Download FiZZ! TEACHER RESOURCE KIT 2015

FiZZ! TEACHER RESOURCE KIT 2015
1
CONTACT US
For information about our resources, curriculum links, and how to incorporate these into your
classroom, please contact our Manager – Open Stage:
Manager – Open Stage
Mark Taylor M.Ed. B.Ed. QUT
Phone: 07 3735 3044
Fax: 07 3844 5352
Email: [email protected]
For information on touring logistics (performance dates, venue requirements, booking confirmations)
for FiZZ! or any of our other education activities, please contact our Open Stage Coordinator:
Office Manager
Rebecca Campbell
Phone: 07 3735 3045
Fax: 07 3844 5352
Email: [email protected]
Opera Queensland
PO Box 3677
South Brisbane Qld 4101
Phone: 07 3735 3030
Fax: 07 3844 5352
www.operaq.com.au
2
FOR TEACHERS
Thank you for booking Opera Queensland’s in-school touring production FiZZ!.
To assist you with your planning, please find enclosed a comprehensive FiZZ! Teacher Resource Kit
including information, resources and a wide range of activities that introduce opera and the arts,
which may be utilised in a wide range of subject areas.
The resources provided in this kit are written to be user-friendly and to save time for teachers in
planning both pre- and post-performance lessons. We hope that these are effectual aids, and please
feel free to modify the enclosed activities to suit your classroom and subject areas.
The information contained in this kit is informed by the following principles:
 Performance is knowledge: any performance engages audience members in a conversation
with ideas, themes, metaphors, experiences and possibilities.
 Performance is a valuable experience, and the way in which a performance is utilised within
a school context and unpacked is vital to the artistic and aesthetic development of young
people.
 Performance experiences are integral to a comprehensive arts program, one which reflects
that the arts are a part of the everyday.
 Performance, whether it is drama, music, or dance, has much to offer the arts
implementation process not only as a shared aesthetic experience, but also as a stimulus for
teaching.
Participating in FiZZ! through learning and attending the performance can be a truly emotive
experience. Students value the enjoyment and satisfaction they get from their involvement in these
expressions of the human spirit.
Opera Queensland’s Education Department, is able to support you in the delivery of these activities
in your classroom. Feel free to contact us regarding any of the learning activities or if you would like
to take advantage of our free in-school talk in your classroom.
Please do not hesitate to contact me at any time regarding FiZZ! or any of our other education
activities.
Kindest regards,
Mark Taylor M.Ed. B.Ed.
Manager – Open Stage
COPYRIGHT & PHOTOCOPYING
Photocopying for classroom use is permitted by educational institutions.
Copyright protects this publication.
Except for purposes permitted by the Copyright Act, reproduction by
whatever means is prohibited.
Produced by Opera Queensland - Open Stage
3
THE STORY OF FiZZ!
Synopsis
Scene 1
It’s morning. Belcore’s Fine Foods comes to life with Adina (who works on the cash register) and
Nemorino (or ‘Nemo’ - the trolley boy) arriving for work.
Nemo is entranced by Adina [“She’s amazing, I adore her”], but so shy and nervous he finds it
hard to talk to her [“Who can help me, I’m so nervous?].
While he is trying to pluck up the courage to ask Adina out to lunch, Jenny (who also works at
Belcore’s, but always seems to be off ‘sick’) sends Adina a message about the story of Tristan and
Isolde [“Ha, ha, ha. This is such a brilliant story!”]. (In the story Tristan uses a magic potion to
win the heart of his beloved Isolde.)
Adina starts work, and Nemo is left feeling like she hasn’t even noticed him.
Scene 2
Benny Belcore enters (he’s the spoilt son of Mr Belcore who owns the store), and it becomes very
clear that he is a bully - and that Nemo is going to be his target today.
Benny then asks Adina out in front of everyone [“Like Prince Charming climbed the hair of his
beloved Rapunzel…”], but when Adina says that she isn’t interested, Benny offers her a job as
manager of the other Belcore’s Fine Foods across town.
Adina isn’t sure if she wants to leave all of her friends for a new job, and Nemo tries to talk her out of
it.
Scene 3
Nemo is really upset at the thought of losing Adina, and wishes out loud for some kind of miracle that
will help him win her. Suddenly an infomercial comes on the TV [“Hello there! Home viewers…”]
introducing Dr Dulcamara’s latest miracle product – FiZZ!. A drink that will cure every ill, as well as
making you more attractive and intelligent.
A bottle of FiZZ! magically arrives. As Nemo drinks it he feels that it’s transforming him into a more
confident version of himself – maybe just a bit too confident.
Scene 4
Jenny calls Adina again to try to stop her from leaving the store, and it comes out that everyone
thinks that Adina and Nemo should be a couple. Jenny also thinks that Benny has probably only
offered Adina the job at the other store so that he will have a better chance of asking her out.
Nemo comes back and Adina notices the change in his attitude. When Nemo rudely shrugs her off,
she becomes furious and agrees to Benny's offer to move to another store.
Scene 5
Jenny calls everyone to invite them to Adina’s going away party at Belcore’s fine foods.
Scene 6
4
Devastated that Adina is leaving, and believing the FiZZ didn’t work properly, Nemo drinks two more
bottles. He drinks them way too fast, feels sick and has to go and lie down.
Scene 7
While he’s gone a News Report announces the search for the heir to the throne of The Isle of
Kalipso…and photo of Nemo is displayed. It seems that he is the long lost heir.
Scene 8
All the girls swoon at the thought of having a Prince in the local store [The Gossip Chorus “Could
it be possible?”].
Scene 9
During another News Report Nemo finds out that he is the heir to the throne, and then he spots
Adina crying. She confesses to herself that she doesn't want to move to the other store, and Nemo
realises that she really does like him [“One little tear…”].
Scene 10
Nemo explains to Adina that he has to move away to The Isle of Kalipso, as he is the only living heir,
and asks her to join him as his princess. Adina happily accepts after she lets him know that FiZZ!
wasn’t what made him different…and she liked him the way he was.
They both quit their jobs at Belcore’s Fine Foods, leaving Benny speechless [Recitative – Aisle 3!
Clean up!”]…but with a bottle of FiZZ!.
A final News Report announces that Nemorino, the heir of The Isle of Kalipso, has indeed been
found. It’s also been discovered that FiZZ! was just flat lemonade with a dash of mouthwash – but
that doesn’t stop Dr Dulcamara from trying to sell it one more time!
[Finale – “FiZZ! corrects what needs correcting…”]
5
THE STORY OF THE ELIXIR OF LOVE
Act One
Nemorino yearns for the love of Adina, who is a wealthy tenant farmer. She sits in the cool, perusing her book, the story of
Isolde and of the magician who gave Tristan such a powerful love potions that Isolde never left him again. Adina and
Nemorino (not to mention all the villagers) both fantasise about trying such an elixir, for different reasons.
Belcore, a sergeant at the head of a troop of soldiers, arrives. Nemorino watches helplessly as Belcore tries his best to
capture Adina’s heart. Adina flirtatiously plays along with him and brushes off Nemorino’s desperate attempts to plead his
own case.
Dulcamara, a travelling ‘doctor’, arrives in the district to much excitement. He advertises his universal elixir, which he
claims will cure anything. Nemorino asks the doctor if he sells the famous love potion from Adina’s book, The Elixir of Love.
Dulcamara provides him with a worthless substitute, promising it will take effect after twenty-four hours, which gives him
time to make good his escape.
Nemorino swallows the so-called love potion, and as he drinks his confidence grows. He is now certain that the elixir will
make Adina fall in love with him. When Adina appears, Nemorino feigns disinterest and she is astonished by the sudden
change in his behaviour.
By the time Belcore returns, Adina is so infuriated by Nemorino’s apparent indifference to her that she accepts Belcore’s
proposal of marriage. The wedding is set for one week’s time. Nemorino rejoices in the knowledge that within a day the
potion will have worked and Adina will have no choice but to love him.
Giannetta and other girls from the village arrive with the soldiers who have received a message that the troops must make
an immediate withdrawal. In order that the wedding may still go ahead, Adina agrees to get married later that same day.
Nemorino is distraught and cries out for the help of Doctor Dulcamara. The others revel in the prospect of the wedding
festivities and mock Nemorino’s despair.
Act Two - The celebrations are in progress
By now Nemorino is desperate for the love potion to take its effect. Dulcamara assures him that a second dose of the elixir
will speed up the process but Nemorino has no idea how to raise the money to buy an extra bottle.
Belcore returns, puzzled that Adina has delayed the wedding ceremony until later that evening. When he discovers that
Nemorino is depressed about a cash shortage, he offers to sign him up for the army in return for a substantial down
payment. Nemorino can now afford a double dose of potions and Belcore is delighted to have enlisted his rival.
News has reached the village that Nemorino’s rich uncle has died, leaving him a fortune. Giannetta and the village girls
now flock around Nemorino, which he interprets as a sign that the elixir is working. Seeing Nemorino surrounded by
admirers, Adina begins to feel jealous, and realising that Nemorino has joined the army out of devotion to her, she finally
admits to herself that she loves him.
Dulcamara explains to Adina that he is responsible for Nemorino’s new found popularity with the girls, as she sold him a
love potion. He offers Adina a bottle of the same, but she refuses, preferring to rely on her own natural charm to win
Nemorino.
Adina buys Nemorino a discharge from the army and presents it to him. When Nemorino refuses to accept it, Adina is
forced to declare her love for him and they are united at last.
6
ARTIST BIOS
Tom Davis (Nemorino)
Tom Davis is originally from Narrandera in country NSW. Tom began classical vocal
lessons at the age of 7 with John Sloan. In 2011, Tom graduated from Narrandera High
School as School Captain, attended The Talent Development Project in Sydney and
performed as a featured artist in the NSW Schools Spectacular (ABC network). Whilst
living in a remote area, the support of his parents meant he was able to participate in
several NIDA acting courses over many ears. In 2012 Tom moved to Brisbane and
completed a Bachelor of Musical Theatre at the QLD Conservatorium of Music. Over
that three year degree he played lead roles in Into the Woods (Jack), Carousel (Billy
Bigelow) and The Wishing Well (Timothy Middleton). In 2014 Tom Played Wouter in
Hell and High Water and was a semifinalist in the Rob Guest Endowment. Since
graduating from university Tom performed in the Australian Premier of Ryan Scott Oliver’s 35mm the musical
and looks forward to the experience FiZZ! will bring.
Monique Latemore (Adina)
Monique originally hails from Brisbane, and has worked with many Brisbane choral
societies including the Queensland Symphony Orchestra. Monique holds a Masters
in Music Studies from the Queensland Conservatorium, and is a recipient of the Linda
Edith Allen Postgraduate Prize, Griffith Award for Academic Excellence 2006-11, and
Elizabeth Muir Memorial Postgraduate Prize. She has been a scholarship recipient for
the Lisa Gasteen National Opera School and Dante Alighieri Italian Society. In 2012
Monique was Young Artist with Pacific Opera, and worked with The International Lyric
Academy in Italy performing the role of Lauretta in Gianni Schicchi. In 2013 Monique
performed the role of Christine in The Phantom of the Opera with Savoyards, and with
Opera Queensland in the premier of Abandon in Townsville. She was also involved in OQ’s Moving Opera
program, bringing opera and music education to two aboriginal communities in NSW. During that year she was
a Semi-Finalist in both the Bel Canto Award and the Herald Sun Aria, and won second place in the Australian
National Eisteddfod’s Centennary Aria. Earlier last year Monique performed in Abandon with Opera Queensland
in Brisbane and in July with Tel Aviv’s IVAI Opera School in Israel. She recently won the Orange Eisteddfod
Operatic Aria, was Semi-Finalist in the Herald Sun Aria, and Finalist in the Qld Aria Performing Arts Aria. Monique
also works as a supervisor at Sky Zone, an indor trampoline park. She recently ran and coordinated her company
involvement in the Mother’s Day Classic for Breast Cancer Awareness. Monique looks forward to performing the
role of Adina in L’elixir d’amore for school children as a part of OQ’s moving opera program later this year.
Jonathan Hickey (Belcore)
Jonathan Hickey’s performance journey began at the age of 9, when he won a choral
scholarship with St John’s Cathedral. His confidence and ability led to be many treble
solo performances ranging from Isaac in Britten’s “Abraham and Isaac”, to the haunting
“Misere” by Allegri. His musical theatre performances began at age 11 playing lead
roles in “Oliver!”, “My Fair Lady” and “The Wiz”. Jonathan’s musical theatre course
credits include lead roles in “Into the Woods”; “Carousel”: “Hair” and “Hell and High
Water”. After winning a cultural exchange scholarship to Italy for 12 months, Jonathan
speaks fluent Italian. In 2010 he attained his AMus diploma on violin. Jonathan is a
graduate of Queensland Conservatorium of Music at Griffith University who is inspired
by Broadway classics “Rent” and “Once.” Enthusiastic, focused, flexible and
stimulating, he is equally comfortable in his own skin whose talent is certainly ripe for
the world’s pickings. Other than the mainstay musical theatre he hopes to venture into
classical voice opera, or TV and commercials.
7
Emily Burke – Jenny
Born in Hobart, Emily relocated to Melbourne to undertake a Bachelor of Music at the
Victorian College of the Arts, going on to study language and voice at the Milan
Conservatory. In recognition of her operatic work, Emily received the Puccini Foundation
Award in 2007, was chosen as a finalist in the San Francisco Merola Program in both 2010
and 2011 and was selected to take part in a masterclass in Italy with internationallyrenowned soprano Mirella Freni.
Emily’s repertoire spans a number of roles for Opera Queensland including Lady in Waiting
in a concert production of Macbeth, Pitti-Sing in The Mikado, Clorinda in Cinderella,
Despina in Così fan tutte, Giannetta and as the understudy for Adina in The Elixir of Love
and Dame Nellie Melba in Waltzing Our Matilda. Emily has also understudied the roles of Gilda in Rigoletto,
Desdemona in Otello, First Lady and First Wise Woman in The Magic Flute, and Marzelline in Fidelio, while also
performing in the chorus of The Magic Flute, La traviata and Fidelio. Internationally, Emily has performed the role of
Anna in Nabucco for IFAC in Tokyo.
Andrew Collis – Dr Dulcamara
Andrew Collis has performed with some of the world’s leading companies including Cologne
Opera, Frankfurt Opera, San Diego Opera and Opera Australia.
Andrew has received particular praise for his title roles in Don Pasquale and The Marriage
of Figaro, Schaunard and Colline in La bohème, Hobson in Peter Grimes, Speaker in The
Magic Flute, and Leporello in Don Giovanni. Other major roles include Nick Shadow in The
Rake’s Progress, Marquis in Dialogue of the Carmelites, Angelotti in Tosca, Mr Flint in Billy
Budd, Monterone in Rigoletto, Zuniga in Carmen, Friar Lawrence in Roméo et Juliette and
Dr Falke in Die Fledermaus.
A member of the Cologne Opera between 1993 and 1995, he has appeared extensively in opera houses throughout
Europe, North America, Asia and Australia and in festivals including the Vienna, Hong Kong, Perth and New Zealand
Festivals. Recent engagements include the roles of Lodovico in Otello, Sparafucile and Monterone in Rigoletto for
West Australian Opera; soloist in semi-staged performances of St Matthew Passion, Don Magnifico in Cinderella,
Lodovico, Monterone and Zuniga for Opera Queensland; Henry Kissinger in Nixon in China and the title role in Le
Nozze di Figaro for Victorian Opera; Mars in Orpheus in the Underworld for State Opera of South Australia; and
performances of St Matthew Passion with Melbourne Bach Choir, St John Passion with Choir of Trinity College and
Messiah with the New Zealand and Queensland Symphony Orchestras and Canberra Choral Society.
Jason Barry-Smith – News Reporter
Jason Barry-Smith is one of Queensland’s most popular performers and Creative Director of
OperaQ’s Open Stage program. He studied at the Queensland Conservatorium Griffith
University and the Hochschule für Musik und Theater in Munich. Jason was Artistic Director
of the Queensland Youth Choir, Director of the Opera Queensland Young Artists Program
and member of the 2013 Emerging Leaders Development Program at the Australia Council
for the Arts.
For Opera Queensland he has performed many roles including Dandini in Cinderella, PishTush in The Mikado, Count Danilo in The Merry Widow, Papageno in The Magic
Flute, Doctor Malatesta in Don Pasquale, Guglielmo in Così fan tutte, Eisenstein and Doctor
Falke in Die Fledermaus, Mercutio in Romeo & Juliet, Schaunard in La bohème and the title roles in The Barber of
Seville and Don Giovanni. Jason has also performed in the title role in Bully Budd for the Brisbane Biennial Festival
of Music, as Papageno for Opera Australia, Guglielmo in Così fan tutte for the Tokyo Arts Foundation, Mathieu
in Andrea Chénier and Belcore in L’elisir d’amore for the State Opera of South Australia, Julian in Quartet, Mamoud
in The Death of Klinghoffer and the title role in The Barber of Seville for NBR New Zealand Opera, Enjolras in Les
Misérables for the Wellington Operatic, Tony in West Side Story for Brisbane Festival and Major-General Stanley
in the Pirates of Penzance for Essgee Entertainment. Jason has received the Queensland Conservatorium Medal for
Excellence, Marianne Mathy Scholarship and Opera Foundation Australia’s Italian Opera Award.
8
WHAT IS OPERA?
What is opera?
The word ‘opera’ is the plural of the Latin word ‘opus’ which means ‘work’ (each piece written by a composer is
called an opus).
Opera is storytelling; it is like watching a play but instead of speaking, the story is told through singing. You
make even look at it as drama through music – live music partners the drama and helps to convey the mood
and emotions of the characters and the situation. This way, even if you can’t understand the words that are
sung (perhaps it’s in a foreign language); you can still understand what is happening in the story.
Operas can range in size from a small production like Space Encounters with a cast of 4, to a large-scale
production like Turandot or Aida with a cast of over 100, performing in theatres to thousands of people.
How is it created?
The two things that are needed to be written for an opera are the libretto (the words that are sung) and the
music. Historically, the words and the music were written by 2 different people, the librettist and the composer,
that then came together to create the opera. Most often operas were inspired by ancient myths, plays and
books, so both the composer and librettist already had a good knowledge of the storyline.
Many operas that are performed today were written hundreds of years ago, and they have endured and
remained popular because of the timeless nature of the music.
Common Myths and Misunderstandings
I don’t like opera
How do you know if you’ve never been?
I will not understand it because they sing in a foreign language
In a theatre, English translations are projected above the stage (these are called surtitles). In schools,
all of our productions are in English.
I went to the opera once and didn’t like it
Did it stop you going to the movies after seeing one you didn’t like?
Opera is for old people
More and more young people are attending opera and loving it – at least 20% of our theatre audiences
are under 30. The feedback we receive from students when we take opera into schools is very
encouraging…many have never experienced opera before and blown away by it!
Opera is a fat lady singing
Not anymore! Opera requires muscle, stamina, strength and technique. Today’s opera companies not
only want artists with superb voices but they also need to look the part. Think supreme athletes –
opera singers are their musical cousins, without the sweat and liniment…well, maybe the sweat!
9
A BRIEF HISTORY OF OPERA
Although opera as we know it started during the Italian Renaissance, it can be traced back to Greek
drama. We don't know what it sounded like, but the ancient Greeks never thought of separating the
poetry of their drama from music. Strings or pipes accompanied the Greek plays and the words were
sung or chanted. Dance was also part of the drama.
The early church gave structure to chants and the accompanying music, supplying scales and
notation. At first there were only single-line melodies, but later these were woven together to form
polyphony (several different lines of music played or sung at one time) and thus, harmonies. By the
end of the 15th century, it was the custom in Italy to perform short musical dramas during
intermissions of other plays.
Court Masques, or elaborate dramas based on mythology or fables, became a very popular form of
entertainment in the royal courts of Europe from the early 16th through to the 17th centuries. The
stories were played out in pantomime to a background of orchestrated music, and the actors were
court members who spent lavish amounts of time and money on their costumes. Masques were
intended to honour the head of the court, and they were used to show the wealth and political power
of the reigning monarch. At this time, there was no real separation, as we know it, between theatre
and opera, or between opera and ballet. These divisions started to become more obvious as musical
composition developed.
Jacopo Peri (1561-1633) is credited for the first opera, Dafne based on the Greek myth. Though
famous throughout Europe at the time, it has since been lost. Claudio Monteverdi (1567-1643) is the
earliest composer whose works are still performed. He blended music with the poetry of the libretto
to create a multi-faceted theatrical form. Such early operas were usually based on history or
mythology. Small orchestras provided a simple accompaniment, playing the singers' lines, and rather
than having a conductor they looked to one player, often the keyboardist, to prompt them while
playing. In the early 19th century, with the development of more complex orchestrations and the
addition of more flexible woodwind and brass instruments, conductors became necessary to
coordinate and mould the sound and tone of the whole.
By the end of the 19th century, opera was telling us stories of the lower classes, and the singing
became more conversational. Puccini (1858-1924), who wrote his works during this time, gave us
such important works as La boheme, Madama Butterfly and Turandot.
Opera is still being written today, and new works about historical and colourful figures are being
performed throughout the world. Some of the newest works tell the stories of Harvey Milk, Malcom X
and Jacqueline Kennedy.
10
OPERATIC VOICES
Every culture has developed its own style of singing. We can recognise specific vocal sound
characteristics in the singing of the Chinese, the Japanese, the Indians (of India), various Middle
Eastern and African groups, in the Spanish zarzuela and the calypso of Trinidad.
The style we may refer to as operatic or classical singing developed in Europe. This style arose
during the 17th century, as operatic music became increasingly complex and demanding. Its
particular characteristics are a greatly extended range, especially at the top of the voice, and
increased volume and projection. Music in the European tradition has developed highly mechanised
musical instruments, capable of great ranges and volumes. In order to keep pace, singers were
gradually trained to increase their capacities as well.
Singing in Europe and America is now divided into classical and popular styles, where the main
difference concerns volume. Essentially all singers in the “pop” fields depend upon the microphone
to deliver their message in a conversational or whispered style of great intimacy, as well as in louder
or more dramatic style. The opera singer in most cases however, depends only on the unamplified
voice; therefore the voice must be developed to its fullest capacity of projection. In order to make the
large sound needed to fill an opera house without using a microphone, the singer must use all the
natural resonance of the upper chest cavities, as well as the sinus cavities in the face and head.
These natural spaces serve as little amplifying “echo” chambers. The singer must breathe properly
and must focus the tone so that the sound travels forward from the mouth.
Proper breathing requires using the full capacity of the lungs. As the lungs are filled, they displace
the diaphragm. Then, using the strength of the diaphragm, the singer uses the air to vibrate the
vocal chords as the air is expelled. This gives the voice maximum protection. Proper breathing is
also a major source of the vibrato. All sound is the result of one object making contact with another:
the vibrato in a singer’s voice increases the warmth and resonance of the tone, and also allows for
accurate tuning.
Operatic voices are categorised according to range
Range
Male
Female
Highest
Counter-tenor
Coloratura-soprano
High
Tenor
Soprano
Mid
Baritone, Bass-baritone
Mezzo-soprano
Low
Bass
Contralto
11
OPERATIC VOICES cont’d
Voice Type
Typical Vocal Range
Instrument
similar to
Typical Characters
Coloratura Soprano
The highest lyrical
soprano voice
Soprano
A high female voice
Mezzo-Soprano
The middle female voice
Contralto
The lowest female voice
(very rare)
Counter-Tenor
The highest male voice
(very rare)
Tenor
Usually the highest
male voice
Baritone
The middle male voice
Bass-Baritone
Bass
The lowest male voice
Two octaves from
middle C, sometimes
with extra top notes
Flute
The heroine - a highly bright
voice suggests youth,
innocence and virtue
From the A below
middle C to the A two
octaves above
Oboe
Older women such as
mothers, villainesses,
seductive heroines.
Sometimes mezzos play
young men – this is called a
trouser or pants role
Two octaves from the F
below middle C
Clarinet
Older females and special
character parts like witches
and gypsies.
This male voice type was mainly used in very early opera
and is quite rare today.
From the C below
middle C to the C
above.
From G an octave and
a half below middle C
to the G above
Trumpet
The hero
French Horn
In comic opera: the ringleader
of the comedy.
In tragic opera: often the
villain.
A male voice with a large range and colour between baritone and bass.
Roughly two octaves
down from F above
middle C
Trombone
or Bassoon
In comic opera: old foolish or
laughable characters.
In serious opera: old and wise
characters
12
PERIODS OF MUSIC
Texture
Baroque
Classical
Romantic
20th Century
Recitative (Recit) melody and
accompaniment
Recit - melody and
accompaniment
Thick
Layered
Homophonic
Homophonic
Embellished
Rock style
Chromatic complex
progressions
Predominantly major
keys
Aria – same
Aria – polyphonic vs
homophonic
Da capo aria
A – homophonic
B - polyphonic
A – homophonic
With embellishment
Harmony
Figured bass used to
determine harmony
Thin
Form
Recit very separate
from aria –
contrasting
Major/minor keys
contrasted
Simple progressions
Much use of I IV V
Da capo- balanced
form always used
Recit and aria blend
together to reach
‘Leitmotif’ style
Free
Recit – either
accompanied with
orchestra
(accompaganto) or
accompanied by
harpsichord only
(secco)
Continuous
accompaniment with
orchestra as recit and
aria become similar
Electronic
instruments and
amplifiers
Aria eventually
developed to Da capo
form
Ornamentation
Recit.
Harpsichord and
organ only
Aria with orchestra
and continuo
Aria – orchestral
accompaniment
Rock beat on drums
Modern techniques
13
Melody
Recit repeated notes
on same pitch
Repeated notes on
same pitch
More melodic contour
in recit
Aria -simple to florid
embellishments
Aria – show off piece
for coloratura soprano
/ tenor with much
embellishment
Becoming harder to
distinguish recit from
aria
Pop style
Chromatic
Expressive
Rhythm
Rhythm drove melody
in recit and aria
Balanced, bars even
phrases
Uneven groupings
Repetition
Dotted irregularly
One style used for
entire section
Free
Pop
Ad lib
Rock styles
OPERA GLOSSARY
ARIA – (Italian for ‘air’): a musical piece for solo voice used to express feelings about or to comment on a
particular situation in the opera plot.
BRAVO / BRAVA – (Italian for ‘well done’): a term often yelled out by appreciative audiences at the end of an
opera, or particularly difficult aria. ‘Bravo’ should be directed towards male singers, and ‘brava’ to female
singers.
CHOREOGRAPHY – the process of creating dance or movement.
CHORUS – a group of singers, often mixed vocal types, which perform in an opera in such roles as towns’
people, servants, party goers, or any group of people.
COMPOSER – the person that creates the music.
CONDUCTOR – the person responsible for rehearsing and directing musical performances by visible
gestures, designed to keep everyone in unison. The conductor’s baton was introduced in the early 19 th
century. (Also called Maestro)
COVER – a singer that learns the same role as a principal artist, and can replace the principal in case of
illness or injury. (Also called understudy)
DIRECTOR – the person responsible for creating the overall concept of a production, interpreting the
dramaturgical elements, and staging the production. The director works closely with the conductor.
DUET – a piece of music for two voices/instruments.
DYNAMICS – the degree of volume required in a piece i.e. how loud or soft a piece must be sung or played.
ENSEMBLE – (French for ‘together’): a group of players or singers performing together in unison.
FINALE – the concluding segment of an act of a production.
LIBRETTIST – the person/s that writes the libretto for an opera.
14
LIBRETTO – (plural libretti) literally translated as ‘little book’, traditionally the libretto was given out to be read
during a performance listing the cast and stage direction. The printing of libretti declined in the 19 th century.
Nowadays, the term is used to refer to the text of the opera – similar to lyrics.
OPERA – (Italian for ‘work’; singular opus): a musical dramatic work in which the artists sing some or all of
their parts. A combination of singing, instrumental music, drama and spectacle.
OVERTURE – a musical introduction to the opera played by the orchestra.
PANTS ROLE – a male character sung by a mezzo-soprano. These characters are typically younger men
which require a higher voice than a tenor. (Also called a Trouser Role)
PRIMA DONNA – (Italian for ‘first lady’): refers to the leading female singer in an opera company. The male
counterpart is a primo uomo.
PRINCIPAL ARTIST – a term referring to the more accomplished opera singers within a production that play
the title and lead roles.
QUARTET - a piece of music for four voices/instruments.
RECITATIVE – a style of delivery in which a singer adopts the rhythms of ordinary speech. These sections,
placed between arias and ensembles, provide major plot points in an opera, and allow the action to move
along quickly. (Also referred to as recit)
SCORE – the written music of an opera or other musical composition.
SOLO – a piece sung, played or danced by one performer
TEMPO – the overall speed of the music
TIMBRE – the quality of a musical tone; it distinguishes voices from instruments.
TRIO – a piece of music for three voices/instruments.
TUTTI – (pronounced too-tee): all together; in a music or vocal score when all of the instruments or voices
come in at the same time. It can also refer to people involved in a rehearsal: ‘Tutti Chorus’ indicates the entire
chorus is required.
VOCAL SCORE – slightly different to a music score, where the vocal parts are written out in full, but the
instrumental accompaniment is reduced down and adapted for piano.
STAGECRAFT TERMS
APRON – the stage space in front of the curtain.
BACKSTAGE- the area behind or beside the performance space, traditionally not accessible to the general
public.
BEGINNERS CALL – a backstage announcement made 5 minutes before curtain up, when performers are
expected to be in position for the start of the show. At Opera Queensland, the Stage Manager is responsible
for this call: “Ladies and Gentlemen of The Merry Widow Company this is your act one beginners’ call. Please
make your way to the Conservatorium Stage.”
BUMP-IN – the process of moving a production into a venue.
15
BUMP-OUT – the process of moving a production out of a venue.
CENTRE STAGE – the middle of the stage.
CUE – a point in the score or script which marks an action. For the crew it may mean a change in props or set,
for the cast it may mean the entry on to the stage of a character. Every cue is ‘called’ by a designated member
of the Stage Management team.
CURTAIN – the heavy fabric draped across the stage to obscure its view from the public.
CURTAIN CALL – at the end of a performance when the performers return to stage for recognition.
DOWNSTAGE – the front half of the stage towards the audience.
DROP – a piece of scenery, generally flat fabric, suspended above the stage, and often ‘dropped’ into a scene.
FLAT – a flat scenery piece, typically representing walls or buildings, used to define the performance space.
These are generally constructed on wooden frames covered with either heavy canvas or a thin lightweight
wood.
FRONT OF HOUSE – everything accessible to the public outside the performance space, such as the foyer,
toilets, bars, etc.
GEL – heat resistant coloured cellophane that is placed in front of a beam of light to colour it. Gels can either
be coloured, and also patterned.
HALF-HOUR CALL – the 30 minute warning given to the cast and crew before the performance starts. Opera
Queensland follows the UK system, where the half-hour call is actually 35 minutes before curtain up (i.e. 30
minutes before beginners call).
HOUSE – the area of the venue where the audience sits. When the doors to the theatre open, often the Stage
Manager will announce to the performers that “the house is now live”.
OFFSTAGE – the area immediately to the left and right of the stage that is concealed from the audiences’
sight.
OPPOSITE PROMPT – the performer’s right side of the stage (abbreviated to OP). (Also known as Stage
Right)
ORCHESTRA PIT – the area in the theatre in which the orchestra performs; typically a sunken area in front of
the stage.
PLOTTING – the process of working out which lighting states are used in which sections of a production.
Performers will often rehearse or stand on stage whilst the lighting designer decides on the appropriate lighting
states in each scene.
PROMPT – historically the prompter’s corner was situated on the performer’s left side of the stage, therefore
this side of the stage is commonly referred to a Prompt (abbreviated to P). (Also known as Stage Left)
PROPS – an object held or used on stage by a performer. The difference between the set and the props is
their use on stage - if the item is not touched, then it is considered part of the set decoration.
PROSCENIUM ARCH – the large frame or arch at the front of the stage, where the curtain traditionally hangs.
In a proscenium theatre, the audience sits directly facing the stage.
STAGE – the surface upon which a performance takes place.
16
STAGE MANAGER – the individual responsible for maintaining order and ensuring a production runs as
smoothly as possible.
STRIKE – the process of disassembling a production after the final performance.
TECHNICAL CREW – the team that run all of the off-stage elements of a production, such as sets, sound,
lighting, and props.
UPSTAGE – the back half of the stage.
WINGS – points of entry/exit between the offstage area and the stage. These are often hidden from audience
view by drapes or flats.
AUDIENCE ETIQUETTE
HOW TO ACT DURING A PERFORMANCE
Be Prepared
It is useful to know a bit about the performance prior to seeing it. A synopsis of FiZZ! is provided in this
resource kit and can also be downloaded from the Opera Queensland website. Students can also do some
pre-performance activities.
Arrive Early
Ensure you are in your place at least 5 minutes before the show starts. It’s distracting for the singers and other
audience members when people walk in late. FiZZ! runs for 50 minutes PLUS question and answer time.
During the Performance
Please stay seated during the entire performance, unless you are invited to participate, so that everyone can
see.
Recording of any sort and/or photography is NOT permitted under any circumstances.
Mobile telephones, pagers, mp3 players and laptops should not be used during the performance - please
switch them off before entering the performance space.
Talking, including whispering, during the performance will disturb the concentration of the artists as well as
other members of the audience.
Feel free to laugh, cry and applaud during the show!
17
GET THE MOST FROM LIVE PERFORMANCE
View the performance – “view to do”
How does engagement with this performance extend
young people’s ability to view, read, interact and do?
Look for significant entry points, clarity of content and
form, codes and conventions, and student interest.
Knowledge
What knowledge can be collected from this
performance and made problematic?
Look for ideas, issues, themes, experiences,
metaphors, messages, observations and possibilities.
Associations
What associations does this performance stimulate?
Look for connections, impressions, interpretations and
other responses that can generate new meanings and
help to shape future teaching and learning.
Transdisciplinary Connections
What fields of knowledge intersect within this
performance?
Look for ways I which this performance can be
integrated into a Science, HPE, SOSE, English
Technology or Maths lesson.
Other Artforms
How might this performance inform visual art, media
studies, drama, music, and/or dance?
Look for connections to other art forms e.g. codes and
conventions, common learning context.
Curriculum Connections
What dialogue exists between the performance and
current curriculum initiatives?
Look for connections to core content and learning
outcomes, elaborations or rich task repertoires of
practice.
Post-Performance Activities
What learning activities (and/or teaching methods)
may be constructed to further the artistic and
intellectual development of students? Devise activities
which emphasis “view to do”; students might paint a
picture, conduct an experiment, compose a piece of
music, write a story or short libretto, or improvise a
dance in response to the performance.
18
ACTIVITY & CREATIVE RESPONSE IDEAS
ART
Create a puppet of one of the characters
Design an opera scene, costume, or stage set
Cartoons
Drawing and colouring
ENGLISH
Write a theatre review
Journal writing
Interview the characters
Press release
Advertisement
Critical thinking
Creative writing
Discussion
Investigations
DRAMA
Characterisation
Storytelling
Movement & gesture
Expression
Role plays
Scripts
Costume design
Make-up & wig design
Monologues
Individual & Group Performance
MUSIC
Opera singing
History of opera and Opera Queensland
Experience an operatic performance
Composition
Opera is a fantastic teaching tool as it
opens doors into history, language, music,
visual art and movement
SCIENCE
The science of sound
SOCIAL SKILLS
Performance etiquette
Courage & confidence
Collaboration & team work
Dealing with isolation & anxiety
Negotiation
Acceptance
DANCE
Choreography
Movement exercises
Individual & Group Performance
WORD STUDY
Operatic terms
Stagecraft terms
19
PRE-PERFORMANCE ACTIVITIES
Why are pre-performance activities important?
Preparation for a performance is important as it can create a sense of anticipation, expectation and prediction.
Most importantly, pre-performance activities can orientate students towards the art form and the performers.
Students can be prepared for the performance using basic information about opera, and by analysing what
expectations they hold about the upcoming performance. The activities provided in this section may assist in
this endeavour.
ACTIVITY 1: Discussing Opera
ACTIVITY 2: Building a Narrative
ACTIVITY 3: Writing a Press Release
ACTIVITY 4: Costume Design
ACTIVITY 5: The Science of Sound
ACTIVITY: DISCUSSING OPERA
Explore the students’ knowledge of opera:
 Have they seen any opera? If so, what were they?
 Can they recall any music from an opera they may have heard?
(You may like to discuss how popular arias often feature in commercials or are sampled in
popular music)
 What do they think about opera? What do they think it is?
 What do they think about opera singers?
 Is singing opera difficult?
 Do they know what languages opera is most commonly sung in?
Have students write down all that they know about opera and all that they want to learn about opera.
Write questions to ask the artists at the end of the FiZZ! performance.
Examples of popular opera arias frequently used in commercials and film:
Nessun Dorma from Turandot, by Puccini
Film: Bend it like Beckham
O Fortuna from Carmina Burana, by Carl Orff
Commercial: Gatorade
Sous le dome épais (Flower Duet) from Lakme, by Delibes
Film: Tomb Raider: The Cradle of Life, Meet the Parents
Commercial: British Airways
Il dolce suono from Lucia di Lammermoor, by Donizetti
Film: The Fifth Element
20
ACTIVITY: BUILDING A NARRATIVE
Develop a plot outline.
Ask the class: What do you think an opera performance with the title FiZZ! will be about?
After the students have described their plot outlines, re-read the synopsis:
Synopsis:
It’s morning. Belcore’s Fine Foods comes to life with Adina (who works on the cash register) and Nemorino (or
‘Nemo’ - the trolley boy) arriving for work.
Nemo is entranced by Adina [“She’s amazing, I adore her”], but so shy and nervous he finds it hard to talk to
her [“Who can help me, I’m so nervous?].
While he is trying to pluck up the courage to ask Adina out to lunch, Jenny (who also works at Belcore’s, but
always seems to be off ‘sick’) sends Adina a message about the story of Tristan and Isolde [“Ha, ha, ha. This
is such a brilliant story!”]. (In the story Tristan uses a magic potion to win the heart of his beloved Isolde.)
Adina starts work, and Nemo is left feeling like she hasn’t even noticed him.
Benny Belcore enters (he’s the spoilt son of Mr Belcore who owns the store), and it becomes very clear that he
is a bully - and that Nemo is going to be his target today.
Benny then asks Adina out in front of everyone [“Like Prince Charming climbed the hair of his beloved
Rapunzel…”], but when Adina says that she isn’t interested, Benny offers her a job as manager of the other
Belcore’s Fine Foods across town.
Adina isn’t sure if she wants to leave all of her friends for a new job, and Nemo tries to talk her out of it.
Nemo is really upset at the thought of losing Adina, and wishes out loud for some kind of miracle that will help
him win her. Suddenly an infomercial comes on the TV [“Hello there! Home viewers…”] introducing Dr
Dulcamara’s latest miracle product – FiZZ!. A drink that will cure every ill, as well as making you more
attractive and intelligent.
A bottle of FiZZ! magically arrives. As Nemo drinks it he feels that it’s transforming him into a more confident
version of himself – maybe just a bit too confident.
Jenny calls Adina again to try to stop her from leaving the store, and it comes out that everyone thinks that
Adina and Nemo should be a couple. Jenny also thinks that Benny has probably only offered Adina the job at
the other store so that he will have a better chance of asking her out.
Nemo comes back and Adina notices the change in his attitude. When Nemo rudely shrugs her off, she
becomes furious and agrees to Benny's offer to move to another store.
Jenny calls everyone to invite them to Adina’s going away party at Belcore’s fine foods.
Devastated that Adina is leaving, and believing the FiZZ didn’t work properly, Nemo drinks two more bottles.
He drinks them way too fast, feels sick and has to go and lie down.
While he’s gone a News Report announces the search for the heir to the throne of The Isle of Kalipso…and
photo of Nemo is displayed. It seems that he is the long lost heir.
All the girls swoon at the thought of having a Prince in the local store [The Gossip Chorus “Could it be
possible?”].
During another News Report Nemo finds out that he is the heir to the throne, and then he spots Adina crying.
She confesses to herself that she doesn't want to move to the other store, and Nemo realises that she really
does like him [“One little tear…”].
21
Nemo explains to Adina that he has to move away to The Isle of Kalipso, as he is the only living heir, and asks
her to join him as his princess. Adina happily accepts after she lets him know that FiZZ! wasn’t what made him
different…and she liked him the way he was.
They both quit their jobs at Belcore’s Fine Foods, leaving Benny speechless [Recitative – Aisle 3! Clean
up!”]…but with a bottle of FiZZ!.
A final News Report announces that Nemorino, the heir of The Isle of Kalipso, has indeed been found. It’s also
been discovered that FiZZ! was just flat lemonade with a dash of mouthwash – but that doesn’t stop Dr
Dulcamara from trying to sell it one more time! [Finale – “FiZZ! corrects what needs correcting…”]
ACTIVITY: WRITING A PRESS RELEASE
A press release is an announcement to the public of an upcoming event.
For opera, it can provide information about any aspect of the production and can be used to:
 Promote the opera and sell tickets
 Create enthusiasm about opening night
 Release information about an upcoming season
 Create interest in a particular singer, director or conductor
REMEMBER: Time and space are limited in the media, so be concise.
1.
Write a press release for an opera or performance of your choice.
Think about what a local newspaper or school newsletter might be interested in knowing. You could
include background information about the opera and the cast members, highlights about the opera, as
well as the practical details such as the venue, dates and performance times.
2.
You have been chosen as the head of the promotional committee. Your manager feels that with the
right press release, the Opera Club will break the opening night attendance record from the year
before.
Write a press release to accomplish this.
3.
It is your job to encourage singers in your school to join the cast of an opera. Design a press release
for your peers to read.
An example of a press release is included on the next page.
REMEMBER: You should always include you contact details at the end of a press release so that a journalist
can contact you for more information, or to arrange an interview.
22
23
ACTIVITY: COSTUME DESIGN
Design costumes for each of the characters in FiZZ!
 Nemorina – Trolley Boy
 Adina – Checkout Operator
 Benny Belcore – Owner’s son
 Dr Dulcamara – TV Presenter
Once you have designed your costumes, write a character profile for each based on their names.
24
ACTIVITY: THE SCIENCE OF SOUND
Is it really possible for the human voice to shatter glass?
This idea is based on the phenomenon of resonance frequency; that is, a singer who can produce sound
waves at the same frequency as a glass’s natural resonance frequency will cause it to vibrate. A simple
experiment in sympathetic vibration with demonstrate this principle.
Sympathetic Vibration Experiment
1. Hang 3 identical objects equal distances along a piece of string about 1 metre long.
2. Suspend the string between chairs as tightly as possible.
Each object should be able to swing like a pendulum and should be hung at different heights.
3. When the objects are still, swing the first object from side to side like a pendulum.
OBSERVE: What happens to the other objects along the string?
Try swinging the other objects at different intervals.
OBSERVE: Now what happens?
REASON: When one of the objects along the string was set into motion, the other objects felt the vibrations
(resonance) travelling down the string. The second and then the third objects began to vibrate or swing
(sympathetic vibration) because they share the same natural frequency as the first object.
Now hang 3 different sized objects and try the same experiment. The second and third objects should not
respond to the vibration of the first because each of the 3 different objects has different natural resonance
frequencies.
So can an opera singer shatter glass?
If a singer can match the resonance frequency of a glass with her voice, she can cause it to vibrate. To make it
shatter she would have to increase the volume of her sound until the glass vibrates so intensely that it
shatters.
There’s no official record of it ever being done.
ACTIVITY: DRAMA AND OPERA
As opera is drama through music, it therefore contains all the elements of drama:











Roles
Relationships
Situations
Focus
Time
Place
Tension
Language
Movement
Mood
Symbol
25
The following activities will help you uncover some of the drama elements used in FiZZ!
1. Characterisation
Answer the following questions regarding Nemorino’s character:
 Who is Nemorino?
 What kind of person is Nemorino?
 How is Nemorino different from the other characters?
 What are the fewest things Nemorino can do to convey the most information about the character?
 What does the character want?
2. Relationship
Describe the relationship between Nemorino and Adina.
3. Time and Place
In what time do you think the opera is set?
What place is the opera set in?
ACTIVITY: DRAMATIC PLAY
Ask students to create their own Benny’s Fine Food Emporium in the corner of the classroom. Students can
imagine that they now own the shop. What would happen if the roles were reversed and Nemorino owned the
shop instead of the Belcores’?
THINGS TO CONSIDER




What is the new plot?
How does this change in the plot affect the characters’ traits?
What is the relationship between Nemorino and Adina like now?
How will the new version of the story end?
ACTIVITY: QUESTIONS AND TASKS
1. Imagine you are a reporter. Choose one character from FiZZ! to interview.
A) Write up an interview transcript, which details your questions and the character’s answers.
B) From the transcript write a newspaper article.
2. If you were to make a new ending to the opera, what would you change? Why?
3. Draw a scene from FiZZ!
4. What do we know about each character after the music is played? How do we know this?
HINT: In opera, each character traditionally has a musical introduction which lends emotions or a
mood to that character. For example, a king’s introduction may include trumpets to announce royalty,
or two lovers may be introduced by light, sprightly music.
26
ACTIVITY: CREATE A SOUND PICTURE
Composers do not always want to write traditional music. Sometimes they will use all kinds of sounds to create
and atmosphere, for example: rhythmic sounds, high and low sounds, loud and soft sounds, and sounds of
different quality.
Create a musical sound picture to tell a story or as background music to any story, poem or cartoon that
students have written.
THINK ABOUT


The structure of the music – repeating sections, canons, improvisation
o How will the introduction sound?
o How will it end? Will it have a definite end, or will it fade out?
The instruments used:
o Instruments from the classroom collection
o Invent new sounds
o Voice – unusual sounds, singing, humming
Encourage students to invent a way of writing the sound picture down, so that it can be played again by others.
Record the compositions and invite the student to sit with their eyes closed, and listen to their recording.
Part of a composer’s job is to evaluate and if necessary make adjustment to the composition. Encourage the
students to do the same by asking these questions:


Did your composition tell your story well?
Did you use effective musical sounds; should some parts be louder or softer?


Would silence have an impact?
ACTIVITY: PLOT THE STRUCTURE OF AN OPERA
Stages in the
plot structure
How the plot develops
Preliminary Situation
This is the explanation of events
that occurred before the action of
the opera begins
Initial Incident
This is the first important event from
which the rest of the plot develops.
It makes the audience wonder what
will happen next.
Rising Action
This is the series of events following
the initial incident. All or nearly all
important characters are introduced
and the goals of and obstacles
facing the main characters are
revealed. A series of situation
develops from the conflict to lift the
level of interest.
Plot development in
FiZZ!
27
Climax
This is the turning point of the
action. It is the moment of intense
crises that determines the outcomes
of the conflict.
Falling Action
The series of events following the
climax are usually shorter than the
rising action. The incidents must be
significant.
Conclusion
This is the logical outcome of the
preceding action: the success or
failure, happiness or sorrow of the
characters.
LESSON PLAN | CHARACTER EXPLORATION
Refer to included curriculum links
This lesson has been designed to allow younger students to explore the characters comparing physical and
emotive attributes. The activity can be adapted to work with all year levels.
Resources



Butchers Paper
Nikko pens
Bluetac

FiZZ! synopsis for reference
Lesson Progression
1. In pairs or small groups, trace around the outside of one group member’s body in felt pen onto a large
sheet of butcher’s paper.
2. Above the image write the name of the character that the group has chosen.
3. On the inside of the body shape brainstorm all the intrinsic character traits that that the character
possesses. Include those that may not be obvious, but can be uncovered by logical deduction from
information exposed during the performance.
4. On the outside of the body shape, list all the perceptions of the character as seen by outsiders.
5. When the character studies are complete display them on the wall and discuss each one with the
whole group, adding and deleting information as necessary.
Extension activities
1. Call for a volunteer from each group to take on the role of the character.
2. Have the volunteers sit in a panel formation.
3. The remaining students act as journalists and have the chance to interview the characters about the
situations that arose in the performance.
4. To answer some of the questions, the students in character may need to stretch the truth or invent an
answer, but should try to remain true to the character’s disposition.
28
LESSON PLAN | STORY BOARD
Refer to included curriculum links
This lesson uses the popular genre of a comic strip to allow the students to make links between literary,
pictorial and performance texts.
Resources



Story board pro-forma
Comic strips from newspaper
Pencils and pens

FiZZ! Synopsis
Lesson Progression
1. Deconstruct a number of comic strips from a newspaper and magazine making a list of attributes
including the fact that some tell complete stories whilst others are a part of an ongoing storyline
2. Discuss embedded texts noting simplicity and conciseness
3. Discuss illustration styles and how the pictures assist in the telling of the story (this may be done
by looking at a comic with the text removed and also looking at just the text without the
illustrations)
4. Looking at the synopsis of FiZZ! have the students write a 5 cell comic strip showing the story
from start to finish
5. Break the story into sections and create a series of comics which tell the story
LESSON PLAN | NARRATIVE STRUCTURE | YEAR 7
Refer to included curriculum links
This simple lesson is designed to illustrate that the genre of opera/musical theatre is simply a narrative told
through music and drama. It is focussed on the concept that a narrative introduces a setting and characters,
involves a complication and subsequently a solution. The graphing component of the activity allows the
students to discover the importance of emotive change and progression through a story.
Resources





Synopsis of FiZZ!
Simple narrative picture book
Whiteboard/blackboard
Large ruler
Graphing paper
Lesson Progression
1. Students read a simple narrative which follows progression of
- Introduce characters and settings
- Complication enters story
- Solution to problem
- Conclusion
2. A group discussion is held on the story identifying characters, setting, the complication, the solution
and the conclusion.
29
3. Using focus questions and through group discussion the key points of the story are summarised in
order and labelled from A through to the final point (A,B,C etc.)
4. Using a scale of one to ten each of the key components of the story are rated on their excitement
level for the reader with a very exciting part getting a ten and an unexciting part of the text getting a
one.
5. A simple line graph is created with the numbers one to ten up the Y axis and the letters for each of
the key points of the story making up the X axis
6. The progression and consequent levels of reader excitement are graphed
7. A class discussion is used to ascertain the reason for the progression of the story noting
complication, audience interest and the relevance of each choice and why the author made them
8. The same activity is completed for space encounters commencing with the summarisation of the
narrative and graphing.
9. Identify the key components of a narrative by adding vertical lines identifying key turning points
including complication and resolution
10. Each student creates a “narrative checklist” to keep for future reference when creating and
deconstructing narratives.
ACTIVITY SHEETS
1. Written Response
2. What is Opera?
3. Mix & Match
4. Research an Opera
5. Word Finder
6. Put the Voices in Order
7. Critic Corner
8. Colour inside the lines
30
We hope you
enjoyed our show!
ACTIVITY
WRITTEN RESPONSE
What was the name of the show you saw?
Finish these sentences:
I saw
I heard
I liked
I learnt about
31
ACTIVITY
WHAT IS OPERA?
Write down what you think opera is:
Below are some popular responses from students:






Opera is sung
Opera uses high voices
Opera is sung by overweight people
Opera may include sets, costumes and lighting
Opera is expensive
Opera is snobby
Think about these statements. Do you agree or disagree with them? Why?
Did you know that in
Italian the word
“opera” means
“work”?
32
Did you know that
opera singers need to
be very fit just like
athletes?
ACTIVITY
MIX & MATCH
Match the operatic terms with their definitions. You may have to do some research to find the correct
match.
1. Finale
a. the text of the opera
2.Trio
b. a piece of music for four voices/instruments
3. Chorus
c. a term meaning ‘well done’ yelled out by audiences
4. Aria
d. the end scene of an act or production
5. Score
e. the person that writes the music
6. Composer
f. a musical piece for solo voice
7. Libretto
g. a singer that can step in to replace a lead singer in the event of illness
8. Cover
h. a piece of music for three voices/instruments
9. Quartet
i. a group of singers which perform in an opera, often as townsfolk
10. Bravo
j. the written music of an opera or musical composition
FILL IN THE BLANKS
Composer
Libretto
Overture
Soprano
Dynamics
Duet
Opera
Using the words in the box, fill in the blanks with the correct words:
1. The degree of loudness or softness in the music is called
2. An
is a staged work in which some or all of the parts are sung.
3. The words of an opera are called the
4. The
.
.
is the highest female voice and is often the lead.
5. The person who writes the music of an opera is called the
.
6. The
is a musical introduction to the opera played by the orchestra.
7. A
is a song sung by two people.
33
ACTIVITY
RESEARCH AN OPERA
Choose an opera of your choice and research it in depth. Listen to a recording, watch a DVD or live
performance of the production, and read an English translation of the libretto.
In your research make sure you answer the following questions
 What is the traditional name of the opera and what is its English translation?
 In what language was the opera first written?
 When did the opera premiere? At which theatre? In which country?
 Who was the composer?
 Who was the librettist?
 What is the opera about?
 Is the opera based on an original story, or did the idea come from a play, book, myth, etc?
 Who are the major characters? What voice type sings each role?
 Are there any famous arias or choruses in the opera? If so, what are the names of those
pieces?
 What major events were taking place at the time the opera was written? Did any of these
have any effect on the opera?
Present your findings to your class. You may want to find a recording of your chosen opera and
include an excerpt in your presentation.
Did you know that the
beginning of an opera
is called an overture,
and the end is called a
finale?
34
ACTIVITY
PUT THE VOICES IN ORDER
In the box below are the main opera voice types. See if you can put them in order from highest to lowest.
Bass – Dr. Dulcamara
Soprano – Monique Latemore, Emily Burke
Baritone – Belcore
Tenor – Nemorino
Highest
Lowest
35
ACTIVITY
CRITIC CORNER
You’ve seen FiZZ!, now tell us what you think!
Pretend you are a music critic, writing for your local newspaper. Write your review below, and send it
to us at: Opera Queensland Open Stage, PO Box 3677, South Brisbane Qld 4101
(write your newspaper title here)
(write your headline here)
(write your subtitle here)
(write your review here)
By:
(write your name here)
(picture)
(write your caption here)
36
RESOURCES AND REFERENCES
For further information about opera visit:
English National Opera: http://www.eno.org/explore/explore.php
European Network for Opera and Dance Education: http://www.reseo.org
Fresh 2 Opera: http://www.fresh2opera.co.uk/ (excellent for those new to opera)
Opera Online: http://ring.mithec.com/ (opens on information for Wagner’s The Ring, but contains information
about other opera as well as video clips)
Opera Today: http://www.operatoday.com/
San Diego Opera’s Operapaedia: http://www.sdopera.com/operapaedia
Wikipedia: www.wikipedia.org (please be aware that not all the information on Wikipedia is accurate)
Opera Queensland Education takes great care at the time of publishing to ensure that these links are current
and correct. Please let us know you if experience any difficulties with these websites.
Used in the compilation of this resource kit:
Sadie, S. (Ed) (1988). The Grove Concise Dictionary of Music. London, UK: Macmillan Press Ltd, London
37