PHOTO: Tim Fuller / Arizona Opera 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”).