PHO to : Tim Fuller / Arizo Na O Pe Ra

PHOTO: Tim Fuller / Arizona Opera Arizona / Fuller Tim PHOTO: PHOTO: Coastal Click Photography

We believe that opera tells stories to which we can all relate, and that’s why the operatic art form has thrived for centuries. The education programs at Palm Beach Opera strive to immerse the community directly into these stories, revealing timeless tales of love, passion, and joy. We challenge each person to find his or her own connection to opera’s stories, therefore inspiring learners of all ages to explore the world of opera. At Palm Beach Opera, there is something for everyone! #PBOperaForAll The Masterminds 4 Who’s Who 7 Understanding the Action 9 Engage Your Mind 16

PHOTO: Tim Fuller / Arizona Opera Johann Strauss II. An Operetta in Three Acts. 1874 Libretto by Carl Haffner and Richard Genée, after Le Réveillon (The Midnight Supper) by Henri Meilhac and Ludovic Halévy. First performance at the Theater an der Wien, Vienna, Austria on April 5, 1874.

Composer Johann Straus II, often referred to as Johann the Younger, was born on October 25, 1825 in Vienna, Austria. He was the oldest son of Johann Strauss the Elder, a self-taught musician and composer whose reputation would soon be eclipsed by his son’s popularity.

Johann the Elder would not allow any of his three sons to follow in his footsteps, despite their desire to become musicians. Johann the Younger was supposed to become a banker; Joseph was to go into the military; and Eduard was set to become a diplomat in the Austrian consulate. Johann the Younger went on to write more that 500 musical compositions, therefore surpassing his father’s productivity.

Johann Strauss II is known for revolutionizing music and operettas including the introduction of a new wave of excitement in dance music during his era. Of his nearly 500 dance pieces, 150 were waltzes. The waltz, a peasant dance reformed by his father, became a staple in aristocratic society, making Johann the Younger known as “The Waltz King,” the equivalent of today’s biggest and most famous pop star.

FUN FACT: Even though Strauss primarily composed dance

music, he couldn’t dance. “That’s why I have to give a firm

‘no’ to the many tempting and alluring invitations to dance.”

Johann II was persuaded by his first wife, the noted mezzo-soprano, Henrietta“ Jetty” Treffz, to try his hand at operetta. His third operetta, Die Fledermaus, became his most famous. He went on to marry two more times after Henrietta’s death. Strauss would continue composing until his death in Vienna on June 3, 1899. A gold statue of Johann Strauss II playing the violin stands at the Stadtpark in Vienna to honor this charismatic and prolific composer and bandleader. Karl Haffner (November 8, 1804—February 29, 1876), librettist forDie Fledermaus, was born in Pressbaum, Prussia. By the age of 16, he joined a touring company as an actor, traveling around Saxony, Silesia, Austria, and Hungary. He began writing tragedies which never quite met the audience’s approval. A theatrical manager in Vienna recognized his talent for farce and hired him to become a playwright for the Theater an der Wien, where Die Fledermaus would later premiere.

After his time as a librettist and playwright, Haffner edited the satirical weekly paper Böse Zungen and wrote more than 30 volumes of novels. In 1955, the street Haffnergasse was named after him in Vienna.

FUN FACT: As a theatrical writer in Vienna, Haffner had to

commit to delivering eleven scripts a year.

Franz Friedrich Richard Genée (February 7, 1823—June 15, 1895) was a librettist and collaborator forDie Fledermaus. Born the son of Friedrich Genée, he studied music in Berlin and served as the chorus master at theaters in various German cities. At the age of 45, he became the conductor at the Theater an der Wien at the same time the boom in popularity for operetta began.

Because of Genée’s familiarity with operetta, he was a huge asset when collaborating on Die Fledermaus. Since Johann Strauss II had only written two other operettas and wasn’t very familiar with the requirements of writing for the theater, Genée understood that side of operetta and had the musical skills to mesh with Strauss’ creative sensibilities.

Richard Genée was a very successful musician in Vienna, even though his own compositions and operettas were not popular. He retired from conducting at age 55 and lived comfortably until his death at age 72. PHOTO: Tim Fuller / Arizona Opera

A wealthy man of gabe-RI-el baritone leisure fon EYES-en-shtine

Gabriel’s wife ros-ah-LIND-ah soprano

A prison governor frahnk baritone

A singing teacher AL-fred tenor

A notary DOC-tor baritone FALK-uh

A Russian prince prince mezzo-soprano or-LOV-ski (trouser role)

A lawyer DOC-tor tenor blint

Rosalinde’s maid A-dell soprano

Adele’s sister EYE-duh soprano

A jailer FROshh speaking role PHOTO: Tim Fuller / Arizona Opera PG-13: Check out a lighthearted look at Die Fledermaus from Opera 5: https://youtu.be/Bv8nqBPNDN4

Vienna in the 19th century.

Die Fledermaus, German for “The Bat,” is a comedic series of mischief, intrigue, and revenge set at a grand Viennese ball on New Year’s Eve. Eisenstein is being forced to go to jail for punching a police officer, however decides to evade jail for one night so that he can go to Prince Orlofsky’s lavish party. Eisenstein wants to go with his friend, Falke, so he tells his wife, Rosalinde, that he is heading off to jail. Meanwhile, Rosalinde knows that Eisenstein is lying and follows him, disguised as a Hungarian countess, to the ball. Adele, their maid, also feigns an excuse to be released from work that night so that she can also go to the ball, disguised as a Russian actress named Olga. After many mistaken identities, Eisenstein attempts to seduce his own wife without knowing. Much frivolity, and many festivities behind them, the great farce ends up with a happy ending for all.

ACT I Eisenstein’s apartment

Gabriel von Eisenstein, a Viennese man-about-town, has been sentenced to eight days in prison for insulting an official, partially due to the incompetence of his attorney, Dr. Blind. Adele, Eisenstein’s maid, received a forged letter, purportedly from her sister who is in the company of the ballet, but actually written by Falke, inviting her to Prince Orlofsky’s ball. She pretends the letter says that her aunt is very sick, and asks her mistress Rosalinde (Eisenstein’s wife) for an evening off (“My sister Ida writes to me”). Falke, Eisenstein’s friend, arrives to invite him to the ball (Duet: “Come with me to the souper”). Together, they recall a practical joke which Eisenstein played on Falke a few years ago, for which Falke is secretly planning a light-hearted revenge in kind. Eisenstein bids farewell to Adele and his wife Rosalinde, pretending he is going to prison (Trio: “Oh dear, oh dear, how sorry I am”), but really intending to postpone jail for one day and have fun at the ball.

After Eisenstein leaves, Rosalinde is visited by her former lover, the singing teacher Alfred, who serenades her (“Dove that has escaped”). Frank, the governor of the prison, arrives to take Eisenstein to jail, and finds Alfred instead. In order not to compromise Rosalinde, Alfred agrees to pretend to be Eisenstein and to accompany Frank. (Finale, drinking song: “Happy is he who forgets” followed by Rosalinde’s defense when Frank arrives: “In tête-à-tête with me so late,” and Frank’s invitation: “My beautiful, large bird-cage”).

ACT II A summer house in the Villa Orlofsky

It transpires that Falke, with Prince Orlofsky’s permission, is using the ball as a way of getting revenge on Eisenstein. Some time before, after a costume-party, Eisenstein had abandoned Falke, very drunk and dressed in a bat-costume, in the center of town, exposing him to ridicule the next day. As part of his scheme, Falke has invited Frank, Adele, and Rosalinde to come to the ball, all concealing their identities as well. Rosalinde pretends to be a masked Hungarian countess, Eisenstein goes by the name “Marquis Renard,” Frank is “Chevalier Chagrin,” and Adele, who has borrowed one of Rosalinde’s dresses without permission, pretends she is an actress.

The ball is in progress (Chorus: “A souper is before us”) and the Prince welcomes his guests (“I love to invite my friends”). Eisenstein is introduced to Adele, but is confused as to whom she really is because of her striking resemblance to his maid. (“My lord marquis,” sometimes referred to as“ Adele’s Laughing Song.”) Frank arrives. He and Eisenstein, who are both posing as Frenchmen, attempt to conceal their identities by repeating common French phrases to each other, to Orlofsky’s great amusement. Since neither actually knows French, both are fooled. As the party progresses, they both experience alcohol-induced good-feelings and manly camaraderie for each other.

Then Falke introduces the masked Rosalinde to the company. She convinces everyone that she is Hungarian by singing the “Czardas,” a sentimental dancing-song (“Sounds from home”). During an amorous tête-à-tête, Eisenstein tries unsuccessfully to persuade the mystery-woman to unmask. She succeeds in extracting a valuable watch from her husband’s pocket, something which she can use in the future as evidence of his impropriety (Watch duet: “Her bearing, so well-mannered”). In a rousing finale, Orlofsky makes a toast to champagne, and the company celebrates (The Champagne Song: “In the fire stream of the grape”; followed by the canon: “Brothers, brothers and sisters” and the waltz finale,“ Ha, what joy, what a night of delight”). Eisenstein and Frank dash off as the clock strikes six in the morning.

ACT III In the prison offices of Warden Frank

The next morning they all find themselves at the prison where the confusion increases and is compounded by the jailer, Frosch, who has profited by Warden Frank’s absence to become gloriously drunk. Alfred, still in jail in Eisenstein’s place, irritates the other prisoners by singing operatic arias.

Adele arrives to ask the Chevalier Chagrin (actually Frank) to sponsor her career as an actress, but Frank is not wealthy enough to do this (Melodrama; Couplet of Adele: “If I play the innocent peasant maid”). Meanwhile, Alfred asks Frosch to summon Dr. Blind to help get him released; Frank agrees to allow this and Dr. Blind arrives. Eisenstein enters and says he has come to serve his sentence. His is surprised when Frank tells him that his cell is already occupied by a man who claims to be Eisenstein and whom Frank has arrested in Eisenstein’s apartment. Frank further tells Eisenstein that the man he arrested was singing amorous songs to Rosalinde at the time of his arrest, and warmly kissed her goodbye. Enraged, Eisenstein takes Dr. Blind’s wig and glasses in order to disguise himself and confront the impersonator Alfred, whom Eisenstein now believes has deceived him. Rosalinde enters. Eisenstein takes off his disguise and accuses her of being unfaithful to him with Alfred. Eisenstein, Rosalinde, and Alfred sing a trio in which Eisenstein angrily claims the right of vengeance (Trio: “I’m the one who was mistreated …Ve-ve-ve-ve-vengeance is mine!”). However, Rosalinde produces his watch, and he realizes that the Hungarian mystery-woman he tried to seduce at Orlofsky’s party was actually Rosalinde in disguise and that he, not she, is at fault.

Falke enters with all the guests from the party and explains that the whole thing was payback for Eisenstein’s practical joke on him three years before. Eisenstein is delighted by the prank, and he begs Rosalinde to forgive him for his attempted infidelity. Rosalinde refuses at first and threatens to divorce him, but Eisenstein tells her that his misbehavior was caused by the champagne. She accepts this explanation and immediately forgives him unconditionally. Orlofsky promises to finance Adele’s acting career, and the company joyfully reprises the “Champagne song” from Act II.

SONG NOTE: The “Champagne Song,” which is sung by the entire ensemble, should not be confused with the baritone aria “Fin ch’ han dal vino” from Don Giovanni, which is often called the“ Champagne aria.”

What an opening! When it premiered at the Theatre an der Wien on Easter Sunday, 1874, Die Fledermaus differed in many ways from Viennese works that came before it. Operetta audiences had come to expect elaborate costumes and sets to accompany a story set in some distant land. But in this work, performers are dressed in present-day public attire instead of fancy costumes typical of most operettas, and the sets required only the interiors of private homes and the local police station. While many operettas opened with a rousing chorus number set in a large open space or outdoors, in Die Fledermaus, the curtain rose on a family living room and no chorus appears until the

second act.

Originally, Prince Orlofsky was a mezzo- soprano. Since World War I, the role has been sung either by a mezzo or a baritone. Mezzo- sopranos often sing the parts of young men in opera called a trouser role or pants role.

PHOTO:Tim Fuller Arizona / Opera Pictured left, mezzo-soprano Stephanie Blythe plays the trouser role of Prince Orlofsky. Ms. Blythe will reprise this role in Palm Beach Opera’s upcoming production ofDie Fledermaus.

Strauss believed in opera for all. “Everyone must find something in [operetta] that appeals to his taste...something they remember. There, one must manage to send them from the performance so that something immediately sticks in their ear!”

Don’t be Blue! Die Fledermaus is by far Strauss’ most popular operetta. But he’s really known for leading salon orchestras with a violin in one hand, a bow in the other, and inspiring a dance craze to rival anything in clubs today. His most famous waltz, “The Blue Danube,” though not an instant success, would become one of the most well- known tunes of the 19th century. The Arts during a Depression. The Austrian stock market crash of May 1873 left theaters scrambling to stay afloat in any way they could. With many fortunes ruined overnight, even enthusiastic theatergoers were reluctant to spend money on tickets, much less invest in producing new, extravagant works. Theaters were forced to make do with existing sets and performers, who in those days were required to provide their own costumes. With Die Fledermaus, companies could present a more credible ensemble by wearing contemporary fashions instead of the exotic outfits of the past. Nonetheless, operettas likeDie Fledermaus gave contemporary Viennese audiences a way to escape their very real fears about the decaying world around them.

Although we think of Johann Strauss II as the Waltz King, he was just as prolific in the compositions of other dances like the polka and the galop or can can. The polka, a Bohemian dance introduced in Prague in 1837, became so popular that the term “polkamania” was coined to describe the phenomenon. In fact, there are almost as many polkas in Die Fledermaus as there are waltzes!

There have been over 20 film and TV adaptions ofDie Fledermaus in Germany, France, Great Britain, Austria, Denmark, Ukraine, and the Soviet Union.

Composers loved Strauss! Johann Strauss II was widely respected and admired by contemporaries like Brahms, Verdi, Wagner, Tchaikovsky, and Richard Strauss (no relation). In fact, Johannes Brahms and Strauss were close friends. Strauss’ final operetta premiered on March 1897. Brahms was terminally ill, but managed to attend the opening despite his struggles. Three weeks later, Brahms died. January 1 New York City annexes the Bronx

January 13 U.S. troops land in Honolulu to protect the king of Hawaii

March 2 baseball batter’s box is officially adopted

April 15 New York legislature passes compulsory education law requiring children to attend school for a certain period of time

May 20 Levi Strauss and Jacob Davis receive a U.S. patent for blue jeans with copper rivets; the price is $13.50 per dozen

July 1 first U.S. kidnapping for ransom, 4-year-old Charles Ross, $20,000

July 1 first U.S. zoo opens (Philadelphia, PA)

July 14 The Chicago Fire of 1874 burns down 47 acres of the city destroying 812 buildings, killing 20, and resulting in the fire insurance industry demanding municipal reforms from Chicago’s city council

July 24 Matthew Evans and Henry Woodward patent the first incandescent lamp with an electric light bulb

July 31 Patrick Francis Healy, S.J., the first Black man to receive a PhD, is inaugurated as president of Georgetown University, the oldest Catholic University in America, and becomes the first African- American to head a predominantly White university

September 28 Texas-Indian Wars: U.S. Army Colonel Ranald S. Mackenzie leads his force of 600 men on a successful raid of the last sanctuary of the Kiowa, Comanche, and Cheyenne Indian tribes, a village inside the Palo Duro Canyon in Texas, and carries out their removal to the designated Indian reservations in Oklahoma

November 7 first cartoon depicting an elephant as the Republican Party symbol, by Thomas Nast PHOTO: Tim Fuller / Arizona Opera

The following pages contain Lesson Plans and accompanying materials for grades 6-12. Lesson Plans were crafted according to curriculum standards set forth and approved by the state of Florida. Palm Beach Opera’s curriculum is approved by The School District of Palm Beach County.

For questions about the Lesson Plans, or for more information about how Palm Beach Opera can serve your classroom, email [email protected].   

Gabriel von Eisenstein, a Viennese man-about-town, has been sentenced to eight days in prison for insulting an official, partially due to the incompetence of his attorney, Dr. Blind. Adele, Eisenstein’s maid, received a forged letter, purportedly from her sister who is in the company of the ballet, but actually written by Falke, inviting her to Prince Orlofsky’s ball. She pretends the letter says that her aunt is very sick, and asks her mistress Rosalinde (Eisenstein’s wife) for an evening off. Falke, Eisenstein’s friend, arrives to invite him to the ball. Together, they recall a practical joke which Eisenstein played on Falke a few years ago, for which Falke is secretly planning a light-hearted revenge in kind. Eisenstein bids farewell to Adele and his wife Rosalinde, pretending he is going to prison, but really intending to postpone jail for one day and have fun at the ball.

After Eisenstein leaves, Rosalinde is visited by her former lover, the singing teacher Alfred, who serenades her. Frank, the governor of the prison, arrives to take Eisenstein to jail, and finds Alfred instead. In order not to compromise Rosalinde, Alfred agrees to pretend to be Eisenstein and to accompany Frank.

It transpires that Falke, with Prince Orlofsky’s permission, is using the ball as a way of getting revenge on Eisenstein. Sometime before, after a costume-party, Eisenstein had abandoned Falke, very drunk and dressed in a bat-costume, in the center of town, exposing him to ridicule the next day. As part of his scheme, Falke has invited Frank, Adele, and Rosalinde to come to the ball, all concealing their identities as well. Rosalinde pretends to be a masked Hungarian countess, Eisenstein goes by the name “Marquis Renard,” Frank is “Chevalier Chagrin,” and Adele, who has borrowed one of Rosalinde’s dresses without permission, pretends she is an actress.

The ball is in progress and the Prince welcomes his guests. Eisenstein is introduced to Adele, but is confused as to whom she really is because of her striking resemblance to his maid. Frank arrives. He and Eisenstein, who are both posing as Frenchmen, attempt to conceal their identities by repeating common French phrases to each other, to Orlofsky’s great amusement. Since neither actually knows French, both are fooled. As the party progresses, they both experience alcohol-induced good-feelings and manly camaraderie for each other.

Then Falke introduces the masked Rosalinde to the company. She convinces everyone that she is Hungarian by singing the “Czardas,” a sentimental dancing-song. During an amorous tête-à-tête, Eisenstein tries unsuccessfully to persuade the mystery-woman to unmask. She succeeds in extracting a valuable watch from her husband’s pocket, something which she can use in the future as evidence of his impropriety. In a rousing finale, Orlofsky makes a toast to champagne, and the company celebrates. Eisenstein and Frank dash off as the clock strikes six in the morning.

Adele arrives to ask the Chevalier Chagrin (actually Frank) to sponsor her career as an actress, but Frank is not wealthy enough to do this. Meanwhile, Alfred asks Frosch to summon Dr. Blind to help get him released; Frank agrees to allow this and Dr. Blind arrives. Eisenstein enters and says he has come to serve his sentence. His is surprised when Frank tells him that his cell is already occupied by a man who claims to be Eisenstein and whom Frank has arrested in Eisenstein’s apartment. Frank further tells Eisenstein that the man he arrested was singing amorous songs to Rosalinde at the time of his arrest, and warmly kissed her goodbye. Enraged, Eisenstein takes Dr. Blind’s wig and glasses in order to disguise himself and confront the impersonator Alfred, whom Eisenstein now believes has deceived him. Rosalinde enters. Eisenstein takes off his disguise and accuses her of being unfaithful to him with Alfred. Eisenstein, Rosalinde, and Alfred sing a trio in which Eisenstein angrily claims the right of vengeance. However, Rosalinde produces his watch, and he realizes that the Hungarian mystery-woman he tried to seduce at Orlofsky’s party was actually Rosalinde in disguise and that he, not she, is at fault.

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Gabriel von Eisenstein, a Viennese man-about-town, has been sentenced to eight days in prison for insulting an official, partially due to the incompetence of his attorney, Dr. Blind. Adele, Eisenstein’s maid, received a forged letter, purportedly from her sister who is in the company of the ballet, but actually written by Falke, inviting her to Prince Orlofsky’s ball. She pretends the letter says that her aunt is very sick, and asks her mistress Rosalinde (Eisenstein’s wife) for an evening off. Falke, Eisenstein’s friend, arrives to invite him to the ball. Together, they recall a practical joke which Eisenstein played on Falke a few years ago, for which Falke is secretly planning a light-hearted revenge in kind. Eisenstein bids farewell to Adele and his wife Rosalinde, pretending he is going to prison, but really intending to postpone jail for one day and have fun at the ball.

It transpires that Falke, with Prince Orlofsky’s permission, is using the ball as a way of getting revenge on Eisenstein. Sometime before, after a costume-party, Eisenstein had abandoned Falke, very drunk and dressed in a bat-costume, in the center of town, exposing him to ridicule the next day. As part of his scheme, Falke has invited Frank, Adele, and Rosalinde to come to the ball, all concealing their identities as well. Rosalinde pretends to be a masked Hungarian countess, Eisenstein goes by the name “Marquis Renard,” Frank is “Chevalier Chagrin,” and Adele, who has borrowed one of Rosalinde’s dresses without permission, pretends she is an actress.

PHOTO: Coastal Click Photography