SOOP and UK Opera Theatre - An Introduction to Opera

SOOP (SCHMIDT OPERA OUTREACH PROGRAM)

and

UNIVERSITY OF KENTUCKY OPERA THEATRE

present

OPERA 101

AN INTRODUCTION TO OPERA! TEACHERS GUIDE

Music by Georges Bizet Carlisle Floyd George Gershwin Engelbert Humperdinck Ruggero Leoncavallo Wolfgang Amadeus Mozart Giacomo Puccini Gioachino Rossini Claude Michel Schönberg Giuseppi Verdi Richard Wagner Funding for Opera 101 - An Introduction to Opera! has been underwritten by

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UK Opera Theatre Staff Everett McCorvey Artistic Director Janet Scott Director, Schmidt Opera Outreach Program Zack Morris Interim UKOT Program Coordinator Hosts Dr. Michael Preacely And Dr. Tedrin Blair Lindsay Teacher’s Manual Prepared by Nancy Wrede With assistance from Courtney Porter Segment Videographer William Arnold Jackson Arnold

Stephanie Richards UK Fine Arts Extension Agent

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Schmidt Vocal Arts Center 412 Rose Street Lexington, KY 40506-0022 General Office: (859) 257-9331 Education Outreach: (859) 257-2156 William E. Schmidt Opera Outreach Program soop@uky.edu https://finearts.uky.edu/opera

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Our Mission ❖ To make the arts accessible to children of all ages. ❖ To introduce students to the fundamental components of opera. ❖ To introduce students to basic operatic terminology. ❖ To cultivate an understanding for and an appreciation of opera. ❖ To help students identify with fictional characters in human situations as a means of understanding themselves and others. ❖ To EDUCATE and ENTERTAIN!

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TABLE OF CONTENTS To The Teachers ………………………………………………. 7 Kentucky Academic Standards ……………………………… 8 Meet The Composers …………………………………………. 9 George Bizet ……………………………………………………… 10 George Gershwin ……………………………………….………… 11 Carlisle Floyd ……………………………………………………… 12 Englebert Humperdinck …………………………………………… 13 Ruggero Leoncavallo …………………………………..………… 14 Wolfgang Amadeus Mozart ……………………………………… 15 Giacomo Puccini ………………………………………………….. 16 Giochino Rossini …………………………………………………. 17 Claude-Michel Schönberg ……………………………..………… 18 Giuseppi Verdi …………………………………………..………… 19 Richard Wagner …………………………………………………… 20 Before you watch the video! …………..……………………… 21 What Is An Opera? ……………………………………………. 22 Episode 1: What If Life Were Like Opera? …………………. 23 Post Viewing Opera Activities……..………………………… 24 Episode 2: Creating Character in Operas …………………. 29 Post Viewing Opera Activities……..………………………… 30 Episode 3: Opera Is Storytelling ……………………………

31 Post Viewing Opera Activities……..………………………… 32 Episode 4: Mozart’s The Magic Flute ………………………

37 Post Viewing Opera Activities……..………………………… 38 Just For Fun: Choose An Activity …………………………..

41 Resources …………………………………………………….. 50

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TO THE TEACHERS This introduction to opera is geared toward elementary and middle school children with no previous knowledge of the art form, although it could conceivably cross over to a high school audience.

University of Kentucky professor Dr. Tedrin Blair Lindsay brings opera to life engagingly in four segments of 25-35 minutes each, with special guest host Michael Preacely, a professional opera singer also associated with the University of Kentucky.

SEGMENT 1 In the first introductory segment, Dr. Lindsay invites the students to imagine if real life were like opera, utilizing two American opera arias (including Michael Preacely singing “I Got Plenty o’ Nuttin’” from Porgy and Bess), two operatic children’s choruses, and finally a humorous Italian opera finale where all the characters “go bonkers.”

SEGMENT 2 In the second segment, Dr. Lindsay demonstrates how music in operas reveals the characters through contrasting arias showing first two happy brides, one calm and the other very excited, then two tenors singing very differently about love, and finally Michael Preacely as the villain in Les Misérables with an unforgettable performance of “Stars.”

SEGMENT 3 The third segment teaches how music in operas can contribute to the spectacle, how it can comment on the story, how it can add humor, and how it can soar on wings of love (with a duet from Porgy and Bess starring Preacely and UK voice professor Dr. Angelique Clay).

SEGMENT 4 In the last segment, Dr. Lindsay guides the students through one well-known opera, Mozart’s The Magic Flute, using highlights from the kid-friendly Metropolitan Opera production directed by Julie Taymor.

Throughout the series, high quality professional performances with English subtitles, selected with attention to racial inclusivity and age-appropriateness, will surely whet the imaginations and curiosity of children encountering opera for the first time. Along the way they will learn some history, some musical and theatrical terminology, some foreign language phrases, and some real-life applications as to the importance of including the arts in our lives and education. It is the hope of the creators and of producer Dr. Everett McCorvey, Director of Opera at UK, that this series will serve the Commonwealth by preparing schools throughout Kentucky in advance of live performances by the University of Kentucky’s Schmidt Opera Outreach Program (SOOP).

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Kentucky Academic Standards – Visual and Performing Arts The arts and humanities instructional program in the primary level centers on an exploration of the art forms of dance, media arts, music, theatre, and visual arts. Instructional emphasis at the primary level should be placed on exposing students to a variety of arts through active experiences. This exploration includes a beginning of arts literacy development, simple analysis and critique of the arts, and active sharing of their work with others. Students should also begin making connections between the arts and their own personal experiences, along with beginning to realize how the arts convey meaning and reflect human experience. Students can begin to learn how they can use the arts to communicate meaning through their choices in the use of arts elements and principles.

Language arts

K - 3rd Grade

4th - 5th Grade

6th Grade

RL,K.1-RL.K.3

RL.4.7 - RL.5.7

RL.6.7

RL.1.1-RL.1.3

RL.5.2 - RL.5.3

RL.6.2-RL.6.3

RL.2.1-RL.2.3

RL.4.2-RL.4.3

C.6.3

RL.3.1-RL.3.3

C.4.3 - C.5.3

Anchor

RL.k.7. - RL.3.7 C.K.3 - C.3.3

Visual & Performing Arts

TH:Cr1.1.K TH:Cr1.1.3

TH:Cr1.1.4 TH:Cr1.1.5

TH:Re.8.1.K TH:Re.8.1.3

TH:Re.8.1.4 TH:Re.8.1.5

VA:Cr1.1.K VA:Cr1.1.3

VA:Cr1.1.4 VA:Cr1.1.5

MU:Re.7.K MU:Re.7.3

MU:Re.7.4 MU:Re.7.5

MU:Re.8.1.K MU:Re.8.1.3

MU:Re.8.1.4 -MU:Re.8.1.5

Th:Cr1.1.6 TH:Cr2.1.6 VA:Cr1.1.6 MU:Re.7.6 MU:Re.8.1.6

Social Studies

Math

KY.2.MD.1 KY:3.MD.1 KY.2.MD.5 KY3.MD.5

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MEET THE COMPOSERS

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CARMEN

by Georges Bizet _______

Georges Bizet (October 25, 1838 - June 03, 1875) was born in Paris, France. Both his parents were musicians, and they actually wanted their son to become a composer when he grew up! Bizet loved music, but he also loved to read books. His parents wound up hiding his books so that he would spend more time on his music. When Georges was 10 years old, his father enrolled him in the Paris Conservatory. While he was there, he wrote his only symphony, but it wasn't performed until many years after he died. Bizet graduated from the Conservatory with awards in both composition and piano. Bizet also composed operas. His most famous opera is Carmen. In the middle of the night during the first round of Carmen performances, Bizet died. He was only 36. Four months later, Carmen opened in Vienna, Austria, and was a smash hit. It is now one of the most popular operas ever written. Bizet never knew that audiences would come to consider it his masterpiece.

[“CARMEN” TIMESTAMP: EPISODE 1: 18:05 - 22:48]

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SUSANNAH

by Carlisle Floyd _______

Carlisle Floyd was born in Latta, South Carolina, on June 11, 1926. He received his first piano lessons from his mother at the age of ten, but divided his attention among literature, graphic arts, sports, and music throughout his high school years. At Spartanburg College, where he began studying in 1943 on a scholarship, Floyd's writing abilities earned him first prize in a contest for one-act plays. Floyd was best known for his operas, most of which are in the verismo tradition. This movement has its roots in the realism of the 19th-century dramatists such as Zola, Flaubert, Ibsen, and Hauptmann, who replaced an idealistic and often fantastic subject matter with one grounded in believable events, often with a contemporary, moral message. Earlier operatic composers who allied themselves with this movement were Mascagni, Leoncavallo, and (to some extent) Puccini, and later Menotti and Moore.

[“SUSANNAH” TIMESTAMP: EPISODE 1: 3:44- 11:29]

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PORGY AND BESS

by George Gershwin _______

George Gershwin was born in Brooklyn, New York. He taught himself to play the piano at a friend's house by following how the keys moved on a player piano. When the Gershwins finally got their own piano, George surprised everyone by sitting down and playing the songs he had learned by himself.

George liked to compose both classical and popular music, and found a unique way to combine the two. He composed his most famous work, Rhapsody in Blue, in 1924, the same year he also had a hit show on Broadway. Gershwin also wrote the opera Porgy and Bess. He is considered one of the greatest American composers.

[TIMESTAMP: EPISODE 1: 11:45 - 15:30] [“BESS YOU IS MY WOMAN NOW” TIMESTAMP: EPISODE 3: 21:01 - 28:20]

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Hansel and Gretel (German: Hänsel und Gretel)

by Englebert Humperdinck _______

Humperdinck was born at Siegburg in the Rhine Province in 1854. After receiving piano lessons, he produced his first composition at the age of seven. His first attempts at works for the stage were two Singspiele written when he was 13. His parents disapproved of his plans for a career in music and encouraged him to study architecture. Nevertheless, he began taking music classes under Ferdinand Hiller and Isidor Seiss at the Cologne Conservatory in 1872. In 1876, he won a scholarship that enabled him to go to Munich, where he studied with Franz Lachner and later with Josef Rheinberger.

In 1879, he won the first Mendelssohn Award given by the Mendelssohn Stiftung (foundation) in Berlin. He went to Italy and became acquainted with Richard Wagner in Naples. Wagner invited him to join him in Bayreuth, and during 1880 and 1881 Humperdinck assisted in the production of Parsifal.

He also served as music tutor to Wagner's son, Siegfried.[1]

[“HANSEL AND GRETEL” TIMESTAMP: EPISODE 3: 2:12 - 12:15]

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PAGLIACCI

by Rugger Leoncavallo _______

Ruggero Leoncavallo (April 23, 1857 - August 9, 1919) was an Italian opera composer and librettist. He is largely known for his opera, Pagliacci (1892), where he wrote both the music and the poetry.

Leoncavallo was born in Naples, Italy. He studied music and literature at the local music conservatory. While attempting to have his initial musical compositions produced, Leoncavallo taught music lessons and served as an accompanist throughout Naples. In 1890, he saw the enormous success of Pietro Mascagni’s Cavalleria rusticana and immediately began penning his own verismo work, Pagliacci. Produced just two years later, Pagliacci quickly became Leoncavallo’s most notable creation and famed him as a forefather of the Italian literary movement of verismo. Verismo is sought to portray the world with greater realism (also known as naturalism) or authenticity. This subject matter often highlights the lives of everyday people in a true-to-life form. Today, Pagliacci is Leoncavallo’s only celebrated work in the operatic canon; a truth that he desperately tried to evade throughout the rest of his career.

[“PAGLIACCI” TIMESTAMP: EPISODE 2: 18:52 - 22:05]

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THE MARRIAGE OF FIGARO (Le Nozze di Figaro) THE MAGIC FLUTE (Die Zauberflöte)

by Wolfgang Amadeus Mozart _______

Wolfgang Amadeus Mozart was born in Salzburg, Austria, where his father Leopold was a violinist and composer. Wolfgang (or Wolferl, as his family called him) was a child prodigy. He composed his first piece of music at age five; he had his first piece published when he was seven; and he wrote his first opera when he was twelve. By the time Wolfgang was 6, he was an excellent pianist and violinist.

He and his sister Maria Anna (known as Nannerl) traveled all over Europe performing for royalty.

When he grew up, Mozart moved to Vienna, and tried to earn a living as a pianist and composer. But he had a lot of trouble handling the fact that he was no longer a child prodigy. Mozart was still a musical genius, but after he stopped being a cute kid, people stopped making a big fuss over him.

Back then, musicians were treated like servants, but Mozart did not, and could not think of himself as a servant.

Mozart was only 35 when he died. During his short life, he composed in all different musical forms, including operas, symphonies, concertos, masses, and chamber music. Today, he is still considered a genius.

[MARRIAGE OF FIGARO: TIMESTAMP: EPISODE 2: 3:30 - 8:39] [“THE MAGIC FLUTE” TIMESTAMP: EPISODE 4: PAPAGENO 1:37 - 8:10, SARASTRO 8:11 12:09, THE QUEEN OF THE NIGHT 12:10 - 17:04, PAPAGENA 17:05 - 21:10]

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LA BOHEME

by Giacomo Puccini _______

Giacomo Puccini came from a long line of musicians. His father was a choirmaster and organist and it was expected that Giacomo would follow in his footsteps. When his father died, he actually inherited his positions although he was only six years old! Before he could take them on as an adult, however, he went to hear a performance of Verdi's Aida. From that moment on he knew that what he wanted to do was compose operas.

Puccini's genius lay in his ability to write beautiful melodies. He also was able to create operas that audiences responded to. His characters are very human and the stories in his operas are easy to follow.

Puccini was very successful financially as well as musically. When he died in 1924, he left over four million dollars!

[TIMESTAMP: EPISODE 1: 16:44 - 18:00]

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THE ITALIAN GIRL IN ALGEIRS (L’italiana in Algeri) LA CENERENTOLA (Cinderella in Italy) THE BARBER OF SEVILLE (Il barbiere di Siviglia)

by Giochino Rossini _______

Gioachino Rossini, the most popular opera composer of his day, was born in Pesaro, Italy.

Like many composers, Rossini learned about music from his parents. Gioachino's father played the horn and the trumpet, and his mother was an opera singer. When Gioachino was a little boy, he learned to play the piano and to sing.

Rossini wrote his first opera when he was 18 years old. His most famous opera is The Barber of Seville. And after composing the opera William Tell in 1829, when he was 37, Rossini stopped writing operas. [“ THE ITALIAN GIRL IN ALGIERS” TIMESTAMP: EPISODE 1: 22:50 - 27:40] [“CENERENTOLA” TIMESTAMP: EPISODE 2: 8:49 - 13:25] [“THE BARBER OF SEVILLE” TIMESTAMP: EPISODE 2: 22:05 - 29:04, 29:05 - 34:44]

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LES MISÉRABLE

By Claude-Michel Schönberg _______

Claude-Michel Schönberg was born on July 6, 1944 in Vanness, France. He is a record producer, songwriter, actor, singer, and musical theatre composer. Schönberg is most known for his musical theatre compositions of Les Misérables (1980), Miss Saigon (1989), and Martin Guerre (1997).

Schönberg began his career as a record producer and singer. He performed in his earliest musical composition, La Révolution Française (1973), as King Louis XVI. This work is regarded as France’s first rock opera. Schönberg began composing Les Misérables in 1978. Its first production was staged in Paris in 1980 and was eventually produced on Broadway in 1987. During this same year, Les Misérables was nominated for twelve Tony Awards and won eight of them-- including Best Musical and Best Original Score. Today, Les Misérables is the sixth-longest-running Broadway musical in history.

[TIMESTAMP: EPISODE 4: 21:35 - 27:25]

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RIGOLETTO AND AIDA

by Giuseppi Verdi _______

Giuseppe Verdi was born on October 10, 1813 in the Italian town of Le Roncole. When he showed early talent, a music-loving grocer paid for his music education.

Verdi and his music became part of the Italian struggle for independence. Even his name became a political statement. The letters V-E-R-D-I are the first letters of the phrase "Vittorio Emanuele, Rei D'Italia," which translates to "Victor Emanuel, King of Italy." Victor Emanuel was the man Italians wanted to be their ruler. When Italians shouted "Viva Verdi (long live Verdi)!" their Austrian rulers didn't know that they were talking politics, not opera, because the Austrians knew how much the Italians loved opera.

Verdi was one of the greatest opera composers who ever lived, and one of the few composers to die rich and famous!

[RIGOLETTO TIMESTAMP: EPISODE 2: 14:05 - 18:41] [AIDA TIMESTAMP: EPISODE 3: 28:21 - 34:06]

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SIEGFRIED

by Richard Wagner _______

German born composer Richard Wagner is best known for his gesamtkunstwerk, meaning all-encompassing body of art that includes movement, music, and drama. Before composing his own works, he was a theatrical and operatic producer. He was also a conductor and wrote articles and essays on drama and music, something he continued to do throughout his lifetime.

Wagner was largely self-trained as a musician, but had tremendous talent. In 1837 he composed Rienzi, his first successful operatic work. This was followed by The Flying Dutchman, Tannhauser and Lohengrin. His masterpiece, however, is the Ring of the Nibelung, a cycle of four operas that tells the story of mythological German gods and beings.

Composition of this series took over twenty-five years.

[TIMESTAMP: EPISODE 3: 12:16 - 21:00]

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BEFORE WATCHING THE Videos This study guide is designed for a wide range of students of different ages and levels.

Please select those portions that you feel are the most suitable for your classes. ● Ask students for their ideas about what an opera is. Write “opera” on the board.

Under it list the student’s answers. (Ask again after the performance and see if their opinions have changed.)

● Discuss the difference between an opera and a play. Talk about how the music supports the action and heightens the dramatic tension. Discuss how the tempo and mood can affect the drama and movement.

● Discuss how tempo relates to the elements of music. What is tempo?

● Discuss the difference between an opera and a musical and the difference between a musical and a play.

● Read the synopsis of each opera scene presented to the students. Discuss the characters: how do they think they will sound, look, behave? What do they think the set will look like? The costumes?

● Play samples from the arias featured in each opera scene. Ask the students to respond: is the music cheerful, sad, spooky, thoughtful...?

● Play music from the composers and have the students move and dance.

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WHAT IS AN OPERA? An opera is simply a play in which people sing. In most operas all words are sung by trained opera singers. What’s the difference between a musical and an opera? In a musical many of the words are spoken and there are musical numbers sung by people with a variety of singing ability.

If an opera is just a play, then why do people sing?

Theater and plays have been around for hundreds of years. Music was added to enhance the feelings that were being portrayed on stage. Singing is a very special form of music because the instrument (like our feelings) comes from inside. Our voice is part of us. We use our voices to express how we feel, whether we sing, talk, laugh, cry, moan or growl. Operas powerfully combine the drama of the theater with music, vocal and instrumental, to create this lasting art form that is enjoyed throughout the world.

Just as athletes must practice many hours before they are good enough to play professionally, opera singers must practice many hours before a performance is ready to be seen and heard by an audience. But, long before the singing starts...long before the curtain can go up...plans must be made: Composer – starts with an idea and then writes the music.

Librettist – works with the composer to provide words that go with the music.

Conductor – an accomplished musician who works with the stage director and leads the orchestra and the singers in the performance.

Stage Director- interprets what the composer and librettist has written and prepares the opera for performance. The director makes the final decisions about the designs and where and how the singers will move on stage.

Set Designer – makes decisions about the size of the set and what it will look like and what materials it will be made out of.

Costume Designer – is in charge of creating the costumes for the entire cast. The costumer must look at color scheme, body type and the age of each character when creating the right look for each character.

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Episode 1: What If Life Were Like Opera?

To watch video

Imagine your life as an opera! Your story would be told with beautiful singing by all of your friends and family accompanied by orchestral music! And, don’t forget the costumes and setting. The music in opera sets your imagination free!

In this episode we will look at Susanna composed by Carlisle Floyd and Porgy & Bess

by George Gershwin. You can see by the two examples that the music helps to convey the stories in a very specific way. In the first one [3:44- 11:29], the woman wishes for something she couldn’t have. In the second one [11:45 - 15:30] we saw how the man enjoys what he does have. That’s the beauty of opera, to be able to tell a story and to convey the characters through music.

[“SUSANNAH” TIMESTAMP: EPISODE 1: 3:44- 11:29] [TIMESTAMP: EPISODE 1: 11:45 - 15:30]

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After the Opera Activity: Create your own story Write a scene from your own story. Remember, provide a lot of detail. You can include characters, costumes, settings, even what type of music we would hear.

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Draw a picture from your story:

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Mapping Opera

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1.This is a map of Italy. What winter shoe does it resemble?

2. Dr. Lindsay stated that opera originated in Florence, Italy. Can you draw a star on Florence, Italy?

3.Can you name one country that surrounds Italy?

4. Can you name an Italian city that is North of Florence?

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5.Can you name an Italian city that is East of Florence?

6.Can you name the Italian city that is just South of Florence?

7.What ocean is West of Florence?

8.Can you say “pizza” in your most Italian accent? [pronounced /ˈpētsə or “peeetsuh”]

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Episode 2: Creating Characters in Opera To watch video

The music in opera helps to reveal the character who is singing that piece. A song in opera is called an aria. In today’s episode we are going to look at two contrasting arias about the same thing, (a girl is about to get married and is happy, however, her character is different in each one). Notice how the music builds the character.

The first example is The Marriage of Figaro by Wolfgang Amadeus Mozart [3:30 8:39]. The second example is Cinderella, the Italian Cinderella is called La Cenerentola

by Gioachino Rossini [8:49 - 13:25].

In this episode we will hear two famous opera singers. The first is Luciano Pavarotti performing in Guiseppe Verdi’s Rigoletto [14:05 - 18:41]. You will hear in the music that his character is very confident, rich, and powerful. The second famous opera singer is Placido Domingo portraying Canio the Clown. Canio’s heart is breaking yet he has to put on a happy face. The composer shows the irony (i.e. acting happy when sad).

And, finally, we will look at The Barber of Seville by Giaochino Rossini [22:05 - 29:04, 29:05 - 34:44]. The music builds the character, a mean man with a very low voice (called a bass). He’s singing about slander. It is portrayed by starting out as a little whisper and gradually grows, and grows to a deafening sound with everyone talking about it.

Rossini has the character talk about slander in gleeful terms. He makes him comical by exaggerating. The music is telling more about the character than just the words alone. [“THE MARRIAGE OF FIGARO” TIMESTAMP: EPISODE 2: 3:30 - 8:39] [“CENERENTOLA” TIMESTAMP: EPISODE 2: 8:49 - 13:25] [RIGOLETTO TIMESTAMP: EPISODE 2: 14:05 - 18:41] [“THE BARBER OF SEVILLE” TIMESTAMP: EPISODE 2: 22:05 - 29:04, 29:05 - 34:44]

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Episode 3: Opera is Storytelling To watch video

The word “opera” meaning “a work” is essentially a story told to music. Operatic stories come from many sources; history, mythology, fairy tales, folk stories, literature and drama. What all of these stories have in common is that something about their musical and/or dramatic qualities inspired a composer to set it down in music. Stories and storytelling seem to tap into a basic human need and all cultures have storytelling traditions. They teach us about life and death, love and hate, good and bad; in short, the human condition. Music is also found in every culture and when used in combination with a good story can clarify, define, elaborate on or even contradict the original story. It is this combination of music and story that makes opera and all forms of musical theater so powerful.

In this episode we begin by looking at Hansel and Gretel by Engelbert Humperdinck [2:12 - 12:15]. In the opening scene we are introduced to Hansel and Gretel. This scene helps us get to know the kids before the story starts to unfold.

One other way opera can bring a story to life is by being in a particular place. The setting transforms a stage to any place on earth. One of the grandest is Aida by Giuseppe Verdi [28:21 - 34:06]. The story takes place in ancient Egypt. Pay close attention to the spectacle of celebrating their victory performed by the Metropolitan Opera.

[“HANSEL AND GRETEL” TIMESTAMP: EPISODE 3: 2:12 - 12:15] [“AIDA” TIMESTAMP: EPISODE 3: 28:21 - 34:06] [“SIEGFRIED” TIMESTAMP: EPISODE 3: 12:16 - 21:00]

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Make your own story: Some words are missing below. Fill in the blanks to finish the opera story.

Deep in the jungle, there was a smart and courageous ______________________ who was exploring an ancient (person)

______________________. ______________________ (place/thing) (person)

found a magical ______________________ that turned (thing)

everything it touched into ______________________. (something valuable)

Suddenly, an evil ______________________ appeared (person/animal)

to steal it. The brave ______________________ (person)

escaped with the ______________________ using their (thing)

___________________, but as soon as they got outside . . .

Now, write an ending to the story:

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Just For Fun Make your own stick puppets by cutting out the characters, coloring them, and then gluing them on to craft sticks. Then, you are ready to perform!

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SNOWBALL WRITING: COLLABORATIVE WRITING ACTIVITY

Snowball writing is a fun and creative activity that you can use to engage your students in collaborative writing.

HOW IT WORKS: Each student is given a sheet with a different narrative story starter. You can use either picture prompts or written prompts. This means if you have 25 students, you need at least 25 different story-starting prompts.

Writer 1 starts the story by introducing the setting and at least one character and starting the plot line. Set a timer for students to write for 10 minutes, (you can choose your own timing depending on your particular students).

Tell your students to put their name beside their work, crumple up their paper into a “snowball”, and throw it to the front of the room. If you have the right class, you can also choose to have a snowball fight where students throw the snowballs everywhere.

Be prepared for total confusion and chaos. You can modify this by having students aim at a target at the front of the room.

On your signal, students grab one of the “snowballs”, open it up, and smooth it out. If they happen to pick up their own work, they should crumple it up and grab another one.

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Have students look at their new picture, and read the story so far. The second writer will be responsible for continuing the plot, developing the characters further, and developing a conflict. When the timer is up, have them sign their name beside their work.

Repeat the “snowball” throwing process one more time. Writer 3 will be responsible for looking at their new image, reading the story up to this point, attempting to resolve the conflict, and bringing the story to a close. Writer 3 then returns the story back to the original author (Writer 1).

After all three writings are complete, the rough draft of the story goes back to the first original author, and this will become their story. They are responsible for writing a good copy, and doing all of the editing, changing, revising. They may add information they feel is missing or provide more detail. They can take creative control to make adjustments to the narrative, but they must include the other two authors’ writing and credit them as co-authors.

Creative Writing Prompts 1. Imagine that you are helping Mozart write a new opera. What story would you choose?

Who are the main characters, and what voice types would sing those roles? What language should the opera be sung in, and what instruments should be in the orchestra?

2. Pick a character from your favorite opera. Write a short paragraph in which you identify and describe the character 3. Imagine that you are a character in The Marriage of Figaro. Write a letter from that character to one of the other characters in the opera.

4. The storytelling of The Magic Flute features many common fantasy elements such as magic, princes and princesses, talking animals, and gigantic beasts. How might The Magic Flute be different if it were told as a science fiction story instead of a fantasy?

Write a one-page description of how the story could be changed.

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Episode 4: Mozart’s The Magic Flute To watch video

An opera is a story told through music and singing, and Mozart’s The Magic Flute is one of the most famous operas ever written. One of the main characters, the Queen of the Night, sings some of the highest notes ever composed for the voice. The music shows how evil she is, and sounds really scary!

The story of The Magic Flute is a fantastical tale! We follow Prince Tamino on his journey to rescue Princess Pamina with a Magic Flute he has received from the Queen of the Night. With the help of Papageno, a comical birdcatcher, Tamino travels to the wizard Sarastro’s castle to save Pamina. Pamina and Tamino face several magical tests before living happily ever after—and Papageno finds his own true love too!

Now sit back and enjoy Mozart’s The Magic Flute.

[“THE MAGIC FLUTE” TIMESTAMP: EPISODE 4: PAPAGENO 1:37 - 8:10, SARASTRO 8:11 - 12:09, THE QUEEN OF THE NIGHT 12:10 - 17:04, PAPAGENA 17:05 - 21:10] [“LES MISÉRABLE” TIMESTAMP: EPISODE 4: 21:35 - 27:25]

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Make your own pan flute: While making the plan flutes (sometimes called panpipes), students will have the opportunity to use both math and fine motor skills in addition to creating music. When the kids have finished making their plan flute, they can use them to explore sound and make music. The included music recording sheet can be used to record their very own songs!

Materials Needed: ● ● ● ● ● ● ● ●

Black Cardstock Scissors Double-sided tape Plastic Straws (regular straws or the wider straws used for bubble tea) Black Sharpie Ruler Markers or crayons for decorating (optional) Music Recording Sheet (optional)

The pan pipes can be made simply to explore how the different lengths of each straw affect the sound. However, if you want to create a proper scale, you would use eight (8) straws using the following measurements: ● Do = 17.5 cm ● Re = 15.5 cm ● Mi = 13.5 cm ● Fa = 12.5 cm ● So = 11 cm ● La = 10 cm ● Ti = 9 cm ● Do = 8.5 cm

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Directions: ● ● ● ● ● ● ● ● ●

Cut two strips of cardstock to 7” x 1.5” Optional -- Decorate your cardstock with markers or crayons Place a 7” strip of double-sided tape onto the inside of one of the cardstock strips.

Place the longest straw on the tape first, near the left edge. You will want one end of the straw hanging about ¾” over the side.

Place the remaining straws from longest to shortest on the strip. All of the ends should line up about ¾” over one edge of the cardstock.

Place the double-sided tape onto the other black strip of cardstock and place it on top of your straws, lining it up with the first piece of cardstock. Press down firmly.

Number each straw with a black sharpie.

Practice making sounds with your flute by resting the tops of the straws on your lower lip and blowing across them. (You can also make noise blowing right into the straw.)

Optional -- Write the numbers of each note onto the recording sheet. You can even give your song a name!

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JUST FOR FUN _____________________ CHOOSE AN ACTIVITY FROM YOUR FAVORITE OPERA

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Vocabulary Words 1. OPERA: a dramatic work in one or more acts (or parts) that is set to music utilizing vocalists and instrumentalists 2. ARIA: a song in a opera 3. CHORUS: a group of singers 4. SOPRANO: a female singer with a “high” voice- utilizing many “high” notes 5. MEZZO SOPRANO: a female singer with a “low” voice- not utilizing many “high” notes 6. TENOR: a male singer with a “high” voice 7. BASS: a male singer with a “low” voice 8. BRAVA: meaning good or Hooray! for a female performer 9. BRAVO: meaning good or Hooray! for a male performer 10.

PANTS ROLE: a role that requires a woman (often a mezzo soprano) to portray a

young boy 11.

DUET: a song that requires two voices to sing at the same time

12.

MUSICAL THEATRE: a dramatic genre that includes dance, vocalists,

instrumentalists, dance, and spoken word that helps develop the story

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OPERA MATH Elementary Level Math Problems: 1. Mr. Smith wants to buy 2 tickets to see Madama Butterfly at the Ellie Caulkins Opera House. The tickets are $8.00 apiece. How much will the tickets cost Mr. Smith?

2. If you wanted to buy 5 tickets to Così fan tutte and they are $3.00 each, how much will you spend?

3. You owe $11.00 for two opera tickets. You give the ticket seller $20.00. How much change should you get back?

4. Your teacher has $100 to spend on tickets for The Magic Flute. Tickets cost $5.00 for students and $10.00 for adults. How many student tickets could she buy? How many adult tickets could she buy?

5. Your class is going on a field trip to see a performance of Carmen. There are 20 students and 5 chaperones going. Tickets cost $7.00 for students and $12.00 for chaperones. 1 chaperone gets a free ticket. How much will the tickets cost for the field trip?

Middle School Level Math Problems: 6. Mr. Smith wants to buy 75 tickets to see Madama Butterfly at the Ellie Caulkins Opera House. The tickets are $12.00 apiece. How much will the tickets cost Mr. Smith?

7. You want to buy a block of tickets to Così fan tutte. Tickets are $59.00 each but there is a special package offering a 20% discount for group sales. You have 64 people in your group.

How much will you spend?

8. You owe $111.00 for two opera tickets. You charge this on your credit card and there is a 2% fee. What is your total cost?

9. Your teacher has $250.00 to spend on tickets for Rigoletto. Tickets cost $7.00 for students and $10.00 for adults. She needs to buy tickets for 29 students and 4 adults. Does she have enough money? Explain your answer.

10. Your school is going on a field trip to see a student matinee of The Magic Flute. There are 452 students going and 22 chaperones. Tickets cost $7.00 for students and $10.00 for chaperones. 1 chaperone per every 20 students gets a free ticket. How much will the tickets cost for field trip? How many free chaperone tickets will your group receive?

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RESOURCES Books The Random House Book of Opera Stories (Random House Story Collections), retold by Adele Geras. This book shares the stories of eight operas, each with artwork created by a different illustrator.

Sing Me a Story: The Metropolitan Opera's Book of Opera Stories for Children, by Jane Rosenberg. This book by the Metropolitan Opera Company has 15 opera stories.

Ifft-McGirr, who has used many of them, said that her class especially likes The Magic Flute.

Hansel and Gretel Digital Storybook --A very special digital storybook, exploring the fairytale world of Engelbert Humperdinck’s opera Hansel and Gretel.

With brand-new illustrations from James Mayhew, live recordings from the cast and text from director Serenna Wagner, this is a charming introduction to the opera especially for children – though we think grown-ups will enjoy it too!

Video Links (if students are interested in watching full length productions, here are some suggested links) The Marriage of Figaro

https://youtu.be/o2f7tvSYvRA The Barber of Seville https://youtu.be/2i4eMirQ-tI Porgy and Bess https://youtu.be/Rmpc1NhVGQE

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