, Latin was once widely spoken there because of its proximity to the University. The Latin Quarter is known for its bistros, lively atmosphere, and student life.

Question: Was there a real Café Momus?

Answer: Yes. The Café Momus, which we see in Act II, was a real café in the Latin Quarter that became a regular meeting places for artists. Henry Murger and his friends were frequent visitors. Cafés, such as the Momus, were much more than meeting-places to the bohemians. They were places where ideas could be explored and shared, and where much of the bohemian identity was formed.

Question: How did Mimì die?

Answer: A “fatal disease” (“fatale mal,” Act III).

Usually, the “fatal disease” that Mimì has is understood to be tuberculosis, also known as consumption.

Tuberculosis (TB) is a sickness that can occur in any part of the body, but is most common in the lungs. During the 18th and 19th centuries, tuberculosis was epidemic in Europe and caused millions of deaths, particularly in the poorer classes of society. When the character of Violetta dies of consumption in Verdi’s opera La Traviata, her suffering and death act as a romantic redemption of her earlier life as a courtesan. When Mimì dies in La Bohème, it is not her fault, but poverty’s. Mimì is innocent, but she and her struggling friends are unable to afford medication.

Tuberculosis was a devastating illness that caused fever, chills, night sweats, loss of appetite, weight loss, fatigue, and an aggressive, sometimes bloody, cough. In reality, during the final scene of the opera, Mimì almost certainly would have passed her illness on to her friends. We often think of TB as a disease of the past, but even today it is the second-most common cause of death from infectious disease worldwide, after HIV/AIDS.

BOSTON LYRIC OPERA | 17

The RENT Connection In 1994, composer Jonathan Larson transplanted the characters, plot, and concepts from Puccini’s 1896 opera, La Bohème, to New York City of 1989, and created the 1996 hit Broadway musical, RENT. Based on a set of short stories from Henri Murger’s Scènes de la vie de bohème, Puccini shaped the characters based on the memories of his own bohemian lifestyle in his youth. One hundred years later, Larson was able to relate to the story and his own bohemian lifestyle to create the parallels between the beloved Puccini characters and the characters in RENT. Sadly, Larson suddenly passed away due to an aortic dissection the night before the Off-Broadway premiere. The musical eventually moved to Broadway, won the Pulitzer prize for drama and the Tony Award for Best Musical, then was made into a major motion picture in 2005, starring several of the actors from the original Broadway cast, such as Anthony Rapp, Adam Pascal, Taye Diggs, and Idina Menzel.

La Bohème Characters Rodolfo

RENT Characters

Marcello Schaunard Colline Mimì Musetta Alcindoro Benoît

Mark Cohen Angel Dumott Schunard Tom Collins Mimi Márquez Maureen Johnson Joanne Jefferson Benjamin "Benny" Coffin III

Plot Parallels:

Roger Davis

La Bohème: Rodolfo, Marcello, Schaunard and Colline share a garret apartment and try to trick their landlord, Benoît, out of the rent.

RENT: Roger and Mark share an apartment and struggle to pay the rent. Their friends, Angel Schaunard and Tom Collins, hang out with them at their apartment. Their landlord, Benny, would like to sell the building and start a multimedia studio.

La Bohème: Schaunard is a musician, and in Act I, he appears with a story of being hired by a wealthy Englishman to play until the Englishman’s parrot dies.

RENT: The situation is similar—Angel Schunard is a street drummer. A wealthy woman in a limousine hires Angel to drum until her neighbor’s yappy dog jumps out the window. We learn later that the neighbor turns out to be Benny.

La Bohème: La Bohème starts on Christmas Eve. RENT: RENT begins and ends on Christmas Eve.

LA BOHÈME | 18

La Bohème: Mimì is a quiet seamstress who knocks on Rodolfo’s door during Act I seeking a light for her candle. She drops her key, and Rodolfo pockets it so she will stay longer. He takes her hand, sings of how cold it is. Her aria opens with the words, “They call me Mimì.” They fall in love.

RENT: Mimi also knocks on Roger’s door looking for a light for her candle, except this Mimi is a streetsmart exotic dancer. She also says that she is called Mimi, but at the end of her song.

La Bohème: Marcello and Musetta are constantly fighting and reuniting. Musetta picks up a rich, pompous, temporary boyfriend named Alcindoro in Act II. She sings about how men find her irresistible in the flirtatious “Musetta’s Waltz.”

RENT: Mark’s girlfriend, Maureen, leaves him for a lawyer named Joanne. Maureen also sings a flirtatious song about how “everybody stares” at her.

La Bohème: Rodolfo wants to break up with Mimì because he thinks that their living in poverty is making her even more sick.

RENT: Roger wants to leave Mimi to avoid being heartbroken when she dies from either her drug addiction or AIDS. La Bohème: Right up until the moment of Mimì’s death, her friends are desperately trying to come up with the money needed to buy her medicine. Colline even sells his beloved coat.

RENT: Similarly, when Mimi seems to be at the end of her life, Mark says, “We can buy some wood and something to eat.” The melody line of “Musetta’s Waltz” is then played on electric guitar (a musical motive that happens several times throughout the musical).

The original Broadway cast of RENT.

BOSTON LYRIC OPERA | 19

LA BOHÈME: WHAT TO LISTEN FOR General Guiding Questions: • • • • • • • • • •

What instruments are playing?

How fast is the music? Are there sudden changes in speed?

Is the rhythm steady or unsteady?

Key/Mode: Is it major or minor? (Does it sound bright, happy, sad, urgent, dangerous?)

Dynamics/Volume: Is the music loud or soft? Are there sudden changes in volume (either in the voice or orchestra)?

What is the shape of the melodic line? Does the voice move smoothly or does it make frequent or erratic jumps?

Do the vocal lines move noticeably downward or upward?

Do the melodies end as you would expect or do they surprise you?

How does the music make you feel? What effect do the above factors have on you as a listener?

Does the type of voice singing (baritone, soprano, tenor, mezzo, etc.) have an effect on you as a listener?

Second Listening and Follow-up Questions: • • • •

What is the orchestra doing in contrast to the voice? How do they interact?

What kinds of images, settings, or emotions come to mind when listening to the music? Does it remind you of anything you have experienced in your own life?

Do particularly emphatic notes (low, high, held, etc.) correspond to dramatic moments in the text?

What type of character fits this music? Romantic? Comic? Serious? Etc.

LA BOHÈME | 20

LISTENING SELECTIONS

Selection #1: “O soave fanciulla,” Mimì and Rodolfo, Act I This duet comes at the end of Act I, after Mimì and Rodolfo have introduced themselves to one another and searched for Mimì’s key. Rodolfo sees Mimì in the moonlight, and the two realize that they are in love. www.youtube.com/watch?v=ynvzWT9wI1c

Selection #2: “Quando m’en vo,” Musetta, Act II The four friends and Mimì are having a joyous celebration at the Café Momus, when suddenly Marcello’s ex, Musetta, comes in on the arm of a wealthy older man. To make Marcello jealous (and because she loves attention), Musetta sings this flirtatious song. www.youtube.com/watch?v=m1_BKpgUG4I

Selection #3: “Vecchia zimarra,” Colline, Act IV Musetta has just brought the desperately ill Mimì back to the garret apartment, and all of the friends are rallying to try to save her. They have no money for food or medicine, so Colline decides to sell his beloved coat. Before he does, he sings this aria as a good-bye. www.youtube.com/watch?v=HSVwpUBu9yA

A NOTE FROM DAVID ANGUS, BLO MUSIC DIRECTOR AND CONDUCTOR OF LA BOHÈME, ON ITSMUSIC: For me, the word that sums up Puccini’s music is passion. The surges of emotion that ebb and flow through his romantic music appeal directly to the listeners’ hearts, whether or not they know anything about music. He knows exactly how to allow a singer to soar over the orchestra in wonderful lyrical lines, and he plays with our emotions with his gorgeous twists of harmony.

BOSTON LYRIC OPERA | 21

RESOURCES RECORDINGS: CD Recording available on Amazon: http://www.amazon.com/Boheme-Victorialos-Angeles/dp/B000N2G1IA/ref=sr_1_1?s=music&ie=UTF8&qid=1439219403&sr=11&keywords=la+boheme+beecham

Spotify playlist of La Bohème: https://play.spotify.com/album/54MXZ7pIuoJIAIW6H28R3x?play=true&utm_source=open.spotify.com& utm_medium=open Free E-Book of Henri Murger’s Scenes de la vie de bohème from Project Gutenberg: http://www.gutenberg.org/ebooks/18446

La bohème piano-vocal score in Italian and English from the Indiana University Music Library to read or print: http://www.dlib.indiana.edu/variations/scores/bhq3853/large/index.html

REFERENCES: Berger, William. Puccini Without Excuses. New York: Vintage Books, 2005. Print.

“La bohème.” Wikipedia: The Free Encyclopedia. Wikimedia Foundation, Inc. 24 Aug. 2015. Web. 31 Aug. 2015.

“La Bohème Study Guide 2007.” Boston Lyric Opera. Self-published. 2007.

“Giacomo Puccini.” Wikipedia: The Free Encyclopedia. Wikimedia Foundation, Inc. 16 Aug. 2015.

Web. 31 Aug. 2015.

Gomis, M. and Sanchez, B. “Music and Infectious Disease.” Wiley Online Library. Clinical Microbiology and Infection, 24 December 2001. http://onlinelibrary.wiley.com/doi/10.1046/j.1469-0691.2000.00146.x/pdf.

Morens, David M. “At the Deathbed of Consumptive Art” [another dimension]. Emerg Infect Dis. Web. Nov 2002. http://wwwnc.cdc.gov/eid/article/8/11/02-0549.

LA BOHÈME | 22

DISCUSSION QUESTIONS

1. The bohemian characters face challenges when it comes to employment and financial stability.

How do these factors contribute to the problem in the story?

2. What role do the seasons play in La Bohème?

3. How are Mimì and Musetta different from each other? Which one would you choose to be your friend and why?

4. Rodolfo, Marcello, Colline, and Schaunard are all different types of artists. How could they combine their talents and resources to better make a living?

5. La Bohème is based on events in a set of short stories. How important is the order of the episodes? Could any of the parts of the plot be rearranged in a way in which the drama would still work?

6. La Bohème is considered an example of verismo opera, or based on realism. In what ways are the characters in La Bohème realistic? Are some characters more realistic than others?

7. Who could be considered the bohemians of today?

BOSTON LYRIC OPERA | 23

Lesson Topic: Understanding Art Today Grade Level: 9-10 Pre-Performance Lesson Plans Length of Lesson: Variable, 2-4 Class Periods Stage 1 – Desired Results Content Standard(s): Reading Standard MA.6: Analyze a particular point of view or cultural experience reflected in a work of literature from outside the United States, drawing on a wide reading of world literature.

Speaking and Listening Standard 1: Initiate and participate effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grades 9–10 topics, texts, and issues, building on others’ ideas and expressing their own clearly and persuasively. c. Propel conversations by posing and responding to questions that relate the current discussion to broader themes or larger ideas; actively incorporate others.

Understanding(s)/goals Students will understand: • How to interpret a story’s core ideas in a variety of contexts.

• How to discuss, debate, and compromise as a group.

• How to read with dramatic inflection.

Essential Question(s): • Is the message of La Bohème still relevant to today’s audiences?

• Can we still relate to the ideals and dilemmas of Puccini’s central characters?

• How have “bohemian life” and counterculture changed since the 19th century? How have they stayed the same?

• Under what contemporary circumstances could this story be believably set?

Student objectives (outcomes): Students will be able to: • Compare social attitudes between two different time periods.

• Apply a story to a variety of social settings.

• Assess the logic of a certain mindset within a given time period and social atmosphere.

Stage 2 – Assessment Evidence Performance Task(s): Other Evidence: • Discuss the classes of the • Gauge students’ familiarity with a variety of bourgeoisie and the “bohemian” in cultural, political, and religious ideals.

19th-century France, including their • Comprehension of dramatic narrative. social norms, expectations, ideals.

• Discuss La Bohème and the depictions of characters in various social strata.

• Discuss these same ideas in the context of today’s world.

• Have students divide into small groups and set La Bohème in a believable modern context.

LA BOHÈME | 24

Stage 3 – Learning Plan Learning Activities: Total Time: 2-3 class periods Introductory Activity: Discussion and contextualizing: (1-2 class periods) • Discuss the plot, characters, and social ideals of La Bohème. (Refer to Synopsis on page 12) • After identifying the major social factors at work in the opera, broaden the lens and discuss the large-scale social attitudes of the 19th century to contextualize the story. Explore the role of the bourgeoisie, the emphasis on social class, the role of women, and meaning of the artistic or bohemian life of the time. (Refer to “The ‘Real World’ of La Bohème,” page 16).

• Discuss how these social factors have either changed or stayed the same.

Developmental Activity: Collaborating and re-imagining: (30 minutes) • Students should divide into small groups and contrast these social norms further. How does today’s society view class structure? What is the role of the artist today in society? Based on their experiences and knowledge, do they think the conflicts in La Bohème are still applicable today?

• Together students should explore how this opera could be set in a contemporary setting and in what social, cultural, or religious settings this opera could be staged most believably in. Ask questions such as: In what social setting today do the actions and relationships of the opera fit best? What does it mean to be an artist today? In what contemporary context is the “bohemian” a common figure in contrast to the status quo?

Closing Activity: Sharing Activity: (1 class period) • Students should share their scenario/setting with the class. Each group will discuss why they chose their particular social, religious, or political context to set the opera in and what aspects of this interpretation they found to be most natural and challenging.

• On a board or central chart, note common threads or ideas.

BOSTON LYRIC OPERA | 25

Lesson Topic: Character Relationships Grade Level: 9-10 Post-Performance Lesson Plans Length of Lesson: 1-2 Class Periods Stage 1 – Desired Results Content Standard(s): Reading Standards for Literature MA.3: Analyze how complex characters (e.g., those with multiple or conflicting motivations) develop over the course of a text, interact with other characters, and advance the plot or develop the theme.

Reading Standard for Literature MA.8.A: Relate a work of fiction, poetry, or drama to the seminal ideas of its time.

CCSS.ELA-Literacy.W.9-10.9: Draw evidence from literary or informational texts to support analysis, reflection, and research.

Understanding(s)/goals Essential Question(s): Students will understand: • Discuss the various types of • How to interpret character friendship seen in the opera. motivations based on their • What levels of friendship existed relationships with others. between various characters?

• How to justify an opinion using • How do the characters relate to evidence from a work of fiction. one another? How did these relationships influence the decisions characters made?

• Which characters made good decisions based on friendship or friends’ advice? How or how not?

• What types of sacrifices were made due to feelings of friendship?

Student objectives (outcomes): Students will be able to: • Understand the characters’ thought processes, motives, and decisions.

• Relate fictional expressions of friendship and obligation to their own experiences.

• Understand conflicting motivations.

• Write engagingly in order to justify their point of view.

Stage 2 – Assessment Evidence Performance Task(s): Other Evidence: • Attend Boston Lyric Opera’s dress • Discuss how to use persuasion rehearsal performance of La effectively.

Bohème.

• Class discussion and free-write about relationships between • Create an essay that synthesizes student ideas with those found in characters and how that affects the opera. their motivations.

LA BOHÈME | 26

Stage 3 – Learning Plan Learning Activities: Total Time: Variable (1-2 class periods) Introductory Activity: • Observe the final dress rehearsal of BLO’s production La Bohème.

• Have students compare/contrast the friendships they viewed in the opera with the relationships in their own life (free-write or aloud).

Developmental Activity: • As a class, discuss the character motivations and relationships witnessed in the opera.

• Choose a particular character from the opera and analyze the major actions taken by him or her. Did this character act based on their own feelings or desires? Do you think this character was influenced by another character in particular? If this character was influenced by someone else, who was it and what was their relationship?

Closing Activity: (at home) Writing activity • Students will respond to the following essay prompt: Discuss the friendships that you witnessed in the opera. How do you think these relationships influenced the characters’ decisions or actions? Were their actions largely based on other characters’ opinions? How large a role does friendship play in their lives? How do your own friendships influence your actions and desires?

BOSTON LYRIC OPERA | 27

Lesson Topic: Understanding Art Today Grade Level: 11-12 Pre-Performance Lesson Plans Length of Lesson: Variable, 2-4 Class Periods Stage 1 – Desired Results Content Standard(s): Reading Standard for Literature MA.8.A: Analyze a work of fiction, poetry, or drama using a variety of critical lenses (e.g., formal, psychological, historical, sociological, feminist).

CCSS.ELA-Literacy.SL.11-12.1: Initiate and participate effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grades 11–12 topics, texts, and issues, building on others’ ideas and expressing their own clearly and persuasively. c. Propel conversations by posing and responding to questions that relate the current discussion to broader themes or larger ideas; actively incorporate others.

Understanding(s)/goals Students will understand: • How to interpret a story’s core ideas in a variety of contexts.

• How to discuss, debate, and compromise as a group.

• How to read with dramatic inflection.

Essential Question(s): • Is the message of La Bohème still relevant to today’s audiences?

• Can we still relate to the ideals and dilemmas of Puccini’s central characters?

• How have “bohemian life” and counterculture changed since the 19th century? How have they stayed the same?

• Under what contemporary circumstances could this story be believably set?

Student objectives (outcomes): Students will be able to: • Compare the social attitudes between three different time periods.

• Apply a story to a variety of social settings.

• Assess the logic of a certain mindset within a given time period and social atmosphere.

• Write an essay comparing and contrasting ideas in various time periods.

Stage 2 – Assessment Evidence Performance Task(s): Other Evidence: • Discuss the classes of the • Gauge students’ familiarity with a variety of bourgeoisie and the “bohemian” in cultural, political, and religious ideals. th 19 -century France, including their • Create an outline of ideas from text and music. social norms, expectations, ideals.

• Comprehension of dramatic narrative.

• Discuss the historical events and the ideals of the 1968 student revolts in Paris and the concept of counterculture in the 1960s.

• Discuss La Bohème and the depictions of characters in various social strata.

• Discuss these same ideas in the context of today’s world.

LA BOHÈME | 28

Stage 3 – Learning Plan Learning Activities: Total Time: 2-3 class periods Introductory Activity: Discussion and contextualizing: (1-2 class periods) • Discuss the plot, characters, and social ideals of La Bohème. (Refer to “Synopsis,” page 12) • After identifying the major social factors at work in the opera, broaden the lens and discuss the large-scale social attitudes of the 19th century to contextualize the story. Explore the role of the bourgeoisie, the emphasis on social class, the role of women, and meaning of the artistic or bohemian life of the time. (Refer to “The ‘Real World’ of La Bohème,” page 16) • Read aloud the opening scene of the opera (see page 30). How does this scene set up the bohemian lifestyle and attitude?

• Discuss the historical events of 1968 and the student riots in Paris. (Refer to “1968 Student Revolts, Paris,” page 15) • As a class, discuss how these social factors have either changed or stayed the same over time.

Developmental Activity: Collaborating and re-imagining: (30-45 minutes) • Students should divide into small groups and contrast these social norms further. What common threads exist in the idea of the “bohemian” in the 19th century, the 20th century, and today? What differences exist? How does today’s society view class structure? What kinds of social issues are controversial today? What is the role of the artist today in society? Based on their experiences and knowledge, do they think the conflicts in La Bohème are still applicable today?

• Ask the students to listen to Rodolfo’s aria, “Che gelida manina,” from Act I in small groups.

How does Rodolfo identify and characterize himself? How does it fit into or contrast with the bohemian ideals? Create an outline of ways his aria do or do not fit with the “bohemian” profile.

Closing Activity: Writing Activity: (outside of class) • Ask students to write an essay detailing their thoughts on the discussion by answering the prompt: Who are the “bohemians” of today? Citing evidence from La Bohème, and the historical context of Paris from the 1840s to the 1960s, how do today’s bohemians fit into the tradition of the term?

BOSTON LYRIC OPERA | 29

LA BOHĂˆME: ACT ONE A garret (A large window through which an expanse of snowcovered roofs is seen. At right, a stove. A table, a bed, four chairs, a painter's easel with a half-finished canvas: books everywhere, manuscripts. Rodolfo is thoughtful, looking out the window. Marcello works at his painting "The Crossing of the Red Sea", his hands stiff with cold; he tries to warm them by blowing on them now and again.)

MARCELLO This Red Sea of mine makes me feel cold and numb as if it were pouring over me.

I'll drown a Pharaoh in revenge. (to Rodolfo) What are you doing?

RODOLFO I'm looking at Paris, seeing the skies grey with smoke from a thousand chimneys, and I think of that no-good, hateful stove of ours that lives a gentleman's life of idleness.

MARCELLO It's been a long time since he received his just income.

RODOLFO What are those stupid forests doing, all covered with snow?

MARCELLO Rodolfo, I want to tell you a profound thought I've had: I'm cold as hell.

RODOLFO As for me, Marcello, I'll be frank: I'm not exactly sweating.

LA BOHĂˆME | 30

MARCELLO And my fingers are frozen as if I still were holding them in that enormous glacier, Musetta's heart.

(A sigh escapes him, and he leaves off painting.)

RODOLFO Love is a stove that burns too much...

MARCELLO Too fast.

RODOLFO Where the man is the fuel...

MARCELLO And woman the spark...

RODOLFO He burns in a moment...

MARCELLO And she stands by, watching!

RODOLFO Meanwhile, we're freezing in here!

MARCELLO And dying from lack of food!

RODOLFO We must have a fire...

MARCELLO (seizing a chair) Wait...we'll sacrifice the chair!

(Rodolfo keeps Marcello from breaking the chair.

Suddenly he shouts with joy.)

RODOLFO Eureka!

MARCELLO You've found it?

BOSTON LYRIC OPERA | 31

RODOLFO Yes. Sharpen your wits.

Let Thought burst into flame.

MARCELLO (pointing to his picture) Shall we burn the Red Sea? RODOLFO No. Painted canvas smells.

My play...

My burning drama will warm us.

MARCELLO You mean to read it? I'll freeze.

RODOLFO No, the paper will unfold in ash and genius soar back to its heaven.

A serious loss to the age...

Rome is in danger...

MARCELLO What a noble heart!

RODOLFO Here, take the first act!

MARCELLO Here.

RODOLFO Tear it up.

MARCELLO Light it.

(Rodolfo lights the part of the manuscript thrown in the fire. Then the two friends draw up chairs and sit down, voluptuously warming themselves.)

RODOLFO and MARCELLO What blissful heat!

(The door opens and Colline enters, frozen, stamping

LA BOHĂˆME | 32

his feet. He throws some books on the table.)

COLLINE Signs of the Apocalypse begin to appear.

No pawning allowed on Christmas Eve. (surprised) A fire!

RODOLFO Quiet, my play's being given...

MARCELLO ...to the stove.

COLLINE I find it sparkling.

RODOLFO Brilliant.

MARCELLO But brief.

RODOLFO Brevity, its great merit.

Translation: William Fense Weaver Š Capitol Records, Inc., 1952 Available online: http://www.murashev.com/opera/La_boh%C3%A8me_libretto_English_Act_1

BOSTON LYRIC OPERA | 33

Creating an Ending Post-Performance Lesson Plan Lesson Topic: Analyzing and Writing a Critical Review Grade level: 11-12 Post-Performance Lesson Plan Length of lesson: 2-3 Class Periods

Stage 1 – Desired Results Content Standard(s): CCSS.ELA-Literacy.W.11-12.3: Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences. a) Engage and orient the reader by setting out a problem, situation, or observation and its significance, establishing one or multiple point(s) of view, and introducing a narrator and/or characters; create a smooth progression of experiences or events. b) Use narrative techniques, such as dialogue, pacing, description, reflection, and multiple plot lines, to develop experiences, events, and/or characters. c) Use a variety of techniques to sequence events so that they build on one another to create a coherent whole and build toward a particular tone and outcome (e.g., a sense of mystery, suspense, growth, or resolution). d) Use precise words and phrases, telling details, and sensory language to convey a vivid picture of the experiences, events, setting, and/or characters. e) Provide a conclusion that follows from and reflects on what is experienced, observed, or resolved over the course of the narrative.

Understanding(s)/goals Students will understand: • How to expand on existing characters and details creatively.

• How to extrapolate events from an existing story in a consistent and believable way.

• How to strategically incorporate accurate historical information and details into a fictional work.

Essential Question(s): • • • •

What specific qualities do different characters in La Bohème possess?

How can one extrapolate thoughts and actions for a character from the given text?

How can one use the historical period in which a story is set to predict the action of the characters?

How do an author or artist’s dramatic choices affect the reader?

Student objectives (outcomes): Students will be able to: • List traits of existing characters.

• Use these traits, combined with an existing plot and setting, to extrapolate an ending to the story.

• Support their opinion and creative interpretation with historical evidence.

• How to synthesize ideas and work collaboratively as a group on a creative project.

• Present their ideas persuasively.

Performance Task(s): • • • •

LA BOHÈME| 34

Stage 2 – Assessment Evidence Other Evidence:

Attend the final dress rehearsal of La Bohème.

Discuss key character traits of major characters in La Bohème.

Write an ending scene for La Bohème that is consistent with the rest of the opera.

Share and compare La Bohème endings with the class.

•

•

Ensure students’ ideas reflect a full understanding of the opera and its historical context, plus the historical context of the BLO production set in 1968.

Are students able to keep their creative writing consistent with the plot, characterization, and style of the opera?

Creating an Ending Post-Performance Lesson Plan •

Determine how easily students are able to extrapolate from an existing piece of work.

• Ensure students can justify their creative choices with evidence.

Stage 3 – Learning Plan Learning Activities: Total time: 2-3 class periods Suggested Materials and Resources: • English translation of the libretto of La Bohème, if needed: http://www.murashev.com/opera/La_boh%C3%A8me_libretto_English_Act_1 Introductory Activity: Discussion and exploring character traits: (1 class period) • As a class, discuss reactions to the Boston Lyric Opera production of La Bohème. How was the class affected by the ending scene?

• Analyze the character traits of all the main characters in La Bohème. Write a master list of traits on the board.

• Discuss setting and historical period, and how these factors affect the characters.

Developmental Activity: Writing an ending scene: (1 class period) • Divide the class into groups of 4-5. Keeping in mind the character traits, setting, and historical period, each group should write a new ending scene for La Bohème. After the end of the opera, what happens to the Rodolfo, Musetta, Marcello? Encourage students to write in the form of a script with dialogue and stage direction(s).

• Ask the groups to designate one member to be the “director” and the rest actors.

Practice reading and staging the alternate ending for presentation. The director should take notes on why the group makes choices that shape their script and final product.

Closing Activity: Sharing and justifying ideas: (1 class period) • Have students read or perform their ending scenes in small groups. Encourage them to compare their ideas and to critique the consistency of the new scenes with the scenes in the opera. Some possible questions to explore: 1) Do the actions of the characters in a given ending match the original character traits the class agreed on?

2) Are the actions and events that take place in a given ending consistent with the time period and setting of the opera?

3) Is the reader/listener left wondering about the fate of any of the characters in La Bohème, or is all resolved?

• During analysis, ask the group and its director to share their notes and justifications for making artistic choices. What historical evidence can they give to support their new ending scene?

• As an entire class, circle back to the earlier discussion of Puccini’s ending of La Bohème with Mimì’s death. Now that you have explored several alternate endings, why do you think Puccini would choose to end the opera with Mimì’s death? What is the most successful way to end the story? Note ideas on a central board or chart.

BOSTON LYRIC OPERA | 35