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Carmen Bizet TABLE of CONTENTS

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Carmen Bizet TABLE of CONTENTS PRESENTS Carmen Bizet TABLE OF CONTENTS Carmen Bizet WELCOME ....................................................................................................................................3 PRE-PERFORMANCE Activities Preparing Students for the Opera ...................... 4 PRE-PERFORMANCE Opera Myths .....................................................................................5 CREDITS Carmen ........................................................................................................................6 MEET THE CHARACTERS Who’s Who in the Show ......................................................7 SYNOPSIS What’s the Opera About? .................................................................................8 PRODUCTION NOTE In Depth Look at Carmen .............................................................9 COMPOSER About Bizet ....................................................................................................... 11 LIBRETTISTS About Halévy & Meilhac ............................................................................ 12 TIMELINE The World in Bizet’s Time ................................................................................ 13 SPOTLIGHT Angèle Sherwood Lawless - Violin ............................................................ 17 CAST & CREATIVE Who’s Who? ........................................................................................ 18 OPERA 101 The Basics ........................................................................................................... 25 OPERA 101 Different Styles of Opera ............................................................................... 26 OPERA 101 History of Opera in Atlanta........................................................................... 27 IMPORTANT JOBS Who Keeps The Opera Running .................................................. 28 GLOSSARY Basic Opera Terms & Vocabulary .............................................................. 29 VOCABULARY Activity ........................................................................................................30 SCIENCE Operatic Voices ...................................................................................................... 31 SCIENCE Types of Operatic Voices .................................................................................. 33 SCIENCE The Science of Sound .........................................................................................34 REVIEW Writing About What We See & Hear ............................................................. 35 SPECIAL THANKS ................................................................................................................... 37 2 HELLO! WELCOME Hello, and thank you for joining us for this production of Bizet’s operatic masterpiece, Carmen. One of the most frequently performed operas in the world, Carmen has been delighting audiences since its premiere in 1875. This opera has some of the most quoted music in the mainstream today, and you and your students will instantly recognize some of the melodies as you are transported to Seville. This study guide has been developed to help you and your students explore Carmen, as well as to familiarize students with the world of opera (vocabulary, history, etc.) The guide approaches these subjects via a wide range of disciplines, including language arts, reading, math, science, problem-solving, and social studies. In using this guide, we hope you will feel free to adapt pages or activities to best meet the needs of your students. Please make this guide your own! We value your feedback and will take it into account in planning future education programs. We look forward to hearing from you, your students, administration, and/or parents following the performance. Thank you again for allowing us to share this opera with you. It is our sincere hope that you enjoy the experience, and look forward to seeing you and your students at the opera! Sincerely, The Atlanta Opera Education Department 1575 Northside Drive, N.W., Suite 350 Atlanta, GA 30318 404-881-8801 | [email protected] The Atlanta Opera’s 1992 production of Carmen performed at Atlanta Symphony Hall. This production was set in 1960s Cuba with Delores Zeigler as Carmen. (photo: Keiko Guest) 3 PRE-PERFORMANCE ACTIVITIES PREPARING STUDENTS FOR THE OPERA Are you worried about how to act or what to wear? You are not the only one! Opera stereotypes can make the art form seem intimidating to lots of people. Having an idea of what to expect at the performance may make it easier to enjoy your experience. Here are some suggestions of things you can do before you visit The Atlanta Opera at the Cobb Energy Performing Arts Centre. START WITH THE STORY In simple terms, an opera is a story set to music. Before the performance, review the plot synopsis of Carmen. Ask students to consider the story, characters, and setting of the opera. Use the following questions to lead a class discussion: • What is this opera about? • What is the time period? • Who are the main characters? • What struggles do the characters face? • What are their relationships to each other? • What do you expect to see and hear at the opera? INTRODUCE VOCABULARY TERMS Refer to the Glossary of Opera Terms. Discuss with the students which of these terms they may hear and/or see during the performance. DESIGN A PROMOTIONAL POSTER Create a poster to promote the upcoming performance of Carmen. Display the poster in your school and send samples to The Atlanta Opera at [email protected]. Students at the Cobb Energy Centre for the Atlanta Opera’s Student Short performance. (photos: Raftermen / Andrew Snook) 4 PRE-PERFORMANCE ACTIVITIES PREPARING STUDENTS FOR THE OPERA OPERA MYTHS Many people have preconceived ideas about the opera. Read the truth behind some of the most popular opera myths and see if they answer some of your questions about the opera as well! MYTH 1: OPERA IS BORING & STUFFY Not true! Operas tell some of the most interesting, scandalous, and beautiful stories of all time. It is not unusual to find love triangles, murders, fatal illnesses, and messages from beyond the grave. MYTH 2: OPERA IS SUNG IN A FOREIGN LANGUAGE SO I WON’T UNDERSTAND THE STORY We can help! It is true that many operas are sung in languages other than English. Since most people in our audience do not speak other languages, we project English translations, called “supertitles,” on the screen above the stage. This way, you can follow along even if you do not understand the language. You also can read the synopsis of the opera before you arrive. Knowing the story will also help you follow along. Students arriving at the Cobb Energy Centre to see an Atlanta Opera MYTH 3: performance. (photo: Raftermen) I NEED TO WEAR A TUXEDO OR Here are a few more tips to make your trip to the A BALL GOWN TO THE OPERA opera more comfortable. Some people like to dress up when they go to an opera performance but there is no dress code REMEMBER: to attend an opera. You will see people wearing The opera is a live performance. You can hear the everything from jeans to ball gowns. Dressing up can performers on stage and that means they can hear be part of the fun of attending an opera performance you too! Please refrain from talking or whispering but you should wear whatever makes you comfortable. during the opera. It is distracting to others around The opera is a place for everybody. you as well as to the singers. Please do not leave your seat during the performance. MYTH 4: OPERA SINGERS JUST SCREECH Please turn off all cell phones, beeping watches and anything else that may go “beep!” & HIT HIGH NOTES ALL THE TIME Most of the music we listen to today is electronically Please do not take photographs or video or audio reproduced and amplified by speakers. Opera is one of recordings of the performance. The light can affect the only places you’ll hear singers perform without a the singers on stage. microphone. All the sounds you will hear at the opera are natural and coming straight from the singers’ throats and If you like what you have seen and heard, let the the orchestra’s instruments to your ears. Opera singers performers know! It is okay to applaud at the end of have trained for years to project their sound and make songs, called arias, and at the end of a scene. You can it larger than life. While you may not be accustomed even call out “bravo” (to the men on stage), “brava” to live, unamplified singing, it can be a wonderful (to the women) and “bravi” (for all on stage). And of experience if you think about how much skill is required. course, a standing ovation is always welcome! 5 PRESENTS Carmen Bizet MUSIC ASSISTANT DIRECTOR Richard Wagner Whitney McAnally LIBRETTO MUSICAL PREPARATION Henri Meilhac & Ludovic Halévy Elena Kholodova, Valerie Pool* FIRST PERFORMANCE PRODUCTION STAGE MANAGER March 3, 1875, at Opéra-Comique, Paris Brian August ASSISTANT PRODUCTION STAGE MANAGERS CONDUCTOR Renée Varnas, Kristin Kelley Arthur Fagen CHILDREN’S CHORUS CAPTAIN DIRECTOR Emily Copeland Brenna Corner*† SCENIC DESIGNER Allen Charles Klein LIGHTING DESIGNER GENERAL & ARTISTIC DIRECTOR Robert Wierzel Tomer Zvulun WIG & MAKEUP DESIGNER CARL & SALLY GABLE MUSIC DIRECTOR James McGough Arthur Fagen COSTUMES COORDINATOR DIRECTOR OF PRODUCTION Joanna Schmink Dave Smith ASSISTANT LIGHTING DESIGNER DIRECTOR OF ARTISTIC ADMINISTRATION Ben Rawson Lauren Bailey CHOREOGRAPHER MANAGING DIRECTOR Amir Levy Micah Fortson FIGHT CHOREOGRAPHER DIRECTOR OF DEVELOPMENT
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