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OPERA OUT LOUD ! STUDY GUIDE

1 TABLE OF CONTENTS

Welcome Letter & Performance-Day Checklist ...... 3 OUT LOUD Playlist ...... 4 Meet the Cast ...... 5 Italian (1786) — ...... 7 Italian (1832) — The Elixir of Love ...... 9 Italian (1839) — The Daughter of the Regiment ...... 10 Italian (1917 –18) — Gianni Schicchi ...... 11 German (1791) — The Magic ...... 12 French (1867) — Roméo and Juliet ...... 14 French (1863) — The Pearl Fishers ...... 15 French (1875) — ...... 16 French (1883) — Lakmé ...... 17 English (1879) — The Pirates of Penzance ...... 14 Operatic Voices ...... 19 Registers of the Voice, Vocal Training, Voice Types ...... 21 Voice Types Based on Size & Quality ...... 24 Famous Opera Singers (, History) ...... 26 A Checklist for Opera Singers (Science, Music) ...... 28 Musical Terms (Music) ...... 29 The Orchestra & Conductor (Music) ...... 33 The Conductor’s Score ...... 34 A Short History of Opera (History) ...... 35 Timeline of the Great (History) ...... 39 Opera As Collaboration ...... 40 How Sound is Heard (Science) ...... 41 A Singer’s Body (Science) ...... 42 Evidence of Learning ...... 43 Tour Sponsors ...... 44

2 WELCOME!

Dear Music Educators and Administrators,

For twenty-five years, Nashville Opera has brought live pro - fessional opera performances into area schools. Nashville Opera ON TOUR has reached over a quarter of a million stu - dents and adults across Middle Tennessee, and this pandemic year we get to expand on this tradition by offering virtual con - tent for the first time. To best prepare your students for their exciting operatic experience, we provide a study guide to assist you. Inside you’ll find basic information about the art form and musical terminology as well as interactive activities and projects to deepen students’ understanding and enjoyment. By connecting opera to your music and general classroom curriculum, we hope to provide ways to collaborate with teachers and arts specialists. All of the activities in the guide are tied directly to the Tennessee Curriculum Standards and are labeled with the GLE number, if they exist, or the standard code. We are exceptionally proud this year to present study guide content written by Joy Calico, Cornelius Vanderbilt Professor of Musicology at the Blair School of Music. The entertaining and scholarly sections detailing OUT LOUD’s and operas (pages 7 – 14) are Dr. Calico’s wonderful contribution to the guide. We hope you enjoy as much as we do! This guide is designed to benefit both the student and educator through its interdisciplinary approach to opera education. The activities provided in the teacher guide assist students to actively listen and observe live opera. We encourage you to use this guide to augment your existing plans in the many disciplines included. You are welcome to copy or adapt any part of this guide to enhance learning in your classroom. The arts have always been a vital part of a young person’s educational experience. Thank you for partnering with Nashville Opera and giving us the opportunity to share the magic of opera with your students! We look forward to our virtual performance at your school and know your students will enjoy the show.

If you have any questions, please contact me!

Best,

Performance-Day Check List Hannah Marcoe Education Program Administrator m Be ready with your students to watch [email protected] the performance at your booked time slot. 615.832.5242 m Have post-show Q&A platform ready to switch to immediately following your streamed performance (if requested).

3 OPERA OUT LOUD PLAYLIST

Bizet CARMEN “L’amour est un oiseau rebelle” ...... Mezzo Mozart TH E MARRIAGE OF FIGARO “” ...... Donizetti THE ELIXIR OF LOVE “Quanto e bella” ...... Donizetti THE DAUGHTER OF THE REGIMENT “Chaçun le sait” ...... Bizet THE PEARL FISHERS Duet ...... Tenor/Baritone Duet Mozart TH E MARRIAGE OF FIGARO “Non so piu cosa son” ...... Mezzo Gounod “Ah leve-toi soleil” ...... Tenor Delibes LAKMÉ Flower Duet ...... Soprano/Mezzo Sullivan THE PIRATES OF PENZANCE “I am a Pirate King” ...... Baritone Puccini GIANNI SCHICCHI “O mio babbino caro” ...... Soprano Mozart THE MAGIC FLUTE Papageno Papagena duet ...... Baritone/Soprano

4 MEET THE CAST

The cast is made up of Nashville Opera’s Mary Ragland Emerging Artists. These performers come from all over the country and stay in Nashville for three to four months to take part in our training program. They are part of The Three Little Pigs as well as our mainstage production of Rossini’s Cinderella. We asked our singers some questions so that you can get to know them!

Rebekah Howell, soprano

From Houston, Texas, but lives in Gallatin, Tennessee Has sung with Chautauqua Opera, Opera Colorado, Opera Louisiane What is your favorite holiday? Thanksgiving What is your favorite food? Chicken wings Do you play any instruments? Cello and piano Favorite movies? You’ve Got Mail, The Incredibles (1 & 2), Toy Story, Brave What’s a little-known fact about you? One of my thumbs is shorter than the other!

Emily Cottam, mezzo-soprano

From Salt Lake City, Utah Has sung with Seagle Music Colony, Tri-Cities Opera, AIMS in Austria Do you have any pets? I have two cats: a brown and white tabby named Max and a gray kitty named Meonji ( 먼지 , pronounced MOHN-ji, which means “dust” in Korean!) What do you like to do for fun? I like to draw, play Animal Crossing, and practice my instruments! Where’s the farthest place you’ve ever traveled? South Korea

Frederick Schlick, tenor

From Reading, Pennsylvania, but lives outside NYC Has sung with Pensacola Opera, Tri-Cities Opera, City Lyric Opera NYC What’s the weirdest job you’ve ever had? Once upon a time, I sold large printers to major corporations. What do you like to do other than sing? I like cooking, photography, yoga, playing the piano (poorly) and playing a videogame or two What’s a little-known fact about you? I co-own an Antique Furniture Company!

5 Christopher Curcuruto, baritone-

From Sydney, Australia Has performed with Opera Australia, Pittsburgh Festival Opera, Fort Worth Opera Farthest place ever traveled? Milan, . From Sydney, that is over 10,000 miles and takes over 24 hours of travel! Do you have any pets? I have a puppy named Kuzco (like the charac - ter in Disney’s “The Emperor’s New Groove”) Interesting fact about yourself? Before I became an opera singer, I was an actor, a writer, a radio presenter, a cook, and a lawyer!

Hannah Marcoe, Education Program Administrator

From Dallas, Texas but lives in Nashville, Tennessee Pets? I have a dog named Peanut! Favorite movies? My Big Fat Greek Wedding, and Home Alone Favorite food? Pasta and seafood What do you do for fun? Sing and lots of arts and crafts!

6 ITALIAN

Mozart THE MARRIAGE OF FIGARO (1786) Le Nozze di Figaro “Se vuol ballare” sung by Figaro (baritone) “Non so piu cosa son” sung by Cherubino (mezzo)

Wolfgang Mozart (1756-1791) and his older sister Maria Anna (1751-1829), nicknamed Nannerl, were born in Salzburg, a city in modern-day Austria. They were child prodigies. Their father Leopold (1719-1787) was responsible for their musical training and took them on numerous European concert tours together. Maria Anna was said to be especially proficient on the harpsichord and the fortepiano (an early version of the piano), and there is some evidence that she was a composer as well, as her brother referred to her compositions in his letters, but no scores sur - vive. Instead, as was typical in mid-eighteenth-century families of a certain social status, Maria Anna stopped performing in public once she reached the marriageable age of eighteen.

Her younger brother’s career continued with numerous successes, but he was never able to secure the job he wanted most: a full-time position at a prominent court. His many attempts across the far-flung houses of the Habsburg Empire in Milan, Florence, and Naples were unsuccessful. Instead, he worked as a gigging musi - cian, and made his money giving concerts and composing new music on commission. By the 1780s his earn - ings would have put him comfortably in the middle class, but he still coveted the prestige of a court position. He finally received such an appointment at the Imperial Court in Vienna under Emperor Joseph II in 1787. It paid well but was a part-time position only, composing new dance music for his annual balls.

His opera Le Nozze di Figaro (The Marriage of Figaro) from 1786 aptly reflects the historical moment in which he lived. The opera is based on a comic play of the same name by French playwright Pierre Beaumarchais. Two servants, Figaro and Susanna, are engaged to be married and team up with the Countess to outwit the Count’s attempts to exercise his droit du seigneur (the master’s right to sleep with his servant girls on their wed - ding nights). Female solidarity across class divisions and the servants’ delivery of comeuppance to the master scandalized the French theater censors with its repudiation of aristocratic privilege. The censors required Beaumarchais to make revisions before it could be performed, but even the acceptable version was later de - scribed by Napoleon as “the [French] Revolution already put into action.”

Lorenzo Da Ponte (1749-1838) adapted the from Beaumarchais’s play. He was a prolific Italian poet at the Viennese court who was Jewish by birth but converted to Catholicism, and even took Minor Orders in the priesthood. His success in Viennese court circles is indicative of Joseph II’s open-mindedness toward Jewish-born individuals following a period of renewed repression in 1740-1780. Da Ponte was librettist on the three operas many consider to be Mozart’s finest: Figaro, , and Così fan tutte. (He is a fascinat - ing character in his own right, as he was run out of numerous cities for scandals involving women and debt, and eventually became the first Professor of Italian literature at Columbia University in New York.)

Beaumarchais’s play had been banned in Vienna, but according to Da Ponte he received permission to use it for a libretto by removing overt political content. Their operatic version premiered at Vienna’s Burgtheater in 1786, and the Imperial paid Mozart 450 florins for it (approximately $9500 today); Da Ponte

7 made 200. Figaro was generally well liked and played The second , “Non so più cosa son (I no longer for nine performances, but they had greater success know what I am),” is sung by another of the Count’s with it in Prague. male servants, in this case the teenaged page Cheru - bino. The young man is infatuated for the first time The opera is in Italian even though it was written for and focuses on the Countess, who teases him good a German-speaking Viennese audience. There was naturedly. The role of Cherubino is a pants role, very little opera in the German language at this time, which means it is sung by a female mezzo soprano en and the genre was dominated by Italian and French . This female tends to sit a little styles even in regions where people spoke other lan - lower than a soprano and often has a darker color, guages. Figaro’s subgenre is , which means which makes it a favorite for portraying male charac - “” in Italian, and conflicts of class and ters who are not yet adult men. “Non so più” is also gender tended to drive the humor. This is apparent a patter aria, which means the is upbeat and in both arias you will hear. Figaro sings “Se vuol bal - the words tumble out at a furious pace to convey the lare (If you want to dance)” in Act I, when he learns maddening fluctuations in his emotions and hor - that the count plans to sleep with his bride Susanna. mones. Figaro is sung by a bass, the lowest voice type and one that composers liked to showcase in comic opera Further Reading: to distinguish its sound from that of serious opera, which was dominated by high voices, both male and Allenbrook, Wye Jamison. Rhythmic Gesture in Mozart. female. In this (“little ”), Figaro vows Chicago: University of Chicago Press, 1983. to overturn the power dynamic of the servant-master Brown-Montesano, Kristi. Understanding the Women of relationship by thwarting the count’s plans and con - Mozart’s Operas. Berkeley: University of California trolling him instead (“I’ll call the tune”). Wye Allen - Press, 2007. brook’s research showed that Mozart incorporated the social dance music of his day into his opera arias The World of the Habsburgs to indicate the social status and ambitions of his https://www.habsburger.net/en/stories/wolfgang- characters, and that is true in this case. amade-mozart-and-imperial-court-vienna

Nashville Opera produces Mozart’s DON GIOVANNI, 2008 8 Donizetti THE ELIXIR OF LOVE (1832) L‘elisir d’amore “Quanto è bella” sung by Nemorino (tenor)

Working in the Italian opera system in the early nineteenth century was grueling. Gaetano Donizetti (1797-1848) wrote the comic opera Elixir of Love (1832) in a six-week window in Milan between the premiere of his previous opera in mid- March and the first day of rehearsals for Elixir in early May. We know he was com - posing until the last possible minute because the censors did not give their final approval until the dress rehearsal, a decision usually made before the rehearsal period even began.

Elixir opened at the Teatro della Canobbiana, the second in Milan behind La Scala, to great ac - claim, and was the most performed opera in Italy between 1838 and 1848. Francesco Izzo has shown that this success was not a given, as Rossini’s evergreen Il Barbiere di Siviglia (1816) still dominated the comic stage even as there was a general preference for serious opera. The success is due not only to Donizetti’s extraordi - nary score but also to Felice Romani’s superior libretto, with its direct and eloquent language. His text was based on a French libretto by Eugène Scribe entitled Le philtre, which had been premiered in Paris just ten months earlier and was itself modeled on an Italian source. Mark Everist’s recent work traces the phenome - non of cultural transfer in these libretti, as operatic repertoire and personnel moved back and forth between and Italy in the nineteenth century.

The aria you will hear, “Quanto è bella (How beautiful she is),” is sung by the character Nemorino in the opera’s opening scene. According to Izzo, “few tenor roles can lay claim to so much public favor as Nemorino, the poor and simple-minded peasant with little faith in himself, mocked and despised for most of the opera, who manages to win Adina’s heart not through ambition and plotting but rather through his unpar - alleled good-heartedness and unconditional devotion” (Izzo, 30). The role of the young love interest in nine - teenth-century opera is often played by a tenor (high male voice). Nemorino is a sentimental and naïve underdog, which distinguishes him from the servant lovers in other opera buffas who win the day by schem - ing and outwitting their opponents (compare this to the aria you heard Figaro sing from Mozart’s Marriage of Figaro). Perhaps this is because even though there is a stark class discrepancy between Nemorino and Adina - peasant and landowner - he is not a servant and cannot afford to hire one, so there is no space for that power dynamic in this particular story. His love is unapologetically sincere and romantic, and that character is on full display in this opening declaration of love. Further reading:

Ashbrook, William. Donizetti and his Operas. Cambridge: Cambridge University Press, 1983. Everist, Mark. Opera in Paris from the Empire to the Commune. Routledge: 2018. Izzo, Francesco. Laughter between Two Revolutions: Opera Buffa in Italy, 1831-1848. Rochester: University of Rochester Press, 2013.

9 Donizetti THE DAUGHTER OF THE REGIMENT (1839) La fille du régiment “Chacun le sait” sung by Marie (soprano)

Donizetti was Italian and wrote Italian opera, but because Paris was the operatic capital of the world many Italian composers also composed operas in French. He lived in Paris from 1838 to 1840, and La fille du régi - ment (The Daughter of the Regiment) was his first work in that language. It is an opéra comique, which means that it has spoken dialogue between the like a musical, just as in Mozart’s German-language The Magic Flute. The Parisian opera company that performed such works in French was also known as the Opéra-Comique. The word “comique” just indicates that there is spoken dialogue in French, but in this case the opera is also a comedy (that is not always the case when something is called an opera comique; see Bizet’s Carmen). In Paris at this time there were laws governing what kind of entertainment a state theater could produce, and the Opèra-Comique performed with spoken dialogue.

The story is set in the Swiss mountains during the Napoleonic Wars of the early nineteenth century. The titu - lar character is Marie, a young woman who has been with a French regiment since the soldiers found her on the battlefield as an infant and adopted her. All the soldiers look out for her as if she were their daughter, so when she falls for a young Swiss man named Tonio he must prove himself worthy to her “fathers.” Marie sings the aria “Chacun le sait (Everyone knows it)” in Act I, after she has saved Tonio from the overprotec - tive soldiers. It is the regimental song, and in it she praises the 21st Regiment as brave and victorious, beloved by women and feared by men.

“Chacun le sait” is an example of diegetic music, which is a term taken from cinema studies that means the other characters onstage perceive that Marie is performing a song for them. There is a lot of singing in opera, but most of the time the characters don’t seem to realize they are singing; it is just the means by which they communicate, as if it were normal speech. This is an aria that the soldiers hear as a “song” within the world of the opera, having just asked her to sing it for them.

The role of Marie is usually sung by a soprano, a woman with a very agile voice capable of singing extremely high notes. Tonio, her love interest, is sung by a tenor, which is the usual voice-type pairing for couples in nineteenth-century opera. (The tenor who performs the role of Tonio must also have a very high and agile voice, as one of his arias requires him to sing no fewer than eight high C’s.) The opera very nearly flopped at its premiere, as the tenor who created the role of Tonio was not up to the task but has since be - come quite popular. Its success depends largely on the ability of the singers who play Marie and Tonio to per - form rom-com style antics onstage while singing very difficult music, all the while making it look and sound easy. Further reading:

Abbate, Carolyn, and Roger Parker. A History of Opera: The Last 400 Years. New York: W.W. Norton & Co., 2015. Ashbrook, William. Donizetti and his Operas. Cambridge: Cambridge University Press, 1983. Fauser, Annegret, and Mark Everist, eds. Music, Theater, and Cultural Transfer: Paris, 1830-1914. Chicago: University of Chicago Press, 2009.

10 Puccini GIANNI SCHICCHI (1917 –18) “O mio babbino caro” sung by Lauretta (soprano)

Giacomo Puccini (1858-1924) remains one of the most beloved and frequently performed opera composers of all time. Gianni Schicchi (pronounced “Johnny SKEE-kee”) is one of three one-acts he composed as a set; together they are known as Il trittico (The Triptych) . Schicchi, a comedy, has emerged as the audience favorite and is often performed without the other two. It is also the only opera on the program to have had its first per - formance in the United States, at the in New York.

The inspiration for the plot came from an episode in Canto XXX of Dante Alighieri’s fourteenth-century poem Inferno. Dante’s Eighth Circle of Hell was reserved for counterfeiters, grifters, and forgers, and a histor - ical figure named Gianni Schicchi is there for impersonating a wealthy man who had already died so that he could forge a will and bequeath the man’s money to himself. In the opera the relatives of the deceased Buoso Donati gather around his death bed ostensibly to mourn his passing, but they are far more interested in find - ing out who will inherit his fortune. They are aghast to discover that he left everything to the local monastery, and the young tenor Rinuccio is especially upset, as he desperately wants to marry the poor Lauretta (so - prano) but can only do so with an inheritance.

Lauretta and her father Schicchi arrive, and the family members are dis - missive of their lower-class status. Schicchi wants nothing to do with such pretentious people, but his daughter persuaded him to help so she can marry her true love in the beautiful aria, “O mio babbino caro (Oh my beloved papa).” He quickly assesses the situation and hatches a plan to impersonate Donati and dictate a new will. Fam - ily members bribe him for the best parts of the estate, but he be - queaths most of it to himself, much to the family’s horror. Lauretta and Rinuccio are now free to marry. Lauretta’s aria is an oasis of sincere, genuine beauty in an opera that is otherwise mostly loud, raucous fun.

Further reading:

Davis, Andrew C. Il trittico, , and Puccini’s Late Style. Bloomington: Indiana University Press, 2010. Wilson, Alexandra. The Puccini Problem: Opera, Nationalism, and Modernity. Cambridge: Cambridge University Press, 2007. https://sfopera.com/blog/end-of-the-line-thoughts-on-puccinis-il-trittico-at-san-francisco-opera2/ https://www.operamemphis.org/blog/posts/deadcharacters

11 GERMAN

Mozart THE MAGIC FLUTE (1791) Die Zauberflöte “Pa – pa – pa” duet sung by Papageno (baritone) and Papagena (soprano)

Most of Mozart’s operas are sung in Italian but he wrote a few with German , and The Magic Flute is surely the most beloved of these. The librettist ran the Freihaus-Theater in Vienna, and he commissioned Mozart to set his text to music for performance at his own theater. It was premiered in September 1791, just two months before Mozart’s death. Flute is a Singspiel, which means that it doesn’t have continuous singing; instead, spoken dialogue alternates with arias (songs), like a musical.

The plot is best described as an ahistorical allegory that mixes the profound with the whimsical as it pits the forces of good and evil against one another, although a character’s true nature may not be immediately appar - ent. The many layers of symbolism reflect its late eighteenth-century context, drawing on rationalist Enlight - enment thought and symbols of the Freemasons whose rituals were said to have originated in Egypt. Schikaneder and Mozart were both Freemasons. Austrian Empress Maria Theresa had outlawed the secretive society in 1764 because she suspected them of plotting to undermine the divine right of emperors. Twenty years later Emperor Joseph II lifted the ban but consolidated all the lodges in Vienna so he could better mon - itor their activities. The decision to stage elements of its rituals and symbols would have drawn a curious audi - ence.

This duet is sung by two characters who counterbalance the abstract forces of dark and light with earthy comedy. Papageno, originally played by Schikaneder himself, is a bird catcher employed by the Queen of the Night. He cannot pass the tests that will bring true enlightenment, but his good and true nature earns him the reward of true love with Papagena. Their duet begins with them tripping over the first two syllables of their names in their excitement (“pa – pa – pa”), and then they sing a hymn to domestic harmony, replete with as - pirations for many children. Their musical interaction is typical of love duets in opera: each section tends to begin with them singing in alternation, and then they sing together in harmony.

Operas from earlier periods often feature representations of colonialism, race, class, and gender that are problematic by today’s standards, and The Magic Flute is no exception. Of course we cannot expect Schikaneder and Mozart to have had the same attitudes or knowledge we have now, but if we are going to continue to perform this repertoire, it is reasonable to expect artistic directors to address these issues when they put the opera onstage. The most conspicuous problem for Flute is the role of the Moor Monostatos, who is described as a “low, cowardly slave [whose] submissive character was created in correspondence with his nation.” Steffen Lösel argues that the “pervasive racial stereotypes of Enlightenment-era anthropology… were so well entrenched that the opera’s authors did not question them despite their personal acquaintance with a highly respected African living in Vienna at the time: Angelo Soliman,” who was a fellow Freemason in Vienna (Lösel, 275).

Nor was Soliman the only Black man Mozart had met. After his mother died in Paris in 1778 it seems that he lived for two months in the same house as Joseph Bologne, Chevalier de Saint-Georges (1745-1799), a Black composer born in the French colony of Gaudeloupe to a wealthy planter and an enslaved African woman. Some have taken to calling Bologne “The Black Mozart,” a nickname that may have been meant to bolster his credentials but in fact diminishes his distinctive status. In November 2020 Los Angeles Opera and the Col -

12 burn School streamed a new production of Bologne’s 1780 opera The Anonymous Lover. For more informa - tion on Black opera see Naomi André’s work and the Black Opera Research Network (BORN) website. Further reading: https://blackcentraleurope.com/sources/1750-1850/the-character-monostatos-in-mozarts-opera-the-magic- flute-1791/ https://www.laopera.org/performances/upcoming-digital-performances/the-anonymous-lover/ https://blackoperaresearch.net/about/ André, Naomi. Black Opera: History, Power, Engagement. Champaign: University of Illinois Press, 2018. Lösel, Steffen. “Monostatos: Racism in Die Zauberflöte.” Soundings: An Interdisciplinary Journal 102, no. 4 (2019): 275-324.

Papageno and Papagena in Nashville Opera’s THE MAGIC FLUTE, 2013

13 FRENCH

Gounod ROM ÉO AND JULIET (1867) “Ah lève-toi soleil” sung by Romeo (tenor)

Charles Gounod (1818-1893) was a French composer who, like Mozart, wrote a lot of music in many different genres (unlike Donizetti, who was an opera specialist). The libretto for his opera Roméo et Juliette (1867) was based on French translations of ’s play, and it is probably the most effective of the many attempts to turn that work into an opera. Gounod had the good fortune to premiere his opera in Paris during the Exposition Universelle, when the city was filled with tourists and the piece played to full houses. That exposure helped Roméo get a foothold abroad, as it went on to play in England, Germany, and Belgium the same year.

The transformation from play to libretto often requires considerable pruning and revision, since it takes longer to sing words than to speak them, and the librettist must also allow time for purely instrumental music. The play situates the star-crossed lovers as victims of the po - litical turmoil in an Italian city-state, but the libretto eliminates most of the politics to focus on the love story. It is best known for its four love duets between the tenor Romeo and the soprano Juliet, but there are other exquisite moments as well. Romeo’s aria “Ah! lève-toi soleil! (Ah, rise sun!)” comes from the famous balcony scene, and hews closely to Shakespeare’s language in Act II scene ii of the play. He has stolen into the Capulet garden, and when he sees a light at Juliet’s window, he sings an aria comparing her beauty to that of the morn - ing sun. Further reading:

Dibbern, Mary. /Roméo et Juliette: A Per - formance Guide. Hillsdale, NY: Pendragon Press, 2006. Huebner, Steven. The Operas of . Oxford: Clarendon Press, 1990.

Nashville Opera’s ROMEO AND JULIET, 2007

14 Nashville Opera’s THE PEARL FISHERS, 2013

Bizet THE PEARL FISHERS (1863) Les pêcheurs de perles “Au fond du temple saint” duet sung by Nadir (tenor) and Zurga (baritone)

Georges Bizet (1838-1875) was just 24 years old when he composed this opera. Having won the prestigious Prix de Rome while a student at the Paris Conservatory, he was eligible for a program at the Théatre Lyrique that commissioned new operas from recipients of that prize. The theater manager offered him the libretto for The Pearl Fishers, which is the story of two men who once loved the same woman but renounced their love for her to preserve their friendship, only to have that vow tested when she returns.

Two fishermen Nadir and Zurga meet again after many years and reminisce about Leïla, the woman they both loved, before renewing their commitment to brotherhood in the Friendship Duet, “Au fond du temple saint (at the back of the holy temple).” It is a moving testament to male friendship in a genre that often privileges romantic love over other relationships. It also precedes Leïla’s reappearance, at which point we learn that Nadir, the tenor, was not completely honest with Zurga, the baritone, in that duet: Nadir is back in town be - cause he has followed her there. If you have paid attention to the connection between voice type and charac - ter type in the opera examples thus far, then you know the tenor will probably get the girl in the end. Zurga the baritone proves to be the better friend, however, as he sacrifices himself in the end so that the tenor and soprano can be together.

The opera takes place in ancient times on the island of Ceylon (modern-day Sri Lanka), and it is an example of exoticism. In the nineteenth century this meant setting operas in distant non-Western locales, with little or no attempt to accurately portray the people or the location in music, plot, or staging. It was especially com - mon in French opera of this period, as you will see in the other French examples from the second half of the nineteenth century (Carmen, Lakme). It may also be understood as Orientalism, Edward Said’s term for a pa - tronizing Western attitude toward Middle Eastern, Asian, and North African societies as a dimension of im - perial power. Operas, like all cultural products, both reflect and participate in the environment that produces them. When they are staged today, the stage director and performers must decide how to present that exoti - cism in a postcolonial era. Further reading: https://utahopera.org/explore/2014/12/the-pearl-fishers-and-the-exotic/ Locke, Ralph. Musical Exoticism: Images and Reflections. Cambridge: Cambridge University Press, 2009. Said, Edward. Orientalism. New York: Vintage Books, 1979.

15 Bizet CARMEN (1875) “L’amour est un oiseau rebelle” sung by Carmen (mezzo-soprano)

By the time Bizet composed Carmen in 1875 he had written over a dozen operas, but he had not been particu - larly successful. No one could have predicted the fame this one would bring him (albeit posthumously). He wrote Carmen for the Opèra-Comique theater in Paris, the same company at which Donizetti’s Daughter of the Regiment had premiered 35 years earlier; just like Donizetti’s opera, Carmen was an opéra comique, which meant the arias were strung together with spoken dialogue rather than . At first it received mixed reviews. Some critics were appalled that the opera showed a murder onstage, and many complained about the rowdy, sexy female characters, fighting and smoking onstage in decidedly un-ladylike fashion. The scandal generated publicity that only increased after Bizet’s tragic premature death on the night of the 33rd performance. His friend Guiraud quickly composed to replace the spoken dialogue so that Carmen could be performed in other opera houses, and it has since become one of the most performed operas in history.

Just as Bizet did not attempt to compose music for The Pearl Fishers that sounded like the real South Asian lo - cale in which it is set, he never visited and the music he composed for Carmen is not particularly represen - tative of Seville (where that story is set) or Carmen’s gypsy culture. He was less interested in creating “authentic” musical representations of the Other than in pleasing his Parisian audiences by reproducing French fantasies about those places (see exoticism in the section on The Pearl Fishers) . It is worth noting that the word “gypsy” is widely considered to be a derogatory term for Roma, the largest ethnic minority in Europe.

Carmen’s character is all the more shocking because the opera begins with Micäela, a shy, sweet country girl who has come to Seville looking for Don Jose, a low-ranking army officer from Northern Spain. Micäela is the girl his mother wants him to marry, and he is faithful to both of them. Suddenly the women who work at the cigarette factory burst on the scene, and Carmen sings the aria “L’amour est un oiseau rebelle (Love is a rebel - lious bird).” Don Jose ignores her until she throws a flower to him, and he makes the first in a series of deci - sions that will lead to his downfall and to her death.

The role of Carmen is played by a mezzo-soprano, a woman whose voice is typically darker and sits a little lower than that of Micäela, who is a soprano. “L’amour est un oiseau rebelle” features descending chromatic lines that are supposed to mark Carmen as exotic, particularly when compared to the music for Don Jose and Micäela. This aria is also known as “The ,” since its primary rhythm (the tresillo) is associated with that dance. This aria is a lot of fun, but her ultimate fate would have been clear to anyone who understood the gendered social codes of nineteenth-century Europe: a sexy, independent woman who smoked, drank, and danced posed a threat to the social order, and would have to be punished. Further reading:

Clément, Catherine. Betsy Wing, translator. Opera, or the Undoing of Women. Minneapolis: University of Minnesota Press, 1999. Hutcheon, Linda, and Michael Hutcheon. Opera: Desire, Disease, Death. Lincoln: University of Nebraska Press, 1996. (Especially chapter 6, “Where There’s Smoke, There’s…”) McClary, Susan. : Carmen. Cambridge: Cambridge University Press, 1992. https://ec.europa.eu/info/policies/justice-and-fundamental-rights/combatting-discrimination/roma-eu/roma- equality-inclusion-and-participation-eu_en Manuel, Peter. Creolizing Contradance in the Caribbean. Philadelphia: Temple University Press, 2009.

16 Delibes LAKM É (1883) “Dôme épais,” known as the Flower Duet sung by Lakme (soprano) and Mallika (mezzo-soprano)

Léo Delibes (1836-1891) was a French composer who excelled at opera and . The subject of his opera Lakmé (1883) embodies the Orientalism popular in France at this time. Hugh McDonald tells us that “the opera brings together many favorite features of the age: an exotic location…, a fanatical priest figure, the mysterious pagan rit - uals of the Hindus and their bewitching flora, and the novelty of exotically colonial English people.” Mc - Donald emphasizes the features that generate spectacle onstage, as elaborate sets and colorful costumes are needed to portray a distant land and its non-Christian traditions.

His summary also skims over the racism that underpins Orientalism, however (see the section on Bizet’s Les pêcheurs de perles). Consider that the opera is set in British India, also known as the British Raj, which was the period of imperial British rule from 1858-1947. Ralph Locke is more critical of Orientalist opera plots, how - ever, and summarizes them as follows: “Young, tolerant, brave, possibly naive, white-European tenor-hero in - trudes, at risk of disloyalty to his own people and colonialist ethic, into mysterious, dark-skinned, colonized territory represented by alluring dancing girls and deeply affectionate, sensitive , incurring wrath of brutal, intransigent tribal chieftain (bass or bass-baritone) and blindly obedient chorus of male savages” (Locke, 263). In Lakmé we have a Brahmin priest who wants revenge against the colonizers instead of a bru - tal chieftain, but the affect is the same. The stage director and performers must make decisions about how to handle nineteenth-century racism when they develop the staging and costuming for audiences in the twenty- first century.

Much of the music is singularly beautiful, however, and that is surely the reason the opera is still performed today. In fact, this conflict between what can feel like beautiful, timeless music and problematic, even offen - sive plots, is a tension opera companies are constantly negotiating. This duet is a perfect example of why the opera remains in the repertoire. It introduces us to Lakmé, a soprano and the daughter of the Brahmin priest, as she goes to gather flowers by the river with her servant Mallika. The two sing an exquisite duet about nature with many extended melismas, meaning that they sing a lot of notes on one syllable, and their melodic lines move together in parallel motion. Further reading:

Macdonald, Hugh. “Lakmé.” Grove Music Online. 2002; Accessed 28 January 2021. Locke, Ralph. “Constructing the Oriental ‘Other’: Saint-Saëns’s Samson et Dalila.” Cambridge Opera Journal 3, no. 3 (1991): 261-302.

17 ENGLISH

Sullivan THE PIRATES OF PENZANCE (1879) “I am a Pirate King” sung by the Pirate King (baritone)

English composer Arthur Sullivan (1842-1900) and librettist W. S. Gilbert (1836-1911) created fourteen op - erettas over the course of a twenty-five-year collaboration. “” is the term for a light opera with spo - ken dialogue, tuneful songs, and lots of dancing. The genre was especially popular in the nineteenth century in Paris, Vienna, and London, each of which had its own tradition. In the twentieth century it evolved into the musical comedy. Gilbert and Sullivan collaborations are also known as Savoy Operas, since producer Richard D’Oyly Carte built the Savoy Theatre in London’s West End theater district specifically to showcase their shows.

As with all the repertoire on the program, these Nashville Opera’s both reflected and informed the environment in which PIRATES, 2015 they were created. Allison Horsley notes that “while much of their humor capitalizes on gender and ethnic stereo - types, their biting satire generally targets the folly of hu - mankind and the capricious nature of social class and order.” The stereotypes may be dated, and stage directors must decide how to address those, but satirizing the rich and powerful never goes out of style.

Gilbert liked to begin with a ridiculous premise and then follow it to its logical conclusion in a zany comedic style often described as topsy-turvy. The setup for The Pirates of Penzance is a perfect example. While still a child, our hero Frederic (a tenor, of course) was inadvertently apprenticed to a pirate rather than to a pilot by his nursemaid Ruth, who is hard of hearing and misunderstood her instructions (this is a sly reference to Gilbert’s own childhood, when his nanny kidnapped him for ransom). Frederic believes he has completed his apprenticeship, so he leaves the pirate life and leads the police to the pirates’ lair to bring them to justice. The absurd premise spirals further out of control when Frederic learns that his contract stipulates that he must remain an apprentice until his 21st birthday, and because he was born on 29 February (Leap Year), he will not celebrate his 21st birthday until he is in his eighties. Hijinx ensue. We learn a bit about the noble pi - rates’ creed in “I am a Pirate King,” sung by the leader of the crew (a baritone). Further reading:

Eden, David, and Meinhard Saremba, editors. The Cambridge Companion to Gilbert and Sullivan. Cambridge: Cambridge University Press, 2009. Horsley, Allison. https://www.huntingtontheatre.org/articles/Perfectly-Outrageous-The-Story-of-Gilbert- and-Sullivan/

18 OPERATIC VOICES (SCIENCE)

Singing in Europe and America is now generally divided into two categories: classical and popular. What most people think of as operatic or classical singing developed in Europe hundreds of years ago. This style flourished during the seventeenth century as opera became a popular form of entertainment and oper - atic music increased in complexity. The most recognizable characteristics of a classically trained voice are: • an extensive range (the ability to sing both high and low) • varying degrees of volume (loud and soft) • resonance in the chest and sinus cavities (produces a “hooty,” “full” or “round” sound) • an ability to project or fill a large space without amplification Training

Very few people are born with the ability to sing like an opera singer naturally. Classical singers take voice les - sons about once a week and practice every day for many years in order to develop a beautiful operatic sound. In fact, most trained voices are not “mature” enough to perform leading roles on a big stage until they’re at least 28 years old. Compare that with the most popular singers on the radio today…Taylor Swift was just 16 years old when she released her first album! Two Tiny Muscles

Science tells us that all sounds are made by two things vibrating together. The same con - cept applies when we talk or sing. The sounds we make are really just the vibration of two little muscles called the vocal chords. The vocal chords are held in the larynx, which is sometimes called the voice box. These two little folds of tissue vary in length but are typi - cally between 12 and 17mm in adults—only about ½ and inch long! Illustration © Mayo Foundation for Open vocal chord Medical Education and Research

When you want to say something, your brain tells your vocal chords to pull together until they’re touching lightly. Then, air pushes through them, and the vocal chords begin to vi - brate, opening and closing very quickly. This vibration creates a sound. The pitches you sing are dependent on the speed at which the chords vibrate. A faster vibration creates a higher pitch. The length of the chords also affects the pitch of the voice. Longer chords equal a lower voice. Men generally have lower voices than women which means their vocal Closed vocal chord chords are nearly always longer than women’s! The rest of the body

The vocal chords are only a small component of a larger ma - chine which creates a beautiful singing voice. That machine is the entire body, from the tip of the toes to the top of the head. In order to sing with ease, every muscle needs to be re - laxed (but not lazy!). If even one muscle is tense, it can throw off the entire machine, which is immediately obvious in a singer’s vocal quality. Dancing in Nashville Opera’s CARMEN, 2017

19 Breathing/Support

In order to sing long phrases with a lot of volume and a good tone, singers must breathe in a specific manner, making use of the whole torso area (lungs, ribs, di - aphragm and viscera). As they breathe in, each part of this network does its job: the lungs fill up, which forces the ribs to expand and the diaphragm (a bowl-shaped muscle below the lungs) to move down. As the diaphragm descends, the viscera (stomach, intestines and other organs) are forced down and out. Singers describe Breathing in this feeling as “fatness in the low stomach” or “filling an inner-tube” around their waist. Expelling the air, or singing, is essentially a slow and controlled movement of those muscles. If all of the air escapes from the lungs quickly, the tone of the voice will sound breathy and will lack focus. Successful opera singers must be able to isolate the diaphragm and ribs, controlling the rate at which they return to their original positions. This allows for a consistent stream of air that travels from the lungs, through the larynx and out of the mouth. Breathing out

How’s your breathing? Lying flat on your back or sitting up straight, place your hands on your waist so that your fingers point in towards your belly button. Inhale slowly and try to fill up your stomach from the bot - tom to the top. Notice your stomach pushing out and your waist and chest expanding. Exhale slowly and au - dibly, as if you are blowing out a candle. Repeat this exercise, but inhale for a count of eight. Hold your breath for a count of twelve and then exhale. How long can you exhale your breath? A count of twelve? Sixteen? More? Resonance

One of the most obvious characteristics of an operatic voice is a full, resonant Hard Soft tone. Singers achieve this by lifting their “soft palate.” This is a part of the palate mouth that most people don’t ever think about and it can be difficult to isolate. palate Here are some simple exercises to feel where it is and hear the resonance in your voice when you lift it: • Start to yawn. Feel that lifting sensation in the back of your mouth? That’s the soft palate going up! • With a relaxed mouth, slide your tongue along the roof of your mouth, from your teeth back toward your throat. The boney or hard area is re - ferred to as the hard palate. The soft, fleshy area at the very back of your throat is the soft palate. • Say the word “who” as you would say it in normal conversation. Now, say “hoooo” like a hoot owl. Can you hear the difference? • Say the sentence “How do you do?” as if you were an old British woman. Lifting the soft palate is the foundation for the resonance in a singer’s voice. With a lot of practice, a singer can lift his or her palate as soon as they begin to sing, without even thinking about it.

Proper breathing and full resonance are essential for producing a clear vocal tone with an even “vibrato” (the Italian word meaning “to vibrate”). Vibrato can be described as a “wiggle” in the voice or, technically, a con - sistent variation in the pitch of a tone. While many pop singers try to remove this element of singing for the sake of style, vibrato in an opera singer’s voice is a must! It increases the warmth and resonance of the tone and also allows for accurate tuning. 20 REGISTERS OF THE VOICE (SCIENCE)

Head Voice

Without getting too technical, the is the higher register, which is achieved by tapping into the reso - nance in the sinus cavities. It’s called the head voice because you literally feel like your voice is coming out of your head rather than your throat or chest.

This is where the natural speaking voice falls. If you put your hand on your chest and yell “Hey!” you can feel that this register resonates in the chest rather than the head. Broadway and pop singers use it frequently. Female opera singers tend to use it when they’re singing low notes. Men sing mostly in this voice.

This register applies to male voices only. Falsetto happens when the vocal chords do not vibrate fully, which creates a high sound. It is frequently used by male characters when they are imitating females. COMPARISON: CLASSICAL VS. COMMERCIAL TRAINING

Since we’ve already covered the characteristics of a classically trained voice, it may be interesting to see how they differ from those of a commercial voice. (It’s always important to be able to compare the differences between two things without implying that one is superior to the other) Singers of pop music, rock and roll, R&B, folk and country are often referred to as “commercial”. While their styles vary considerably, the way they use their voices seems to be relatively consistent. Training

First of all, commercial singers don’t historically train like classical singers do. While there are schools like Belmont University that offer degrees in Commercial Voice, many of the most successful non-classical singers of today are known more for their unique style, natural talent and personality than for their technical mastery of the voice. Breathing/Support

Unlike classical singers, commercial singers usually breathe just as they would when they’re speaking normally. A long phrase might warrant a big breath, but studying the placement and movement of one’s internal organs is not usually done by pop singers. Resonance

Most commercial singers are not concerned with creating a resonant tone. In fact, a pop song sung with a lot of resonance would probably sound pretty silly to most people. 21 Projection/Volume

Essentially all commercial singers depend upon microphones to be heard in a large performance space. This enables the singers to deliver their message in either a loud, dramatic style, or in an intimate, conversational style, with little physical effort. Opera singers, however, depend on the acoustics of the performance space and their ability to project their voices naturally to be heard. Microphones are rarely used in operatic performances. COMPARISON: CLASSICAL VS. TRAINING

Many people ask about the difference between an opera and a musical like Les Miserables or The Phantom of the Opera. Both classical (operatic) and musical theatre styles of singing require a good deal of training on the part of their singers. Though both styles stress many similar points, as good breath support, intonation, enunciation, acting ability, and projection, there are areas where the two styles diverge. For example: Musical theatre voice stresses the use of belt voice (straight chest voice) and mix voice (combination of head and chest voice). Classical voice usually has a warmer, rounder sound while musical theatre voice, though just as full as classical, usually has a broader, harder, even sharper sound. You generally hear a greater use of vi - brato in classical voice than in musical theatre voice. Also, singers in musicals wear microphones hidden in their costumes or wigs to amplify their voices. As we stated above, microphones are rarely used in operatic performances. VOICE TYPES

All classical singers fall into one of the categories listed below. A singer cannot choose his/her voice type…it is something they are born with. Composers usually assign a voice type to a character based on his/her personality or age. Read these descriptions for specific examples. Female Voices

Soprano: This is the highest female voice and has a range simi - lar to a violin. In opera, the soprano most often plays the young girl or the heroine (sometimes called the ), since a high bright voice traditionally suggests femininity, virtue, and in - nocence. The normal range of a soprano is from middle C through two octaves above middle C, sometimes with top notes. Most women are . Emerging Artist Rebekah Howell is a soprano. Musetta (soprano) Nashville Opera’s LA BOHÈME, 2014 Mezzo-Soprano: Also called a mezzo, this is the middle female

22 voice and has a range similar to an . A mezzo’s sound is often darker and warmer than a soprano’s. In opera, composers generally use a mezzo to portray older women, villainesses, seductive heroines, and some - times even young boys (like Hansel in Hansel and Gretel). This is a special operatic convention called a “trouser role,” or a “pants role.” The mezzo’s normal range is from the A below middle C to the A two oc - taves above it. Emerging Artist Emily Cottam is a mezzo-soprano.

Contralto: This is the lowest female voice and has a range similar to a . usually sing the roles of older females or special character parts such as witches and old gypsies. The range is two octaves from F below middle C to the top line of the treble clef. A true is very rare. Some believe they don’t exist at all! Male Voices Lt. Pinkerton (tenor) in Nashville Opera’s MADAME BUTTERFLY, : This is the highest male voice, which was mainly 2019 used in very early opera and (a genre of classical vocal music similar to opera but generally based on a religious topic and accompanied by a ). The voice of a countertenor sounds very much like a mezzo-soprano’s voice and they often sing the same repertoire. Like the contralto, true are very rare.

Tenor: This is usually the highest male voice in an opera. It is similar to a in range, tone, color, and acoustical ring. The tenor typically plays the hero or the love interest in an opera. His voice ranges from the C below middle C to the C above. Emerging Artist Frederick Schlick is a tenor.

Baritone: This is the middle male voice and is close to a French horn in range and tone color. In opera buffa (comedic opera), the baritone is often the ring-leader of the comedy, but in (serious or tragic opera), he is usually the villain. The range is from the G that is an octave and a half below middle C, to G above. Emerging Artist Christopher Curcuruto a baritone.

Bass: This is the lowest male voice and is similar to a or in range and color. Low voices usually suggest age and wisdom in serious opera. In comic opera they are generally used for old characters that are foolish or laughable. The range spans from roughly the F above middle C down to the F an octave and a fourth below.

What’s your voice type?

Discovering your voice-type is not as simple as having green eyes or blue. Singers often float between these categories, and some never really know where they fit. Sometimes, a female singer starts out her training as a soprano and ends up singing mezzo roles a few years into her studies. with good high notes are often mistaken for . Singing the wrong repertoire can lead to all sorts of vocal problems and can even shorten or end a singer’s career. That’s why it’s very important to have a good teacher whom you trust and to be selective in the jobs you choose.

23 VOICE TYPES BASED ON SIZE & QUALITY

Voices are also categorized according to size and quality. There are small, medium, medium-large and large voices in opera. The quality of a voice can be defined using the following terms:

A soprano of very light vocal weight, comparatively small range, and has the looks of a young girl. Soubrette roles are often flirtatious and witty, and outsmart the rich and powerful by the end of the opera. Many soubrette roles have names that end in -ina: Despina (Mozart’s Così fan tutte) , Adina (Donizetti’s The Elixir of Love) , and Zerlina (Mozart’s Don Giovanni) are . Character

Singers with an exceedingly unique and not always beautiful sound can make a fine living singing character roles. While they don’t get the biggest paycheck, they do tend to get all the laughs. This classification is reserved for the lower voices (mezzo, tenor, baritone, and bass). Examples are Franz, the dancing butler (Of - fenbach’s The Tales of Hoffmann), the stuttering lawyer (Mozart’s Le Nozze di Figaro) Dr. Blind (Strauss’s Die Fledermaus) , and the Witch in Hansel and Gretel. Coloratura

Female singers described as have great vocal agility, stunning high notes, and the ability to sing complicated vocal or - namentation. The Queen of the Night (Mozart’s The Magic Flute) is a Lyric

The word lyric generally describes a singer who specializes in long phrases and a beautiful tone. They can be broken down further into light-lyric, full-lyric and just plain old lyric. These ti - tles can precede the general voice type of soprano, tenor and so Queen of the Night on. While there are no hard and fast rules, there are a few in Nashville Opera’s widely accepted distinctions, which are outlined below. THE MAGIC FLUTE • A light-lyric soprano, like Pamina (Mozart’s The Magic Flute), should have a bigger voice than a soubrette but still possess a youthful quality. A full-lyric soprano (Mimi in Puccini’s La Bohème) has a more mature sound and can be heard over a bigger orchestra. Full-lyric so - pranos are typically the highest paid of all the voice-types. • A light-lyric mezzo is the equivalent of the soubrette and generally plays young boys like Hansel

24 (Humperdinck’s Hansel and Gretel). The long phrases mentioned above are traded for agility and charm. A lyric mezzo (no “full” distinction here) is usually an old woman or a temptress (Bizet’s Carmen is the quintessential lyric mezzo). • Most tenors fall into the lyric category and don’t call themselves light or full. However, operatic roles for tenors are separated further. Tamino (Mozart’s The Magic Flute) must be sung by a youthful tenor with a light voice, thus earning the distinction of a light-lyric tenor role. Puccini’s Cavaradossi (Tosca) is decid - edly heavier than Tamino but is still considered lyric by most people. • There are light baritones, but they fall into the lyric pot with the rest. Baritones are baritones, unless they’re really loud. Dramatic

This describes the heaviest voices in any category except for bass. Dramatic singers are capable of sustained declamation and a great deal of power, even over the largest operatic orchestra of about 80 instruments. The title character in Puccini’s Turandot (below) is sung by a . Most of Verdi’s lead characters re - quire a dramatic voice (for example, Otello).

Princess Turandot with Prince Calaf in Nashville Opera’s TURANDOT, 2015

Helden

A German prefix meaning heroic, applied to a large voice capable of performing the most demanding roles, usually used in reference to roles written by Richard Wagner. Brünnhilde (the character most often associated with braids and a horned helmet) is a helden-soprano role. Other roles which are helden sopranos include Isolde in Wagner’s Tristan und Isolde, Kundry in Wagner’s’ Parsifal and Elektra in Strauss’ Elektra

25 FAMOUS OPERA SINGERS

Listed with each singer is an example of one album in case you would like to build your library. Some of their websites are included too.

Sopranos

Renée Fleming American full-lyric. Won a Grammy award for The Beautiful Voice – Decca label. renee-fleming.com Jessye Norman American dramatic. The Art of Jessye Norman – UMG Recordings, Inc.. Russian Lyric. Souvenirs – Deutsche Grammophon label. annanetrebko.com Maria Callas Greek opera singer, impossible to categorize. Sang both soprano and mezzo roles. Maria Callas: The Voice of the Century – EMI Classics label. www.callas.it Other sopranos to consider: , Renata Scotto, Diana Soviero, , Mirella Freni, Birgit Nilsson, Angela Gheo - rghiu, , Kiri TeKanawa.

Mezzo-Sopranos

Susan Graham American light-lyric. Il tenero Soprano Renée Fleming, Wikimedia Commons momento: Mozart and Gluck Arias – Erato label. susangraham.com Denyce Graves American mezzo French Opera Arias – Erato/Warner Classics – Warner Music UK Ltd. denycegraves.com/home.aspx Marilyn Horne American singer also difficult to categorize. Rossini Heroes and Heroines – Decca label. mari - lynhornefdn.org Other mezzo-sopranos to consider: , Denyce Graves, Olga Borodina, Ewa Podles, Cecila Bartoli and Elina Garanca.

Contraltos

Marian Anderson American contralto. Made history in 1955 as the first African-American woman to sing at the Met. Also sang on the steps of the Lincoln Memorial in 1939 for an integrated audience of 75,000. Marian Anderson – RCA Victor label. mariananderson.org

26 Countertenors

David Daniels American. Handel Operatic Arias – Veritas label. www.danielssings.com English. Andreas Scholl: Heroes – Decca label. www.andreasschollsociety.org Phillippe Jaroussky French. Opium – Virgin Classics. http://www.jarousskyopium.com/ Other counter-tenors to consider: Brian Asawa, David Walker, Bejun Mehta

Tenors

Luciano Pavarotti Italian. The Pavarotti Edition: Volumes 1-10 – Decca label. lucianopavarotti.com Jonas Kauffmann German. Arias – Decca label. onas-kaufmann.com Juan Diego Florez Argentinean. Great Tenor Arias – Decca label. deccaclassics.com/artists/florez/ Other tenors to consider: Lawrence Brownlee, , Enrico Caruso, Roberto Alagna, Franco Corelli

Baritones

Nathan Gunn American Lyric. American Anthem – EMI Classics. nathangunn.com Dmitri Hvorostovsky [vor oh stáhv skee] Russian lyric. Verdi Arias – Delos label. hvorostovsky.com American lyric. The Very Best of Thomas Hampson – EMI Classics label. hampsong.com Other amazing baritones to consider: Dietrich Fischer-Dieskau, , Simon Kennlyside, Sherrill Milnes

Basses

Samuel Ramey American. A Date with the Devil. Naxos label. samuelramey.com Rene Papé German. Gods, Kings and Demons – Deutsche Grammophon label. renepape.com/mypape/ James Morris American. Opera Arias – Capitol Records label. http://www.ffaire.com/wagner/morris.html Other basses to consider: Giorgio Tozzi, and

27 A CHECKLIST FOR OPERA SINGERS

A good opera singer must have:

Volume p Opera singers are trained to be heard in large theatres, such as Jackson Hall at the Tennessee Per - forming Arts Center, without using microphones. Singers train for years to be able to sing loudly enough to be heard over other soloists, a chorus and a large orchestra of about 70 Instruments. How loudly can an opera singer sing? When a jet takes off, the sound reaches 110 – 120 decibels, the human threshold level of pain. A powerful opera singer, singing very close to another person’s ear, could reach up to 110 decibels.

Stamina Opera requires the ability to sing for two-three hours- or even longer. Opera singers rarely per - p form on consecutive evenings because they are so physically exhausted by the performances. Nashville Opera plans its schedule so that the artists can rest for a day or two between perform - ances.

Range Operatic music, as written, requires singers to have a large range- to be able to sing very low notes p as well as extremely high notes.

Acting ability Opera singers don’t just stand on stage and sing; they must be able to act, as well. Just like actors p in a play, the singers must make the audience believe in their characters. No singer is effective if he or she cannot act well.

The right look Just like an actor in a movie, it is important for an opera singer to look the part of the character he p or she is portraying. For example, if a 25- or 30 year-old soprano is portraying a girl of 12, she should look very young so we can believe that she’s a child.

Familiarity with different languages p Since opera was developed in Europe, most operas are written in languages other than English. A singer must be familiar with the pronunciation of foreign languages as well as the meaning of each word that they sing. It is not unusual for an American singer to perform in Italian, French, Ger - man, or even Russian.

28 MUSICAL TERMS

A CAPELLA [ah-kuh-pél-luh] Singing without instrumental accompaniment. ARIA [áh-ree-uh] An extended vocal solo, usually a showpiece for the singer. AUDITION When a singer or actor tries out for a director, hoping to be cast in a show. Usually involves singing 2 or 3 contrasting arias and possibly a MONOLOGUE. BEAT The underlying PULSE of a song. What you would clap along with at a concert. BLOCKING Where the singers stand and move during a SCENE. Singers are given their BLOCKING by the DIRECTOR and must memorize it along with their music. BRAVO! An Italian word that opera audiences shout when they like a particular performance. It means “well done.” BRAVA may be used if the performer is female, BRAVI for duets and ensembles. CADENCE [káy-dens] A closing statement at the end of a musical phrase. An open cadence sounds like a resting point or a thought that is incomplete. A closed cadence sounds like a stopping point or the end of a song/section. [kuh-dén-zuh] A fast, fancy-sounding passage sung by a soloist, usually in an aria. (see p. 34 for an example of this) CHORUS A group of singers who sing and act together; also a piece of music sung by such a group of singers. A chorus is also called an ENSEMBLE. CHORUSMASTER The leader of the chorus. COMPOSER One who writes music. [kahm-pree-máh-ree-oh] A secondary sole in an opera, usually the maid, servant, messenger or confidante of one of the leading characters. Often provides comic relief. CONDUCTOR One who stands in front of the orchestra and keeps the players together. More generally, he/she is one who leads a musical ensemble. COSTUME The outfit worn by each actor to reflect the time and place of an opera, as well as the personality of each character. CRESCENDO A gradual increase in loudness in a musical passage. DECRESCENDO A gradual decrease in loudness in a musical passage. DOWN STAGE The position on a stage nearest to the audience. Because the type of stage prevalent in the early opera houses was slanted or “raked,” the closer a singer came to the audience, the lower the stage was on the ground. (see STAGE LEFT/RIGHT for a diagram of stage directions) DUET A musical piece for two voices or two instruments. ENSEMBLE A group of people who perform together. In opera, these are specific characters with their own individual ideas and emotions. Also, a piece written for three or more voices or instruments.

The ensemble in Puccini’s LA BOHÈME, 2014

29 FINALE [fihn-náh-lee] The ending of a large piece of music such as an opera. GRAND FINALE The most elaborate and formal presentation of opera, signified by grandeur and size of the cast, orchestra and sets. HARMONY Several notes sounding pleasantly together. INTERVAL The distance between two notes. [leg-áh-toh] A smooth manner of playing or singing with no perceptible breaks between notes. LEITMOTIV [light-moh-téef] A melodic theme used throughout an opera to identify a character or idea (love, hate, jealousy, etc). This concept was developed by German opera composer, Richard Wagner in the late 19th century. LIBRETTIST [lib-rét-ist] Author of an opera’s text or LIBRETTO LIBRETTO [lib-rét-oh] The text of an opera (Italian word for little book). MELODY The tune of a song. Notes sounding one after another, organized by an idea. Usually singable. It is the foundation for HARMONY. METER The grouping of beats in a piece of music into groups of 2 (duple meter) or 3 (triple meter). Meter is sometimes irregular or mixed between groups of 2 and 3. MONOLOGUE A long speech given by a single actor in the context of a play. The operatic equivalent is the ARIA. NOTE A sound with a specific pitch. Eight notes played in a row with a specific pattern of intervals make up a SCALE. OPERA A drama expressed through music in which the text of a drama is sung instead of spoken. OPERA BUFFA [opera bú-fah] A funny opera with elements of . OPERA SERIA [opera séh-ree-ah] A dramatic opera usually dealing with serious or historical subject matter. OPERETTA A work for the stage that is less serious in subject matter and musical complexity. Has spoken dialogue and lots of humor. ORCHESTRA A large varied group of instrumentalists who play large musical works. In opera, The orchestra plays the music that accompanies the singers.

The Nashville Opera Orchestra in the pit at TALES OF HOFFMANN, Tennessee Performing Arts Center, 2019

30 An instrumental introduction to an opera that often makes use of thematic material from the body of work. PATTER A style of singing where the words are sung very quickly. PIT A large space below the stage where the orchestra and conductor are during a performance. PRIMA DONNA The “Leading Lady” in an opera. PROPS Objects, other than costumes or scenery, used as part of a dramatic or operatic production (short for properties). PULSE The underlying BEAT of a song. What you would clap along with at a concert. QUARTET A group of four performers. Also a musical piece for four voices or four Instruments. RECITATIVE [réh-chih-tah-téev] A style of singing that imitates natural speech. Is usually heard before an ARIA. RITARD [rih-tárd] Italian word meaning “slow down.” RHYTHM The pattern of beats created by the notes in a musical line. Can be found by clapping the melody or the words to a tune. SCENE The time and location where the action takes place; also a section of an act in a dramatic or operatic production. SCORE The written music used by the CONDUCTOR during a performance. Includes all the vocal and instrumental parts. SET The scenery, built to represent a particular location (short for setting). A person who helps put together and take apart the set. Also handles props and scene changes. STAGE LEFT/RIGHT The division of the stage from the singer’s point of view. For example: a singer moves to his/her left, which is the audience’s right.

The Set

Upstage Stage Right Center Stage Stage Left Downstage

Orchestra Pit

Audience

31 SUPER A non-singing, non-speaking actor used in crowd scene. (short for Supernumerary) TECHNICAL The , lighting, scene-building, and other mechanical aspects of a theatrical production. TEMPO The speed at which a piece of music is performed. THEME A central melody in a piece of music. In opera, a theme may be associated with a particular character, setting, object, or emotion. This kind of theme is also called LEITMOTIV. [tám-bur] (rhymes with amber) Tone quality or tone color of a voice or instrument. TRIO A group of three performers. Also a musical piece for three voices or instruments.

TUTTI! Everyone sings in the toasting chorus from Verdi’s LA TRAVIATA.

TUTTI [tóo-tee] Italian word that means “everyone.” UNISON When two or more people sing the same notes and the same words at the same time. UPSTAGE The position on stage farthest from the audience. (see DOWNSTAGE for further explanation) VIBRATO [vih-bráh-toh] Italian for vibration. Slight and rapid fluctuations in pitch. The quality that produces warmth in the human voice.

32 THE ORCHESTRA & CONDUCTOR

The Nashville Opera Orchestra in the pit at CARMEN, 2017

Nashville Opera principal conductor Dean Williamson

The Orchestra The Conductor

Largely unseen down in the orchestra pit below the The conductor directs both the orchestra and the stage level, the orchestra is a vital part of the singers. During the performance, the conductor operatic experience. It not only accompanies the stands in the pit in front of the orchestra and the singers, but also helps to carry the storyline and stage. From there, he or she is able to indicate the unify the entire production. tempo and volume to the orchestra and signal the entrance cues for both solo artists and ensembles. The orchestra consists of four sections: The primary duties of the conductor are to unify performers, set the tempo, execute clear prepara - • The includes violins, violas, cellos tions and beats, and to listen critically and shape the and basses. sound of the ensemble. Orchestras, , concert • The woodwind section includes , bands and other musical ensembles often have con - , , , and . ductors. • The brass section includes , trom - bones, French horns and tubas. • The percussion section includes (kettle drums), triangles, cymbals, , and chimes. The harp, harpsichord, and piano are usually listed in this category.

33 THE CONDUCTOR’S SCORE

A score is the written music which shows all vocal and instrumental parts on one very large page. This is what a conductor looks at while he’s and opera. This is an excerpt from the conductor’s score of Puccini’s Tosca.

Flutes Oboes English Horn Clarinets Bass Clarinet Bassoons Contra Bassoons French Horns Trumpets Trombone Bass Trombone Timpani Bass Drum

Tosca Scarpia

Violins I Violins II Violas Cellos Double Bass

34 A SHORT HISTORY OF OPERA

Baroque Period (1600 –1725)

In the early 17th century, a group called the Florentine Camerata began meeting to dis - cuss music and the arts. They recognized the emotional power of music which combined with drama and aspired to create a new genre, reminiscent of the an - cient Greek dramas, which achieved a similar combination. By linking existing musical pieces together with sung recitation, they laid the groundwork for what we now know as modern opera.

By the 1630s, opera was being performed all over Europe. Many countries, like Ger - Handel many, were enjoying Italian operas, while other countries, like France, began to experiment with their own variations of opera. By the , the model of opera seria was firmly established: The plots usually centered upon mythological stories, the chorus was saved for the end of the opera where it added to the festivities of the inevitable happy ending, and the solo singer became glorified. The popularity of the singers was so prominent, that it was not unusual for them to change the music of an opera as they pleased. Singers would often insert their favorite arias into a show, whether it fit into the storyline or not. The standard aria during this time was composed in a strict A-B-A form called da capo, literally meaning “from the head.” The first “A” section is sung in a straightforward manner, exactly as written; it is followed by a short “B” section that has a different melody, contrasting tempo and is written in a different key. The aria ends with a restatement of the “A” section (same melody, same words), but this time the singer adds or - namentations (additional notes) at appropriate places throughout the vocal line. A famous example of this is “V’adoro pupille” from Giulio Cesare by G.F. Handel. Key operas of the Baroque Era: Giulio Cesare, by George F. Handel; Dido and Aeneas by Henry Purcell.

Classical Period (1725 –1820)

By the 18th century, the rigidity of the opera seria model and was losing popularity since they limited the dramatic capabilities of music. Increasingly, less emphasis was placed on the singer, and the spot - light moved toward the drama. The story-lines also became more accessible to the general public. Comic op - eras, or opera buffa as they were called in Italy, became very popular throughout Europe. The most important figure in the Classical Period of opera is . Mozart wrote many successful operas in both the opera seria and opera buffa style. His comic operas were the true hits of the 18th century, and Mozart was among the first to make a living as a freelance composer. Previous composers were employed as resident artists in a church or in someone’s household. This meant that they were obligated to write whatever music their employer demanded. Although Mozart still had to rely on wealthy patrons to support his lifestyle, he had more artistic control over his music than most others had and was often able to write operas that commented on whatever topic he chose. Many of the libretti (the text of an opera, usually written by someone other than the composer) he chose reflected the new ideas that were circulating through Europe at that time. In his opera buffa, Le Nozze di Figaro, two young servants named Susanna and Figaro outsmart and humiliate their employer, Count Almaviva. The original play by French dramatist Beaumarchais, was Mozart banned in France because of its bold statement regarding social classes. (It was only nine

35 years later when King Louis XVI lost his head at the hands of the middle-class). Key operas of the Classical Period: Le Nozze di Figaro (The Marriage of Figaro) by W.A. Mozart; by Christoph Gluck; Die Zauberflöte (The Magic Flute) by W.A. Mozart.

Romantic Period (1820 –1900)

In the nineteenth century’s Romantic Period, opera suddenly fell into categories defined by the nationality of the composer. Every major country in Europe made its own unique contributions to the art form.

Italian Romantic Opera

Italian operas in the earliest years of the Romantic Period fell under the label of . Bel canto literally means beautiful singing, which is illustrated in the glorious melodies and vocal acrobatics composed by Italian masters Bellini, Rossini, and Donizetti (known as the “Bel canto composers”). Bel canto operas can be either serious or comic as long as they highlight the voice with beautiful melodies and impressive vocal passages.

The bel canto composers paved the way for the most prolific Italian opera com - poser, . Verdi broke down the walls between recitative and arias and tried to achieve a continuity that added to the drama of the piece. In the end of the nineteenth century and the early twentieth century, there was a strong trend toward Verdi realism in opera. This was called verismo. The plot of verismo operas generally centered on common people dealing with familiar situations. These operas usually had true-to-life themes of love and loss, making them more realistic to the audience. Key Operas of Italian Romantic Style: by ; Lucia di Lammermoor by Gaetano Donizetti; La Traviata by Giuseppe Verdi; La Bohème by Giacomo Puccini; by . German Romantic Opera

German Opera during this time can be broken down into two categories: German Romantic Opera and Richard Wagner’s Music Dramas. German Romantic Operas were quite similar to Italian opera but differed in plot material. They drew more upon supernatural and medieval tales (rather than the verismo topics the Italians chose) and also employed more folk tunes. In the second half of the 19th century, Richard Wagner created the concept of [guh-sahmt-koontz-vairk], which means “total art work.” He be - lieved that opera should be a fusion of stagecraft, visual arts, literature, and music. He did almost everything related to production himself; composed the music, wrote the libretto, and de - signed the costumes and scenery. In Wagner’s dramas there were almost no distinctions between arias and recitative. Instead of showcasing the voice, he treated it like any other instrument. He also increased the size of the orchestra and even developed a new instrument called the Wagner tuba, which had a rich, mellow tone. Only very large voices can be heard over his expanded orchestra. Key operas of the German Romantic Style: Der Freischütz by Carl Maria Von Weber; The Ring Cycle by Richard Wagner; Hansel und Gretel by Engelbert Humperdinck.

Wagner

36 French Romantic Opera

French opera was typically visually spectacular and usually included a ballet somewhere in the second or third act. In the Romantic Period, three types of French opera were prominent: • opera comique- usually comic with spoken dialogue instead of recitative • - popular in the second part of the nineteenth century when composer came on the scene. Grand Opera was built around grandiose plots and used a large chorus and elaborate sets. • drama lyrique- a combination of opera comique and grand opera. Key operas of French Romantic Style: The Tales of Hoffmann by ; Roméo et Juliette by Charles Gounod; Carmen by Georges Bizet Gounod Spanish Romantic Opera and

Spanish opera developed in the shadows of Spanish drama and was highly influenced by Italian, German, and French operas. Inspired by such greats as Wagner and Verdi but still deeply connected to their ethnic and dramatic traditions, Spanish composers developed a style of opera that combined both spoken and sung dia - logue, known as zarzuela, as early as the 17th century. Also developed around this time was the , a shorter form of zarzuela that told the humorous, down-to-earth stories of the common folk. Though Italian opera overshadowed the zarzuela in Spain during the 18th century, the zarzuela stole the spotlight during the Romantic period. This is thanks in large part to composer Barbieri, who sought to incorporate more national - istic elements into the zarzuela as a means of rebellion against the popular Italian style. For this reason, many of Barbieri’s operas are not only reminiscent in melody and rhythm to traditional Spanish songs and dances, but also deal with political themes. Key operas of Spanish Romantic Style: Pan y Toros by Francisco Asenjo Barbieri; Marina by Emilio Arrieta; Catalina by Joaquín Gaztambide.

Russian Romantic Opera

Russian opera, like the Spanish zarzuela, was greatly influenced by the operas of Italy, Germany, and France, as well as by its own nationalistic pride. Italian opera came to Russia during the 18th century with Giovanni Alberto Ristori performed his Calandro before the Empress Anna Ivanovna. flourished during the Romantic Era. During this time, many composers wrote operas based upon the tales and dramas of Russian poet Alexander Pushkin. Glinka’s Ludmilla and Dvo řák’s are two of these Pushkin-inspired operas. However, it is Mussorgsky’s Boris Godunov, also based on Pushkin that is considered to be Russia’s greatest operatic masterpiece. Glinka, as one of Russia’s most noted Romantic composers, introduced tragedy to Russian opera. Before Glinka, Russian operas avoided tragedy using such measures as last-minute rescue or intervention. The concept of changing a tragic ending to a happy one is known as “lieto fine.” [lee-éh-toh fee-neh] Key operas of Russian Romantic Style: Boris Godunov by Modest Mussorgsky; A Life for the Tsar by Mikhail Glinka; The Maid of Pskov by Nikolai Rimsky Mussorgsky Korsakov.

37 20th Century/Opera in America (1900-Present)

Despite the dominance of Italian, French and German opera with today’s popular repertoire, not all opera comes from the other side of the globe. American composers have been writing operas based on familiar themes for over a century. In the earliest years of American history, English settlers brought with them the —a short, comic play with musical numbers interspersed throughout. These songs were basi - cally original texts set to popular tunes. During the 18th century, companies were performing these Ballad Operas all over the United States. Standard European operas by composers like Mozart and Rossini were also gaining popularity in New Orleans, Philadelphia and New York. These productions were shortened ver - sions of the original, however and were almost always performed in English.

In 1825, the first opera performed entirely in its original language was pro - duced at the Park Theatre in New York. Over the next 50 years, traveling companies took opera all over the country, and in 1833 the Metropolitan Opera Company opened its doors. Today, the Met is recognized inter - nationally for its high-quality productions and daring artist ventures; several new American operas have been commissioned by The Met in the past century, giving composers exposure and prominence among the European masters. American composers have made many important contributions to opera. Aaron Copland, also known as a great orchestral writer and conductor, strived to give America its own classical sounds writing music that mimics the ex - pansive landscape of the great American west. Copland wrote music distinctly American. Every piece he wrote portrayed American and is set in our great country. George Gershwin was the first to incorporate jazz into opera with his Porgy and Bess. William Grant Still’s 1941 Troubled Island became the first opera written by an African-American composer to be pro - duced by a major opera house. Composers like Gian Carlo Menotti and Carlisle Floyd have continued to write popular works that have a distinctly American sound. New operas are often based on American his - tory (’ Nixon in China) or American literature (Ricky Ian Gordon’s The Grapes of Wrath), offering familiar plots for new audiences. Key opera of Modern American Style: Amahl and the Night Visitors by Gian Carlo Menotti; The Medium by Gian Carlo Menotti; Susannah by Carlisle Floyd; Little Women by Mark Adamo; The Tender Land by Aaron Copland.

Top, Aaron Copland A scene from Nashville Opera’s SUSANNAH by American composer Carlisle Flloyd

38 TIMELINE OF THE GREAT OPERAS (HISTORY)

What are considered great operas today have stood the test of time for hundreds of years! (Thousands, if you count the ancient Greeks!) This is a progression of great opera from the 1780’s to the middle of the last century.

Chelsea Friedlander and Noah Stewart as Hoffmann and his mechanical doll in Nashville Opera’s TALES OF HOFFMANN

39 WORKING TOGETHER: OPERA AS A COLLABORATION

There are four groups of people that are necessary for the successful production of an opera. Without any one of these groups, the opera can’t exist. Here’s who they are and what they do in the opera world. More in-depth definitions of these terms are included in the Musical Terms List on pg. 29 –32.

Group 1: Creators

TASKS OPERA LINGO Writing the words (also called the libretto) ...... Librettist Writing the music (also called the score) ...... Composer

Group 2: Producers

TASKS OPERA LINGO Designing scenery (also called the set) ...... Set Designer Designing/making costumes ...... Costume Designer Choosing the performers ...... Audition Directing the show ...... Stage Director Making the singers look like their characters ...... Wig and Make-up Artists Creating lighting effects ...... Lighting Designer, Electricians Building the set ...... Carpenters Creating props ...... Props Master Changing scenery / Arranging props ...... Making sure everything runs smoothly ...... Stage Manager

Group 3: Performers

TASKS OPERA LINGO Performing lead roles ...... Principals Performing secondary roles ...... Comprimario Singing in a big group to support the action ...... Chorus Performing non-speaking roles in crowd scenes ...... Supernumeraries (Supers) Preparing and playing the instrumental music ...... Conductor, Orchestra, Pianist Practicing the singing and action ...... Rehearsal

Group 4: Observers

TASKS OPERA LINGO Listen, enjoy, appreciate, and learn ...... Audience Critique, review ...... Critic

40 HOW SOUND IS HEARD (SCIENCE)

Using the diagram below, discuss the three different sections of the ear.

Middle ear

Inner ear

Outer ear

Ear drum

Ear canal Eustachian tube

The Outer Ear

This is the part that you can see. It has two jobs, to protect the rest of the ear and also collect the sound. The ear canal (hole in the ear), is the funnel for sounds waves that enter the ear. The Middle Ear

Once the sound waves have been funneled through the outer ear, they enter the middle ear. It turns the sound waves into vibrations and sends them to the inner ear. The sound then passes through your eardrum and three tiny bones: the hammer, anvil and stirrup. These three bones are known collectively as the ossicles. When these three bones vibrate, sound is passed on to the inner ear. The Inner Ear

The inner ear’s cochlea converts the vibrations into sound signals that are sent to the brain. The semicir - cular canals collect information about head movements and body position and send the information to the brain helping us balance ourselves.

41 A Nasal SINGER’S cavity BODY Epiglottis

Larynx

Esophagus

Trachea

Bronchus

Right lung Left lung

Heart

Diaphragm

Cassandra Zoé Velasco as Maria de Buenos Aires, Nashville Opera, 2017, photo by Anthony Popolo

42 EVIDENCE OF LEARNING

We believe that introducing students to opera is a perfect opportunity to foster an appreciation for the arts. Teachers frequently recognize improvement in a student’s attitude or growth in perspective, but unfortunately these things are difficult to test for quantitative documentation.

Methods of Documenting Learning

A simple method of tracking and documenting a student’s progress is to have them complete a simple written survey before and after their opera unit. Here are some suggested questions to include on your survey:

Before the unit begins:

• List some adjectives you think of when you think of opera? • What do you think an opera might be? • What might you see in an opera? • Do you think you would enjoy watching an opera?

After completing the opera unit:

• List some adjectives you think of when you think of opera? • What is opera? • Did you enjoy learning about opera? • Would you like to see an opera again?

43 TOUR SPONSORS

TITLE SPONSOR

GUARDIAN

DIRECTOR SAMUEL M. FLEMING MARY C. RAGLAND FOUNDATION FOUNDATION

PLATINUM

ADDITIONAL ANN AND GORDON SUPPORT GETTY FOUNDATION

MIDDLE TENNESSEE OPERA SUPPORT FUND

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