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Opera Glasses The Barber of A resource for teachers Bringing into the classroom KS2 & KS3 Opera Glasses is supported by The Gibbs Charitable Trust A resource for teachers 2

Contents

Opera Glasses: Bringing opera into the classroom aims to bring opera into the classroom through free Chapter One dress rehearsal tickets, workshops for pupils and The Barber of Seville this teachers’ resource. This resource contains some preparatory information to explore The Barber of Seville 1 Key characters with your pupils before you come to see the dress 2 A quick overview rehearsal. You will find creative activities to get your pupils listening and appraising, links to English and 3 Detailed synopsis Maths, and handy lesson plans that you can use to 4 The work through the opera with your pupils. All activities reflect the key objectives of the Key Stage 2 & 3 5 The music National Curriculum for Music. You can find the extracts of music suggested on internet based free to play sites such as spotify, grooveshark, last fm etc. Chapter Two Making an opera The Barber of Seville will be performed in English with surtitles in English and Welsh. 1 How to make an opera (photocopiable sheet) 2 Tips to help follow an opera The running time is approximately 2 hours 50 minutes including one interval. Chapter Three Storytelling 1 Link to English, key themes 2 KS2 Lesson Plan / KS3 Lesson Plan

Teachers’ Pack written by Sarah ap Ian-Evans The Barber of Seville A resource for teachers Welsh National Opera 3

Chapter One Key characters

Count Almaviva Figaro Rosina Dr Bartolo / A young Spanish / A barber and Mezzo / A young girl / Rosina’s Guardian nobleman matchmaker

Other characters Fiorello Bass / Servant to Count Almaviva Ambrogio Tenor / Servant to Dr Bartolo Officer Bass Notary Tenor

Don Basilio Berta Bass / Singing teacher Soprano / Housekeeper to Dr Bartolo A quick overview

The opera takes place in 18th century Seville, Spain. Don Alonso, a music teacher, substituting in place of The young and beautiful Rosina is under guardianship of the ‘ill’ Don Basilio. However, Basilio appears, and so Dr Bartolo. Count Almaviva, disguised as a poor student, Figaro bribes him to feign illness, and he leaves. is smitten with Rosina, but is frustrated by Dr Bartolo, But, Bartolo is suspicious and the plan fails. Basilio, who keeps her secluded. Dr Bartolo plans to marry along with Dr Bartolo’s notary, arrives to perform the Rosina in order to secure her dowry. The Count meets wedding between Bartolo and Rosina. At the point of Figaro: a barber and matchmaker. Figaro hatches a a gun, the notary is forced to substitute the Count’s plan for the Count to enter Dr Bartolo’s house and meet name on the marriage contract: Rosina and the Count Rosina. The Count, disguised as a soldier, arrives are married. Although seething at his loss, Dr Bartolo at Bartolo’s house looking for a bed for the night. is content that he does not have to give a dowry. He is turned away. The next day disguises himself as The Barber of Seville A resource for teachers Welsh National Opera 4

Detailed synopsis

Act I Act II The plaza in front of Dr Bartolo’s house, just before Dr Bartolo’s house the next day. Dr Bartolo has a visit dawn. Count Almaviva, (disguised as poor student, from Don Alonso, pupil of Basilio (Almaviva in disguise Lindoro) attempts to serenade Rosina with the help again!). He has come to give Rosina her music lesson of Fiorello, the servant, and a group of musicians. in substitute for the ‘ill’ Basilio. However, Rosina is locked away in Dr Bartolo’s house and does not appear. In fact he is grooming her into the Figaro arrives to shave Bartolo, (and to steal Bartolo’s perfect bride and plans to marry her that very day. The keys). Then Basilio himself enters – in perfect health! cacophony of musicians wake up the neighbour, Figaro Figaro persuades him that he has a fever and that he – barber and matchmaker. Count Almaviva recognises should go off to bed at once. At last Dr Bartolo can be Figaro and quickly confides in him his love for Rosina shaved, but the two lovers can be overheard plotting and asks for Figaro’s help. Figaro puts together a plan; their elopement. Dr Bartolo and Basilio realise that the Count must dress up as a soldier so that he can Don Alonso was none other than the Count. When get into Dr Bartolo’s house. Figaro sets about his task Dr Bartolo shows Rosina the letter she had written to and gives Rosina a few more details about Lindoro (the Lindoro, (who must have passed it to Count Almaviva), disguised Count Almaviva) and suggests that she writes she is overwhelmed by the betrayal and agrees to him a letter. However, Dr Bartolo does not miss a trick marry Dr Bartolo. and suspiciously asks: why is there ink on her finger and where has all the paper gone? A knock at the door There is a thunderstorm, after which Figaro and the announces the arrival of a drunken soldier after a bed Count enter the house by the balcony window. Rosina for the night. Dr Bartolo tries to turn the disguised Count wants them to leave, but when they explain to her that away and a frenzy of mayhem breaks out, in the midst Lindoro and Count Almaviva are the same person the of which the Count attempts to slip Rosina a letter. Basilio lovers are reunited and bid to escape…but the ladder and Figaro try to prevent the outburst but the law are has gone from the balcony. All seems lost when Basilio called and the Count is forced to reveal his true rank. arrives with the notary. But ingenuity triumphs and the notary is quickly pressed into service, with Basilio as a well-paid witness. Dr Bartolo returns too late, but he accepts the marriage when he hears he won’t have to give a dowry! The Barber of Seville A resource for teachers Welsh National Opera 5

The libretto and music

The libretto The libretto of the opera is written by but is based on a story with the same title by . It is part of a trilogy of literary works, Le Barbier de Séville, ou La Précaution Inutile (The Barber of Seville, or The Useless Precaution) (1775), Le Marriage de Figaro, ou La folle Journée (, or the Day of Craziness) (1784) and La Mère Coupable () (1784).

The story of The Barber of Seville reflected the 18th century growing dissatisfaction with the ruling class and nobility in the years preceding the . It centres on the colourful Figaro, a barber and jack-of-all-trades, whose ingenuity serves as the symbol of class revolt against the aristocracy.

The music , 1792 – 1868, was the most important composer of his time, composing the Cinderella and The Barber of Seville. He was born in Italy in 1792 and by the age of 30 had written over 30 operas. Rossini did not fit into the conventional picture of the starving composer and few composers in their lifetimes ever enjoyed such phenomenal success as he did. His 39th and last opera, Guillaume Tell () (with its made famous as the theme for The Lone Ranger), was written when he was 37.

The Barber of Seville is a – light and humourous with a happy ending.

Quirky fact: Rossini used to boast “Give me a laundry list and I will set it to music”. The Barber of Seville A resource for teachers Welsh National Opera 6

Chapter Two How to make an opera

Which opera would you like to perform?

Have a listen

Who is going to Read the libretto & music score come and see my wonderful opera?

I need a creative team to What do I want it to look like? create an original production

Find a director Find a designer Find a conductor

Who will perform the opera? Share a vision

Auditions Create a model box of the set design Cast of singers 20 female 20 male Orchestra choristers choristers Costume design drawings & buy fabric How will they learn the music?

Make the costumes Make the props Build the set Rehearsals for cast, chorus and orchestra

Sitzprobe - a ‘sitting rehearsal’of singers, chorus & orchestra

How will they know how to act? Better do some marketing Set built in a rehearsal room Set carpenter Director runs production rehearsals Set painter Design posters & leaflets Set moved to stage Distribute posters Tell the press, & leaflets Opera company rehearse on the stage Sell tickets newspapers, tv, radio & web Dress rehearsals

Opening night Tour – lets show the rest of the country what we’ve done! The Barber of Seville A resource for teachers Welsh National Opera 7

Tips to help follow an opera

Bringing your pupils to see a dress rehearsal How to help your pupils follow the opera Let your class know that coming to see the dress By working through the lesson plan at the end of rehearsal of an opera is like any other trip to the this pack, we hope that your pupils will have an theatre. Please bear in mind… understanding of the key characters and plot of the opera. It is helpful to give your pupils useful signposts • That they must stay seated throughout the to each scene, so that they know where they are in the performance. There will be one interval for eating, plot and to encourage them to listen to extracts of the drinking and using the toilets. music before they come. • Encourage your pupils to listen carefully to the opera, talking is inappropriate and is off putting for the Encourage your pupils to critique the opera performers and other audience members. including the music as performed by the orchestra, • Applause is encouraged. the music as performed by the vocalists (either in groups or individually), the sets, the staging and the • It is a dress rehearsal so the conductor may stop directing. at any time for corrections. • Please remember to turn all mobile phones off. Which parts of the opera did they like or not like?  Did they like the way the singer portrayed the character? What do they think would have been stronger/funnier/better, if it had been written differently? The Barber of Seville A resource for teachers Welsh National Opera 8

Chapter Three Storytelling

Key Pupil Objectives Additional Task Pupil Objectives • To become familiar with the opera • To analyse the key characters’ traits and features • To become familiar with the music • To listen to the aria ‘’ and discuss how this illustrates his character’s traits • To become familiar with the plot • To learn about the relationships between characters • To understand the key characters and their role • To discuss whether characters’ actions are credible or contrived

Starters Overture: • Introduce your class to the Opera Glasses project. There are no themes from the opera in the overture; however the liveliness of the music makes it an • Discuss with your class what they already know appropriate start. It was customary at the time to about opera and if they have any questions. begin with a loud chord to let the audience know that the opera is starting. Example

What do we Key Vocabulary Questions Largo al factotum: already know This is an aria sung at the first entrance of Figaro. There is music Music, opera What is special about It is well known and noted as one of the most difficult in an opera the operatic style of baritone arias to perform due to the allegro vivace singing? tempo and constant singing of triplets.

It can be difficult Languages Why is opera often to understand performed in the Working in small groups, ask your class to choose language in which one key character and to outline the plot from their it was originally perspective. written? • What are the character’s key qualities? • How do the character’s actions reflect their traits? • Give each pupil a photocopy of the ‘How to make • How does the character feel? an opera’ sheet and discuss with them the different stages and people involved in putting together • How do others react to the character? an opera. • The plot of this opera depends on the characters rank or social status. The chief male characters are a count, a doctor, a music teacher and a barber. What would Main Task (Chapter One as reference material) have been their place in the 18th century? • Create with your class a ‘key characters’ chart and discuss the plot of The Barber of Seville. • Discuss with your class the composer, Rossini and the definition of a comic opera. • Play to the class some extracts from the opera. The Barber of Seville A resource for teachers Welsh National Opera 9

Additional tasks

Credible or Contrived? • Analyse whether both characters and plot are credible, are they believable, or is it contrived? • Are the plot and characters realistic or are they a work of fantasy fiction?

Credibility discussions – give your class the following plot scenarios to discuss. Are they credible? • A man tries to seek the affections of a woman, how does he do it? • A man tries to force a woman to marry him, how does he do it? • A matchmaker wants to help a friend gain the affections of a woman, how does he do it? The Barber of Seville A resource for teachers Welsh National Opera 10

‘Largo al Factotum’ an insight into the character Figaro

The Barber of Seville is an ‘’ or comic opera. Typically these types of opera focus on everyday characters rather than heroes, rulers and gods. However, in the aria ‘Largo al factotum’, Rossini elevates Figaro, the barber and matchmaker, to hero status. The music and lyrics tell the audience everything they need to know about this superstar.

Italian English • Describe the musical elements on the aria. Largo al factotum della città. Make way for the factotum of the city, Presto a bottega che l’alba è già. Hurrying to his shop since dawn is already here. • What imagery comes to mind when Ah, che bel vivere, che bel piacere Ah, what a fine life, what fine pleasure listening to the opera? per un barbiere di qualità! di qualità! For a barber of quality! Ah, bravo Figaro! Ah, bravo Figaro! • What does the music tell you about Figaro? Bravo, bravissimo! Bravo, bravissimo! Fortunatissimo per verità! A most fortunate man indeed! • How does he describe life as the Pronto a far tutto, Ready to do everything barber of Seville? la notte e il giorno Night and day, sempre d’intorno in giro sta. Always on the move. • How does he describe himself? Miglior cuccagna per un barbiere, A cushier fate for a barber, vita più nobile, no, non si da. A more noble life, is not to be had. • Based on the lyrics and musical Rasoi e pettini Razors and combs, elements, how would you lancette e forbici, Lancets and scissors, describe him? al mio comando At my command tutto qui sta. Everything’s there. V’è la risorsa, Here are the tools poi, del mestiere Of my trade colla donnetta... col cavaliere... With the ladies...with the gentlemen... Tutti mi chiedono, tutti mi vogliono, Everyone asks for me, everyone wants me, donne, ragazzi, vecchi, fanciulle: Ladies, young lads, old men, young girls: Qua la parrucca... Presto la barba... Here is the wig...the beard is ready... Qua la sanguigna... Here are the leeches... Presto il biglietto... The note is ready... Qua la parrucca, presto la barba, Here is the wig, the beard is ready, Presto il biglietto, ehi! The note is ready, hey! Figaro! Figaro! Figaro!, ecc. Figaro! Figaro! Figaro!, etc. Ahimè, che furia! Ah, what frenzy! Ahimè, che folla! Ah, what a crowd! Uno alla volta, per carità! One at a time, please! Ehi, Figaro! Son qua. Hey, Figaro! I’m here. Figaro qua, Figaro là, Figaro here, Figaro there, Figaro su, Figaro giù, Figaro up, Figaro down, Pronto prontissimo son come il fulmine: Swifter and swifter, I’m like a thunderbolt: sono il factotum della città. I’m the factotum of the city. Ah, bravo Figaro! Bravo, bravissimo; Ah, bravo Figaro! Bravo, bravissimo, a te fortuna non mancherà. You’ll never lack for luck!