Study Guide 2019-2020 Season

Home , Aida, Alzira (opera), Antonio Ghislanzoni, Attila (opera), Celeste Aida, Contralto

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Table of Contents

Thank you to our Generous Season Sponsors………………… 2 Cast Characters/Brief Summary……………………………….. 4 Full Plot Synopsis and Musical Highlights.……...…………..... 5 Historical Background...... 14 About the Composer: The Life of Verdi...... 16 Operas by Verdi…………………………………………………………. 17

New to Opera? Bringing a Student Group? Additional Resources: Preface & Objectives……………………………………………….. 18 What is Opera Anyway?…………………………………………..…….. 19 Opera in Not Alone!...... 19 Opera Terms……………………………………………...... 20 Where Did Opera Come From? ………………………………. 21 Why Do Opera Singers Sound Like That?...... 22 How Can I Become an Opera Singer?...... 22 Opera Singer Must-Haves……………………………………..... 23 How to Make an Opera………………………………………..... 24 Jobs in Opera………………………………………………………….. 25 Opera Etiquette………………………………………………...... 26 Discussion Questions……………………..…………………...... 27 Education and Outreach Sponsors…………………………………... 28

AIDA

Premiere

First performance on December 24, 1871, at the Khedivial Opera House in Cairo, Egypt.

Cast of Characters

AIDA ...... Soprano RADAMES, Captain of the Guard ...... Tenor AMNERIS, daughter of King of Egypt ...... Mezzo Soprano AMONASRO, King of Ethiopia, Aida’s father ...... ………………Baritone KING OF EGYPT ……… ...... Bass RAMFIS , Chief Priest…………………..…………………….……… ...... Bass THE HIGH PRIESTESS ………………………………………...... Soprano MESSENGER… ……………………………………………………...... Tenor Priests, priestesses, soldiers, prisoners ...... Chorus

Brief Summary

Egypt and Ethiopia are at war. Aida was captured and made a personal slave to Amneris, the daughter of Egypt’s king. No one knows Aida’s father is Ethiopia’s king. Aida loves Radames, a high-ranking Egyptian officer. Aida’s father, Amonasro, invades Egypt with his army and Radames is sent with Egyptian forces to oppose him. Aida is torn between her love for Radames and love for her people. Radames returns triumph with many prisoners, one of whom is Amonasro. The King of Egypt gives Amneris’ hand in marriage to Radames as a reward for his success. Amonasro, keeping his identity secret, seeks out Aida for help. Learning about her love for Radames he convinces her to trick Radames into revealing the Egyptian war plans. As Aida and Radames discuss their plan to run away together, they are overheard by Amneris who denounces Radames as a traitor. Aida and Amonasro escape, but Radames surrenders himself to the High Priest. Radames refuses to defend himself and is sentenced to death. After he is sealed in his tomb he realizes he is not alone. Aida has returned to die with him. They embrace and say their final farewells as the remorseful Amneris prays for their souls.

Full Plot Synopsis and Musical Highlights

Prelude

The opening music is a combination of two motifs. The first theme, appearing in the high strings, is chromatic and is associated with the character of Aida (Ex. 1).

Ex. 1

The second, driving and forceful, is contrapuntal in style. This theme represents the priests (Ex. 2). These two motifs denote the essential conflict of the opera: that of love and duty.

Ex. 2

Act I

To the strains of the prelude motifs, The Chief Priest Ramfis confides in Radames that the Ethiopians are again attacking Egypt and the Goddess Isis has named the commander of the Egyptian Army. After Ramfis departs, Radames expresses the hope that he will be the one named as the commander. He then sings of the woman he loves in the aria, “ Celeste Aida ” (Heavenly Aida) (Ex. 3). The vocal line has a characteristic ascending contour, as if striving to reach the heavens.

Ex. 3

Aida is an Ethiopian captive who is a slave to Amneris, the daughter of Egypt’s king. Radames is joined by Amneris who secretly loves him but is suspicious that he loves another. Her suspicions are represented by the sinuous nature of her melodic line (Ex. 4).

Ex. 4

Their duet, “ Quale insolita gioia nel suo sguardo ” (What joy in your visage), turns into a trio full of tension when Aida appears and it becomes clear to Amneris that Aida and Radames have feelings for one another.

Musical fanfares proclaim the arrival of the King of Egypt, Chief Priest Ramfis and courtiers. A messenger announces the news of Egypt’s invasion by the Ethiopian king Amonasro and his army. The King states that the goddess Isis has chosen Radames to command the army. All join in the hymn, “ Su, del Nilo ” (Guard the Nile) (Ex. 5).

Ex. 5

Amneris leads the crowd in crying out, “ Ritorna vincitor !” (Return as victor!), before the assemblage exits. Aida, left alone, reflects on the crowd’s words in a multi-section aria that echoes those fateful words. Plumbing the depths of her anguish, Aida contemplates her impossible situation. Amonasro is her father and Radames is her love. Who should be victorious? Her soliloquy culminates with a prayer, “ Numi, pieta ” (Gods have pity) (Ex. 6).

Ex. 6

The final scene of Act I is the formal investiture of Radames as Commander of the Army. The opening chorus, “ Possente Ptha !” (O mighty Ptha), is led by the solo voice of the High Priestess (Ex. 7).

Ex. 7

The lowered second of the vocal line and harmony suggest the Phrygian mode, lending the music an exotic color appropriate for an ancient religious rite. The use of solo harp as accompaniment is also a proxy for an ancient stringed instrument such as the lyre or something similar. A solemn tableau of chanting and dancing ensues as Radames is entrusted with the sacred sword. Ramfis entrusts Radames with the protection of the country and begins the “concertato ,” (concerted finale) of the act, “ Nume, custode e vindice ” (Great god and avenging power) (Ex. 8).

Ex. 8

Act II

The first scene of Act II takes place in the apartments of Amneris as she prepares for the triumphal return of the victorious Egyptian Army. Her attendants sing of Radames’ victory, “ Chi mai fra gli inni e i plausi ” (Our songs praise him) (Ex. 9), and Amneris sings a yearning response “Ah, vieni, vieni mio amor ” (Ah, come, my beloved) (Ex. 10).

Ex. 9

Ex. 10

The sequence is repeated three times. Aida enters and Amneris sympathizes with her feelings of loss due to the defeat of her countrymen. She also cunningly lays a trap for Aida to reveal her true feelings for Radames. Amneris implies that Radames has been killed. Aida’s reaction confirms Amneris’ suspicions. Aida cries out for mercy, “ Pieta ti prenda del mio dolor ” (Pity my sorrow) (Ex. 11).

Ex. 11

Amneris responds without pity, “ Trema, vil schiava ” (Tremble, vile slave) (Ex. 12).

Ex. 12

Fanfares are heard in the distance as the two women face off, their music sharply contrasting. With the chorus, the two women sing “Su! del Nilo al sacro lido ” (At the sacred shores of the Nile), then Amneris storms out leaving Aida with a reprise of her earlier plea to the Gods to have pity for her suffering (See Ex. 6 above).

The chorus “ Gloria al Egitto. ad Iside ” (Glory to Egypt, to Isis) greets the victorious army upon their return (Ex. 13).

Ex. 13

This great concerted scene features interludes for female singers and the contrapuntal melodic motif of the priests as the crowd gathers to greet the victors. A great interplay of trumpets is featured in the famous Triumphal March (Ex. 14).

Ex. 14

The march sequence is followed by a ballet in which exotic harmonies and instrumental colors are given a prominent role. Amneris places a laurel wreath on Radames’ head and the King tells him he may have anything he desires. Radames asks that the captured Ethiopian prisoners be brought in. Among them is Amonasro, Aida’s father and the king of the Ethiopians. Seeing him, Aida calls out, “ Che veggo! Egli? Mio padre ! (What do I see! He? My father!). He quickly cautions her to keep his identity secret. Amonasro leads the central section of the scene with a lengthy narrative describing the battle and then launching into a plea for clemency, “ Ma, tu Re, tu signore possente ” (But, you great King, most powerful) (Ex. 15).

Ex. 15

His voice is joined by the other Ethiopians and slaves. Over the priests’ objections Radames asks that the prisoners be freed. The King agrees with the exception of Aida and Amonasro, who will be kept as hostages. Then the King bestows on Radames the hand of Amneris in marriage. The act is brought to a jubilant close with the reprise of “ Gloria al Egitto ,” now in an extended form. The principal voices soar above the chorus, expressing their emotions at this new turn of events.

Act III

A beautiful and complex blend of orchestral sounds tone-paints the moonlit banks of the Nile. The sound of the musical note G is prolonged and supported by the resonances in the strings and woodwinds. An off-stage chorus intones “ O tu che sei d’Osiride ” (You who are Osiris). Amneris and Radames arrive to pray at the temple on the eve of their marriage. As they enter the temple Aida’s theme is heard. Aida has arrived for a secret meeting with Radames. As she waits for him she reflects on her homeland and sings a romanza , “ O patria mia ” (O my homeland). The intense nostalgia and yearning she feels for Ethiopia is evinced by a plaintive oboe solo throughout (Ex. 16).

Ex. 16

Amonasro surprises his daughter and in the ensuing duet, “ A te grave cagion ” (To thee I come) he directs Aida to assist in an Ethiopian uprising by learning of Egypt’s battle plans from Radames and passing them on. Horror-stricken, she claims she cannot betray her lover. Leading Amonasro to subject her to psychological manipulation in which, by turns, he describes rivers of her countrymen’s blood, suggests the ghost of her mother cursing her, and finally shouting that she is no longer his daughter. When Aida sobs in despair, Amonasro makes a final appeal to her patriotism in one of the broadly arching melodic phrases the composer often employed in moments of high emotion (Ex. 17).

Ex. 17

Torn between two loyalties but broken by her father’s words she agrees to betray Radames.

Amonasro hides as Radames appears. Aida and Radames embark on a lengthy duet. The first section, “ Pur ti riveggo ” (Again I see thee) (Ex. 18) is quick-paced as Radames jubilantly assures Aida of his love, although he must command his troops once again.

Ex. 18

The second section, “ Fuggiam gli ardori inospiti ” (Let us fly from these burning skies) is more moderately paced as they grapple with their dilemma. In the third movement, “ La tra

foreste vergini ” (There, where the virgin forests rise) (Ex. 19), Aida sings seductively of the beauty of her homeland, describing its verdant forests and aromatic flowers in an attempt to lure her lover into leaving Egypt behind and escaping with her to Ethiopia.

Ex. 19

The final movement of the duet is a lively, spirited cabelletta . In “ Si, fuggiam da queste mura ” (Yes, let us flee these walls) (Ex. 20).

Ex. 20

Radames and Aida impulsively agree to flee together to a better place. Aida quickly asks Radames what route they should take to avoid the Egyptian army. He replies that his army will be positioned at the Napata Gorges. A brisk trio ensues as Amonasro triumphantly announces his presence saying that the Gorges of Napata is where he will ambush the Egyptian Army. Radames, reacting in horror, cries out that his honor is lost. Radames refuses to be comforted by the words of Aida or her father. At this moment Amneris and Ramfis leave the temple and take in the unsettled scene, realizing immediately that treachery is afoot. Amneris calls Radames a traitor and is set upon by Amonasro who tries to kill her. Radames protects Amneris as Aida and her father escape. Radames surrenders himself to the priests as the act is brought to a close.

Act IV

An orchestral prelude precedes the first scene of Act IV. Amneris is alone, bitterly regretting her denunciation of Radames. In an aria-like soliloquy she confesses that despite her anger at his betrayal, she still loves him desperately: “L’amo, io l’amo sempre” (I love him; I always love him”) (Ex 21).

Ex. 21

Radames is brought to her; she pleads with him to defend himself in an extended duet, “ Già i sacerdoti adnunansi ” (Already the priests are assembling) (Ex. 22).

Ex. 22

He refuses. Amneris continues, declaring her love in a moving lyrical section of the duet, “ Ah! ti dei vivere ” ( Ah! Consent to live!) (Ex. 23).

Ex. 23

Radames only wishes for all to end. In the next section of the duet Amneris reveals that Aida is still alive and did not die with her father. Radames’ reaction is exultant. Now he can rejoice and die knowing she is safe. Amneris’ jealousy returns with a fierce intensity made even greater by Radames’ rejection. He returns to his prison accompanied by the sound of the priests’ theme and the cries of Amneris.

The Judgement Scene commences with the priests chanting a prayer. Radames’ trial follows a sequence that is repeated three times. There is a triple invocation, Radames name is announced three times, three charges are stated, three silences from Radames, three reactions to his silences, and three responses by Amneris. First Ramfis intones a statement of Radames’ treasonous acts, followed by silence from Radames, followed by the judgement of the priests, “Traditor !” (Traitor!), followed by a plea from Amneris for pity. Radames has been given three chances to defend himself and he has refused to answer three times. The priests pronounce the sentence: he is to be entombed alive below the altar of Vulcan. In an arioso Amneris begs them for mercy, to no avail. The priests leave, muttering “traitor.” The scene ends with Amneris crying out and cursing them in her frustration and anguish.

The final scene of the opera takes place in the tomb where Radames has been sealed. He sings, “ La fatal pietra sovra me si chiuse ” (The fatal stone now closes over me) (Ex. 24).

Ex. 24

He hears a sound and realizes he is not alone. Aware of his sentence, Aida made her way into the tomb to die with him. Radames is both saddened and heartened by her presence. They express themselves in a lengthy duet that has three main sections, all of which are lyrical. The first part,“Morir! si pura e bella !” (To die so pure and lovely) (Ex. 25) expresses Radames lamentation at his beloved’s approaching death.

Ex. 25

In the second part,“Vedi? di morte l’angelo ” (See? the angel of death) (Ex. 26), Aida seems to welcome death.

Ex. 26

The third and most intense section is “ O terra addio ” (Farewell O earth) (Ex. 27) in which the doomed lovers bid farewell to the pain and sorrows of life. The upward leap of the primary melodic phrase seems to depict the dying couple reaching for heaven and the afterlife awaiting them.

Their voices weaken in the final phrases as their supply of air runs out. The priests chant in the background as Amneris kneels at the altar above the tomb, praying for peace. As silence descends on the stage, the orchestra repeats the theme of Ex. 27, growing softer until fading away quietly.

Historical Background

There is a widespread, but incorrect, belief that Giuseppe Verdi wrote the opera AIDA to commemorate the opening of the Suez Canal. He was asked to write an inaugural hymn as part of the canal’s opening festivities but declined the request. He did accept a commission from the Khedive of Egypt for an opera to be presented at the Opera House in Cairo built for the Suez Canal celebration. The inaugural opera presented at the new Khedivial Opera House was another Verdi masterpiece, RIGOLETTO .

Finding suitable librettos was an ever-present concern for Verdi as he matured as a composer. Archival letters document his dissatisfaction with many of the librettos presented to him during the 1860s. At the end of the decade, he received a manuscript that had come from a well-known Egyptologist and archaeologist, Auguste Mariette, a Frenchman with an extensive background in ancient Egyptian history and Metropolitan Opera H istoric Broadcast: Feb. 1967 culture. Mariette had written a scenario set in the time of the ancient pharaohs that was created with the approval of the Khedive. This treatment interested Verdi who engaged Antonio Ghislanzoni, a librettist with whom he had collaborated on an earlier work. Verdi himself was very involved in the formulation of the libretto using his long experience in the theater to help shape the dialogue and the arrangement of the scenes. Auguste Mariette designed the set and costumes for the premiere in Cairo and used his knowledge of ancient Egypt to make the staging as authentic as possible. It is generally considered an “Old Kingdom” setting. The sets and costumes were built in Paris but delayed in shipment by the Franco-Prussian War and the Siege of Paris. Verdi donated much of his earnings for this opera to help victims of the Siege.

Verdi purposefully combined two operatic styles in composing AIDA . The Italian approach, which stressed the warmth and flexibility of the human voice combined with melodic beauty and exuberant outpourings of emotion, was combined with the pageantry, choruses and dance of French grand opera. The desire to fuse these two styles was a goal Verdi had pursued for some time. Additionally, Verdi continued to build on the movement in nineteenth century opera to more closely interweave the music and the drama. He made greater use of recurring themes throughout the opera and heightened his use of musical color and exoticism to achieve a musical environment that would approximate the ancient Egyptian setting. He achieved more continuity with AIDA than any of his previous works.

Verdi did not attend the premiere in Cairo on December 24, 1871, and was dismayed that the general public was not invited. A few weeks later, on February 8, 1872, the opera had its premiere at La Scala Opera House in Milan, Italy. Verdi was involved in every aspect of this performance and considered this occasion to be its true premiere. Public and critical acclaim was immediate and AIDA was performed at all the major opera houses of the world in the months and years that followed. This performance history has continued throughout the twentieth and twenty-first centuries. Currently, AIDA is one of the twenty most-performed operas in North America. The Metropolitan Opera in New York City has presented this opera more than 1100 times since it premiered in New York on November 26, 1873. Its popularity shows no signs of abating.

AIDA has also been adapted for the big screen with movies produced in 1953 and 1987. The 1953 film starred Italian actress Sophia Loren in the title role. In 1998 the story of AIDA was used as the basis for a successful musical written by Elton John and Tim Rice.

ABOUT THE COMPOSER

Giuseppe Verdi was born in the small village of Le Roncole, Italy, in 1813. His parents belonged to a middle class family of innkeepers and his father was enthusiastic about his son's education and chosen field. From an early age Giuseppe studied with local teachers. He received an old spinet as a gift from his father, and was eventually made the town's official organist. He also entered the ginnasio (high school) to study humanities and began formal music lessons with the director of the local Philharmonic Society. Antonio Barezzi, a wealthy merchant and musician, recognized Verdi's musical talent and became his patron, providing financial support and encouragement for many years. With his aid, Verdi applied to the Milan Conservatory, but was refused, partly because he was past the entering age, but mostly because of his unorthodox piano technique. Instead, Verdi became the pupil of Vincenzo Lavigna, a former principal conductor at La Scala Opera House in Milan. Beyond this more formalized training, Verdi considered himself largely self-taught.

After completing his studies in 1835, Verdi was appointed maestro di musica in Busseto, near his hometown of Le Roncole. He held the post for three years, during which time he also composed, gave private lessons and married his benefactor Barezzi’s daughter. Verdi soon wrote his first opera, Oberto , in 1839, and began a professional career marked by continual rounds of negotiations with theaters and librettists, and intense periods of composition and preparation for the production of his work. Soon thereafter, terrible tragedy struck with the deaths of his wife and two very small children, causing him to nearly renounce composition altogether. However Nabucco , his next premiere, was an unprecedented success. In what is referred to as his "galley slave" years (1842-1853), Verdi arduously wrote sixteen operas - an average of one every nine months. Rigoletto, Il Trovatore, and La Traviata , written near the end of this period, soon became cornerstones of the Italian operatic repertory and are still immensely popular today.

Verdi's accumulated wealth granted him greater artistic freedom. In the second half of his life he would only compose eight more operas. He spent most of his time away from the theater, now married to his companion of many years, the former soprano Giuseppina Strepponi. In 1859 the public honored Verdi's patriotism by using his name as an acronym to spell out Vittorio Emanuele Re D'Italia, king of the newly united independent Italy.

He was nearing the age of sixty when he produced AIDA in 1871. With AIDA , Verdi achieved that fusion of French and Italian opera traditions that he had long desired. The death of his friend, the great writer Alessandro Manzoni, would inspire him to write the magnificent Messa da Requiem in 1874. After a period of general disillusionment and unhappiness, Verdi regained the will to compose during his later years. He subsequently composed two of his

16 greatest masterpieces, Otello in 1887 and Falstaff in 1893, largely due to the efforts of Arrigo Boito, who cajoled him out of retirement by appealing to his great love of Shakespeare.

Although many of Verdi's operas had disappeared from the repertory by the time of his death in 1901, he had nevertheless become a profound artistic symbol of Italy's achievement of statehood. It is said that during Verdi’s funeral thousands of mourners paid homage by spontaneously singing “Va pensiero,” a chorus from Nabucco written some sixty years earlier. "Va pensiero" expressed the public’s deep feelings and the extent to which Verdi's music had been assimilated into the Italian consciousness. He was, and remains, a true national hero.

Operas by Giuseppe Verdi

• Oberto, 1839 • Un giorno di regno , 1840 • Nabucodonosor, 1842 • I lombardi alla prima crociata , 1843 • Ernani, 1844 • I due Foscari , 1844 • Giovanna d'Arco , 1845 • Alzira, 1845 • Attila, 1846 • Macbeth , 1847 • I masnadieri , 1847 • Jérusalem , 1847 • Il corsaro , 1848 • La battaglia di Legnano, 1849 • Luisa Miller , 1849 • Stiffelio , 1850 • Rigoletto , 1851 • Il trovatore , 1853 • La traviata , 1853 • Les vepres siciliennes , 1855 • Simon Boccanegra , 1857 • Un ballo in maschera , 1859 • La forza del destino , 1862 • Don Carlos, 1867 • Aida, 1871 • Otello, 1887 • Falstaff, 1893

ADDITIONAL RESOURCES

Preface Aida was written in Italian. The Virginia Opera will perform in the original language, but an English translation will be projected on a screen above the stage. With these Supertitles, audiences can experience the beauty of opera in the original language, yet still understand the meaning of all that is being sung.

Objectives

1. To understand how opera, as an art form, reflects and comments on society and the world in which we live.

2. To develop an awareness of how the study of certain art forms such as opera can communicate ideas of the past and present.

3. To develop a basic understanding of what opera is. Students should be able to identify the many elements (musical, visual, and dramatic) of an opera and understand how they work together to produce a unified, exciting, and emotional work.

4. To understand the process of adapting a story for the stage; what changes need to be made and why. Incorporated in this objective is a basic understanding of what makes a good opera.

5. To know the basic plot/story line of AIDA.

6. To understand how music serves as a mode of communication in opera and the effect music has on characteristics and mood.

7. To develop some sense of appreciation for opera as a timeless art form that brings real characters, emotions, and situations to life.

8. To understand the working relationship between words and music in an opera. Students should understand how a composer and librettist work together to create significant, dramatic, and unified meaning.

WHAT IS OPERA ANYWAY?

● An opera is a musical drama or comedy where the actors sing rather than speak their lines. Today opera singers are often referred to as “singing actors.”

● The word “opera” is the plural form of the Latin word opus , which means “a work of art”. We use the plural form because of the many different art forms that combine to create an operatic performance like singing, dancing, orchestral music, visual arts, acting, and more.

● An opera tells a story. It can come from many sources, including history, current events, religious texts, fairy tales, legends, literature, poetry, and mythology. Opera can be funny, scary, sad, dramatic, mysterious, imaginary, or a combination of all these things. Opera has something for everyone!

OPERA IS NOT ALONE Opera is not the only type of classical vocal music. The other genres of classical vocal music, which use an operatic style of singing, are:

• Oratorio • Cantata • Art song • Chamber vocal music • Orchestral song

An oratorio is a lot like an opera. It tells a story through song and is a large work comprised of solo arias, duets, trios, ensembles, etc., all accompanied by an orchestra. Unlike opera however, the stories for oratorios tend to stem from sacred (religious) sources, and there are no sets, props, or costumes. The choir generally plays an important role, and there is little interaction between the characters. A cantata is effectively a short oratorio, but it can also be secular. For example, the famous composer Johann Sebastian Bach wrote a comic cantata about being addicted to coffee, appropriately entitled the Coffee Cantata . Art songs are musical settings of poems or other shorter texts for solo voice and piano that are not part of a staged work but performed instead in a concert or recital. Folksongs, spirituals, and other traditional songs are generally not considered art songs since they stem more from the popular music tradition than classical; however, if a composer arranges such a traditional song as a concert piece for voice and piano, it may be considered an art song . A group of art songs intended to be performed together as a set is called a song cycle . A similar work written for solo voice (or a small group of singers) and an instrument(s) other than piano is referred to as chamber vocal music . Songs that were originally written for voice with orchestral accompaniment are called orchestral songs .

OPERA TERMS Act - the main sections of a play or opera Aria - a song sung by only one person Bass - the lowest male singing voice Baritone - the middle range male singing voice, between tenor and bass Blocking - the actors’ movements on stage, determined during rehearsals by the stage director Character - the people in a story, also called a role or part Chorus - a group of singers who function as a unit onstage, representing townspeople, crowds, etc. Composer - a person who writes music Conductor - the person who leads the orchestra and is in charge of the musical interpretation of an opera Contralto - the lowest female voice Costume - the clothing a singer wears to portray a character Crew - group of people who operate behind the scenes, controlling the curtain, changing scenery, managing props , running sound effects, and more Duet - a song sung by 2 performers Ensemble - a musical passage sung by multiple characters , usually occurs at pivotal points in the drama or at the end of an act Libretto - literally means “little book” in Italian, the words to an opera Librettist - the person who writes the words to an opera (the libretto ) Melody - a musically satisfying sequence of single notes Mezzo-soprano - the middle range female singing voice, between soprano and contralto Orchestra - a group of musicians who play together on various musical instruments Overture - the piece of music played by the orchestra at the beginning of an opera, often introduces music that will be heard later in the opera and sets the emotional tone for the audience Prop - an object used or brought onstage by the performers Quartet - a song sung by 4 performers Recitative - words that are sung in the rhythm of natural speech, similar to rap, and propel the story’s action forward Rehearsal - time when performers practice before a show, either with piano or the full orchestra Scene - segment of action within an act Score - written form of a musical composition, containing all instrumental and voice parts as well as any words Set - the scenery on stage which indicates where the action takes place Solo - only one voice singing at a time Soprano - the highest female voice Stage Director - the person who tells the performers where and how to move on stage and who determines the story’s interpretation and overall look or concept Supertitles - the meaning, in English, of the words in an opera projected on a small screen above the stage Tempo - the speed at which music is performed Tenor - the highest male voice Trio - a song sung by 3 performers Vibrato - a naturally pulsating tone that wavers from slightly above to slightly below the actual musical pitch and has a rich, emotional quality

WHERE DID OPERA COME FROM? Opera as an art form began with the inclusion of incidental music that was performed during the tragedies and comedies popular during ancient Greek times. The tradition of including music as an integral part of theatrical activities expanded in the Roman Empire and continued throughout the Middle Ages. Surviving examples of liturgical dramas and vernacular plays from the Medieval times show the use of music as an insignificant part of the action as do the vast mystery and morality plays of the 15th and 16th centuries.

Traditional view holds that the first completely sung musical drama (now recognized as opera) developed as a result of discussions held in Florence in the 1570s. An informal group of men, known as the Florentine Camerata, routinely got together to talk about music and the arts, and their meetings led to the musical setting of Rinuccini’s drama, Dafne , by composer Jacopo Peri in 1597. The work of such early Italian masters as Giulio Caccini and Claudio Monteverdi led to the development of a through-composed musical entertainment comprised of recitative sections which revealed the plot of the drama, followed by da capo arias which provided the soloist an opportunity to develop the emotions of the character. The function of the chorus in these early works mirrored the choruses found in Greek drama.

The new musical “form” was greeted favorably by the public and quickly became a popular source of entertainment. Opera has since flourished throughout the world as a vehicle for the expression of the full range of human emotions.

Italians claim the art form as their own, retaining dominance in the field through the death of famed composer Giacomo Puccini in 1924. Other Italian composers Rossini, Bellini, Donizetti, Verdi, and Leoncavallo developed the art form through clearly defined periods that produced opera buffa, opera seria, bel canto, and verismo. The Austrian composer Mozart also wrote operas in Italian and championed the singspiel (sing play), which combined the spoken word with music, a form also used by Beethoven in his only opera, Fidelio . Bizet ( Carmen ), Offenbach (Les Contes d’Hoffmann ), Gounod ( Faust ), and Meyerbeer ( Les Huguenots ) led adaptations by the French which ranged from opera comique to the grand, full-scale tragedie lyrique. German composers von Weber ( Der Freischütz ), Richard Strauss ( Ariadne auf Naxos ), and Wagner ( Der Ring des Nibelungen ) developed diverse forms from singspiel to through-composed spectacles unified through the use of the leitmotif. The English ballad opera, Spanish zarzuela, and Viennese operetta helped further establish opera as a form of entertainment throughout the world.

With the beginning of the 20th century, composers in America diverged from European traditions in order to focus on their own roots while exploring and developing the vast body of the country’s folk music and legends. Composers such as Aaron Copland, Douglas Moore, Carlisle Floyd, Howard Hanson, and Robert Ward have all crafted operas that have been presented throughout the world to great success. Today, composers John Adams, Philip Glass, John Corigliano, and Ricky Ian Gordon enjoy success both at home and abroad and are credited with the infusion of new life into an aging art form, which continues to evolve even as it approaches its fifth century.

WHY DO OPERA SINGERS SOUND LIKE THAT?

Singing in an opera is completely different from singing popular music, or what you hear on the radio. The style of singing in classical music developed along with the operatic art form, so people have been singing this way for hundreds of years. Some characteristics of a classical, or operatic, voice are:

● A large range (the ability to sing extremely high as well as extremely low) ● Breath control to sustain long musical phrases ● Strong resonance that projects over a full orchestra and into a large space without amplification ● Varying levels of volume (the ability to sing both loudly and softly)

When a singer uses the above techniques most effectively, a natural “vibrato” occurs. This is the slight alteration of pitch that you hear when a singer sustains a note. It is caused by air (breath) passing through our voice box, or larynx, and generating vibration of the vocal folds, or cords, to create pitch. Therefore, even the straightest sound, if produced in a healthy way, still has some vibrato in it.

For opera singers, vibrato serves several purposes, helping the voice stay in tune and carry over the orchestra as well as warming it up to sound more human, emotional, and visceral. String players liked the sound of vibrato so much that, in the 16th century, they adopted the technique as well.

HOW CAN I BECOME AN OPERA SINGER?

Is a singer “born” with natural talent or are their voices “trained”? Most voice professionals agree that, while innate talent must be present, most of what makes an operatic voice is learned through rigorous and on-going training. Each singer’s career path is different, but for many opera singers, it looks like this: 1. Begin learning general musicianship, often at a young age through piano lessons, choir, band, or other musical experience. Some singers might take private voice lessons as well. 2. Study music, vocal performance in particular, at the university level and earn a Bachelor’s of Music degree. 3. Continue studying intensely in graduate school, earning a Master’s of Music degree. 4. Begin working as a Young Artist (sometimes called Emerging Artist), the intern of the opera world, singing in outreach programs, opera choruses, covering lead roles, performing smaller supporting roles, and anything else that offers experience. a. Some singers go back to school at this point to earn their Doctorate of Music degree. With that, they can teach at the university level and/or continue their performing careers. 5. Transition from performing as a Young Artist to the Mainstage, singing leading or mainstage supporting roles. However, it takes a lot more than just an excellent voice to become an opera singer!

OPERA SINGER MUST-HAVES

ACTING: Opera singers must become highly skilled actors in order to accurately portray their characters, sometimes even studying dance in order to have the best command of a stage.

STAMINA/ENDURANCE: Although few singers ever have to sing throughout an entire opera, many operas require main characters to be on stage for a substantial percentage of the show. Most operas last between 2 and 3 hours, with the longest being over 5 ( Die Meistersinger von Nürnberg by Wagner), so that’s a lot of singing, especially for the leads!

VOCAL AGILITY: Classical voices are often characterized as “lyric” or “coloratura”. Lyric voices possess a warmer tone that sounds best when singing longer, sustained, melodious phrases. Coloratura refers to fast, often high-pitched, elaborate singing involving trills, runs, and leaps, so a coloratura voice performs such vocal pyrotechnics with ease. However, all voices should have a considerable amount of vocal flexibility and agility in order to stay healthy.

PHYSICALITY: Physical appearance is increasingly important for opera singers today. Many opera companies are filming their productions and broadcasting on television and in cinemas, so singers must do even more to physically represent their characters.

HEALTH: Because opera singers’ instruments are their bodies, it is imperative for singers to stay healthy. Many opera singers exercise regularly and eat nutritious diets, even when traveling, to keep from becoming ill and having to cancel a performance.

LANGUAGES: Operas are performed across the world in all different languages, from Italian which originated the art form to English, Spanish, Russian, even Tagalog (the language spoken in the Philippines). Many singers are bi- or multi-lingual, and even if they are not fluent in more than their native language, they must learn to at least pronounce a variety of other languages. In formal classical schooling, English-speaking singers must take classes in French, Italian, and German at the minimum.

GOOD MEMORY: Opera singers have to be able to memorize hours of music in foreign languages (and of course know what each word means!), and the hundreds of moves as each opera is staged. Experienced singers memorize not just their parts, but those of others they are on stage with, so they can continue unaffected by someone else’s error.

BUSINESS SKILLS: Singers are paid only when they perform, so they have to learn how to plan and budget carefully so they can have enough money to live on year-round. When they are not traveling, they may need to do additional work using other skills, such as teaching voice, singing in a paid church choir, temping in an office, etc.

CONFIDENCE & STABILITY: Singers travel a great deal and have to be able to leave loved ones and go around the world alone. Opera rehearsals are often only about two weeks from “Hello” or opening night, a very stressful situation while living in a hotel, or a patron’s home. Singers must become skilled at navigating new cities, countries and cultures so they are comfortable everywhere and with everyone.

HOW TO MAKE AN OPERA

First, take a playwright and mix in a librettist to fashion the dramatic script, or a libretto , containing the words the actors sing. Next, combine text with music by introducing the librettist to the composer who then make sure the music and words work together to express the emotions revealed in the story. Following the completion of their work, the composer and librettist entrust their new opera to a conductor who, with a team of assistants ( repetiteurs ), assumes responsibility for the musical preparation of the work. The conductor collaborates with a stage director (responsible for the visual component) in order to bring a performance of the new piece to life on the stage. The stage director and conductor form the creative spearhead for the new composition while assembling a design team which will take charge of the actual physical production.

Set designers, lighting designers, costume designers, wig and makeup designers and even choreographers must all be brought on board to participate in the creation of the new production. The set designer combines the skills of both an artist and an architect using blueprint plans to design the set which will reside on the stage, recreating the physical setting required by the storyline. These blueprints are turned over to a team of carpenters who are trained in the art of stage carpentry. Following the set’s construction, painters bring the set to life with paint, following instructions from the set designers’ original plans. As the set is assembled on stage, the lighting designer works with a team of electricians to throw light onto both the stage and the set in an atmospheric, as well as practical, way. Using specialized lighting instruments, colored gels, and a state of the art computer program, the designer works with the stage director to create a lighting plot by writing lighting cues which make lighting changes flow seamlessly during the performances.

During this production period, the costume designer, in consultation with the stage director, has designed appropriate clothing for the singing actors to wear. These designs are fashioned into patterns and crafted by a team of highly skilled artisans called cutters, stitchers, and sewers. Each costume is specially made for each singer using individual measurements. The wig and makeup designer, working with the costume designer, design and create wigs and makeup to complement both the costume and the singer’s character as well as represent historically accurate fashions.

As opening night approaches, rehearsals are held on the newly crafted set, combined with backstage crew, costumes, lights, and orchestra in order to ensure a cohesive performance that will be both dramatically and musically satisfying to the assembled audience.

JOBS IN OPERA The composer Richard Wagner coined the term, gesamtkunstwerk , or “total work of art”, in reference to opera for good reason. Opera combines all forms of art—music, theatre, dance, and visual art—in one entrancing package. That means it takes people with all kinds of talents and skills to make even one performance possible. Here are just some of the careers you could have in the opera world.

Pre-production Careers Technical Theatre Careers Pre-production begins with the composer and The areas of technical theatre are scenery, librettist creating the opera, and then the lighting, props, costumes, and sound. They producer oversees and manages its realization. work together in a production to establish the  Stage Director place, time, and overall mood of the show.  Technical Director  Lighting Engineer  Producer  Spotlight Operator  Composer  Sound Engineer  Librettist  Run/Deck Crew  Set/Scenic Designer  Fly Rail Operator  Charge Artist  Projection Board Operator  Paint Crew  Stagehand  Carpenter Front of House Careers  Electrician The Front of House is the part of a performing  Costume Designer venue that is open to the public—lobby, ticket

 Lighting Designer booth, will-call window, auditorium, foyers, etc.

 Sound Designer  House Manager

 Projection Designer  Box Office Manager

 Music Director  Concessions Manager

 Chorus Master  Usher

 Choreographer  Ticketing Agent

Performing Careers  Custodian

 Opera Singer Staff/Administration Careers

 Orchestra Member  General Director

 Conductor  Artistic Administrator

 Chorus Member  Production

 Supernumerary  Human Resources

 Dancer  Finance

Backstage Careers  Marketing

 Stage Manager  Development

 Wardrobe Supervisor  Education and Outreach

 Wig/Hair Artist  Audience Services

 Make-up Artist  Facilities  Props Master

OPERA ETIQUETTE (in other words, how to behave at an opera)

What to Wear Most people like to dress up when they go to the opera because it’s part of the fun! Although you can pretty much wear whatever you want, an evening at the opera is usually considered to be a special occasion. If you ever go to the Metropolitan Opera in New York City, you will find audience members in everything from formal evening gowns (especially on opening nights) to jeans and a nice top.

A Great Audience Performers feed off an audience’s energy, so being a good audience member is very important, not just at an opera but any live performance! Here are some tips for being a great audience member: 1. Watch and listen quietly but actively. 2. Keep your cell phones and other devices out of sight and on silent or airplane mode. 3. Be sure to finish any drinks, food, or gum before entering the theater. 4. Stay in your seat until the lights come on, indicating an intermission or the end of the show. 5. Show your appreciation for the performers by applauding at the best moments, for example: a. When the conductor takes the podium right before the first music starts, b. After an aria, c. At the end of a scene, d. At the end of each act, e. During the bows at the end of the show, f. When everyone else is clapping.

BRAVO! At many opera houses, it is considered rude to whistle. Instead, to show appreciation for a singer, it is tradition to shout, “Bravo!” This is a fun, easy-to-remember Italian word which means, “Great job!” or “Well done!” Be sure you say, “Brava!” for a woman performer and “Bravi!” for a group. If you really enjoyed the performance, you can also say, “Bravissimo!” (bravissima for women, bravissimi for a group), which means “Really well done!

Discussion Questions

1. Discuss the contrast between the two female leading roles – AIDA and AMNERIS. How are they different as characters? How does the music they sing differ?

2. AIDA’s signature music is lyrical and introspective. How does this musical treatment help define her character?

3. Discuss the contrast between two male leading roles – RADAMES and AMONASRO. How do their voice parts contribute to their musical characterization?

4. Does AMONASRO care for AIDA as a daughter? How does he treat her?

5. How does AIDA deal with her sense of loyalty or duty to her country? How does her love for RADAMES complicate her feelings?

6. Verdi gives AIDA an important aria to express the conflict she feels. What is this aria? (Ritorna Vincitor) What emotions does AIDA express in this aria?

7. AIDA is an opera of many duets. What is the significance of the duet being the central musical expression? How does that support the underlying themes of the opera?

8. Discuss Verdi’s use of musical imagery – for example, how did Verdi create the sound of water flowing? What river was he describing?

9. Aida is the heroine but Amneris has been described as the more interesting character. Do you agree? Why?

10. If Amneris is the more interesting character, how does her music support this premise?

11. How does Radames demonstrate his personal character and sense of honor?

12. At the end of the Judgement Scene Amneris blames her jealousy for the outcome. What is the outcome and how did her jealous nature contribute to the tragedy?

13. The themes of loyalty and duty are prominent in the opera. Which characters are most affected by these themes and how?

14. The opera’s Prelude juxtaposes two musical themes important in Aida. Can you identify which characters are represented in the Prelude music? How would you describe these musical themes? (AIDA and the PRIESTS)

15. Discuss Verdi’s extensive use of local color. How would you describe “local color” in musical terms? Does Verdi achieve a sound that would represent Ancient Egypt? In what scenes do we find the most examples of “local color”?

16. What are some of the underlying themes of the opera? Are they character-driven or event- driven? (Loyalty to country, loyalty to family) (Duty to one’s country/duty to one’s parent) (Honor – living by a set of principles) (Sacrifice - putting another’s interests before your own) (Jealousy) (Vulnerability)

Please join us in thanking the generous sponsors of Virginia Opera’s Education and Outreach activities:

Bath County Arts Association Chesapeake Fine Arts Commission Chesterfield County City of Norfolk CultureWorks Dominion Energy Franklin-Southampton Charities Fredericksburg Festival for the Performing Arts Herndon Foundation Henrico Education Fund National Endowment for the Arts Newport News Arts Commission Northern Piedmont Community Foundation Portsmouth Museum and Fine Arts Commission R.E.B. Foundation Richard S. Reynolds Foundation The School Board of the City of Virginia Beach Suffolk Fine Arts Commission Virginia Commission for the Arts Wells Fargo Foundation Williamsburg Area Arts Commission York County Arts Commission

Virginia Opera extends sincere thanks to the Woodlands Retirement Community (Fairfax, VA) as the inaugural donor to Virginia Opera’s newest funding initiative, Adopt-A-School, by which corporate, foundation, group and individual donors can help share the magic and beauty of live opera with underserved children.

For more information, contact Cecelia Schieve at [email protected].