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THEMAGICAL THEATEROF MUSIC
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Officc of InstructionalTcchnology Dcvclopmcnt South CarolinaDcpartmcnt of Education South CarolinaETV THE MAGICAL THEATER OF MT]SIC
An instmctional television series presentedon South Curolinu ETV in cooperation with the Op"ra Department o{ the LJniversity o{ South Curolir.u S"hool o{ N{nsic utrJ th" Offi"" oI Instructional TecLn.rlogy D".r"lopment, S.C. Department o{ EJucation (Eq"ul Cpportunity E mployers)
Lesson guiJ" written urrJ p."pur"J by Nich Rossi, PL.D., D.lr{us. (L.".)
Pltrt"J u'J Ji.trib"teJ by S""tL CuroiinuETV {o. ,r" by SorrtL Curolinuteachers
Pri"t"cl L994
The Sortth Cutolitta Departmcnt of Eriucation Jo", not Jiscriminate orr tle Lasis o{ ru.", color, national origin, sex, or llart,li.up in aJmission to, treatment in, or enlployment in its pro{ra-, urrd activities. Inquiries regarrling the nonJiscrimination poli.l*, .horrld b. ,i.J" .o, P*rso,l,rel Director, 1429 Senate Strect, Col.,.,,tiu, SC 29201 (phor,", 803/73-l-8505). CONTENTS
Introduction i
Lesson I Bringing the CharactersAlive I (Drama and characterization)
Lesson2 The Musical Setting 5 (Singing)
Lesson3 CreatingStage Sets 8 (Creating,building, and lighting stagesets)
Lesson4 Costuming ..12 (Costumes,wigs, and make-up)
Lesson5 "TheSecretMarriage" .....15 ("The SecretMarriage" in performance)
Activities . ...16
ReferenceMaterial ....29
Glossary . ... 35
Music ....38 INTRODUCTION
The Magical Theater of Music is a series of activities and learning tools designedto enlargeand enhancethe appreciationand enjoyment--especiallyamongst pupils between the ages of nine and l4--of that genericform of music-makingtraditionally called opera, a form which we, in this program,refer to as "The MagicalTheater of Music."
The young narrators,Adrienne and Jonathan,tell us that everyoneloves good stories. This is what our magicaltheater is all about--tellingstories. Somemay be fairy tales,mysteries, love storiesor comedies,while othersmay be aboutknights in shiningarmor.
Adrienne and Jonathan continue to explain that in the magical theater of music, everything,even the conversations,are sung. And it is this which makesthe magicaltheater of musicdifferent from ordinaryplays and television shows and movies.
In addition to seeingand hearinga humorousstory told through music, this television serieswill provide the pupils with a very specialopportunity. "What'sreally going to be frrn," Adrienneand Jonathantell us, "is that we not only get to seewhat's on stagein our theater,we are alsogoing to go behindthe sceneand seehow this whole magicalworld is put together."
Besidesseeing a comical story--"The SecretMarriage"--come alive through music, and learningwhat takes placebehind the scenesto make it possible,students will be able to create their own "magicaltheater of music."
Students become the librettist, composer, principal charactersand singers, chorus, orchestra,and eventhe set designers,directors and backstage personnel.
fhe SecretMarriage"
"The SecretMarriage" is the story of Carolinaand Paolino, two young people very mrrchin love. Her father,Geronimo, has recently come into somemoney andwants to be acceptedby society,and hasdecided that the bestway to do that is to haveboth his daughters,Carolina and Elisetta, marry into nobility and bring titles into the family. In orderto avoid sucha marriageas Geronimowants to arrange,Paolino and Carolinahave secretly run away and gottenmarried. LESSON ONE: Bringing the CharactersAlive (Dramaturgy)
This lesson is an introduction to The Magical Theater of Music. Little advance preparation is necessaryfor the viewing. Since the generic name opera has pejorative connotationsin the minds of many,both childrenand adults,the word oper&will not be useduntil the end of this series. Teachersand studentsmay wish to refer to what they are hearing,seeing and experiencingon televisionas a theaterof music.
Prenarationfor Viewing the Lesson
I . Placethe following words and list of characters(dranrctis personae) on the chalkboard.(Refer to the Glossaryfor definitions.)
conductor overture cast stage director stage rehearsal recitative sria
Paolino (pah-oh-LEE-noh),a young man who works for Geronimo Carolina (cah-roh-LBE-nah),youngest daughter of Geronimo,secretly married to Paolino Geronimo (eh-RON-ee-moh),a rich but rathercommon man Elisetta (el-ee-SET-tah),Carolina's elder sister Baron Robinson,a penniless,titled nobleman Fidalma (fee-DAHl-mah), a recentwidow andGeronimo's sister
Location: A Europeanhome about 250 yearsago
2. Announcethat the studentsare going to be introducedto a type of musicaltheater they might not haveknown before,one in which the entire story unfolds through music. One in which conversationsare sung.
3. Becausethe story of "The SecretMarriage" is a bit complicatedat the beginning,you may chooseto relatejust a bit of the story for the students.
"The SecretMarriage" is the story of Carolinaand Paolino, two young people very much in love. Her father, Geronimo,has recently come into somemoney and wants to be acceptedby society,and hasdecided that the best way to do that is to haveboth his daughtersmarry into nobility andbring titles into the family. In order to avoid sucha marriageas Geronimowants to arrange, Paolinoand Carolinahave secretly run awayand gottenmarried.
It is at this point that the story in the operabegins. As Adrienneand Jonathan tell us in the narrationwhich accompaniesthis scene,Paolino and Carolinahave decidedthat eventhough her father,who is quite hard of hearing,will be ratherangry when he first learnsabout their secretmarriage, everything will be O.K. because Paolinohas a plan. He hasarranged a marriagebetween Elisetta, Carolina's elder sister, and a baron,since Geronimo wants a nobleman,a personwith a title like prince,count or baron,in the family. Paolinofigures that Geronimowill be so happyto havea nobleman in the family that he will forgivePaolino and Carolinafor havingrun off andgotten married. Paolinohas arranged to give Geronimoa letterwhich has just arrived It's from Baron Robinson.In it the Baron sayshe wantsto signa contractor an agreementto marry Elisetta. You see,though Baron Robinsonmay havea title, he doesn'thave any money, and wants to marry into a family which has somemoney!
"Becausethe Baron is due to arrive at any moment,Geronimo calls for his family to gatheraround so that they may welcomehim. He callshis daughtersCarolina and Elisettaand his sister,Fidalma."
a J. In order that the studentsunderstand the twists andturns in the plot as they occur,it is importantfor them to understandseveral of the conventionsand expressionsof the 18th centurylife in Europe, specificallydowrtes, marriage contracts,the expressionnobility, andthe conceptsof titles. (Referto the Glossaryfor definitions)
In the 18th centuryit was the customfor parents,especially the father,to arrange the marriagefor his daughters.Love had almostnothing to do with it. Fatherslooked for good familiesof classand moneywith whom to form an alliancethrough marriage. They then offereda dowry to the prospectivehusband, a dowry beingthe money,goods and/or estatethe wife bringsto the husband.
4 Studentsmight enjoydeveloping on the chalkboarda list of titles. The list couldinclude: king baron baroness count countess duke queen duchess prince princess
5. Ask the studentsas they view the first televisionsegment to: A. discoverthrough listening,the difFerentways in which music helpstell the story B. discoverthrough listeningto the music,which personsin the story havehigh voices and which oneshave low voices
Yiew Lesson OneYideo of The Masical Theater of Music
Post-viewingClassroom Procedure
During the classdiscussion which follows the viewing, as well as in all subsequentclass discussions,questions posed by the teacher,and related discussionswhich follow, should be directedto the developmentof musicalconcepts by the studentsrather than questionsdesigned to elicit a yes or no answer, or to require the parroting of involved definitions which have little meaningfor the studentsat this statein their musicaldevelopment.
The following questionsand subjectsposed are designedto developimportant concepts about music. The printed responsesthat follow in each case suggestthe type of conceptthe question posed should help the studentsdevelop. They are definitely not the answer to a question. Concepts at first will be broad and general in nature. Through classroom discussion further referencesto the music and the video, and helpful guidancefrom the teacher,each concept shouldbe more refined and inclusiveby the end of the lesson.
l. Musical Topics for ClassroomDiscussion: A. In what ways doesthe music help tell the story? Somepossible responses include: a. the music'slively tempo (speed)suggests a happy,fun-filled scene b. the tunefulnessof Geronimo'saria--the melodies--are bright, cheerfuland suggest his excitementat having found a husbandfor Elisetta c. the harmonious,pleasant blending of voiceswhen Geronimo summonshis daughtersand sisterjust before his aria suggesta happytime
B. Which charactershave high voices and which oneslow voices? The women'svoices are higher in pitch than the men'svoices (further and more detailedsubdivisions of voicesby rangeand timbre will follow in lessontwo or three).
C. Define and discussthe following: @efer to the Glossaryfor definitions.) overture recitative aria conductor orchestra
2. Non-musicaltopics for classroomdiscussion: (Refer to the Glossaryfor definitions.) A. What is a stage rehearsal? B. What is the cast? C. What does a stage director do? D. In the rehearsalscene, what pointsdid Mr Fauntleroy,the stagedirector, emphasize with his cast and how did he suggestcast members improve their characterportrayals? a. The energylevel and reactionsof all the charactersare important in this scene. b. Geronimo shouldshow an excitementin his announcementthat he has arrangeda marriagefor his daughter. c. Elisetta,as the daughterwho is alwayseating, should continue to eat eventhough sheshows excitement and gratitudefor Geronimohaving found her a husband. d. Each characteron stageshould react (respond)to everythingthat is being saidand sungon stage;each should react to the developmentand twists of the plot as they are revealed.
3. The Developmentof the PIot: Have the studentsretell the story of "The SecretMarriage" as far as it hasbeen revealed.
4. Introduction of Singing: At this point the studentsshould have the opportunity to singthe principal melody and text of Geronimo'saria--"Now listen, listen, listen."
5. Discussionof Singing: A. If tempo refersto the "speed"of the beator pulse,how would one describethe tempo of "Marriage with greatnobility?" a. The composerindicates the tempo asAllegro. b. The Italian word allegro means: merry, cheerful,joyful. " c. A music dictionarydescribes anAllegro tempo as "a fast tempo."
B. If dynamics refersto the "loudnessand softness"of a note, a melody or a passage, how would one describethe dynamicsof "Marriage with great nobility?" a. The composerindicates the keyboardintroduction shouldbe playedpiano (softly) b. The voice enterslf,thatis,forte or "loudly" c. A crescendo means"to grow gradually louder" d. The musie endsff (fortissimo or "roeryloudly")
C. What is the purpose of different dynamic levels within the same aria? a. To provide variety and contrast b. Emphasizecertain words and passagesof the text
D. How would one describethe melody of "Marriage with great nobility"? a. Many repeatedpitches b. Severalphrases repeated
E. What doesthis suggestmusically about Geronimoas a character? Rather commoq not many different ideas,but rather the sameone(s) repeatedover and over.
Summary
The teacher should assistthe studentsto summarizethe discoveriesthey have made. A secondviewing of the video would be extremelyhelpful at this point to reinforce thesetopics and discoveries.
References Didactics DramaAsEducationby Galvin Bolton. Longman,London, 1979 TheDramatic Curriculumby RichardCourtney. Heinemann, London, 1980 Theatre,Children and Youthby JedDavis and Mary JaneEvans. AnchoragePress, New Orleans,1982 WorldTalesfor CreativeDrama and StorytellingbyBurdette Fitzgerald. PrenticeHall, New York,1962 TeachingDrama to YoungChildren by Mem Fox. Heinemann,New Hampshire,1987 Children'sTheatre: A Philosophyand a Methodby MosesGoldberg. Prentice Hall, New Jersey,L974 BreakingThrough: Drama Strategiesfor the I0s and /5s by BarbaraGoodwill. New Plays,Conn., 1986 CreativeDramafor Kindergartenthrough Grade 3 by Ruth Heinig. PrenticeHall, New Jersey,1987 Creative Drama and Imagination: Transformingldeas into Action by Helane Rosenberg. Holt, Rinehart and Winston,New York, 1987 Theatrefor YoungPeople by HelaneRosenberg and ChristinePrendergast. Harper and Row, New York, 1964 The Stageand the Schoolby Katharine Anne Schankerand Harry H. Ommanney. McGraw-Hill Book, New York, 1982 DramaAs a LearningMediumby B. J. DorothyHeathcote Wagner. ENEA,1916 Playmakingwith Childrenby Winifred Ward. Appleton-Century-Crofts,New York, 1957 Storiesto Dramatizeby Winifred Ward. AnchoragePress, Kentucky, 1954 Directing Directingfor the Theaterby W. David Sievers(Third Edition) Directors on Directing: Antoine to J. Littlewoodeditedby Cole and Chinoy Directors WorkbookbyStanley Kahan and Harry E. Stiver TheatricalDirection: TheBasic Techniquesby David Welker. Allyn Bacon,Boston, n.d. LESSONTWO: The MusicalSetting
The lessonwill be concernedwith the musicalelements which go into a production.
Prenaration for Viewins the Lesson
l. Placethe follo*ing words on the chalkboardfor referenceduring the initial classroom discussion:
conductor overture stage director stage rehearsal cast
It would be helpful for the studentsto seethe dramatispersonae listed on the board again.
Paolino (pah-oh-LEE-noh),a young man who works for Geronimo Carolina (cah-roh-LEE-nah),youngest daughter of Geronimo,secretely married to Paolino Geronimo (eh-RoN-ee-moh), a rich but rather commonman Elisetta (el-ee-SET-tah),Carolina's elder sister Baron Robinson, a penniless,titled nobleman Fidalma (fee-DAHl-mah), a recentwidow and Geronimo'ssister
2. Review the musicaldiscoveries of the first lessonwith referencesto the topics listed on the chalkboard.
3. Review the story of "The SecretMarriage" as far as it hasbeen presented.
4. Preparethe studentsfor the secondsegment of TheMagical Theater of Music. a. Ask studentsto listen carefullyto discoverthe differencesin the highnessand lownessof both the men and women'ssinging voices. b. Ask studentsto discoverfor themselvesas many different instrumentsin the orchestraas possible. c. Ask studentsto listen evenmore carefullythan in the first lessonto the differences and similarities of sang conversationsand songs.
Yiew Lesson Two Yideo of The Masical Theater of Music
Post-viewing ClassroomProcedure
Questions posed by the teacher and the related discussionswhich follow should be directedto the developmentof musicalconcepts by the pupils, rather than questionsdesigned to elicit a simpleyes or no response,or to the meaninglessverbatim repetition of definitions.
The following questionsand subjectsposed are designedto develop important concepts about musis. Conceptsat first will be broad and generalin nature. Through classroomdiscussion, referencesto the music and video, and helpful guidance from the teacher, each concept should be more refined and inclusive by the end of the lesson.
Since the lesson includes a number of generic terms (soprano, violin, etc.), it would be helpful for the teacher to write each one on the chalkboard as that topic and concept are under discussion.
l. Musical Topics for ClassroomI)iscussion: A. What is a "musical coach" and what does he/shedo? Definition: (script) "His/herjob is to help the singersprepare the recitatives,the sung conversationsfrom our show." B. What is the essentialnature of a recitative? Definition: (script) "In passagesof recitatives,the composerhas indicated the pitch, the musicaltones which he wants the principalsto use,but the rhythmic flow comes from the words themselves,sung in the samerhythm as though they were being spoken." C. Why is it important for the audienceto understandthe words in a recitative? Definition: (script) "The audiencemust understandevery word, becauseit is in recitativesthat most of the story is told. Rememberthat in performancethe composer usesonly a keyboardinstrument to accompany. That's so the orchestradoesn't cover up the soundof the words." D. What is the essentialnature of an aria? Definition: (script) "If recitstives are the conversationin our magicaltheater of music, we call its songsarias, thosetuneful momentswe rememberand hum on our way home from this magicaltheater. Recitativesare accompaniedonly by piano, ariasare accompaniedby the orchestra." E How are arias titled or named? Definition: (script) "Arias are calledby the first line of words. In this case,the Baron startsto sing with thesewords, 'Ceremonyis so tedious'and that becomesthe title of his aria." F. What are the instrumentsfound in the orchestrafor "The SecretMarriage"? a. There are string instrumentson which musicaltones are producedby drawing a bow acrossthe strings- violins, violas, cellos (sometimescalled violoncellos), and doublebass (bass viol or contrabass). b. There are instrumentsthat are playedby the wind or breath of the player,including woodwind instrumentsand brassinstruments (woodwind instrumentsinclude c i?l'hllffi::'#f tllilllili;s usedinthe orchestr a areFrench horns(sometimes simply calledhorns). G. What are the rangesof the humanvoice? Definition: "Voices are usuallyclassified according to their range--thehighest and lowest pitchesthey can produceaccurately. " Men's voices,high to low, tenor, baritone, bass;the principal women's voices are soprano, mezzo-soprono, and alto or contralto. H. What are the types of voicesused in "The SecretMarriage"? Sopranos- Carolinaand Elisetta;mezzo-soprano - Fidalma;tenor - Paolino; baritones- Baron Robinsonand Geronimo.
2. Introduction of Singing: At this point the studentsshould have the opportunity to sing the principle melody and text of the Baron'saria, "Ceremonyis so tedious."
3. Discussionof the Singing Experience: A. lf tempo refersto the "speed"of the beat or pulse,how would you describethe tempo of "Ceremonyis so tedious"? Use the Glossaryto definethese terms:
Andantino con moto Andantino con moto Andante con moto andante fermata
B. lf dynamics refersto the "loudnessand softness"of a note, a melody, or a passage, how would one describethe dynamicsof "Ceremonyis so tedious"?(Refer to the Glossaryfor the definition.)
C. In what ways doesthe music help tell the story? a. Rhyth*ically, the introduction of "Ceremonyis so tedious" startsoff as a march as might befit nobility and a royal appearance. b. Many repetitionsof melodic phrasessuggest a Baron who is "not usedto being formal," "a humbleseryant." c. His commentsabout Carolinaare his own private thoughts and he singsthem more softly so that Geronimoand the rest of his family won't hear them. d. The Frenchhorns that are heardduring this aria from time to time also suggest "nobility."
SummarT
The teacher should assistthe pupils to summarizethe discoveriesthey have made. A secondviewing of the video would be extremelyhelpful at this point. Review topics discovered in lessonsone and two.
References Recordings A ChristmasRose, Frank Bridge. An operabased on a children'splay; PearlSHE CD 9582 No),e'sFludde, Benjamin Britten. A children'sopera in oneact; London 425161-1 The SecondHurricane, Aaron Copland. Coplandcalls it 'a play-operafor high schoolstudents." The TenderLand, Aaron Copland. A folk operafor grades9-12 Policino,Hans Werner Henze. A fairy tale after "TGmThumb* for gradesK-6; Ricordi (cassette+ libretto) 135438 Arnahl and the Night Visitors, Gian Carlo Menotti. MCA ClassicsMCAD6218, MusicalHeritage Society 912042L The Storyof Babarthe Elephant,Francis Poulenc. A fantasyfor gradesK{; NimbusM 5342 LESSON THREE: Creating StageSets
Lesson three is a continuation of The Magical Theater of Music and will be concerned with the elementswhich make up a "stage setting"--the style and design of the stage set, its constructionand its lighting.
Prenaration for Viewine the Lesson
l. Placethe following terms on the chalkboardfor referenceduring the initial classroom discussion:
tempo dynamics arta recitative repetition
Unlessthe studentsseem to feel otherwise,it shouldnot be necessaryat this point to list the dramatis perconae on the chalkboardagain.
z. Review the musicaldiscoveries of lessontwo with referenceto the topics listed on the chalkboard.
3. Review the story of "The SecretMarriage" as far as it hasbeen presented.
4. Preparethe studentsfor this segmentof TheMagical Theater of Music. A. Ask studentsto listen and discoverhow many people sing together in this sequence. B. Ask studentsto discoverwhat aset designermust know and understandbefore he/she startsto make a sketch. C. Ask studentsto watch, listen, and discoveron what two different works the story of "The SecretMarriage" is based. D. Ask studentsto discoverwhat a minatureset is and what purposeit serves. E. Ask studentsto discoverhow a lighting designergoes about lighting a stageset.
Post-viewineClassroom Procedure
As in the previous classdiscussions, the teachershould provide topics for the studentsto discussand assistthem in forming conceptsabout these important topics. As the discussions progress,and further referenceto the music and the video are made, the conceptswill become more refined and more meaningful. (Use the Glossaryfor definitions.)
1. Musicaltopic for classroomdiscussion: Whatare the namesfor the piecesin an operawhen they are sung: (l) by oneperson (aria);(2) two people(duetX
2. Generaltopic for classroomdiscussion: A. What is a "s/cgese/|" B. What is the stagedirector's responsibility with regardto the stagesetting or scenic design? C. What does a set designer need to know before he/shecan begin making a sketch for the stage set. D. What are the stepsa designerfollows when developinga stageset? (Script) "Once the director and designerhave agreedon what they want the stageto look like, the set designermust make sketchesof what he seesin his mind'seye, in his imagination. He then showsthem to the director for approval. Having agreedon a design,the set designermust make a set of working drawings,a set of plansthat the carpenterswho are to build the set can follow. The designeralso makesa minatureof his set design so that everyoneworking on the show will always know exactly what the finishedstage set will look like." E. On what other works of art and literatureis "The SecretManiage" based? (Script) "The story of "The SecretManiage" is basedon a play called "The ClandestineMarriage" which really means"The SecretManiage," as well as on paintingsby the old Englishpainter Hogarth, both the director and designerlook at theseto seeif they provide any inspirationor cluesas to what they want to seeon stage." F. What purposedoes a light designerserve? (Script) "It is the light designer'sjob to sit at his control board and selectthe properly colored spotlightson stagethat will make Geronimo'sliving room look like a real room.tt G. What are the purposesof stagelighting? (Script) "In order to makethe stageset look right, the designermust keep in mind the lighting motivation--fromwhere in our imaginarystage world is the light supposedto come."
The following are the functionsand objectivesof stagelighting. a. provide visibility b. help establishtime and place c. assistin creatingmood d. reinforcethe style of the production e. provide focus on stageand createvisual compositions f. establisha rhythm of visual movement g. reinforcea centralvisual image.
3. Introduction of Singing: At this point the studentsshould have the opportunity to sing the principal melody and text of the duet, "A contractis a contract,is a contract."
Sinceit is a duet, the classcould be divided into two groups, the first singingthe first stanzawhich consistsof the words of Geronimo, and the other half singing the second stanzawhich are the words of the Baron. 4. Discussionof the Singing Experience: A. If tempo refersto the "speed"of the beat or pulse,how would you describethe tempo of the duet, "A contract is a contract?" a. The composerindicates the tempo asAllegretto. B. If dynamics refersto the "loudnessand softness"of a note, a melody or a passage, how would one describethe dynamicsof "A contractis a contract?" a. The music startsp (piano or softly), then becomespp (pianissimoor very softly). b. At the repetition of the word "A contractis a contract" the music is/(forte or loud). c. The interlude "No matter what" is pp (pianissimoor very soft). d. The climar at the end isfl(fortissimo or very loud). C. What relation might the dynamicshave with the musicaland dramaticimpact of the duet? a. Basically,it startssoftly and endsvery loudly suggestingthat Geronimomight have startedoffwith the Baron in a mildly calm manner,but getting angrierand louder as he makeshis point about a contract. b. The softer phrasesin the middle might suggestwords that Geronimo mumblesto himself("My daughterwill you marr5/"the first time it is sung). D. Are there any repetitionsin the duet? a. The text itself is repetitious,"contract is a contract,is a contract." b. The pitchesto which this text is set are repetitious,the samepitch repeatedover and over exceptfor the end of the phraseand the last syllable. c. The musicalphrase of four notes,(no mat-ter what) is an ascendingfour-note patternwhich is repeatedas are the words three times by the voice, then three times by the accompaniment,then three more tiryesby the voice.
Summarv
The teachershould assistthe studentsin summarizingthe discoveriesthey have made. A secondviewing of the video would be extremelyhelpful at this point to reinfbrcethese topics and discoveries.
The discoveriescould includethe following points and topics. . tempo dynamics duet stageset . repetition as a designelement . director'sresponsibility toward stageset . factors involved in developinga stageset or design o scenicdesigner and his task . .stepsa designerfollows with relationto sketches,working plansand model (minature set) . basisof the story, plot and text for "A SecretMarriage" . lighting designer'sresponsibility to a show . motivation in light design . purposesof stagelighting
l0 Reviewthe plot and story of "The SecretManiage" up to this point and, if the students areinterested, make some conjectures as to how the storymight develop from this point.
References Set Construction Sceneryforthe TheatrebyHarold Burris-Meyer and EdwardC. Cole. Little, Brown, Boston,l97l Snge Scenery: Its Constructionand RiggingbyArnold S. Gillette. Harper,New York, 1960 SetDesign An Introductionto kene Designby A. S. Gilette. Harper,New York, 1958 SceneDesign and Model Building by LeslieAllen Jones.Walter H. Baker,Boston, 1939 Sceno-graphicTechniquesby W. OrenParker. Carnegie-MellonUniversity, Pittsburg, 1964 SetPainting Noteson ScenePainting by BradfordAshworth. whitlock, New Haveq 1952 An Introduction to the Languageof Drawing and Painting$ Arthur UphamPope. Harvard University Press, Cambridge,1929 StageManagement StageManagement: A Guidebookof Practical Techniquesby LawrenceStern. Allyn Bacon,Boston, n.d. StageManagement and TheatreuaJtby Hendrik Baker. ll LESSONFOUR: Costuming
Lessonfour is concernedwith costumingthe singersand the use of wigs and specialstage make-up.
Preoaration for Viewins the Lesson
l. Placethe following terms on the chalkboardfor referenceduring the initial classroom discussion.@efer to the Glossaryfor definitions.) ';i:::;", ':;'"*"' "J:;:'^,k"-up'oistcoat
Unlessthe studentsseem to feel otherwise,it shouldnot be necessryat this point to list the dramatis perconae on the chalkboard.
2. Review the story of "The SecretMarriage" as far as it hasbeen presented.
3 . Introduce the word libretto at this point. It is not mentionednor describedin the video.
4. Suggestthat in viewing the video, the students:
. discoverwhat a costumeris and what he/shedoes . discoverthe purposeof a costume . discoverthe significanceof a wig in the l Sth century . learn the namesof the different parts of a man'sclothing in the l8th century . discoverthe purposeof stagemake-up and how it differs from real life.
Yiew Lesson Four Yideo of TheMagical Theater of Music
Post-viewingClassroom Procedure
The teachershould provide topics for the studentsto discuss,and assistthem in forming concepts related to these important topics. As the discussion progresses,and as further referencesto the music and video are made, the concepts will become more refined and meaningful.
l. Musical topics for classroomdiscussion: (Referto the Glossaryfor definitions.) A. What is a libretto? B. What is afinale? C. What is an ensemble number in an opera?
2. Non-musicalelements for classroomdiscussion: A. What is a costumerand what doesone do? The costumeris the personresponsible for all the costumes,wigs, and l Sth century shoeswe seeon stage. t2 B. What purposedo costumesserve? Stagecostumes should meet the following requirements: . help establishthe tone and style of a production . indicatethe historicalperiod, and localein which it occurs . indicatethe natureof individual charactersor groups, (a) their stationsin life; (b) their occupations,and (c) their personalities . show the relationshipsamong the characters--separatingmajor charactersfrom minor ones, and contracting one group with another t where appropriate, symbolicallyconvey the significanceof individual characters or the theme . meet the needsof individualperformers--making it possiblefor an actor or actressto move freely in a costume,or when requiredto changequickly from one costumeto another . be consistentwith the productionas a whole, especiallywith othervisual elements.
C. What are the essentialparts of a man'sl8th centurywardrobe? . shirt . cravat . waistcoat . doublet--"closefitting body garment" <) breeches
D. What do costumeshelp establishon stageabout a character? They help establisha person'sage, character (humorous, evil, frivolous,etc.), role in life(merchant,doctor, commoner,baron, housewife,etc.).
E. What was the purposeof a wig in the l Sth century? The wig, an artificial headof hair worn in the theatreor as personaladornment, disguise,or symbleof office.
F. What purposesdoes stagemake-up effect? a. Highlight facial features. b. Application of cosmeticsis often essentialwhere the age of the characteris involved. c. Make-up seryesas an additionaltool for the performerin creatingan imageon stage.
3. fntroduction of singing: At this point the studentsshould have the opportunity to sing the concludingmelody of the finale from "The SecretMarriage."
Sinceit is on-stage,an ensemble number, it mightbe fun to dividethe boysand girls in the classinto the "boyschorus" and the "girlschorus," everyone singing the opening section,then boys singing when it says"boys" and similarly girls singing when it says "girls."
l3 4. A discussionshould follow the singing experience: A. lf tempo refersto the "speed"of the beat or pulse,how would you describethe tempo of "What a marvelousoccasion?" The composerindicates the tempo asPiu allegro.In Italian,piu means"more," and piu allegro is describedas "more quickly." B. lf dynamics refersto the "loudnessand softness"of a note, a melody or a passage, how would you describethe dynamicsof "What a marvelousoccasion?" It beginsf (forte or loudly). When it dividesbetween the men'sand women'svoices on stage,or betweenthe boys' and girls'voices in our edition, the boys' and mens'parts are markedp Qtianoor softly)while the womens'or girls'partsare markedf (forte or loudly). C. There are restsindicated for the voicesbetween the syllablesof the phrase"feast and cel - e - bra - tion" while there are dots aboveor beneaththe notesin the piano accompaniment(staccto marks indicating"a reductionof its written duration."). What purposedo theserests in the middle ofwords andstaccato notes for the piano suggest? . a crispnessand vitality in the performance . the soundof celebrationand joy
SummarT
Studentsshould be assistedin summarizingthe discoveriesthey have made. A second viewing of the video would be extremelyhelpful at this point to reinforce these topics and discoveries.
The discoveriescould includethe following points and topics.
libretto ftnale ensemble staccato costumer character cravat waistcoat doublet breeches wig stage make-up
Reviewthe plot andstory of "The SecretMarriage," responding to how the storyactually endedas contrastedwith the possiblesuggested endings the pupilsmade at the end of the last lesson.
References Costumes Historic Costumein Picturesby Braun and Schneider.Dover Publications, Inc., New York, 1975 Historic Costumesfor the Stageby Luch Barton WrhatPeople lVore by DouglasGorsline. Bonanza Books, New York,1952. Makeup StageMakeup by Richard Corson Three-DimensionalMakeup by Lee Baygan
l4 LESSON FM: "The SecretMarriage" in Performance
This final lesson is a continuation of The Magical Theater of Music and the ftnale oi conclusion. It is a condensed3O-minute performance of Domenico Cimarosa'scomic opera, "The SecretMarriage." (The entirework, unabridged,lasts slightly over two hours in performance.)
Prcoaration for The Masical Theater of Music l. Placethe follo*ing on the chalkboardfor reference. "The SecretMarriage" - a comic operaby Domenico Cimarosa
2. Although the teachermay chooseto developa bulletin board displayearlier, there should be a displaymade up of picturesin this guide of the six castmembers--Paolino, Carolina, Geronimo,Fidalma, Elisetta and Baron Robinson. The displayshould also include a picture of the stageset.
3. Review the story of "The SecretMarriage."
4. Discussthe characterVsingersfound in "The SecretMarriage," both with referenceto their musicalcharacter and their appearanceon stage. Referenceshould be madeto the bulletin board displayfor their physicalappearance; if possible,refer to earlierlesson videos for the musicalsounds of the six characters.
5. Discussthe principalforms of musicfound in "The SecretMarriage." Thesewould include overture,recitative, aria, duet, ensembleand finale.
6. Sing through the four musicalexcerpts.
7. Introduce the conceptof opera, and that is the correct genericname for what the students havebeen listening. For the teacher'sreference, one or two of the better definitionsof opera are: "A dramain which the music is the essentialfactor comprisingsongs with orchestralaccompaniment." (Harvard Dictionary of Music) "A dramaticwork in which the whole, or greaterpart, of the text is sungwith instrumentalaccompaniment." (The New College Encyclopedia of Music)
8. Introduce the nameof the composerand the librettist, Govanni Bertati. Sincethe actuallives of the composerand librettist have little direct bearingon the enjoymentof "The SecretMarriage," little attentionneed be paid to thesetwo individuals. Following the 30-minuteperformance, a few of the interestingdetails of the life of DomenicoCimarosa could be relatedto the classif time and interestsuggest it.
l5 ACTIVITIES
CREATING YOUR OWN MAGICAL TIIEATER OF MUSIC
Creative learningis one of the most meaningfuland interestingways of acquainting oneselfwith anything. If the studentshave enjoyed the series,The Magical Theaterof Music,let themcreate their very own magicaltheater of music.
Sinceeveryone loves stories, whether they be mysteries,romances, comedies or talesof knightsin shiningarmor, it is only naturalto want to re-tell stories. What couldbe moreexciting andcreative than to tell a storythrough the useof music,a combinationof dramaand melody, an experiencewhich shouldinvolve every student in classin somecapacity.
The ideabehind a student-createdmagical theater of musicis not to try and rival Verdi or Puccini,Wagner or Strauss. The purposeis to releasethe creativeenergies and ideaswhich all studentspossess.
There are a great many ways in which an opera can be createdand produced. The followingoutline is only one suggestion.It is up to you andyour classas to how you chooseto proceed.
CreatingtheLibretto It would seembest to proceedas do mostopera composers--start with a book or libretto, the story of the opera. Choosea work of literatureas the basisof an opera--anythingfrom Pinocchioto Beautyand the Beast. It would seemeasiest and wisest to startwith a work which hasboth a storyand some music associated with it suchas a balladwhich tell stories.Among the balladsstudied and sung in elementaryschool are such classicsas John Henry, Barb'ry AIIen, SweetBetsyfrom Pike, CaseyJones, Jesse James, Down in the Valley, andThe Erie.
Shouldyou electto use one of theseor a similarballad as a basis,the following steps wouldbe a logicalsequence which could be followed.
Developinga TheaterCompany Every studentshould have at leastone specificresponsibility. There is no singleway to proceedin selectingthe company,but severalfactors shouldbe kept in mind. The students interestin specificpositions--composer, singer, instrumentalist, etc., would be a key factor for makingchoices. If mistakesare madein the first assignmentof positions,later adjustmentsand readjustmentscan be made.
Librettistor Librettists Selectfrom volunteersand interested students one or two peopleto serveas librettistor librettists. Theselibrettists should divide the story of the folk balladinto scenes,assigning a settingfor each(a home,barn, the cornfield, etc.). Theyshould then select a "cast"drawn from the charactersrepresented in the ballad,describing what they believeeach character should look andact like.
l6 The librettists should then write in sequencethe text each character is to sing in this production. The text may be limited to the words which appearsin the original folk ballad, or additional phrasesand/or stanzasmay be added.
This text, the libretto, could then be written and photocopiedso all of your Magical Theaterof Music Companymay havea copy from which to work.
Composeror Composers Select one or two studentsto serveas the composers. Sincethe principal melody of the folk ballad is alreadyestablished, these composerswill need to adapt that melody to fit the text the librettistshave concocted.
Becauseit is highly unlikely that the young composersin the classroomcan write their melodiesin staff notation, it would be wisest to develop the melodic lines--thearias, duets, and ensemblepieces--by rote, recording them as they are developed and perfected on a cassette recorderfor future use.
The composerand librettist will need to divide the story into scenes. They will need to decidewhich line or lines of the text and music needto be expandedand enlarged into a song (an aria), and which lines of text tell of important actions or thoughts and should be separatedfrom the ballad'soriginal tune and set as recitafive, as sung/spokenspeech-narratives.
The composerwill need to develop a dramatis personae decidingwhat type of person each characterrepresents musically and physically. The composerwill need to decide if certain sectionsof the original balladneed to be sungby a chorus,or would work best as a duet or trio.
In addition to the original melodiesthe composerdecide to createfor the recitatives,and perhapsfor the arias and choruses,additional folk songs and their melodies can frequently be interpolatedto fill out the work.
The Orchestra The core of an exciting and musically moving magical theater of music is an orchestra. The classwill need to develop its own orchestra. There are no parametersfor developing and creatingan orchestra. It shouldlogically be madeout of the talentsthat exist amongthe students. In addition to thosetaking lessonsin piano,trumpet, clarinet,or violin, considersome of the more unusualinstruments. Your orchestracould include a kazoo, a musicalcomb, drums, harmonicas, guitars,banjos or ukeleles.
The Chorus The librettist and composer should decide whether their creation is going to need a chorus. Chorusesare very good for helping to tell the story when it becomesimpossible or too lengthyto havethe charactersin the dramaexplain or tell something.
Studentsshould be chosenwho like to sing and can "carry a melody" or sing in harmony. Once selected,the choruswill needto practicethe music assigned.
t7 Chorus Master/Jvlistre ss A chorus needs a director, a student who can rehearsethem in their music to make correctionsand improvementsas they practice. The chorus master/mistresswill need to consult with the conductor to establishthe correct tempo for eachnumber in the theater piecewhich they are responsibleto sing. The chorus may sing in unison, or divided into two parts--boys'voices and girls' voices--or the high and low voices, as was done in The Magical Theater of Music project.
The Cast One of the most important ingredients in The Magical Theater of Music is the quality of the soloists. The libretto should indicate which roles are for girls voices and which for boys voices, and might even indicatewhich are for high and low girls and boys voices. Once the class hashad an opportunity to sing through severalof thesemelodies, auditions should be held.
It might be more interesting and more democratic to allow the class to select the best singerfor each role (probablyby written, secretballots). Once eachrole has been assigned,then eachsoloist needsto practicehiVher own musicbefore working with the orchestra.
Coach If there is one student who plays the piano or flute, clarinet or trumpet, he/shewould make a good coach to help teach the singerstheir solo music. The coach should work with the conductorin decidinghow fast and slow, how loud and soft every phraseshould be.
The Director The director should not only have creativeideas about the cast, drama and the costumes, but shouldhave an ability to lead peoplein rehearsalsand help them developthe charactersof the story which the librettists have created.
The directorwill establisha rehearsalschedule, work with the singers,coach, conductor, and alsowork with the set designer,costumer, and lighting designer to help developan overall dramaticconcept for the show.
SetDesigner A studentshould be selectedwho hassome artistic talent in drawingand painting. It will thenbe that person'sjob to makea sketchof what the stageset shouldlook like. This design shouldbe shownto the directorfor approval.The set designerwill thenneed to work with the stagecrew in buildingthe set.
StageCrew The stagecrew will build andpaint the stageset, and see to its placement"on stage"for the perficrmance.
Costumer A studentshould be selectedto serveas the costumer,one who canchoose from available clotheswhat would be appropriatefor the charactersthey areportraying.
l8 Lighting Designer The lighting designermay have much or little to do dependingon the location which the classintends to use for the performance.
Most school auditoriums have a method of dimming the lights and turning on lights (spotlights and/or floodlights) already installed on stage. The lighting designerneeds to work within the frame of the availableunits to establishwhich lights should come on and when, colors and intensities.
The "lighting design"needs to be worked out with and approvedby the director.
Make-up Person One or more studentscan be selectedas make-up artists. They should equip themselves with a mascarapencil which can be used to draw mustaches,sideburns, and age lines easily. Glue-on mustachesand *igs are sometimesavailable around Halloween, and with a little spirit gum can be successfullyused on stage.
Public Relations In order for the public to know about the forthcoming production of your magicaltheater piece,some publicity is needed. To publicizeyour studentopera, the PR personshould create,or have an art student create a poster which can be photocopiedand distributed around the school and in neighborhoodstores. The poster should carry the title (in large type) as well as some,or all of the following information:
place,date, and time of performance where and how tickets may be purchased(if applicable) name(s)of all studentsand their participation(role).
A printed program shouldalso be developed. In addition to the information containedon the poster,the program shouldalso include.
namesof every memberof the orchestra namesof every memberof the chorus namesof stagecrew and manager namesof everyonewho hasworked on the production and the namesnot listed elsewhere.
House Manager The spacethe audienceis to occupy is very important. The housemanager's responsibility is to see that seatingis appropriate,the room is clean,well-lighted and comfortable.The house managerneeds to check with the stagemanager to be certainthat everythingon stageis in order and that it appearsas the stagemanager and director want it to be seenwhen the audienceenters.
If there is to be more than one perforrnancethe house managermakes certain that the houseis put in order for the next performance.
l9 Additional Personnel While the list includes most positions normally associatedwith either a professionalor amateurtheater, other positionscan be createdto fill the need either of giving additional students a responsibilityor of completingjobs which needto be done.
Such personnelcould include: photographer,accountant, music critic, recording engineer and gofer.
20 BUILDING AND PAINTING SCENERY
Although the traditional method of creating a stage set is through the use of flats and drops, there are easier,less-expensive ways of creating stage settings for classroomand small auditoriumproductions.
Flats, the standardunit for most professionalstage sets, are simply large frames(usually 4' wide by l2',14'or 16'high) madeof l" x 3" white pine coveredwith eitherunbleached muslin or E-duck canvas which has treen sized (treated with a gluey whitewash to stretch the canvas and make it taut for painting).
An easierand far more inexpensivetype of stageset can be built from cardboard. A visit to your local electric householdappliance store will put you in touch with an endlesssource of large piecesof cardboard--thesides of the cardboardcartons used for packing refrigeratorsfor example.
Becausethese large piecesof cardboardwill tend to curl or warp a bit when painted on one side, it is suggestedthat small scrapsof wood be used to frame them from the backside. Triangular piecesof cardboardand additionalstrips or sticks of wood can be used to support the stageset. Units (cardboardflats) can be "tied" togetherby use of strong, self-adhesivetape.
While there are standarddimensions for flats, you are limited in size for cardboardunits only to the extent that eachunit (or cardboardflat) is the samesize or smallerthan the sidesof the refrigeratorcartons.
In lllustration I you will seetwo types of cardboardunits. Unit A which is a little over 6' tall by 9' wide and can serve as the back of a stageset, and Unit B which is a smallerunit, only about 3'in heighthwhich can be usedas a ground row in front of the taller backingunit to suggest hedges,low brick walls, and such.
You will needcardboard sides of cartonswhich are usually slightly larger than 3'x 3', plus 80 feet of self-adhesivetape to be used as a ground row in front of the taller backing unit to suggesthedges, low brick walls, and such. The back sidesof two cardboardstage units--a 6' tall backingunit and a shorter3' tall qround row for placingmid-stage to give depth to the set.
If your opera or magical theater piece contains several sceneswhich require difilerent backgounds,there is an interestingmethod of creating such sets for quick changes. Use individual stage persons inside each stage unit. (See Illustration 2) Basically, each unit is triangular and has three separatelydesigned faces. By turning around, the stage set turns and changes! If you use three suchunits there is a possiblityof creating8l different stagepictures!
The constructionof thesetriangular units is very similarto that usedfor making cardboard flats. The principal differenceis that a disguisedeye-hole must be located in eachunit so that the stagehand insidecan seewhere he/sheis and where he/shemust move on eachset change.
2l There are a variety of ways in which these triangular flat units can be employed and deployed. By painting the unseenportions of each of these triangular units differently, a forest could disappearto revealthat the entire set of sevenpanels in an interior. Another changecould be instigatedby moving the triangular panelsto the center of the stage and masking (or hiding) the fixed interior panels. A pieceof blue cloth on the floor of the stagecould representa river.
When it comesto paintingthe scenery,several steps should be followed.
l. If the sketchofthe stageset hasbeen drawn on grid paper,the designcan be accuratelytransferred to the flats by drawing in blue chalk a grid on the cardboard which is proportionally larger than the original drawing.
2. Oncethe grid in blue chalk hasbeen drawn on the flat(s), transferthe designin white chalk.
3. In paintingthe flats, two kinds of paint may be used successfullyin the classroom: temperaand water basepaints. In either case,paint may be thinnedwith water, and the brushesmay be cleanedafter use with water. The more brilliantcolors--solid reds, yellows, orangesand turquoiseblue--are more easilyobtained in temperapaints, althoughtempera paints are more expensiveper squarefoot than water basepaints. Brushescan be of any type recommendedfor usewith water basepaints. Generally, severalbrushes are needed: narrow one-halfinch and one inch for detail work, three and four inch for laying in large areas.
4. Background areasshould be paintedin first.
5. After the basecoat hasdried, detailsmay be paintedin. Ordinarily it is not necessary to sketchin chalk the detailsof tree trunks, etc., althoughedges of houses,handle rails of stairs,and so on--anythingthat shouldhave a very straightedge--should be sketchedin chalk with a straight edge. If it is difficult for the artists to paint a straight edge,masking tape may be used. It is important when using maskingtape to remove it, especiallyfrom cardboard,as soon as the paintinghas been accomplished. Water basepaints do not form a firm bond to card board. Somepaint frequentlyflakes off when maskingtape is removedif it hasbeen placed on top of a previouslypainted area.
6. If a considerableamount of detail needsto be paintedon the flat, magic markersin solid shadesof brown, greenand red may be usedon top of paintedsurfaces.
22 (You will need cardboard sides of caitons which are usually slightly Iarger t,han 3' by 3'i plus about 80 feet of self-adhesive tape )
Al rl ^{rr:
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woo/t
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U/r'h 5
t//ro/
.U4nt The back sides of two cardboard stage units: a 6'tall backlng unit (unit A) and a shorter 3' tall oround row for placing mid-st,age to give depth to the set.
f I Iustration 1 23 A st€ltJtel- u/l;f
ftlustration 2
24 MAKING COSTUMES. WIGS AND MASKS
While in many instancesthe story of an opera or piecefor the "Magical Theaterof Music" could be costumedin the clothesthe pupils wear to school everyday,wearing a specialcostume for a performancemakes it a very specialoccasion. Dependingon the story and setting of your opera, many items of clothing for costumesmay be found in the closetsof your students--items outworn for a variety of reasons. Used clothing may be purchasedfrom church bazaarsand Goodwill storesat inexpensiveprices.
Sinceit is highly unlikely that you have a tnre seamstressin class,alterations are best made with a pair of scissorsand lots of safety pins. If this is to be a truly classproject, calling on a mother or two to assistin sewing is hardly within the rules of the game. Making a wig (a very large, noble one) is extremelyinexpensive and relativelyeasy although it takes considerabletime a patience.For the wig-makingprocess scissors, a stapler,old newspapers,one or two glue sticks, a styrofoamwig stand,or a patientfellow studentis needed. l. With a doublefold of newspaperfolded in hal{, make a bonnet or cap by closingthe sides with staples.(See example A)
2. Preparethree basestrips (about 4"x18") which will becomethe baseto which the curls will later be attached. Fold eachin thirds lengthwiseand staplesecurely both sides.(See exampleB)
3. Preparea quantity of strips for the curls by cutting the newspapersinto pieces. Preparethe curls one by one with a glue stick. Leave about one-quarterinch at the baseof the curl for attachingto the base. This will allow the curls to overlapwhen properly mounted.(See exampleC)
4. Mount the individual curls on the three preparedstrips. Mount eachcurl one by one so that the curl being addedcovers the basestrip of the last curl which is mountedon the basestrip. Proceedfrom top to bottom.(Seeexample D)
5. When the three basestrips are completedwith their curls, verT carefullv attachthem to the wig base(the bonnet or cap) attachingthe basestrips with a stapler.(See example E)
6. Cover any vacant spotsin the base(the bonnetor cap) with additionalcurls.
7. For the two long vertical curls, cut stripsfrom the newspaperabout 4"x18" and form them into cones. Staplethe conesclosed and attachthem to the wig basewith the large part of the cone at the top.
Costumescan be createdto resemblemany designs--earlyAmerican characters,cowboys, and plain people--aswell as Europeanand middle easternpeople of various countriesand periods. The use of old, cast-off clothing which has been cut, tucked and pinned, and to which additional piecesof cloth and/or constructionpaper or kraft paperin large pieceshave beencut and attached by meansof staples.
25 For the nlg-ma! 1 wtth a double fo of nevspaper folde tn half, make a bonnet or caP as 1 strated ln flgure A by los I ng the stdes rlth staples 2 Prepar three base strl about 4n by 18n) vhlch w111 beeome the later be attached. Fold eac n thlrds lengthwlse\s t 1lus tra ted 1n f lgure Br and -sta e lt a6 shovn. 3 Prepare a nttty of str l ps_ r the curls thems e lves by cu t t I ng the nevs p- s lnt as seen ln figure C. 4 Prepare the curls one by one vlth a gl ue stlck as lllustrated ln ftgure C. _.Leave-abouLt" at the base of the curl for attachlng Lo ,,Etl6base. This vll1< 11or the curls to overlap nhen prope?1y mounted. 26 5 Mount the tndlvldual curls on lhe three base strlps prepared ln step nunber tvo above. They should be mounted as shonn ln ftgure D belorr. Mount each curl one by one so that the curl being added covers the base strlp of the last curl rhlch ls mounle n the base procled from top to bottom. 6 When the t e base strlps are cotn ted vlth thelr curlse ttach then to t tg base -- the bonnet or cap fbove, attachlng the base strips vlth a stapler. 27 fuApAE 28 REFERENCEMATERIAL FOR THE TEACHER Included in the following pages is informational background for "The Secret Marriage," Domenico Cimarosa,pictures of the charactersPaolino, Carolinq Elisetta, Fidalma, Geronimo, and Baron Robinson, and the stage setting for the bulletin board. "The SecretMarriage" by DomenicoCimarosa by Nick Rossi and TalmageFauntleroy* Tuesday,the seventhof February 1792, is a date unique in the annalsof opera. For on that afternoontwo hundredyears ago, the world premiereof an opera at the Imperial Theater in Vienna was so enthusiastically enjoyed by Leopold II -- II matrimonio segreto ("The Secret Marriage")--that the emperor invited the entire cast to the Imperial Palacefor dinner. He then requestedthat the complete opera from Overture to Finale be repeatedat the theater after supper as an encore. Such a thing had never happenedbefore, and hasnever happenedsince! The Emperor was not the only one fascinatedby the musicaldelights of this comic opera. Guseppe Verdi spoke of it in a letter to a friend as "a true musical comedy for it has everything an opera buffa should have." Stendhal,the great champion and biographer of Rossini, seemedto have what one might today call a "Cimarosa complex." He worshipped Shakespeare,adored Mozart, and eventually wrote a glowing appreciation of Rossini. But Cimarosa representedto him the quintessenceof Latin grace, freshnessof color, and exuberanceof spirit--the warmth and sunshineof his foster land, Italy. Stehdhd actually went so far at one time as to say that he seriously wished that Cimarosa" and not Mozart, had composed Le nozze di Figaro ("The Wedding of Figaro"). "I would gladly undertakea lengthyjourney or even imprisonmentif only I could listen to those divine melodies,"Stendhal has commented,"surely the most beautiful that it is possiblefor the mind of man to conceive." On the occasionof a brilliant revival of// matrimonioin 1884 in Vienna, the always sober and severemusic critic, Eduard Hanslick, went so far as to write: "Full of sunshine--thatis the right expressionfor Cimarosa' s music. It has that genuine light, golden color which is the only fitting one for a musical comedy." The Naples Monitor summed it up well when they printed in their paper of 2 October 1807the follo*ing sentiments: "Cimarosa'sname is immortal in the annalsof music. ...His ideasare alwaysfresh and diverse,his conceptsharmonious and well-sustained,his melodiessuave with a free accompaniment,the melodiesmemorable and not oppressive,while the musicalphrases are rich in expressionand full of sentiment. All the musicalelements are united in the most estimablemanner in the music of Cimarosa..." * fromDomenico Cimarosa: His Life andHis Operasby NickRossi and Talmage Fauntleroy, work in progress. Usedby permission. 29 The earliest ancestor of Cimarosa's II matrimonio segreto is a comedy entitled The Clandestine Marriage by Coleman and Garrick which had been produced in London at Drury Lane in 1766. It is entirely possible(and assumedas fact by most musicologists)that the themeof the play had, in tunU been suggestedby one of Hogarth's famous seriesof six pictures entitled Mariage a la mode (presentlyhanging in London'sNational Gallery). Hogarth" who knew Fielding'snovels, had in mind, "the conventionsnot of a novel but of a play, and in Ins Autobiographical Notes he continually seeks an analogy in the stage: "Let figure(s) be consider(ed)as Actors dresedfor the sublimegenteel comedy or samein high or low life." The theme of his Mariage a la mode was concernedwith "a Variety of Modern Occurences in High Life," a comic parody on the practicesof such high-spendingyet vacuous gentlemenas society could produce. The first painting of the seriesis titled "The Marriage Contract," and in it--according to the art sritic David Bindman ...The needfor the Earl to sell his son in marriagecomes from his fashionable extravagancein building a vast Palladianmansion with a pretentiousdouble loggia. ...The paintingson the Earl's wall representthe taste of connoisseursfor darkened Old Masters,and the martydromsand assaultson the humanbody refer to the depredationsof the Earl's creditors. The possibilitiesfor humour are infinite; a wall-mirror with a sconcehas, instead of a reflectingglass, a hideousgorgon's head, and the ceiling painting of Pharoahbeing drowned in the Red Seasuggests a ludicrous breachof decorumin placinga watery sceneat a greatheight, a joke at the expenseof wall painters.... In the secondpainting the stewardwho commentsdespairingly on a sheafof bills is treated without sympathy;abook entitledRegenration stickingout of his pocket revealshim to be an "Enthusiast"and follower of a chillingly Puritanicalsect. The unpaid bills and the Kentian interior suggeststhe son is following in his father'sfootsteps, and he has carried bad tasteto evenmore inventiveheights by purchasingsuch creations as the elaborate clock-cum-wallsconce and Chineseporcelain. Hogarth's criticism of the heir'staste is, in its own w&y, perfectly conventional. He objectsabove all to breachesof decorumor propriety, for example,in placingan erotis picture of a Jovian amour on the samewall as a group of saints,or surroundinga fake Roman bust with Chineseobjects, in themselves an example of irregular taste. It seemsquite likely that theseMariage a la mode paintingsdirectly influencethe writing of the play, The Clandestine Marriage, since Hogarth not only knew David Garrick, but had painted his portrait in 1745, three years after the actor had made his successfulstage debut as Richard III (it was in this role that Hogarth paintedhis portrait). David Garrick co-authored"The ClandestineMarriage" with the elder Coleman. Just how much of a shareeach playright had in this collaborationhas never been discovered. Garrick was credited with having invented, and played to perfection, the part of Lord Ogleby, a character which was droppedin fashioningthe operalibretto. GeorgeColeman, the younger,wrote in 1820 that "the outlinesof the plan, and ofthe principal characterswere designedby Coleman." 30 Garrick, at any rate, wrote for the comedy a prologue which begins: Poets and Painters,who from nature draw Their best and richeststores, have made this law: That each should neighborly assisthis brother, And steal with decencyfrom one another. This law is still in force! Garrick invoked it to defend the dramatists' stealing from "matchlessHogarth. " Little could he have known how, in turn, his own work would be pilfered for additional plays, the first oflspring being Sophie, ou Ie Mariage cache, a comedy given in Paris at the Theatre de la ComediaItalienne with music by one JosephKohaut, a Bohemianarmy trumpeter who had deserted,gone to France, and entered the service of the Prince de Conti. Then followed Le mariage Clandestine, a one-actcomic opera produced in Paris at the Theatre Montansier in 1790 with music by FrancoisDevienne, a virtuoso on the bassoonand other wind instruments,a prolific composerwho studiously pennedmusic for eight hours everyday. That he died in an insane asylum probably is more the result of his activities as a bassoonistthan a composer. Operatic "borrowing" was a sign of the time. The librettist for Cimarosa's Il matrimonio segreto,for example,was the original author of a libretto known as Don Giovanni. It was from this book by Bertati that Da Ponte derived directly his book for Mozart's Don Giovannil It is interesting to note that when Emperor Joseph II died in 1790, Da Ponte--until then Court Poet--incurred the displeasureof Leopold II (the Emperor who commissioned Cimarosa's Matrimonio) who had Da Ponte expelledfrom Vienna. Fate's "delicateirony" - Bertati became his successor.Fate's "gentle irony" - Mozart'sDon Giovqnni, in 1788,had met with an indifferent receptionin Vienna. For a time Cimarosa had servedthe court of Catherinethe Great in Russia, a not-too- pleasant assignment. It was thus with pleasure that the composer returned southward and stopped in Vienna. In his absence,Leopold II had ascendedto the throne, a ruler whom Cimarosa had known in Italy when Leopold II had been the Grand Duke of Tuscany. On Cimarosa'sappearance in Vienna he was summonedby Leopold II who replaced Salieri as Kapellmeisterwith Cimarosaand offered him an honorary annualstipend of 12,000florins (about a quarter-milliondollars) along with luxurious accomodationsin the palace. The Emperor urged Cimarosato begin immediatelyon a comic opera, and for this purpose placed the Court Poet, Govanni Bertati (Metastasio'ssuccessor) at his disposal. Together Bertati and Cimarosacreated one of the materpiecesof comic opera. Mounted in Vienna 133 times in the years following its introduction, it was produced during its first year of existance (1792) in Prague, Leipzig, Dresden, Monza (first Italian appearance)and Milan. The following year it appearedin opera housesthroughout Italy, as well as, in Barcelona,Madrid, Lisbon, London, Trieste,Ljubljana, St. Petersburg,and Charlottenburg. Performancesin other languagesfollowed--French, German, English, Danish, Polish, Swedish, and even Russian. 3l DomenicoCimarosa Though Domenico Cimarosa is undoubtedly the most important and popular Italian composerbefore Rossini'sascendancy, and his more than 60 operashave filled the opera houses of the world for the last 200 years with his glorious melodiesand comic wit, very few factual details are known about his life and activities. How many wives did he have, and was there a mistressamongst them? How many children did he have? Why did he changethe spellingof his name from Cimmarosato Cimarosawith one m? According to a baptismalrecord, it is known that DomenicoNicola Cimarosawas born on the lTth of December, 1749 in Aversa, a small community to the north of Naples by about 25 miles. His father was a brick masonwho, severaldays after Domenico'sbirth, moved to Naples to take up work on the royal palacewhich was being built on a mountainwhich overlooked all of Naples and its bay, a structureknown on its completionas Capodimonte. GennaroCimarosa fell to his death from a scafficldwhile working on that new building. At the time, Domenico was still a baby. In order to support herselfand her family, Cimarosa'smother was able to obtain work as a laundressin the monasteryattached to their parishchurch. Domenico soon attractedthe attention of the parish organist, Father Polcano, who gave him music lessons. Progress was rapid and through the intervention of the church and his widowed mother,Domenico was admittedin 176l (age ll or 12) to the Conservatoryof Santa Maria di Loreto, one of the institutionsmaintained by the churchto help educateophans. Cimarosaremained at the conservatoryfor about ten years and became,according to his instructors, an able violinist and keyboard player, and was also a gifted singer. After he left the conservatoryhe continuedhis singinglessons with GiuseppeAprile, one of the celebratedcastrati of his day. It was principally as a composer,however, that Cimarosestablished himself while still a student. There is a possibilitythat amongstothers, Cimarosastudied with Piccinni at the conservatory. During the Carnival season of 1772, Cimarosa's first operatic production was professionally mounted--Le stravaganze del conte (Tht Count's Eccentricities). Although the New Grove statesthat "it was at first difficult for Cimarosato competesuccessfully with Piccinni and Paisiello,"it must be remenberedthat they were alreadywell-established, mature composers, Cimarosaat this point, a lad of 23, makinghis professionaldebut as an operacomposer. In 1777, when Cimarosawas 28, the first of his many opera premieresin Rome took place, and the first at Venice followed four years later. According to JenniferE. Johnson,the Cimarosaauthority, "his operassoon cameto be heardin all the leadingItalian centres,and before long he was one of the most popular opera composersin the country. By the mid-1780's (Cimarosawas then 35) he was establishedon both nationaland internationallevels." In addition to his activities in composingfor the operatic stage, Cimarosawas also engagedas a professionalorganist. In November of 1779 he had been appointedsupernumerary organist (without pay) for the Royal Chapel in Naples. Six years later he was promoted to the positionof secondorganist with a monthlysalary of eight ducats(about $ 180) which continuedto 32 be paid to him even when he was on tours awayfrom Naples. From the early l7g0's he also held an appointmentas maestro at a Venetian conservatory-severalfor girls, the Ospedaletto,and it was for them he composedhis early oratorio Absalom. Since of his following operasrefer to the Ospedaletto,it must be assumedthat he retainedhis post in Venice even when he was absentfrom that city. In 1787,the 38-year-old composerwas invited to St.Petersburgto replaceGuseppe Sarti as Maestro di cappella at the court of CatherineII. According to his larlieri biogruphers,he left Naples by a ship that called at the Tuscan port of Livorno, *d he is supposedto have met the Grand Duke Leopold of Tuscany, a most important event in the light oi lut., occurences. It is thought that most, if not all, of Cimarorat piano sonatas were composed at this time for performanceat the Grand Duke's palazzoin Florence. Cimarosathen traveled northwardsthrough Parma, Vienna, Krakow and Warsaw, being ceremoniouslyhonored in each of theseprincipal cities before his arrival in St. petersburgat the beginningof December. During his residencein Russiafrom l7g7-l7g1 the country was in the processof a retrenchment in the court musical establishment.The Italian opera companywhich the court maintained was regularly growing fewer in number so that only three singerswere left by 1790 It was obvious that Cimarosa*.i no longer neededat the ,ourt, and left as soon as his contract expiredin t 791. Cimarosaarrived in Vienna later in 1791and was immediatelyappointed Kapellmeister by Emperor Leopold II, the former Grand Duke of Tuscanythat Cimarosahad met in Livorno. All seemedto be going extremelywell for the composerfoliowing his difficulties in Russia. Leopold commissionedtwo more operas and establish.Ottr. composer in a luxurious apartment in the Imperial Palace, and given a large stipend. II matrimonio had not only beena tremendoussuccess in Vienna, but within two years had proved itself the most popular of all operasup to that time throughoutEurope. Lesl than a year after Cimarosaarrived in Vienna,Leopold II died. The Emperor,s successor$ussessorIimmediatelyunmeolately released CimarosaUtmarosa as Kapellmeister and reinstated Salieri. Although Cimaros lingered in Vienna until the next year, he was happy to return to his native Italy----J as a composerwhose works were in demandeverywhere. Cimarosaprobably returned directly to Naples, as he was appointedfirst organist at the royal chapelin November of 1796,this time at a ialary of l0 ducair lSzooy. Unfortunatelyfor Cimarosa,though he thought otherwiseat the time, Naples was occupiedby republicanforces in January of 1799, and the "ParthenopeanRepublic" was founded in the city. Cimarosa, in sympathywith their cause,composed a hymn to words by Luigi Rossi which *as performed at the official ceremony of May 19, at which the royal flag was burned. Less than two months later, however, King Ferdinand and his troops recaptured the city. Trying to ride with the wind, Cimarosa thereupon composed(at the suggestionof a priest) a cantata in praise of Ferdinand which was performed in Septemberof thaf yrur. Although Cimarosacomposed other works for the king, His Majesty seemedunable to shakehis fury at-havingthis court musiciancelebrate his overthrow and had Cimarosathrown in prison. 33 According to Cimarosa's earliest biographers, not always accurate, he was spared the death sentencebecause of the intercessionof friends and admirers (among them Cardinals Consalviand Rufflo,and Lady Hamilton). On his release,Cimarosa returned to Venice. Domenico Cimarosawas 50 when he made this final move from Naples to Venice where he was invited to compose a new opera (probably his 65th), Artemisia, but he did not live to complete it. Undoubtedly his four months in the Neopolitan prison had underminedhis health. He died on fanuary I 1, l80l . Rumors were widespread that he had been poisoned at the insistenceof QueenMarie CarolineofNaples. The angerof public opinion in this instanceforced the government to publish a medical report which certified that Cimarosa had died from an internal ailment. Cimarosa was buried with great pomp and ceremony in the Church of San Angelo, a splendid catafalquelater erected there which was covered with a mantle of gold-embroidered velvet and surrounded by other arrangementson the high altar. For the unveiling, vast instrumentalforces performedthe Dies lrae before the Signori of Venice. These inspired tributes to Cimarosa along with several others were, at best, transcendental. The church of San Angelo was demolishedin 1837 and his bust by Canova for the Partheonin Rome hasbeen removed to the Galleriaof the Campidoglio. 34 GLOSSARY allegretto a tempo between andanteand allegro, allegretto being a diminutive of allegro which indicatesa moderatelyquick movement. allegro a tempo indication meaningmerry, cheerful,joyous; a fast tempo. alto lowest female singing voice, sometimescalled contralto. In older music alto may refer to a man'svoice in the falsetto range. andante tempo marking derivedfrom the Italian verb andare: "to walk," generally taken to meana tempo betweenallegretto and adagio, "a very moderate walking speed." ) andantino con moto tempo marking indicating"somewhat faster than andante," con moto adding "with movement" aria term commonly used to describeeither a tuneful vocal piece or an extendedsolo in opera. baritone middle rangedmale voice (lower than a tenor, higher than a bass). Dass lowest pitchedmale voice. brass a family of instrumentsfound in an orchestrawhich are all played by meansof wind generatedby the player,the instrumentsall being made of brass. The family includes,from highestto lowest: trumpet, Frenchhorn, trombone,bass trombone, tuba. cast the group of perfofinersto whom parts are assigned. coach a musicalcoach helps train singersin the performanceof a role, especiallyas it relatesto correct pitches,rhythms and pronounciation. conductor one who directs a group of musicalperformers (singers, instrumentalists, or both). It is hisjob to makethe group perform together,at the correct tempo (speed)and with the proper expression. costurner the person responsiblefor all the clothesworn on stage--choosingthe designwith referenceto the characterportrayed, the singersown physical appearance,the mood ofthe opera,the time and locale of the opera,the overall designof the stage set and lighting with referenceto colors. crescendo growing gradually louder. 35 director the person who designsand executesthat which one seeson stage during a performance. In the preparationof a production,the director acts as the eye of the audience.During the rehearsalshe assiststhe singersin their visual appearance and movement on stage,developing a cogent designthat incorporatesall the visual elements: singers,chorus, supernumeries, stage sets, costumes, and lighting. dovrry custom of the lSth century in which the father or family of the bride gives money, goods and/or estateto the future husband. duet a piece for two performers of equal importance. dynamics the volume level of a note, a phrase,a passage;the loudnessand softnessand variants thereof. ensemble a piecefor severalsoloists, either with or without the chorus. fermata generallyindicated by the symbol 6 which meansto hold (literally "to stop") fot a moment at this point, a break in the flow of the underlyingpulse. finale the concludingsection of an act of an opera,often of considerablelength and subdividedinto smallersections, with contrastsof tempo and key. forte loud when referringto dynamics. fortissimo very loud when referring to dynamics. libretto literaly "little book" in Italian; acknowledgedto meanthe text of an opera,its words, and stagedirections. light designer the personresponsible for arrangingand operatingthe various spotlights, floodlights and other lighting elementsused on stageduring a production. mezzusoprano the middle-rangedfemale voice. opera a dramaticwork in which the whole, or greater part, of the text is sungwith instrumental accompaniment. orchestra a compositeand corporate instrument compounded of certainbowed-string, pluckedstring, woodwind, brass-wind and percussion instruments, with the importantqualification that eachstring part is playedon a numberof instruments, whereaseach wind andpercussion part is playedon only oneinstrument. ovenure musicfor the orchestrato playbefore the curtaingoes up on stage,a bit of music whichwill leadthe patronsfrom the everydayworld into the magicalworld of music. 36 piano soft when referring to dynamics. pianissimo very soft when referring to dynamics. piu allegro piu means"more" in Italian, thus "more quickly. " recitafive a vocal style designedto imitate and emphasizethe natural inflections of speech. It is usually employedwith more or less narrative prose texts. In the recitative, the purely musical principles of vocal melody, phrase,and rhythm are largely disregarded,being replacedby speechlikereiteration of the samenote, slight inflections, irregular rhythms, purely syllabic treatment of the text. set designer the personresponsible for the visual appearanceof that which is seenon stage, includingthe set itselt, and the furniture and decorativepieces. soprflno highest female singing voice. staccato a reduction in a note's written duration, usually cut in half. stagedirector (seedirector) stagerehearsal the exercise,drill or practiceheld on stage,usually in private,in preparationfor a publicperformance. stageset that which is the physicalsetting or sceneryseen on stage,sometimes described as a three-sidedroom with the prosceniumopening serving as an invisiblefourth wall. strings instrumentswhich produce their tone by meansof a bow whichis drawnacross cat-gut(nowdays plastic) strings. The family includes (from highestto lowest) violin,viola, cello, (violoncello) and bass viol (contrabass,double bass). tempo the speedof the musicas determined by its indicatedpulse. tenor highestpitched male voice. woodwind a memberof a familyof instrumentswhich areplayed by meansof wind-generated by the breathof the player,the instrumentsoriginaly all madeof wood. The family includes,from highestto lowest,piccolo, flute, oboe, English horn, clarinet, bass clarinet,bassoon" contrabasson. 37 Marriage with Great Nobility Ubretb by Gbvanni Berbti DomenicoCimarca** Englisltbrrt by JarnesLucas & JanetBaxter Peler The SecretMarriage Albgro d p I d aa aaata a ta ta a {)+# ------lf - - - - 1 fused by permissionTheodore Presser Co. **Piano reducti-on permissi-on Nick Rossi 3B 39 Now dear- est El - i - set - ta You'll have a no - ble 40 dcar- est El - i - set - ta, corne gve pa - pa his dw- dcar-estEt-i- crescendo ta, come gve pa - pa hb En - ioy to 4I dooc it all fq done it all for 42 CeremonyIs So Tedious AMnitfucqrmolo E- a) J f 1 p aJ J 1 Cer- e mon-yisso All- d J J p a 1 d7 7 tc - dious ver- y- sim- ply I shall mcet you All =r : -1 : d lm J 7 43 - V a .- - . lz - AJ J' t- a- I I - - 10 .l a ) .) J 7 13 I-ove - ly fam' - ly pray per - mit me to- ex- Arl t\\ : -t a/ t J dtJ'ot 7 13 cres, .) 16 pr€ss mgreat de- light that I may greet you, pray Wt - mit me to ex - Arl d J o a +r J cres. rO t6 44 A dJJ 18 press my great de - light that I may greet you A ll --- ,A b-- bL d;Jr+ p f A 18 a -- a) -- 21 Don't dis turb your - self I don't Arl b-- L b -t J J -+ d J a J e a 21 d- J 21 want it No! No! Im not uscd to bc - ing for - mal All-=--- h o a JJ d J e -A 21 45 .rt Ftt t r I I t I t I r I I I I \\1, a) 27 Sir I feel that I am tron ffed Arl - a) ,l 27 (To Fidalna) a) n Here you see your hum - ble ser - vant All -.1 - d f a E dr+' 31 Such a du- ty is a pleas - ure All-- - p f 3l 46 (To Elisetta) -, t a) -J e' EI And I kiss your hve - ly hand Art - ] I p p f \ .u t a gl (To Carolina) t/tFl lt t a) +' ft- J' J',lt- 35 Here she is this must be she This must be A lt -rb hrrr - d JI? 1 JN J \ \ E_ E 35 a) JJJJ 37 she, there is no oth - er I can see, there is no oth - er it could Arl - J w tLO a 37 47 a) +' s be! She's im fssed with me I know' with meI Arl - -|- --- aJ e'r H l-J JJ'J .t+J 39 AJ -- JJ J 4 knoq with me I know, with me I know! Ail 4 - I n .t-, d u Jl O ' JJ t I l-rb rO 4 d 7 o \ 4.9 48 A ContractIs a Contract Nlegretto A I l. GERONIMO: A con_ tract is a 2. BARON: If you- will pay at o p A , - - I con - tract is a con - tract ls a con - tract ten - tion just a mo - ment just a mo - ment 49 will hold you to it hold you to it hold you will pay at - ten - tion just a mo - ment just a daugh- ter you will mar - ry, my daugh - ter you will might reach some a - gree - ment, if vou were not so mar- ry! A con - tract ls a con- tract, she's yours no mat - ter an- gry! But if_ think to force- De, I'd say you bet - ter 50 No mat - ter You bet - ter what no mat - ter what no mat - ter what! not you bet - ter not you bet - ter not! No mat - ter what no mat - ter what no mat - ter what, and I re - You bet - ter not you bet - ter not you bet - ter not! I tell you 51 peat it: she's yours no mat-ter what! She's yours no- ms[- ter- plain - ly: I say you bet- ter not! I say you- what! mat - ter what! not! - ter not! 52 What a MarvelousOccasion huAlle{rro be the gre*rt - est Thcre will be the great- est cel - e - bra- tion, hap - pi 54 writ€ to the re - la - tions BOYS: Yes! You write to the re - p n 7 7 ' 7 Al our friends must be in - vi - ted la - tions Yes! Our friends must be in - fl f p ?t. n 55 9 V V VV rhere'llbe sing- ing V I I There'll be darc - ing vit- ed There'll be sing- ing There'llvv be r a) / Y LJV V f p p \ f \ * a 2 i,500 copies thir 1"rro.r guide were printecl at a total cost of "{ $992.g0, o, 6ZQ per copy. 56