An Introduction to Opera

An Introduction to Opera Teacher and Student Guide

Preparation materials for The Santa Fe Opera 2014 Spring Tour

Spring Tour Sponsors The Guilds of The Santa Fe Opera, Inc. New Mexico Arts - a division of the Department of Cultural Affairs The National Endowment for the Arts: Art Works The Maurice R. and Meta G. Gross Foundation Dear Teacher:

. The enclosed Study Guide is the most important component of the preparation packet sent prior to the performance of True North.

. If time permits, please spend a class period reviewing the material with your students utilizing the links to five musical excerpts. The printed material contains pertinent points about the story, theater, operatic music, and the conventions of opera including the classical singing tradition.

. The foundation you build together greatly enhances the student’s performance experience.

. If you must limit yourself to only one activity, play and discuss the musical excerpts, the audio is what is important.

. We thank you for the opportunity to present to your students and original introduction to the world of classical opera and look forward to a brief dialogue with students following the performance.

2 This guide may be used in preparation of or as a follow-up to the performance of the one-act introduction to opera True North. The running time of this piece is approximately 40 minutes, with a brief introduction and approximately 10 minutes for an audience question and answer session after the performance, for a total of 50 minutes for the entire presentation. It is presented in English.

Within these materials you will find:  Opera Terms  General Questions and Answers about the world of Opera and The Santa Fe Opera  Study Guide for use with links to Youtube  Synopsis of our presentation  10 Commandments for Audience Members  Guide for correlation to Common Core Standards

The best sources for additional information are your local public library and the Internet. Both sources generally have numerous, images, drawings and reproductions to share with your students. Opera recordings DVDs, and videos are often available at public libraries and there are many podcasts and downloads available on the Internet.

Opera DVDs are available at most rental stores or via Netflix. Met at the Movies is another opportunity to experience world class opera.

BACKSTAGE TOURS OF THE SANTA FE OPERA are free and offered year round to teachers and students. For details or to schedule a field trip, contact Kyle Gray at The Santa Fe Opera (505) 946-2407 or [email protected].

If you have suggestions to expand or enhance these materials, please let us know by contacting the Opera at:

The Santa Fe Opera Education and Community Programs P.O. Box 2408 Santa Fe, New Mexico 87504-2408 (505) 986-5928 [email protected]

3 OPERA TERMS

Accompanist: in our performances we use a pianist to provide the instrumental music supporting the singers. The accompanist is of equal importance in these performances. The accompanist develops the rhythms and harmonies which underline the emotions and meanings of the sung words. Accompaniment: The music underneath a solo line or melody which literally accompanies and supports the tune. Often it lays the harmonic foundation on which the melody rests. Aria: a melody for solo voice with orchestral accompaniment. Aria means air in Italian. Aside: A private or secret comment from an actor directed (originally from the side of his mouth) to the audience that the other characters on stage cannot hear. Bel canto: Translates from the Italian as “beautiful singing”. Refers to a style of singing emphasizing beauty of tone, phrasing, and ornamented passages Bravo: Italian term meaning “fine” or “brave”, similar to "go team" for a football game, is a shout of approval when a singer (particularly a male singer) has pleased you with their singing. Feel free to shout BRAVO! if our singers please you, or for a female singers shout BRAVA! or for the entire group BRAVI! Cast: the people chosen to play or sing certain parts in an opera. Chord: A combination of three or more consonant (not clashing) tones sounded simultaneously. Chorus: A piece of music for singing in unison. Coloratura: Elaborate ornamentation of melody. Also refers to the voice type which specializes in this kind of singing. Dissonant: is the quality of sounds which seems unstable, and has an aural need to resolve. Duet: when two voices sing together. Encore: means “again” in French. To repeat, play or sing again. Ensemble: when a group of singers sings together. Fanfare: A flourish of brass instrument (s), usually trumpets, generally sounded to announce the entrance of royalty or high government official. Finale: The last scene in an opera. Harmony: the combining of notes simultaneously to produce consonant (blending) sounds, often called a chord. Improvisation: Music that is invented without preparation and usually based on melody or themes heard earlier. Interval: The distance between two notes heard as the difference in pitch between two tones. Intervals are specified as major, minor, augmented, and diminished. Key: The tonal center of a musical piece. Libretto: Literally the word means “little book”. A libretto is the book (similar to a short play) which is therefore the words to which music is set which will be sung by the singers. Modal: music that is called modal often has less diatonic functionality and changes key less often than other music Motif: A recurring subject, theme, or idea. Musical: a show with singing, dancing and spoken dialogue. Examples from Broadway are The Lion King and Les Miserables. Quartet: Four voices singing together. (or four instruments playing together) Opera: an Italian word meaning "works" and shortened from "opera in musica" or "works in music." Opera is music drama. Besides the characters who sing, the music itself is dramatic, not only setting the tone or mood for a scene but often playing a role itself as it comments on the action.

4 Overture: an orchestral piece of music at the beginning of an opera, often introducing themes and melodies heard later in the piece. Patter song: A song or aria, usually comic, in which the greatest number of words, delivered rapidly, are fitted into the shortest space of time, with the music supporting their inflection. Pit: the space usually below stage level where the orchestra plays. Premiere: first performance. Quartet: A song or instrumental piece intended for four performers. Range: the distance from high to low pitches that a voice is capable of producing. Recitative: a type of sung speech for a single voice often accompanied by the harpsichord (a plucked keyboard stringed instrument similar in look but smaller than a piano. Recitatives may also be accompanied by the full orchestra for more important moments in the story. Refrain: A phrase or group of phrases repeated at intervals throughout a song, especially at the end of each stanza. Rehearsal: practice times prior to a performance when all the elements of the opera are brought together … things such as the timing of entrances and exits, the movements of characters on the stage (called “blocking”). Rehearsals usually involve many repetitions of these actions, along with the music and words so a performance flows with ease. Role: the character that the singer portrays. Rhythm: Uniform or patterned recurrence of a beat or accent. Score: a complete book containing all of the instrumental and vocal parts of the opera. It is what the conductor uses to conduct the opera. Staccato: Short, disconnected and separated instrumental or vocal pitches, indicated in notation by a dot above or below the printed note on a page. They are the opposite of long sustained pitches connected which are legato … Italian for connected. Sustain: To hold or make continuous. To keep a sound vibrating as opposed to short choppy attacks and releases of notes known as staccato. (see above) For singers and wind players the steady and uninterrupted flow of breath results in a sustained sound. For strings, keeping the bow in touch with the string results in sustained sound. Tempo, tempi: the speed at which the music is performed. Tempi is the plural term. Tonal: the term is most often used to refer to Major-Minor tonality--also called diatonic tonality or functional tonality--the system of musical organization of most popular music in much of the world today Trill: Musical ornamentation comprised of two neighboring pitches alternating back and forth rapidly which originally aided instruments that had no ability to sustain a pitch (like a guitar) to give the false impression of sustaining. Trio: when three voices sing together. Triplet: A group of three notes to be performed in the time of two of the same notes. Voice Categories: Soprano: The highest female voice which is generally given to heroines, young girls, or leading women’s roles. Mezzo soprano: Literally medium-soprano. This voice type is often assigned to older women in the story such as Mothers or older sisters (think of Cinderella’s sisters.) The lower (deeper) sound of the voice is excellent for portraying age or evilness such as a witch. Tenor: The higher male voice which often is assigned to the hero, the leading man, perhaps a son or lover. Baritone: A medium-low man’s category of voice but not the lowest voices (reserved for Basses). Baritones often portray a heroine’s older brother or even father, however this type character is more often assigned to a bass, who also play villains (the bad guy) or it’s opposite a super hero or mythic figure. Waltz: An instrumental or vocal composition in triple meter.

5 WHAT TO REMEMBER WHEN WATCHING AN OPERA Conventions of opera

1. In most operas, everything is sung. Therefore, we need to adjust to the sustained style of singing the words which may require a bit of getting used to -- like listening to someone with a foreign accent -- at first a little strange, but easily understood as you become accustomed to the accent.

2. Stories told through song need to be filled with highly emotional situations. The singing and music serve to express and heighten these emotions. Therefore, opera depends frequently on stories which are larger than life and deal with universal themes such as love, passion, death, or revenge.

3. Sometimes, in order to make the plot of the opera more intriguing, or to illustrate a central theme, the stories rely on devices such as that of mistaken identity, co-exisitng timelines, or on incredible events (that would seem impossible in real life.) For the sake of a good story, the audience needs to ‘go along’ with or accept certain premises or events, even if they seem ridiculous. When we do this, we are ‘suspending our disbelief,’ that is dismissing our instinct to doubt or not believe what is happening. Audiences do this all the time when watching plays and movies. In an opera, someone may not recognize his/her own sister simply because the sister is wearing a simple disguise or characters may appear on the stage together but not see each other. We ‘suspend our disbelief’ and ‘go along’ with the premise.

6 QUESTIONS ANSWERS

1. What is Opera? A musical drama performed by actors in costume, with lighting, scenery and stage movement, wholly or mostly sung to an orchestral accompaniment.

2. Why are operas sung? Singing is thought to be a better means of expressing emotion and ultimately serving the drama. Music reaches our feelings more directly.

3. What different kinds of artists are Composer, librettist, musicians, conductor, needed to put on an opera? soloists, chorus, director, costume, scenic and lighting designers, makeup artists, painters, stage hands, wigmakers and more.

4. In what way do opera singers differ Opera singers are trained to project their from pop, country, rap and rock voices in large spaces. They fill theaters singers? with sounds that they produce without the aid of microphones.

5. What does it take to be an opera singer? Besides a beautiful, natural voice, lots of hard work, years of study and training to get that very special sound. They must also study acting, dance, ballet and they learn to sing in many different languages.

6. Are operas sung in English? Yes, and also in as many languages as the countries from which they originate.

7. Why should I go to an opera if it is Not understanding a foreign language sung in a language I don't understand? shouldn’t keep you from the opera. You can prepare before the opera by reading the libretto of the opera or the story it is based upon. In opera the music creates atmosphere and conveys strong feelings which enhances understanding and enjoyment. At most opera theaters supertitles--English translations of what is being sung--are found above the stage. At The Santa Fe Opera titles are displayed on seatbacks.

8. What does a composer do? They write the music for the opera, for both singers and orchestra.

7 9. What is a librettist? They write the libretto (Italian for 'little book'). In other words, the text for the musical play, all the words that the artists sing

10. There are many types of voices in Female voices: soprano, mezzo-soprano and opera. Can you name a few? contralto; Male voices: tenor, baritone and bass. (See opera terms for definitions of each)

11. Which is the highest female voice? Soprano.

12. Which is the lowest female voice? Contralto.

13. Which is the highest male voice? Tenor.

14. Which is the lowest male voice? Bass.

15. How many instruments does an opera That depends on the opera. Some operas orchestra have? call for as few as 10 and some as many as 90 or even 100. The standard size is 80.

16. Since when have operas been The first operas were written around 1597, performed? which was 417 years ago.

17. How old is The Santa Fe Opera? This is our 58th Season.

18. Why is opera such an expensive In part, because there are so many people performing art? involved in its production.

19. How many people work for the Santa As many as 600 paid staff plus hundreds of Fe Opera during one summer? volunteers.

20. Are there operas written today? Noted composers of the 20th century have written operas including Poulenc, Strauss and Stravinsky. Known for championing new opera, this summer The Santa Fe Opera presents the American premiere of Dr. Sun Yat-sen by Huang Ruo.

21. How can I learn more about opera? Read stories about operas, attend The Santa Fe Opera's Family Opera Production and Family Nights, listen to Youtube and CD recordings, tune in to live opera broadcasts on the radio, watch televised operas, Met at the Movies and opera DVDs. You may also visit www.operainfo.org.

8 10 Guidelines for Audience Members

You can take these commandments to any theater or performance hall in the world and set a shining example for those around you.

1. Do not talk: The first and greatest commandment. This applies not only to the times the performers are singing, but also during the overture, other musical passages and dialogue. 2. Do not open wrapped candies or bags of snacks: Performers can hear noises in the audience which might interfere with their concentration. 3. Do not pop your gum or crunch candies in your neighbor's ear: These noises are often in great contrast to the beautiful music of the performers. 4. Do not rustle your program: or any paper. It is very distracting. 5. Do not wear loud-ticking watches, beepers or jangling jewelry: Just imagine how jarring a watch alarm would be during a quiet moment in the performance. Theater ushers will collect and monitor pagers for emergencies. 6. Do not snap or zip open and close purses or backpacks: If you know that you will need something from inside your bag leave it open on your lap during the performance. 7. Do not arrive late, leave early or walk around during a performance: This is disruptive to both the performers and the audience. 8. Do applaud: The conductor as he enters the orchestra pit. Conductors may not appear onstage, but bring all of the musical elements together for a spectacular performance. Other opportunities include applauding the concertmaster or mistress, the first violin in an orchestral performance, and soloists as they arrive on stage in orchestral performances. Often performers will recognize the pianist accompanying them, they deserve applause too. 9. Do shout BRAVO! or Brava or Bravi. Bravo is for a particularly good performance by a male soloist, Brava for a female soloist and Bravi for an ensemble of two or more performers. 10. Do throw flowers: whenever possible and appropriate at the final bow of your favorite performer, carefully aimed to land on stage without falling into the orchestra pit or hitting the singer.

9 TRUE NORTH Story: Kathleen Clawson and Andrea Fellows Walters Original Music: Frederick Frahm Additional Music: Opera, Broadway, and popular music favorites

Duration: One act, 40 minutes in length, 50 total with introduction and Q and A Stage Director: Kathleen Clawson Music Director: Kirt Pavitt

Characters Melody Abigail Mitchell, Soprano Webster Andrew Lovato, Baritone Sara Rachel Hall, Soprano Josh Joshua Dennis, Tenor

Melody – a composer, traveling to NYC to workshop a new opera—married to Webster Webster – a librettist, traveling to NYC to workshop a new opera—married to Melody Joshua – coming back from a recording session in Los Angeles, heading home to NYC—planning to propose to Sara—has ring with him. Sara – coming back from a recording session in Los Angeles, heading home to NYC

In True North our two couples, Melody and Webster and Sara and Josh, find themselves stranded at the airport. In a coincidence that only happens at an airport, Melody and Josh were once in a relationship, but have not seen each other in years. A brief reunion takes place, causing each person to consider what it is that made them fall in love, marked by moments of confusion and jealousy. All resolves happily with Josh posing a most exciting question to Sara.

The piece is a dramatic journey that attempts to address the questions of what makes a compelling story and what stories do we tell again and again, particularly in Opera. It incorporates musical works from opera, Broadway, and the world of popular music that are familiar to all. Most all of the works will be sung in English, however in choosing and setting the music every attempt has been made to honor the original intention of the piece. Featured works include passages from:

BIG/COFFEE BLACK/Maltby and Shire THE MAGIC FLUTE/BEI MANNERN/Mozart OKLAHOMA/PEOPLE WILL SAY WE’RE IN LOVE/Rodgers and Hammerstein LOOK AT THAT FACE/Bricusse and Newley COSI FAN TUTTE/UN’AURA AMOROSA/Mozart KISS ME KATE/WUNDERBAR/Porter COSI FAN TUTTE/AH GUARDA, SORELLA/Mozart MY GUY/Robinson BLESS THE BROKEN ROAD/Hummon, Boyd, Hanna SATURDAY NIGHT/SO MANY PEOPLE/Sondheim HIGH SOCIETY/WELL DID YOU EVAH/Porter HANDS, EYES, HEART/Vaughan Williams

And a new piece by composer Frederick Frahm I CARRY YOUR HEART WITH ME.

10 Questions for Discussion with Students

The following links and accompanying questions are derived from music from TRUE NORTH to assist you in preparing your students for live performance of TRUE NORTH. If you find that you do not have time for the discussion questions, please play the excerpts only.

Play link # 1 Un’aura amorosa (Her Beauty’s a Wonder), from Così fan tutte by Mozart sung by Fritz Wunderlich https://www.youtube.com/watch?v=PYwggUfzAFc

Describe the singing you hear in this example. Use as many different descriptive words as you can think of. Is there a name for this kind of singing? How is it different other singing? What else do you hear?

Play link # 2 Hands, Eyes, Heart from Four Last Songs by Vaughan Willliams, sung by Glenda Maurice https://www.youtube.com/watch?v=-e2neEGlHX0 Describe how this song makes you feel and why? What is the mood of this piece? Could you give it a color? What language do you think is being sung? Following this question you may read the text: HANDS, EYES, HEART Hands give him all the measure of my love Surer than any word Eyes be deep pools of truth Where he may see a thought more whole than constancy Heart in his keeping be at rest, And live as music and silence meet And both are heard. Does hearing the words change your mind about the way the song made you feel?

Play link # 3 Coffee Black from Big by Maltby and Shire sung by John Pizzarelli https://www.youtube.com/watch?v=mZCfMXQjoLs

Describe how this song makes you feel and why? What is the mood of this piece? Could you give it a color? How does it compare it to the last example? What does each song tell you about the person singing it? Does either of the two songs make you feel like dancing? If yes, what about the song does that?

Play link # 4 followed just after by link #5 Ah Guarda, Sorella from Così fan tutte by Mozart sung by Miah Persson and Anke Vondung and My Guy by Smokey Robinson sung by Mary Wells https://www.youtube.com/watch?v=zuhHb2ElpCA https://www.youtube.com/watch?v=r1M5eEJeT38 After listening to both musical examples, ask what makes them similar to each other and what makes them different. Ask your students to compare and contrast how the singers deliver the songs? Is there a difference in intensity? In expression? Ask if they prefer one over the other and why.

11 Teacher’s Key and Guide

The following prompts are provided to assist teachers in a discussion with students.

Link #1 is 4 min, 28 sec Playing even a portion, will serve as a prompt for the questions. The text translates simply to: Her beauty’s a wonder Her presence restores me And when she is near me My joy is complete! The purpose of this line of inquiry is to introduce Opera and operatic singing at the beginning of your preparation. In addition to tuning ears to the classical singing voice, this is an opportunity to discuss assumptions and stereotypes and hopefully pique interest and curiosity. Answers to these questions will likely vary from the simplistic: “loud” “I don’t understand it” to the more complex “larger than life in sound and singing style” “presence of orchestra” “no alteration or amplification of the voice.” You may want to collect the descriptive terms offered to revisit after experiencing the live performance.

Link #2 is 1 min, 32 sec The primary objective for this question is to introduce and explore the connection between music and feeling. If possible spend time with the qualities shared by music, color, and feeling.

Link #3 you need only play 41 sec of the link. You may play the entire link which utilizes scat singing —vocal improvisation with wordless vocables, nonsense syllables or without words at all—but it is not necessary to this lesson. The intent in this line of inquiry is to guide students to note the strong rhythmic character prominent in this song as opposed to a weaker rhythmic character in the previous example. This example comes from a musical, Big. Dancing plays a significant role in conveying story in musicals. In order to initiate the interaction of the body and its movements with the music, strong rhythmic drive and pulse must be present in the music. A more casual style of singing of this example is in stark contrast to the more formal quality of the previous example. As your students compare the two examples, keep in mind that in our opera, these two characters are in love. The two songs are positioned to reveal something about their characters and about particular moments in the story.

Link #4 is 4 min, 31 sec; Link #5 is 2 min, 31 sec (with a short ad at the beginning) (A note: on the first link, the translated text appears at the bottom of the video.) The first example is from an opera and the two characters are singing about their situation. The second is a popular radio song sung by vocalist who is not a character in a story. She uses her own personal style of singing to express herself. In our opera these two songs, one from the operatic tradition and one from the popular tradition, are presented in a mash-up, combining both types of singing to comment on their situation.

12 From COMMON CORE STATE STANDARDS FOR ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Speaking and Listening Standards K-5 Grade 3 students: Grade 4 students Grade 5 students: Comprehension and Collaboration 1. Engage effectively in a range of 1. Engage effectively in a range of 1. Engage effectively in a range of collaborative discussions (one-on- collaborative discussions (one-on- collaborative discussions (one-on- one, in groups, and teacher-led) with one, in groups, and teacher-led) one, in groups, and teacher-led) diverse partners on grade 3 topics with diverse partners on grade 4 with diverse partners on grade 5 and texts, building on other’s ideas topics and texts, building on other’s topics and texts, building on other’s and expressing their own clearly. ideas and expressing their own ideas and expressing their own a) Come to discussions prepared, clearly. clearly. having read or studied required a) Come to discussions prepared, a) Come to discussions prepared, material; explicitly draw on that having read or studied required having read or studied required preparation and other information material; explicitly draw on that material; explicitly draw on that known about the topic to explore preparation and other information preparation and other information ideas under discussion. known about the topic to explore known about the topic to explore b) Follow agreed-upon rules for ideas under discussion. ideas under discussion. discussions (e.g., gaining the floor in b) Follow agreed-upon rules for b) Follow agreed-upon rules for respectful ways, listening to others discussions and carry out assigned discussions and carry out assigned with care, speaking one at a time roles. roles. about the topics and texts under c) Post and respond to specific c) Post and respond to specific discussion). questions to clarify or follow up on questions to clarify or follow up on c) Ask questions to check information, and make comments information, and make comments understanding of information that contribute to the discussion and that contribute to the discussion and presented, stay on topic and link link to the remarks of others. elaborate on the remarks of others. their comments to the remarks of d) Review the key ideas expressed d) Review the key ideas expressed others. and explain their own ideas and and draw conclusions in light of d) Explore their own ideas and understanding in light of the information and knowledge gained understanding in light of the discussion. from the discussions. discussion.

13 From COMMON CORE STATE STANDARDS FOR ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Language Standards K-5 Grade 3 students: Grade 4 students: Grade 5 students: Knowledge of Language 4. Determine or clarify the meaning of 4. Determine or clarify the 4. Determine or clarify the meaning of unknown and multiple-meaning word meaning of unknown and unknown and multiple-meaning word and phrases based on grade 3 reading multiple-meaning word and and phrases based on grade 5 reading and content, choosing flexibly from a phrases based on grade 4 and content, choosing flexibly from a range of strategies. reading and content, choosing range of strategies. a) Use sentence-level context as a flexibly from a range of a) Use context (e.g., cause/effect clue to the meaning of a word or strategies. relationships and comparisons in text) phrase. a) Use context (e.g., definitions, as a clue to the meaning of a word or b) Determine the meaning of the new examples, or restatements in phrase. word formed when a known affix is text) as a clue to the meaning of b) Use common, grade-appropriate added to a known word (e.g., a word or phrase. Greek and Latin affixes and roots as agreeable/disagreeable, b) Use common, grade- clues to the meaning of a word (e.g., comfortable/uncomfortable, appropriate Greek and photograph/photosynthesis). care/careless, heat/preheat). Latiaffixes and roots as clues to c) Consult reference materials (e.g., c) Use a known root word as a clue to the meaning of a word (e.g., dictionaries, glossaries, thesauruses), the meaning of an unknown word telegraph, photograph, both print and digital, to find the with the same root (e.g., company, autograph). pronunciation and determine or clarify companion). c) Consult reference materials the precise meaning of key words and d) Use glossaries or beginning (e.g., dictionaries, glossaries, phrases. dictionaries, both print and digital, to thesauruses), both print and determine or clarify the precise digital, to find the meaning of key words and phrases. pronunciation and determine or clarify the precise meaning of key words and phrases.

5. Demonstrate understanding of word 5. Demonstrate understanding 5. Demonstrate understanding of relationships and nuances in word of figurative language, word figurative language, word meanings. relationships, and nuances in relationships, and nuances of word a) Distinguish the literal and word meanings. meanings. nonliteral meanings of words and a) Explain the meaning of a) Interpret figurative language, phrases in context (e.g., take steps). simple similes and metaphors including similes and metaphors, in b) Identify real-life connections (e.g., as pretty as a picture) in context. between words and their use (e.g., context. b) Recognize and explain the meaning describe people who are friendly or b) Recognize and explain the of common idioms, adages, and helpful). meaning of common idioms, proverbs. c) Distinguish shades of meaning adages, and proverbs. c) Use the relationship between among related words that describe c) Demonstrate understanding particular words (e.g., synonyms, states of mind or degrees of certainly of words by relating them to antonyms, homographs) to better (e.g., knew, believed, suspected, their opposites (antonyms) and understand each of the words. heard, wondered). to words with similar but not identical meanings (synonyms).

14 PE RFORMANCE STANDARDS LANGUAGE ARTS Strand I Content Standard 1 Grade 4 Benchmark 1-A Performance Standards – 2 and 4 Grade 5 Benchmarks 1-A Performance Standards – 1 and 2 Addressed by preparing for and attending performance and may further be explored in post-performance classroom discussion.

Grade 4 Benchmark 1-C Performance Standards – 1 and 4 Grade 5 Benchmark 1-C Performance Standards – 3, 4, 5, 6 Would be addressed in post-performance classroom exercises.

Strand III Content Standard 3 Grade 4 Benchmark 3-A Performance Standards – 1, 2, and 3 Benchmark 3-B Performance Standards – 1 and 5 Grade 5 Benchmarks 3-B Performance Standards – 1, 2, and 3 Grade 6 Benchmarks 3-B Performance Standards – 1 and 2 Grade 7 Benchmarks 3-B Performance Standards – 1, 2, and 3 Grade 8 Benchmarks 3-B Performance Standards – 1, 2, and 3 Opportunity to address during post performance classroom discussion and exercises.

MUSIC STRAND Standard 2 Grades 4 and 5 Benchmark 2-A – 1 and 3 Grades 6-8 Benchmark 2-A - 3 Addressed in preparing for and attending performance and discussion post-performance. 15 Standard 3 Grades 4 and 5 Benchmark 3-B - 1 Grades 6-8 Benchmark 3-B -1 Addressed in preparing for and attending performance.

Standard 4 Grades 4 and 5 Benchmark 4-A – 1 Grades 6-8 Benchmark 4-A – 1 and2 Benchmark 4-B - 1 Addressed in preparing for, attending performance, and post-performance classroom discussion.

Standard 5 Grades 4 and 5 Benchmark 5-C – 1 Grades 6-8 Benchmark 5-C – 1 and 2 Addressed in preparing for, attending performance, and post-performance classroom discussion.

Standard 6 Grades 4 and 5 Benchmark 6-A – 3 Grades 6-8 Benchmark 6-A – 3 Addressed in preparing for, attending performance, and post-performance classroom discussion.

Standard 7 Grades 4 and 5 Benchmark 7-A – 3 Grades 6-8 Benchmark 7-A – 2 Addressed in preparing for, attending performance, and post-performance classroom discussion.

Standard 8 Grades 4 and 5 Benchmark 8-A – 1 and 2 Grades 6-8 Benchmark 8-A – 1 and 2 Addressed in attending performance.

THEATRE/DRAMA STRAND Standard 3 Grades 4 and 5 Benchmark 3-A – 1 and 2

16 Addressed in preparing for, attending performance, and post-performance classroom discussion.

Standard 5 Grades 4 and 5 Benchmark 5-A Benchmark 5-B Benchmark 5-C – 1, 2, and 3 Grades 6-8 Benchmark 5-A – 1, 2, and 3 Benchmark 5-B - 1 Benchmark 5-C – 1, 2, and 3 Addressed in preparing for, attending performance, and post-performance classroom discussion.

Standard 6 Grades 6-8 Benchmark 6-B – 1 and 2 Benchmark 6-C - 2 Addressed in preparing for, attending performance, and post-performance classroom discussion.