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Dear Music Educators and Administrators,

For nearly twenty-five years, Nashville has enhanced the education of children through live per - formance by bringing opera into your schools. Nashville Opera On Tour has reached over a quarter of a million students and adults across Middle Tennessee, and we continue this rich tradition in our 24th sea - son by presenting Bear Hug/Abrazo de oso —an opera I had the pleasure of creating myself.

Teachers like you strive to provide a rich learning experience for their students, and Nashville Opera On Tour is an exciting opportunity for your students to see a live performance tailored especially for them, without leaving your school campus!

To best prepare your students for their exciting operatic experience, we provide a study guide to assist you. Not only will you find basic knowledge about the art form and musical terminology useful to a well-rounded understanding of music, but you will also find interactive games, activities, and projects to enhance each student’s understanding and enjoyment. By connecting opera to your music and general classroom curriculum, we hope to provide ways to collaborate with classroom teachers and arts special - ists. All of the activities in the guide are tied directly to the Tennessee Curriculum Standards and are la - beled with the GLE number, if they exist, or the standard code.

This guide is designed to benefit both the student and educator with regard to the development of an in - terdisciplinary approach to opera education. The activities provided in the teacher guide assist students to actively listen and observe live opera. Also included are exercises that encourage students to internal - ize what they saw, heard, and felt. Your students can even enter an essay and art contest! We encourage you to use this guide to augment your existing curriculum in the many disciplines that are included. Please feel free 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 child’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 performance at your school and know your students will enjoy the show!

Best,

Anna Young Director of Education and Outreach [email protected] 615.832.5242 BEA R HUG AB1 RAZ O DE OSO Table of Contents

Check List ...... 3 Audience Etiquette ...... 4 The Story of Bear Hug/Abraso de oso! ...... 5 Meet the Cast ...... 6 Embrace the Music of Bear Hug! ...... 8 What Is a ? ...... 13 Meet the Creator and Composers of Bear Hug! ...... 14

STEAM: Connecting Music to the Classroom

Science ...... 18 Math ...... 24 Visual Arts ...... 26 Theatre and Movement ...... 28 Social Studies and Real-Life Application of Opera ...... 30 A Short History of Opera ...... 32

After the Show

Art and Essay Contests ...... 36

2 Performance-Day Check List

m We will arrive at your school about 30 –45 minutes prior to show time. We will go directly to the front office to check in. Please inform your office staff that we will be there and let them know where we are to unload our set. m Have a tuned piano in the performance space. We will bring a keyboard if you requested one on your registration form. m Prepare two “dressing rooms” close to the performance space for the singers. These need to be spaces that will not have students entering or exiting. m Begin bringing students in 15 minutes prior to show time. You do not need to wait for an okay from us.

Questions?

Call 615.832.5242 x 3559 e-mail Anna at [email protected] or go to our website: www.nashvilleopera.org

3 Audience Etiquette

The audience is the most important participant in any live production! One of the most exciting aspects of attending a live performance is the interactive relationship between the audience and the performers. It’s a good idea to prepare your students for their role in our production of Bear Hug/Abrazo de oso! by covering these two basic guidelines.

Two basic guidelines:

1. Respect! Opera is not like TV; the singers on the stage can see and hear you! Be respectful of all the hard work that has gone into the performance. Don’t get up, talk to your neighbor, or otherwise call attention to yourself by being disruptive. You are welcome to applaud and cheer on the performers when appropriate, but once those moments are over, continue to be respectful so everyone can hear and understand what happens in the opera.

2. Respond! It’s okay to applaud and laugh. Performers love to hear applause! It helps build their confidence and shows that you really like the performance you are seeing.

Things you shouldn’t do during a live performance

• Get up from your seat or get up on your knees. This makes it hard for folks behind you to see! • Walk around • Talk or whisper to your neighbor • Eat food or drink • Play with your cell phones/no texting!

Things that you should do during a live performance

• Laugh if something is funny • Applaud at the end of a song, after a scene, or at the very end of the opera. • Shout “Bravo, Brava or Bravi!” when the performers take their bows.

4 The Story: Bear Hug/Abrazo de oso!

Bear Hug/Abrazo de oso! is a bilingual (in two different languages) youth opera and the cast sings in both English and Spanish. It is set in a zoo.

The Zookeeper enters the stage while feeding some of his favorite animals including Marla, the koala bear, and Polly the panda bear. He admits that while he loves his job as zookeeper, he’s nervous about the grizzly exhibit next door. Grizzly bears are known to eat meat and he feels less than confident.

Polly the panda greets the audience and mentions her love of reading and learning. She hears singing next to her exhibit and meets Bernardo, a very special Spanish brown bear and newest exhibit to the zoo. In fact, the entire zoo is decorated to welcome the newest bear! Bernardo, who has just arrived to the zoo and doesn’t speak much English, is nervous and feels lost. He misses his family. Polly distracts him from his loneliness by playing games like charades, trying to understand her new friend. They come across a locked gate. Polly has always wondered what was on the other side of the zoo and her adventur - ous personality starts the bears on a search for the key and out of their exhibit.

The two meet Marla, the zoo’s koala bear. Koalas are actually marsupials—that means Marla isn’t really a bear at all! Koala bears are generally sleepy and like to eat plants such as eucalyptus. She agrees to help search for the key. Marla wonders aloud what could be on the other side of the locked gate and begins to name off scary creatures that could be in wait! Could it be lions, or tigers, or bears? OR tarantula spi - ders??? Bernardo hears the word “tarántula” and begins to sing an exciting Spanish folk song about tarantulas! According to Bernardo’s song, a person must dance to save themselves from a spider bite. The three bears dance and sing of the “tarántula,” forgetting momentarily about their search for the key.

Marla spots the key that had been dropped in the bushes and holds it up declaring, “llave!” The bears excitedly use the key to open the locked gate. Just then, they hear a scary, low sound and look up to see Griff the grizzly bear looking down on them! Griff chases the bears threatening to eat them! Bernardo has a brilliant idea and runs in to the insect exhibit next door. He grabs a real tarantula spider and rushes to Griff. Griff, who is afraid of spiders, begins to run from the three bears. He finally stops and admits to being afraid of not just spiders, but the dark, thunder, and lightning as well! Marla asks if being mean all of the time makes him lonely. Griff agrees that he pushes other bears and potential friends away be - cause he’s different than other grizzlies and doesn’t want anyone to know he’s actually very sensitive and not scary at all—he even likes writing poems!

Polly assures Griff that everyone feels lonely and different sometimes. Bernardo understands how the grizzly feels especially since he’s new to the zoo and so far from home. They all decide that though they may look different, be from other countries, and even speak different languages, they are all very much the same where it counts. Our differences make the world a beautiful place and kindness brings us all to - gether. BEAR HUG! ¡ABRAZO DE OSO!

5 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 pro - gram. They are part of Bear Hug/Abrazo de oso! and our mainstage productions of Jacques Offenbach’s Tales of Hoffmann as well as Marc Blitzstein’s The Cradle Will Rock. We asked our singers some questions so that you can get to know them!

Chelsea Friedlander, Marla the Koala From Princeton, New Jersey Has sung with Chautauqua Opera, Dayton Opera, Ohio Light Opera, Opera Saratoga, Opera in the Ozarks What is your favorite holiday? Thanksgiving What is your favorite food? Chinese Dumplings What do you like to do for fun? Sing back-up for Kristen Chenowith! What’s a little-known fact about you? I don’t know how to ride a bike!

Chelsea Melamed, mezzo-soprano Polly the Panda From Los Angeles, California Has sung with Opera Santa Barbara, Pittsburgh Festival Opera, San Francisco Conservatory of Music Anything exciting happen to you this year? Yes! I just got married to a friendly Canadian physics nerd! Do you have a favorite place to visit? Venice, —it’s like a real-life Disneyland What’s a little-known fact about you? I was a competitive swimmer my entire childhood and played water in high school through my senior year!

Darius Thomas, Bernardo, the Spanish Brown Bear From Sherman, Texas Has sung with Knoxville Opera, Janiec Opera Company, University of Tennessee Opera Theatre What’s your favorite book? Harry Potter Series What do you like to do other than sing? Play sports—football, golf and competitive bowling What’s an interesting fact about you? I have a twin brother! Do you play any musical instruments? Piano for 10 years now!

6 Brent Hetherington, Zookeeper Griff the Grizzly Bear From Tyler Texas Has performed with Pensacola Opera, Janiec Opera Company, Central City Opera, University of Tennessee Opera Theatre Favorite Food? Tacos! My least favorite is peas…EW. What do you do for fun? Bake! Before I became an opera singer, I wanted to be a pastry chef and open a bakery. Do you have any pets? No, but I have three older sisters! Interesting fact about yourself? Beyonce once smiled at me— I had a front row ticket to her concert and I’m tall

Elizabeth Chua, pianist Tour Music Director Manager/Pianist From Kuala Lumpur, Malaysia Has performed with Mill City Summer Opera, Opera Steamboat, Apotheosis Opera, Bach Society of Minnesota and Do you have any pets? Two cats—Eddie and Charlie! Do you play any musical instruments? Of course piano and also violin. I started playing both at the age of four. Favorite Holiday? Christmas! Can you speak any foreign languages? Chinese, Cantonese, and Malay! Anna Young, Director of Education & Outreach Stage Director Creator of Bear Hug/Abrazo de oso! From Lives in Nashville, Tennessee, but is from Greenville, South Carolina Pets? A black cat named “Pants” Favorite movies? The Little Mermaid, Goonies, La La Land Favorite food? Chocolate and Tacos What do you do for fun? Read, watercolor, cook, and play classical

7 Embrace the Music of BEAR HUG!

Musical excerpts to share with your students are available on the Nashville Opera website: nashvilleopera.org/for-teachers

The music of Bear Hug is based on Spanish opera called zarzuela. This lively, vibrant music is an impor - tant part of Spanish culture as well as classical music. Please note that this is NOT the entire produc - tion, just musical highlights.

Track 1 Opening Dialogue Track 2 ¡Abrazo de oso! (quartet) Track 3 Dialogue #2 Track 4 “¿Donde estoy?” () Track 5 Dialogue #3 Track 6 “Aria of the Eucalyptus” (aria) Track 7 Dialogue #4 Track 8 “¡Tarántula!” (trio) Track 9 Dialogue #5 Track 10 “Key Trio” (trio) Track 11 Dialogue #6 Track 12 “Griff’s Aria” (aria) Track 13 Dialogue #7 Track 14 “Inclusion Ensemble” (quartet) Track 15 Dialogue #8 Track 16 Finale (quartet) Track 17 Bonus Track—Let’s speak Spanish!

Lyrics: Let’s follow along!

To help you understand our singers (especially since they are singing in both English AND Spanish, we’ve provided the words to all of the songs to help you. Track 2: “Abrazo de oso” – Quartet (All four sing.)

¡Abrazo de oso! (Bear Hug) You will soon know what a great show this is! We each have the best part, it will soon start. That’s the fun of showbiz. We will tell you of our story. Come with us along our journey. Oh, our show is so cool—it’s bilingual! Some will sing in Spanish! ¡Algunos cantan español! That means some will sing Spanish. I suppose it is true that we live in the zoo. ¡Vivimos en el zoo! We all live in the zoo!

8 It will all be splendid by the time we’ve ended. Not a thing can go wrong when you’re bears that sing songs! Some parts may be scary, others much more merry. Though you never can tell, all is sure to end well. Now we should get going and it’s sure worth knowing no matter what happens, you’re fine if you’ve got friends! So, here we go! On with the show: ¡Aqui vamos con el espectáculo! So, here we go! On with the show: ¡Aqui vamos con el espectáculo!

Track 4: “¿Donde estoy?” – Bernardo’s Aria (solo)

¡Ah! ¿Donde estoy? Creo que estoy perdido. (Ah! Where am I? I think I am lost.) Estoy solo ye echo de menos mi hogar. Estoy solo. ¿Puede alguien oírme? (I am lonely and I miss my home. Can anyone hear me?) Quiero ir a la casa; quiero ir a la casa. (I want to go home; I want to go home.)

Track 6: “Aria of the Eucalyptus” – Marla’s Aria (solo)

I love to eat eucalyptus, because it’s so delicious! Australian bears are vegan. I am a koala bear. We love to sleep and dream, to sleep and to dream of greens! I think it’s time to dream.

Activity: About Koalas

Research koala bears. What kind of species are they? What do they eat? Do you think the words to this aria fit the character of a real koala bear? Are there koala bears in Nashville?

Track 8: “¡Tarántula!” – Marla, Polly, & Bernardo Trio

La tarántula é un bicho mú malo; (The tarantula is an evil little critter) No se mata con piera ni ; (You can’t kill it with sticks or with stones) Que juye y se mete por tós los rincones (For it runs off and hides in corners) Y son mú malinas sus picazones. (and its sting is wicked) ¡Ay! Now I can see it clearly; he fears spiders quite severely. And really we shouldn’t blame him. Your chance of survival is grim! Zerá q’a mí me ha picáo (I must have been stung) La tarántula dañina (by the nasty tarantula) Y estoy toitico enfermáo (and now I’m really ill!) If we saw a tarantula, it’d be really scary and though we’re much bigger, their bodies are hairy! And if you are bitten and find yourself stricken, they say you should dance! Yes, if you are bitten they say you should dance!

9 Track 10: “Key Trio” – Marla, Polly, & Bernardo Trio

La, la, la… found the llave! (key) La, la, la… we are suave! Llave means a key! Yes indeed! It means key to me! Yes indeed! What a clever bear! Isn’t it great to have a brand new playmate? I am glad to be a part of we three. Let’s explore the zoo!

Track 12: “Griff’s Aria” – (Griff’s solo)

You’re scared in the darkness. Not all bears are harmless! It’s me in the darkness. I’m here to torment you; I won’t let you pass through. We grizzlies will try to do all that we can do to store our food; you three look good! Ah, tasty! I’m hungry. How lucky to have found you here right in front of me. A grizzly bear takes care to scare and chase their dinner fare! We must survive the winter months, the months we sleep and can’t hunt. And here are my next victims; bears taste a lot like chicken! I see you with the lightning flash, no need to dine and dash! We grizzlies have to hibernate. You three I will eliminate! No fear, I won’t discriminate—there’s nothing to refrigerate. No use for you to run and hide—to me you must abide. No use for you to flee, you all belong to me!

Arias

Arias are songs sung by one character. They tend to stop the action of the story and tell the audience how the character feels or thinks. There are several arias in Bear Hug/Abrazo de oso! Another aria is Marla’s “Aria of the Eucalyptus.” Read the text and then listen to the piece. How are the two arias dif - ferent? Is one slower? More scary? What does the music do to help us learn more about the characters of Marla and Griff?

Track 14: “Inclusion Ensemble – Quartet (All four sing.)

Yes, it’s true, we’re very much the same. No need to be solo. What a wonderful surprise. Fear no demise. I’m a friend; now you know. No necesita tener miedo. (There is no need to fear.) Sí, no need to fear! We have each other now. Yes, it’s true we all care and we’re all best bears. It’s time for a bear hug! Bring it in for a bear hug. ¡Abrazo de oso! (Bear hug!) 10 Everyone wants to get a big bear hug. ¡Seamos amigos! Seamos amigos! (We are friends) ¡Abrazo de oso! We’re all together, no longer solo! ¡Abrazo de oso! Abrazo de oso!

Bonus Track: Let’s Speak Spanish!

Here are some phrases spoken and sung in Bear Hug/Abrazo de oso! You can listen and speak them along by playing the final bonus track of the sneak-preview recording on our website: nashvilleopera.org/2019tour/

• ¡Bienvenido a la opera “Abrazo de oso!” (Welcome to the opera Bear Hug!) • Algunos cantan español. (Some sing Spanish) • Vivimos en el zoo. (We all live in the zoo.) • Llave (Key) • ¡Aquí vamos con el espectáculo! (On with the show!) • Quiero ir a la casa. (I want to go home.) • Somos amigos! We are friends!) • ¡Nos vemos pronto! ¡Chau! (See you soon! Bye!)

What makes a musical theme?

Think of some of the catchiest melodies on the radio and of favorite songs of the students. Listen to both “Tarántula Trio” ( “La tarántula é un bicho mu malo” by Gerónimo Giménez) and Marla’s “Aria of the Eucalyptus” ( “Jota” by ). Discuss how these melodies are similar or different from the fa - mous melodies they already know.

11 The Music of the Opera

The arias and ensembles in Bear Hug/Abrazo de oso! are based on zarzuela (traditional Spanish opera) by a variety of composers. Here is a list of the musical excerpts used to create this piece:

EL BARBERILLO DE LAVAPIÉS by Francisco Barbieri “Preludio” and “Cancion de la Paloma”

LA CANCIÓN DEL OLVIDO by J. Serrano “Junto al Puente de la peña”

EL GRUMETE by Emilio Arrieta “Pobre barquilla mia”

SIETE CANCIONES POPULARES ESPAÑOLAS by Manuel de Falla “Jota”

LA TEMPRANICA by Gerónimo Giménez “La Tarántula” and “Venga un tanguito”

LA TEMPESTAD by Ruperto Chapí “La lluvia ha cesado”

BOHEMIOS by Amadeo Vives “Adios, Roberto…” Due de Cosette y Roberto

Using material from a regular classroom subject, have students re-write lyrics for music they’ve learned from Bear Hug/Abrazo de oso! Use the new song to study for a test and then discuss how the music helped them to memorize information. (K-4: MU 1a, 1c)

12 What Is a Zarzuela?

Zarzuela is Spanish opera! contain popular Spanish songs, dances, and spoken dialogue—just like in and musical theater. These operas were inspired by music written in Germany, Italy and and often had political themes woven within their storylines. The name zarzuela actually means “brambles.” The first zarzuelas were performed at a royal hunting lodge whose walls were covered in “zarzas” or brambles. Theatre-goers associated the sight of the briars covering the walls with the operas going on within them. The name stuck and we now call Spanish operas zarzuelas! Read the history of the art form below. The history of zarzuela

In 1657, at the Royal Palace of El Pardo, King Philip IV of and his court attended the first perform - ance of a new comedy. The story was by poet Pedro Calderón de la Barca, with music by Juan de Hidalgo. This comedy, El Laurel de Apolo, marks a new kind of opera called “La Zarzuela.” Zarzuela was named after one of the King’s hunting lodges, situated in a remote countryside thick with zarzas, or brambles. The lodge was often visited by clowns and actors from the city of Madrid! They knew that once they saw the bramble-covered walls outside, there was Spanish opera, zarzuela, being performed inside. Calderón and Hidalgo were known as the best Spanish playwright and composer of the day. Their com - positions were witty and fun with excellent music supported by well-written stories. However, the more popular Italian operas overshadowed Spanish zarzuela. Important pieces such as La Clementina, never re - ceived the acclaim they deserved. There are many styles represented in zarzuelas. The classical style is represented by sophisticated vocal en - sembles in which several singers sing together, and solo pieces matched with spoken dialogue—very much like musical theater! Characters of this style often played relatable, comic characters. This mirrored the way classical Italian operas were written. Francisco Barbieri, regarded as the musical founding father of classical zarzuela, was greatly influenced by Italian composers like Rossini and Donizetti. His music is greatly featured in Bear Hug/Abrazo de oso! were also being written. These were short, 10 to 20 minute musical pieces with dialogue. They are comedic, tiny operas! Bear Hug/Abrazo de oso! could be thought of as a because of its light storyline, script and length. Many important zarzuelas were inspired by the city of Madrid. The spirit, sights and sounds of the capital drew composers during the classical period through the beginning of the 20th century. The very best zarzuelas set in Madrid include Tomás Bretón’s classic La verbena de la paloma and Ruperto Chapí’s La Re - voltosa. During the 1920s and 30s, zarzuelas were made popular by featuring the best popular dances of Madrid with and habaneras—all popular styles of Spanish dance. This style provide a flavor unlike any - thing else in the operatic repertoire. Zarzuela writing slowed with the onset of the Spanish Civil War, and only the composer Pablo Sorozábal kept the form alive into the 1950s. Even so, the legacy of nearly one hundred years and thousands of works of zarzuela remains incomparably rich. What a joy to feature this vibrant music in Bear Hug/Abrazo de oso!

13 Meet the Creator

Anna Young (1981 –Present)

Anna Steenerson Young accepted the position of Director of Educa - tion and Outreach for Nashville Opera in 2015 and runs the presti - gious Mary Ragland Emerging Artist Program. Bear Hug/Abrazo de oso! is Anna’s second piece to be produced by Nashville Opera. The Enchanted Forest (a choose-your-own-adventure opera) marked her first creation for the education tour which brings the power of opera and live performance to more than 23,000 children and families in Middle Tennessee each year. Prior to this, she was the Assistant Director of Opera for the College of Charleston, a position she held following a successful career as a singer with opera companies across the United States. She was honored to create the role of ‘Emily’ in the world premiere of Ned Rorem’s opera Our Town for which she received glowing reviews in the national and international press, including The New York Times. She earned a Master of Music degree on full scholarship from the prestigious Jacob’s School of Music at Indiana University, and her Bachelor’s degree from Converse College in Spartanburg, South Carolina. She comes to Nashville with her husband David who is also an opera singer as well as a resident physi - cian in otolaryngology at Vanderbilt University Medical Center.

14 Meet the Composers

Francisco Asenjo Barbieri (1823 –1894)

Barbieri, born August 3rd 1823, was one of the most influential Spanish composers of the nineteenth century and is thought of as the very best composer of zarzuela by many. His first music teacher was José Ordóñez Mayorito, and in 1837 he entered the Madrid Conservatory, where he studied clarinet, piano, voice and composition. A true jack-of-all-trades! Between 1841 and 1844 he made a living as a singer, clarinetist, copyist, piano teacher and writer of popular songs and dances, as well as an academic chorus master! Composing Il Buontempone (1847, in Italian) marked the beginning of his operatic career. Though he first found success by writing , he also founded La España Musical to promote native Spanish opera. He supported his extra-musical work through journalism and was a music critic (for La Ilustración) and a copyist, , and translator at the Teatro Real. Because of his great love for Spanish theatre, he eventually abandoned writ - ing Italian opera altogether and produced his first zarzuela in 1850. He was central to the group of composers, including Oudrid, Gaztambide and Arrieta. He worked in 1851 at the Teatro del Circo, directing the chorus as well as pro - viding many original stage works. In 1856 the (The Theatre of Zarzuela) was founded. In the 1860s, Barbieri broadened his activities even further by founding the So - ciety for Orchestral Music (1866) and introduced much of the German symphonic repertoire to Madrid. He also published a wide variety of books on music, politics and other topics. He died in Madrid on February 19, 1894, loaded with honors and recognized at home and abroad as “the father figure of Spanish music.” Barbieri’s contribution to the growth of Spanish culture and music cannot be overemphasized. His work contributed greatly to an entire nation’s musical style setting it apart from the vast tradition of Italian opera. Though not every piece was a great success like his zarzuela Jugar con fuego (1851), there are many pieces of quality such as Los diamantes de la Corona (1854), El Diablo en el poder (1856) and Entre mi mujer y el negro (1859). El barberillo de Lavapiés (1874) is a true gem in his body of work and many of the best and most exciting melodies featured in Bear Hug/Abrazo de oso! come from this particular zarzuela! Barbieri greatly influenced Spanish composers that followed and helped an entire culture find its voice by creating a genuinely Spanish style not only in zarzuela and opera, but also in all kinds of music and composition. Gerónimo Giménez (1854 –1923)

Born in Seville, Giménez began his musical studies with his father. He contin - ued to study in Cadiz with Salvador Viniegra and at the age of twelve played violin at the Teatro Principal. Five years later he was already opera and zarzuela performances in the city but after receiving a scholarship, left to complete his schooling at the Paris Conservatoire. Under the highly popular composer Delphin Alard, he won the First Prize for Harmony and Counter - point—defeating Claude Debussy, one of the most famous French composers of all time! In 1885 he became the conductor of the Teatro Apolo, later moving to the Teatro de la Zarzuela, and the Teatro Lírico. Not only did he write many zarzuelas, Giménez also wrote symphonic and cham - 15 ber works. He conducted his own pieces at Unión Musical Espagñola and the Sociedad de Conciertos. His best stage works date from relatively early in his career and include Trafalgar (1890) and Los voluntarios (1893). He found true fame with three works—the twin sainetes (comic operas) El baile de Luis Alonso and La Boda de Luis Alonso (1896/7), and his masterpiece La Tempranica (1900). The music of La Tempranica is featured in Bear Hug/Abrazo de oso! Unfortunately, success did not follow Giménez throughout his life and his later works fell flat. He experienced financial problems and ill health and was refused a professo - rial chair at the Madrid Conservatory very near the end of his life. He died in near-poverty in Madrid on February 19, 1923.

Manuel de Falla (1876 –1946)

Manuel de Falla was perhaps the most distinguished Spanish composer of the early 20th century. He was able to capture poetry and great pas - sion while representing the very spirit of Spain. Falla took piano les - sons from his mother and later went to Madrid to continue studying piano and composition with Felipe Pedrell, who inspired him with his own love for early Spanish church music, folk music, and native opera (zarzuela). In 1905, Falla won two prizes, one for piano performance and the other for his opera (first performed in Nice, France, in 1913). In 1907 he moved to Paris where he met Claude Debussy, Paul Dukas, and Maurice Ravel and published his first piano pieces and songs. These three important composers greatly influenced his own orchestral writing. In 1914 he returned to Madrid, where he wrote the music for a , (Love, the Ma - gician, 1915). He was encouraged to write more ballet music by setting Léonide Massine’s El sombrero de tres picos (The Three-Cornered Hat, 1919). He also wrote a collection of short pieces for piano and orches - tra, Noches en los jardines de España (Nights in the Gardens of Spain, 1916), which showed great creativity and made him an international star as a leading Spanish composer. Falla eventually retired to Granada, where in 1922 he organized a folk music festival (cante hondo) and even composed a puppet opera, El retablo de Maese Pedro! Falla was successful in his lifetime and was in - fluenced by many other great composers of the day—not only Debussy and Ravel but also Igor Stravin - sky (composer of The Rite of Spring and The Firebird)! These cutting-edge composers steered Falla’s style to Neoclassical (modern music of the day) instead of the more easily understood Romantic style. Even so, his pieces still kept the flavor of Spanish culture. Though he never married or had children, his legacy lives on and his picture has even appeared on Spanish money! Ruperto Chapí (1851 –1909)

Ruperto Chapí y Lorente was born on March 27th, 1851 in Villena, Spain. As a true Valencian, Chapí was soon involved in band music, both as a piccolo player and by the age of nine, as a composer and arranger! His first zarzuela, La estrella del bosque, was written when he was only fifteen. The same year, he conducted the Alicante town band! Later, he left for Madrid to join the Conservatory, winning the First Prize in composition in 1872. As a young man he earned money from the Teatro Real who performed his opera Las naves de Cortés (1874). The performance starred the great tenor Tamberlick who drew a large crowd, helping to spotlight

16 Chapí’s work. After this success, he was awarded a scholarship to the Paris Conservatoire where he was determined to compose more serious pieces rather than write for military bands. He wrote another opera in Madrid in 1878, La hija de Jefté, which was well liked and had been performed at the Teatro Real two years earlier. He enjoyed a successful career until he was taken ill in 1909 during a production of his opera Margarita la tornera that he, himself was conducting. He died shortly after, two days before his fifty-eighth birthday.

Amadeo Vives (1871 –1932)

Born in Collbató, Spain on November 18, 1871, Amadeo Vives studied as a child with Felipe Pedrell, one of the most famous composers of 20th Century Spanish music. His studies took him to Barcelona where he helped found the influential Orféo Catalá (1891), marking a time of great success for Catalonia's musical history. The Orféo Catalá was a vocal that strove to spread both local and national awareness. This prestigious choir still performs today! Soon after, he moved to Madrid where he lived the rest of his life. There he first published a series of concert works and much-loved choral songs. L’emigrant (1894) was so influential it was used as a call-to-arms for Catalan exiles around the world! Later, he focused his writing on zarzuela which is what he later became known for. Vives had many other interests and once wrote a successful play (non-musical) called Jo no sabia que el món era així (1929). His dream was to become an orchestral composer though many say he may have lacked the con - fidence to try. In fact, there is a book, Sofia (1923), which describes his troubles and frustrations. He never wanted to be known only for writing zarzuela though his success was great and he was well loved in his country. In fact, when Vives died on December 1, 1932, a Parliamentary session was canceled so the public could attend his funeral. He remains one of the most beloved composers of many Spaniards today. José Serrano (1873 –1941)

José Serrano Simeón was born in Sueca, Valencia, on October 14, 1873. His father was a conductor of the town band and first to teach José music lessons. The young boy was very accomplished at both the vio - lin and guitar by the time he was twelve. As with many talented Span - ish composers, he moved to Madrid to study music but wasn’t happy there and returned home. Soon after, he worked as an assistant to another successful Spanish composer, Manuel Fernández Caballero. Caballero was blind and depended on Serrano to help write out his manu - scripts. He was even given the opportunity to help with the scoring (when a composer chooses which instrument to play each part) of a very popular zarzuela called Gigantes y Cabezudos. He later wrote of his experience with Caballero in the musical journal El Salonillo. This op - portunity led to another when the popular Alvarez Quintero brothers asked him to write music to their play, El motete. He agreed to work with the famous brothers and wrote such a wonderful zarzuela, he re - mained a working, successful composer the rest of his life. His most famous works include La dolorosa (Lady of the Sorrows) and La canción del olvido (The Song of Forgetting) . He wrote over 50 zarzuelas total by the time he died at the age of 67 in Madrid!

17 Science

The Nature of Bear Hug/Abrazo de oso! All about bears

There are many different kinds of bears in the world and four are characterized in Bear Hug/Abrazo de oso! What are the differences between them? How are they the same? Research Polly (panda bear), Marla (koala bear), Griff (grizzly bear) and Bernardo (Spanish brown bear). Are there even more bears than these? What other bear exhibit might be in the zoo? Is a Cantabrian bear the same as a Spanish brown bear?

Research the climate and natural habitats of the bears in Bear Hug/Abrazo de oso! The four bears in Bear Hug/Abrazo de oso! include a koala, panda, Spanish brown bear, and grizzly. Where are their natural habi - tats? What is the weather like? What kinds of plants grow there? Do they eat meat? What countries are they originally from?

Read the article below about operatic voices. Explore the parts of the body that are used for singing. (K-3:SC GLE 107.1.2)

Opera Singing and the Body Characteristics of a Trained Operatic Voice

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 operatic music became more complex. 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 (to be heard without a microphone!)

18 Training

Very few people are born with the ability to sing like an opera singer naturally. Classical singers take voice lessons 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 concept applies when we talk or sing. The sounds we make are really just the vibra - tion 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 typically between 12 and 17mm in adults—only about ½ and Illustration © Mayo Foundation for Medical Education and Research inch long! Open vocal chord 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 vibrate, 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 chords are nearly always longer than Closed vocal chord women’s! The rest of the body

The vocal chords are only a small component of a larger machine 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 relaxed (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. 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, diaphragm 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 di - aphragm (a bowl-shaped muscle below the lungs) to move down. As the di - aphragm descends, the viscera (stomach, intestines and other organs) are Breathing in forced down and out. Singers describe this feeling as “fatness in the low stom - ach” 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 Breathing out

19 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.

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 bottom to the top. Notice your stomach pushing out and your waist and chest expanding. Ex - hale slowly and audibly, 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 tone. Singers achieve this by lifting their “soft Hard Soft palate palate.” This is a part of the mouth that most people don’t ever palate think about and it can be difficult to isolate. Here are some sim - ple 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 referred 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, techni - cally, a consistent 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

Without getting too technical, the head voice is the higher register, which is achieved by tapping into the resonance in the sinus cavities. It’s called the head voice because you literally feel like your voice is com - ing 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.

A 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 dif - ferences 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 con - siderably, 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-classi - cal 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 nor - mally. A long phrase might warrant a big breath, but studying the placement and movement of one’s in - ternal 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, conver - sational style, with little physical effort. Opera singers, however, depend on the acoustics of the per - formance space and their ability to project their voices naturally to be heard. Microphones are rarely used in operatic performances.

How Sound Is Heard

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

Middle ear

Inner ear

Outer ear

Ear drum Eustachian tube Ear canal 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.

22 A Singer’s Body Nasal cavity

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

23 Math

Creative Math Problems Teach students about money using word problems based on the show. (K-4:MA GLE106.1.4,306.1.3) For example: Marla ate two eucalyptus plants today and five times that yesterday. Over these two days, how many plants did she eat? Count the cost How much money do you think it would take to run an opera company? Consider things like singers’ and musicians’ salaries, costumes, administrative staff, computers, rehearsal and performance space. See “The Cost of an Opera” below for a list of operatic expenses. (K-4:MA GLE 106.1.1, MA GLE 106.1.7) Calculate the size of the set. As a class, measure the space where the performance of Bear Hug/Abrazo de oso! will happen. Calculate the correct dimensions of the space and decide how big the set should be. Our set is 8 feet tall and twenty feet wide! Is there enough room for the entire set? (K-4:MA GLE 106.4.6, MA GLE 106.4.5, MA GLE 106.4.1) It All Adds Up! (Math) Math and music are very similar. Simple math connections can be made (e.g., 4 quarters = 1 whole dol - lar…4 quarter notes = 1 whole note. 1 half note + 1 half note = 1 whole note). (K-4:MA GLE 106.2.3, 106.1.7, 106.1.4; K-4:MU 5a)

24 The Cost of an Opera

Sets and Costumes

Rental of costumes ...... $12,000 Shipping for costumes ...... $300 Costume mistress fee ...... $2,500 Fee for wig and make-up artists ...... $3,500 Rental of wigs and make-up ...... $3,500 Shipping of all wigs ...... $200 Rental of scenery ...... $12,000 Shipping of scenery ...... $7,000 Performers

Airfare for singers, conductor and lighting designer ...... $350 x 8 = $2,800 Performance fee for one principal singer° ...... 10,000 x 3 = $30,000 Performance fee for one secondary singers° ...... $2,000 x 3 = $6,000 Rental car for two principal or secondary singers° ...... $200 x 3 = $600 Costume for principal singers° ...... $250 x 3 = $750 Housing for one principal or secondary singer° ...... $900 x 6 = $5,400 Performance fee for one chorus members° ...... $375X30=$11,250 Performance fee for one supernumerary° ...... $100 x 10 = $1,000 Performance fee for ballet dancers ...... $2,000 Rehearsal accompanist fee ...... $3,000 Per-performance fee for conductor ...... $5,000 Performance fee for orchestra ...... $50,000 ° There are an average of 3 principals, 3 secondary singers 30 chorus members, and 10 supers in one production. Production Crew

Director’s fee ...... $5,000 Choreographer’s fee ...... $500 Fee for lighting engineer ...... $1,500 Prop Master’s fee ...... $1,800 Stage crew ...... $20,000 Facility and Technical Cost of lighting and special effects ...... $600 Rental or purchase of props ...... $1,000 Translation and operation of supertitles ...... $2,000 Rental of performance space for one day ...... $1,000 Rental of orchestra music ...... $1,000 Fee for ushers ...... $1,800

Total Cost for one Operatic Production ...... $195,000 25 Visual Arts

Let’s see it! Visual elements in opera Opera isn’t just music. It incorporates all the arts, especially visual art. Have students list the visual ele - ments of an opera or play (e.g. set, costumes, props, makeup). Discuss how these things can be consid - ered “art.” (K-4:VA 2a, 2c, 6a; K-4:TH 6a)

Imagine and draw what the set could look like. Have students draw pictures of what they think the set might look like. Is it an ordinary zoo? What other kinds of animals live there? Are there plants? What kinds of exhibits? Mystical creatures? (K-4:VA 1c, 1d, 2c; K-4:TH 2a, 3a)

Have the students draw pictures of what they think a typical opera singer looks like. Are they short/tall? Thin/overweight? Do they all wear the horns on their heads? Compare the students’ draw - ings with the real photos and get their reactions to what opera stars really look like. (K-4:VA 1c, 1d; K- 4:MU9d)

Left: Baritone Conor McDonald as the Dragon in Nashville Opera’s THE ENCHANTED FOREST, 2018. Right: A student’s artistic interpretation of the scene 26 Activity: Make Your Own !

What You Need

• Cardboard • Safety scissors • 4 bottle caps • A hammer • Superglue • Glitter, markers, other decorations

What To Do

1. Teachers, being careful to keep your students’ fingers out of your workspace, flatten the bottle caps slightly with a hammer.

2. Draw two wide strips with rounded edges onto the cardboard and allow your child to cut them out using the safety scissors. Fold each in half, so they look like duck bills.

3. Taking over duties, put a dab of glue on the jagged edge (the bottom) of each bottle cap. Glue one to the top and one to the bottom of the inside of each piece of cardboard so the bottle caps meet when you close the cardboard duck bills. Let dry.

4. Encourage your students to decorate the castanets however they like. Let dry.

5. Hand your students the castanets and show them how to press the upper and lower pieces of card - board together so the bottle caps meet and click.

6. Have them position one castanet in each hand and encourage them to create an upbeat rhythm or, if they like, an entire song!

7. Play your castanets to the music of Bear Hug/Abrazo de oso by listening to the excerpts on the Nashville Opera website at: nashvilleopera.org/for-teachers

Fun Fact

Castanets are a favorite instrument of the Spanish culture. The opera Carmen by Bizet is one of the most famous and beloved operas ever written. The leading lady (and mezzo soprano) portraying Car - men often has to play castanets, sing, and dance at the same time during the performance!

27 Theatre and Movement

How do you create believable characters?

Creating a believable character takes more than just putting on a costume and walking on stage. Talk with students about how each character in Bear Hug/Abrazo de oso might move. Read a little about the four different bears (Spanish brown bear, panda, grizzly, and koala (which is actually a marsupial!) and decide how each animal would move, walk, dance, sing, etc. What parts of the body should be altered to match each character? How would a grizzly move compared to a koala? Would it be different than the zookeeper in the story? Have students practice changing their bodies to become different characters and animals. (K-4:MU 6e; K-4:TH 2b, 6c, 7a; K-4:DA 1) Incorporating dance into an opera.

Many operas have dancing incorporated into the action of the plot. For example, in Hansel and Gretel, the children make up a dance while they're doing their chores. Where might dance fit into the plot of Bear Hug/Abrazo de oso? Would Polly, Bernardo, and Marla dance along to the music of the “Tarántula Trio”? Read more about “La Tarántula” on pg. 10 to find out how dance is already a part of the original song. Zarzuelas are famous for having dance incorporated into the performances! You can see fandan - gos, tonadillas and habaneras—are wonderful styles of Spanish dance. (K-4:DA 2b, 5a, 7a) Examine how movement helps tell the story.

Performers must be able to react to one another during a performance, even if it’s not their turn to sing. Pair up students and instruct one to mirror the other’s movements slowly, without speaking or giggling. Upon your signal, have the students switch roles from leader to follower. (K-4:DA 2e, 2f) See how movement makes a scene more convincing.

Good actors use their entire bodies to portray a character. Have students read the scene below, standing completely still and with no facial ex - pression at all. Experiment with physical ways to make the acting more realistic. Remember, when you’re on a big stage, all gestures must be exaggerated for the audience to see them from far away. While one group of students acts out the scene, allow the other students in the audi - ence to critique their performance, offering suggestions on gestures and appropriate move - ments. (K-4:DA 1d, 1g; K-4:TH 2b, 2c 4, 6c, 7a, 7c)

28 Cast and Act Out a Scene

“Lost Keys and Grizzly Bears” excerpts from Scene III and IV of Bear Hug/Abrazo de oso! Setting – a Zoo

Bernardo meets Marla and along with Polly finds a key to unlock a nearby exhibit and explore. As they open the door, they run directly in to Griff the Grizzly!

Polly: {to Marla} This is Bernardo. I think he’s a Spanish brown bear. They’re almost extinct and he’s new to the bear exhibit. I’ve been reading up on him in my bear books and I’m afraid he may be the last one…I’m not sure how to tell him, so we’ve just been playing charades and tag instead.

Marla: {sarcastically} Well, that sounds logical… It would be unbearable to think you don’t have any family left…{to Bernardo} I’m Marla!

Bernardo: {suavely} Hola. Yo soy Bernardo…solo Bernardo…

Polly: Sheesh! This guy thinks he’s hot like “Smokey the Bear,” but he’s really more of a “Fozzie.”

Marla: Ok, Ok! Enough, Casanova! We barely know each other.

Polly: I’m still looking for a key out of our exhibit. I’ve always wondered what was on the other side of the zoo. Will you help us search?

Marla: What if the exhibit next door is something scary? Like a lion or a tiger or…

Polly: A bear? Oh, my!

Marla: Yeah! Like a grizzly bear… or just as bad… a tarantula!

Bernardo: Tarántula???!!!

Marla: Well, our habitat IS pretty close to the insect exhibit… {Bernardo leads the bears in a chase around the stage as if they are fleeing from a tarantula spider.}

{Before the scene ends, have your students write lyrics to a song or a rap to create an alternate version of the “Tarántula Trio” which is sung directly after this scene. What would their version sound like? Are they afraid? Courageous? In the original song, to escape the effects of a spider bite, you have to dance. What kind of dance would they incorporate in their song? You can even listen to part of the “Tarántula Trio” on the Nashville Opera website which is the piece of music sung directly after this scene.

29 Social Studies

Once Upon a Time (History)

Find out how Spain and America fit into the history of the world. Which country has been established the longest? Have either of these two countries ever been involved with any wars together? (K-3:SS 1.03, 5.0, 6.0; 4:SS 1.0, 5.0)

Opera stars aren’t just known for their artistry. A few have made a real difference in the cul - tural and social landscape of America. Visit www.nps.gov/linc/symbol/anderson.htm to read about African American , Mar - ian Anderson, and her historical 1939 concert on the steps of the Lincoln Memorial for an integrated audience of more than 75,000 peo - ple. This landmark performance was 24 years before Martin Luther King’s March on Wash - ington! (K-3:SS 1.03, 5.0, 6.0; 4:SS 1.0, 6.0)

Spanish opera stars! Some of the most beloved opera singers in history (and today) are Spanish! These include Plácido Domingo, José Carreras, Montserrat Caballé, Victoria de los Ángeles, and Andrea Bocelli! Have stu - dents write a biography about one of these singers and find out how they contributed to opera and classical music across the world! (K-3:SS 1.03, 5.0, 6.0; 4:SS 1.0, 6.0)

Left: Marian Anderson sings at the Lincoln Memorial.

Below: José Carreras, Montserrat Caballé, Andrea Bocelli, Victoria de los Ángeles, and Plácido Domingo

30 Real-Life Application of Opera

When I grow up… (Careers in Opera)

What industries might be connected to opera? (e.g., The electric company supplies opera companies with energy to run lights and super-titles during a performances; the fabric industry provides companies with material to make costumes; the travel industry provides singers, conductors, and musicians with transportation to and from the city in which the company is located.) What do you want to do when you grow up, and how would that career support the arts? What do your parents do? Could they support the arts through their jobs? (K-4:MU 8b)

Opera wouldn’t exist without two very important people: the composer, who writes the music, and the librettist, who writes the words. Sometimes one person does both jobs. Most of the time, the words to an opera (or the ) are written before the music, but in some cases, the music comes first. Place students in librettist/composer teams. Try creating a 2–3-minute opera using both the words-then-music method and the music-then-words method. Another option would be to use existing materials for either the libretto (nursery rhyme) or the music (popular song) and go from there. Discuss the difficulties en - countered in each method. (K-4:MU 4)

Visual artists have a role, too. Opera companies must advertise their performances if they want people to come. The Art Department has the task of creating printed materials that are interesting enough to catch peoples’ attention. Have students create posters for the upcoming performance of Bear Hug/Abrazo de oso! Experiment with different colors and pictures to make the most interesting advertis - ing materials possible. (K-4:VA 1,2,3,5,6)

How do opera companies pay for their productions? They have sponsors. A sponsor can be an individ - ual who donates money to the opera or a corporation like a bank or a grocery store. The Development Department writes letters to many people and companies asking for donations. Wording a letter like this can be difficult. Have students try writing such a letter to a local business. (K-4:LA 2.01,2.02, 2.03, 2.04, 2.05, 2.08, 2.09, 2.11. 3.0)

31 A Short History of Opera

Baroque Period (1600 –1725)

In the early 17th century, a group called the Florentine Camerata began meeting to discuss 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 ancient 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 experi - ment with their own variations of opera. By the 18th century, the model of 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 fol - lowed 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 ornamentations (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 spotlight moved toward the drama. The story-lines also became more accessible to the general pub - lic. Comic operas, or as they were called in Italy, became very popular throughout Europe. The most important figure in the Classical Period of opera is Wolfgang Amadeus Mozart. 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 em - ployed as resident artists in a church or in someone’s household. This meant that they were obligated to write whatever music their employer demanded. Al - though 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 Mozart reflected the new ideas that were circulating through Europe at that time. In his opera

32 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 banned in France because of its bold statement regarding social classes. (It was only nine 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; Orfeo ed Euridice 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 national - ity 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 op - eras can be either serious or comic as long as they highlight the voice with beautiful melodies and impressive vocal passages.

Verdi The bel canto composers paved the way for the most prolific Italian opera composer, Giuseppe Verdi. Verdi broke down the walls between 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 realism in opera. This was called . 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: The Barber of Seville by Gioachino Rossini; Lucia di Lammermoor by Gaetano Donizetti; La Traviata by Giuseppe Verdi; La Bohème by Giacomo Puccini; Norma by Vincenzo Bellini. 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 dif - fered 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 sec - ond half of the 19th century, Richard Wagner created the concept of gesamtkunst - werk [guh-sahmt-koontz-vairk], which means “total art work.” He believed 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 designed 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 or - chestra and even developed a new instrument called the Wagner tuba, which had a Wagner rich, mellow tone. Only very large voices can be heard over his expanded orchestra.

33 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.

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 were prominent: • opera comique- usually comic with spoken dialogue instead of recitative • - popular in the second part of the nineteenth century when composer Giacomo Meyerbeer came on the scene. Grand Opera was built around grandiose plots and used a large chorus and elaborate sets. Gounod • drama lyrique- a combination of opera comique and grand opera. Key operas of French Romantic Style: The Tales of Hoffmann by Jacques Offenbach; Roméo et Juliette by Charles Gounod; Carmen by Georges Bizet

Spanish Romantic Opera and Zarzuela

Spanish opera developed in the shadows of Spanish drama and was highly influenced by Italian, Ger - man, 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 spo - ken and sung dialogue, known as zarzuela, as early as the 17th century. Also developed around this time was the tonadilla, a shorter form of zarzuela that told the humorous, down-to-earth stories of the com - mon 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 nationalistic 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 com - posers wrote operas based upon the tales and dramas of Russian poet Alexander Pushkin. Glinka’s Ludmilla and Dvo řák’s Rusalka are two of these Pushkin-inspired Mussorgsky operas. However, it is Mussorgsky’s Boris Godunov, also based on Pushkin that is consid - ered to be Russia’s greatest operatic masterpiece. Glinka, as one of Russia’s most noted Romantic com - posers, 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

34 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 Korsakov.

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 basically original texts set to popular tunes. During the 18th century, companies were per - forming 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 versions 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 Metropoli - tan Opera Company opened its doors. Today, the Met is recognized internationally 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 com - posers 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 expansive 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 Is - land became the first opera written by an African-American composer Copland to be produced by a major . Composers like Gian Carlo Menotti and Carlisle Floyd have continued to write popular works that have a dis - tinctly American sound. New operas are often based on American history (John Adams’ Nixon in China) or American literature (Ricky Ian Gordon’s The Grapes of Wrath), offering familiar plots for new audi - ences. 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.

35 Art and Essay Contests

Attention, young artists and writers!

If you win one of these fun contests, you could be published on the Nashville Opera website! Winners will also be awarded gift cards from Barnes and Noble!

Essay Contest

Write an essay entitled, “Why I Love Opera.” Include something that surprised you. Was the opera different that you expected? Had you ever seen an opera before? Those interested are encouraged to submit a 50-word essay on the topic. Please print your essay legibly on the following page.

Art Contest

Draw your favorite scene from the opera. Those interested are encouraged to submit an original drawing of a favorite scene from Nashville Opera’s performance of Bear Hug/Abrazo de oso! Please do not send artwork larger than 10”x13”.

Important Note:

Teachers please check to be sure the following information is on the back of the essay or illustration: Student’s name, Grade, Teacher, Age and School.

All entries will be accepted and reviewed at this address:

Nashville Opera Art and Essay Contest Attn: Anna Young Noah Liff Opera Center 3622 Redmon Street Nashville, TN 37209

Entry Deadline: April 12, 2019

36 Why I Love Opera!

Name Grade School

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