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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