Jack and the Beanstalk

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Presents

TEACHER PACKET

Music by Sir Arthur Sullivan

Libretto by John Davies

And made possible by these wonderful sponsors:

Thank You!

Dear Music Educators and Administrators,

At Pensacola Opera, we believe that an arts education is essential to every students’ success. It’s because of teachers like you that we were able to bring opera to approximately 24,000 students in the 2014-2015 school year alone. Thank you for joining us in providing a generation of students with the chance to experience opera live, up-close and personal! As part of our ongoing mission to bring opera to everyone, we want to support you by providing tools to help prepare your students for our visit.

We encourage you to use this guide to augment your existing curriculum and will find the following activities and lessons beneficial. We believe opera to be interdisciplinary so this guide contains activities designed to benefit both the student and educator by relating opera to math, science, language arts, and music. The suggested activities provided in the teacher guide assist students to actively listen and observe live opera and includes activities for both before and after the performance. All activities are designed to help students in- ternalize what they saw, heard and felt. Please feel free to copy or adapt any part of the guide for use with your students.

Thank you again for hosting us and we look forward to performing for you! I sincerely hope that you and your students will enjoy the performances and that this is just the beginning of a life-long love of opera!

Sincerely,

Amanda Cook Director of Education and Outreach Pensacola Opera 850-433-6737 [email protected]

* Special thanks to UK Opera Theatre and Nashville Opera for their contributions to this guide!

3 Jack and the Beanstalk Performance Day Check List We will arrive at your school approximately 30-45 minutes prior to show time. We will go directly to the front office to check in. Please inform your office staff that we will be there and let them know where we are to unload our set.

Have a tuned piano in the performance space, if available. We always bring a keyboard with us, but if you have one readily available, it saves us valuable set-up time.

Prepare two “dressing rooms” close to the performance space for the singers. These need to be spaces that will not have students entering or exiting.

Have two students selected to play the “Cow” Snickers. Bring them backstage 10 minutes before curtain time.

Begin bringing students in 15 minutes prior to show time. You do not need to wait for an okay from us.

Questions? Call 850-433-6737 or e-mail Amanda Cook at [email protected]

4 Opera and the Common Core State Standards

The very nature of opera, as an inherently multidisciplinary art form, has allowed opera companies and schools to develop ways to incorporate opera into the curriculum. Over the years, opera education programs have provided students with various ways to experience and engage with the art form, while supporting substantive classroom conceptual connections. Opera relates to the common core in the following ways:

1. Creating and Performing Opera: any aspect of opera composing, libretto writing, performing and production, whether it be original work or re-imaginings of existing narrative work.

2. Learning About Opera: activities that are rooted in a specific repertoire including studying the composer, librettist, and primary sources. Gaining knowledge of opera history, specific opera conventions, notable singers, and historical and cultural contexts. Understanding the dramatic, technical and aesthetic aspects of production elements. Oftentimes these activities culmi- nate in attending a performance.

3. Opera Career Readiness: engaging with opera professionals, including technicians, administrators and contemporary creators/performers, oftentimes with a focus on transferring learning to a work setting.

Opera and English Language Arts

At the broadest level, there is clear alignment between opera and the values embodied in the Common Core State Standards for ELA. The College and Career Readiness Anchor Standards (CCRA), provide broad definitions of the skills and understandings that all students must demonstrate. The grade-specific standards provide additional specificity. There is clear alignment between opera and the anchor standards for Reading Literature (RL), Informational Texts (RI), Speaking and Listening (SL) and Language (L). In some cases, opera is a strongly suited medium to teach that particular skill. The following standards show direct connections to the art form:

CCSS.ELA-Literacy.RL.2.41 Describe how words and phrases (e.g., regular beats, alliteration, rhymes, repeated lines) supply rhythm and meaning in a story, poem or song.

CCSS.ELA-Literacy.RL.4.5 Explain major differences between poems, drama and prose, and refer to the structural elements of poems (e.g., verse, rhythm, meter) and drama (e.g., casts of characters, settings, descriptions, dialogue, stage directions) when writing or speaking about a text.

CCSS.ELA-Literacy.RL.5.7 Analyze how visual and multimedia elements contribute to the meaning, tone or beauty of a text (e.g., graphic novel, multimedia presentation of fiction, folktale, myth, poem).

CCRA.SL.2 Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively and orally.

CCRA.L.3 Apply knowledge of language to understand how language functions in different contexts, to make effective choices for meaning or style, and to comprehend more fully when reading or listening.

When studying opera repertoire, students are likely to:

CCRA.R.4 Interpret words and phrases as they are used in a text, including determining technical, connotative and figurative meanings, and analyze how specific word choices shape meaning or tone.

CCRA.R.9 Analyze how two or more texts address similar themes or topics in order to build knowledge or to compare the ap- proaches the authors take. Creating an original work is likely to involve writing exercises where students:

CCRA.W.3 Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details and well-structured event sequences.

5 CCRA.W.4 Write routinely over extended time frames (time for research, reflection and revision) and shorter time frames (a single sitting or a day or two) for a range of tasks, purposes and audiences.

In addition, learning to sing and act in an opera might touch on “Reading: Foundational Skills” where students are expected to demonstrate an “understanding of spoken words, syllables and sounds (phonemes) as a part of “Phonological Awareness”. Opera lessons may include writing an opinion about attending a performance which aligns with:

CCRA.W.1 Write arguments to support claims in an analysis of substantive topics or texts using valid reasoning and relevant and sufficient evidence.

ELA Standard 10 (Range of Reading and Level of Text Complexity) calls for a “staircase” of increasing text complexity where students build knowledge overtime and study topics or themes in depth, sourced from a broad range of cultures and time periods. The range of texts in literature includes stories, folktales and fables, as well as staged dialogue and poetry. Many operas are based on such works. Informational texts include materials on history and the arts, in addition to technical texts. Texts about opera history and technical aspects of opera production also fall into this category.

Opera and Mathematics

The standards for Mathematics also offer connections to opera learning. The NCCAS suggests that the math standards reference the four essential creative practices: imagining, investigating, constructing and reflecting. These “meta-cognitive activities nurture the effective work habits of curiosity, creativity, and innovation, critical thinking and problem solving, communication,and collaboration, each of which transfer to all aspects of learning and life in the 21st century.” (National Coalition, 2012) The following eight “processes and proficiencies” are the Standards for Mathematical Practice, which form the backbone for each grade-specific standard: 1. Make sense of problems and persevere in solving them 2. Reason abstractly and quantitatively 3. Construct viable arguments and critique the reasoning of others 4. Model with mathematics 5. Use appropriate tools strategically 6. Attend to precision 7. Look for and make use of structure 8. Look for and express regularity in repeated reasoning

General alignment exists between these math practices and opera programs that help shape students’ attitudes and behaviors. For example, artistic activities that ask students to persevere in solving creative problems and critique the reasoning of others. Lessons may include opportunities where students actually apply mathematics when learning about opera sets and costumes. Students can participate in pattern making, creating set drawings and models built to scale, and modifying costumes to fit different casts of singers. These activities are geared toward meeting specific math standards, such as “Measurement and Data,” where students gener- ate measurement data by using rulers (CCSS.Math.Content.3.MD.B.4), or need to understand concepts of “area” and “plane fig- ures” (CCSS.Math.Content.3.MD.C.5). Although mathematics are inherent in a smaller portion of opera education activity, such programs contribute to career readiness and offer practical problem solving in real work settings.

http://www.operaamerica.org/applications/notes/OperaCommonCoreStatement.pdf

6 Audience Etiquette

The audience is probably the most important participant in any live production! One of the most exciting aspects of attending a live performance is the interactive relationship between the audience and the performers. It’s a good idea to prepare your students for their role in our production of Jack and the Beanstalk by covering these two basic guidelines.

Two basic guidelines: 1. Respect! Opera is not like TV; the singers on the stage can see and hear you too. Be respectful of all the hard work that has gone into the performance. Don’t get up, talk to your neighbor, or otherwise call attention to yourself by being disruptive. 2. Respond! It’s okay to applaud and laugh. Performers love to hear applause! It helps build their confidence and this shows that you really like the performance you are seeing.

Things you shouldn’t do during a live performance: Get up from your seat or get up on your knees. This makes it hard for the people behind you to see! Walk around Talk or whisper to your neighbor Eat food or drink Play with your cell phones/no texting! Things that you can do during a live performance: Laugh if something is funny Applaud at the end of a song, after a scene, or at the very end of the opera. Shout “Bravo, Brava or Bravi!” when the performers take their bows.

Jack and the Beanstalk

Cast and Crew

Jack……………………………………………...... Nicholas DeMeo, tenor Jack’s Mother……………………………….....Allison Nicholas, soprano Giant/Troubleman…………………...……...Thaddeus Ennen, baritone Giant’s Wife………………………………..…...Amanda Fink, mezzo-soprano Music Director/Pianist……………..……...Catherine Schaefer Stage Manager……………………...………...Jessica Myers

Stage Director/Tour Coordinator………………………...Amanda Cook, Education Director

8 Plot Synopsis: Jack and the Beanstalk

Scene 1: Jack’s Magic Garden Our story begins with the introduction of our main character, Jack B. Nimble. He describes the many famous Jack’s that we all know and love. For example, we have Jack O. Lantern, Lumber Jack, Jack of Spades, or Jack and Jill. Jack continues with his story and tells us that he is always prepared, especially if he meets a giant. Next we meet Jack’s mother and their cow Snickers. Unfortunately, Snickers is old and has no milk. Jack’s mother tells Jack to take Snickers to town and sell her for money to buy food. On the way to town, Jack meets a strange man.

Scene 2: The Road to Town The strange man on the road to town is the Trouble Man. He tells Jack that anyone can put their troubles into his sack and he will never give them back. The Trouble man also will give you a bean or two for your troubles. As the Trouble Man observes Snickers, he decides that he will buy the old cow and pays Jack five beans. Jack questions this form of payment but the Trouble Man tells him that the beans are worth more than money. When Jack tells his mother what he has done, she is very unhappy with him.

Scene 3: Inside Mom’s House Jack’s mother tells him that the Trouble Man has cheated him. She also reminds him that he should never talk to strangers. Jack is very sorry that he has made this mistake. Jack and his mom go to bed after his mom throws the beans in the backyard. Many things happen during the night, particularly behind Jack’s cottage. The magic beans begin to grow and are making a lot of noise. Jack and his mom wake to feel the whole house shaking and are very afraid. Jack goes outside to check out the problem.

Scene 4: Inside the Cloud Castle Jack and his mother discover that the beans have grown into a giant beanstalk. Jack decides to explore the beanstalk and there he meets the Giant. The Giant thinks that he smells the blood of an Englishman. Jack and the Giant’s wife hide while he sings his song. Then, Jack sneaks away. The Giant tells his wife how bad he is and wonders why. After that, he goes to his treasure chest and leaves his wife alone. Jack returns and begs the Giant’s wife for food. The wife gives it to him and tells him to leave quickly as the Giant can smell him. Jack hides in many places but the Giant can still smell him. The Giant’s wife tells the Giant that no one is there. The Giant still believes that someone is around. Jack dis- guises himself with a sheet over his head and reveals himself to the Giant. Jack makes scary sounds and uses a stick for a sword as he introduces himself as “Sir Smarty Pants.” He tells the Giant to give him a piece of gold. The Giant confesses to Jack that he stole the gold and proceeds to tell Jack his story. The Giant

9 confesses that he stole a golden chicken from a farmer named Squire B. Nimble. This man had a pretty wife and a baby boy named Jack. The Giant’s wife and Jack are shocked at the Giant’s confession. Jack tells the Gi- ant that his name is Jack. The Giant chases Jack and they threaten to harm each other. Jack sneaks up to the Giant and asks him to step aside so that he can leave. The Giant moves aside and then realizes what he has done. He proceeds to chase Jack a second time.

Scene 5: Terra Firma (on the ground) Jack is back at home. He gives the beanstalk forty whacks with his ax and it comes tumbling down. The Giant also falls to the ground, bumping his head. The Giant does not remember his name or why he lived in the sky. Suddenly, his memory does come back and he remembers that he was really mean to people. He also now realizes that he is all alone. Jack and his mother approach the Giant and he begs for forgiveness and understanding. They don’t want to give it to him but eventually they do. The Giant promises to be a good Giant and follow the golden rule – You must treat other people the way that you would want other people to treat you.

10 Meet the Authors

"Jack and the Beanstalk" is a British fairy tale. The earliest known appearance in print is Benjamin Tabart's moralized version of 1807. "Felix Summerly" (Henry Cole) popularized it in The Home Treasury (1842), and Joseph Jacobs rewrote it in English Fairy Tales (1890). Jacobs' version is most commonly reprinted today and it is believed to be closer to the oral versions than Tabart's because it lacks the moralizing.

Joseph Jacobs (August 29, 1854 – January 30, 1916) was a folklorist, literary critic and historian. His works included contributions to the Jewish Encyclopedia, translations of European works, and critical editions of early English literature. Jacobs wrote for journals and books on the subject of folklore and produced a popular series of fairy tales. Jacobs was born in Australia. He was educated at Sydney Grammar School and at the University of Sydney, where he won a scholarship for classics, mathematics and chemistry. He did not complete his studies in Sydney, but left for England at the age of 18 and entered St John's College, Cambridge. He graduated with a B.A. in 1876, and in 1877, studied at the University of Berlin. In 1900, he accepted an invitation to become revising editor of the Jewish Encyclopedia, which was then being prepared at New York, and settled permanently in the United States. Jacobs died on January 30, 1916.

Meet the Librettist

John Davies (1945-Present) John Davies is the creative mind behind Jack and the Beanstalk. By combining children’s stories with pre-existing operatic literature, he is introducing the world of opera to youngsters across the country. With his knowledge of the repertoire, he has skillfully selected operatic operas and ensembles to tell new tales with the genius of his lyrics. Being performed regularly by regional opera companies and education programs, his works are becoming staples of children’s opera repertory. John Davies was born in 1946. He began his journey in music at age 16. That summer he worked as a waiter at restaurant in Lennox, MA during the famous music festival, Tanglewood. At 19, he saw his first opera, Falstaff by Giuseppe Verdi and began studying voice for- mally at the Boston University School of Fine and Applied Arts. He performed his first opera role, The Speaker in The Magic Flute, during this time. He graduated with a degree in Vocal Performance and began early training as an apprentice at Santa Fe Opera and with Western Opera Theater, a part of San Francisco Opera. He went on to appear with companies across the country, establishing a reputation of his characterizations of the basso-buffo roles of Rossini, Donizetti and Mozart. In 1997 he transferred to the other side of the footlights by founding Empire Opera Theater. He then made his mainstream directing debut in 2003. He has gone and continued to direct, appearing with such companies as Indianapolis Opera, Mercury Opera, Opera

11 Theatre at Wildwood and Knoxville Opera. Mr. Davies takes an active interest in the performing arts for young people, spending part of each year writing, narrating and hosting educational programs for opera companies, symphony orchestras and children’s museums across the United States. More than 60 North Ameri- can opera companies have presented his operas for young audiences. Currently Mr. Davies resides in Dewitt, New York. He is the father of six children and loves to walk, read and write for fun.

Meet the Composers

William Schwenck Gilbert & Sir Arthur Seymour Sullivan (May 13, 1842 – November, 22 1900) Sullivan was born in Lambeth, London. His father was a military bandmaster and music teacher, and with his support Arthur was able to join the choir at the Chapel Royal as ayoung boy and soon after became a soloist. He received the Men- delssohn Scholarship at age fourteen, which allowed him to train at the Royal Academy of Music and then the Leipzig Conservatoire in Germany. Sullivan was an English composer of Irish and Italian ancestry. He is best known for his series of 14 operatic collaborations with the dramatist W. S. Gilbert, including such enduring works as H.M.S. Pinafore(1878), The Pirates of Penzance (1879) and The Mi- kado (1885). Sullivan composed 23 operas, 13 major orchestral works, eight choral works and oratorios, two ballets, incidental music to several plays, and numerous hymns and other church pieces, songs, and piano and chamber pieces. The best known of his hymns and songs include "Onward Christian Soldiers" and "The Lost Chord". Sullivan died at the age of 58, regarded as the finest British composer of the 19th century. His comic opera style served as a model for the generations of musical theatre composers that followed, and his music is still frequently performed, recorded and perfected. The innovations in content and form of the works that he developed, particularly with Gilbert, directly influenced the development of the modern musical throughout the 20th century.

Famous Gilbert and Sullivan Songs….

From Mikado: Act I – “Three Little Maids from School are we” From Pirates of Penzance- “I Am the Very Model of a Modern Major-General” From Pirates of Penzance- “Poor Wand’ring One” From The Mikado- “The Sun whose rays are all ablaze” From HMS Pinafore- “We sail the ocean Blue”

From Mikado: “A Wond’ring Minstrel I”

12 Meet The Cast

Allison Nicholas, soprano Hailed as “sensitive” (New York Times) and an “elegant… standout” (Opera News), Alli- son Nicholas is a Chicago based Soprano and graduate of the Manhattan School of Mu- sic. Ms. Nicholas has been praised for her “Powerful voice” and has been heralded as charming and earthy” (Opera Canada). Allison made her Illinois debut as Papagena with Sugar Creek Opera’s production of The Magic Flute. In the upcoming months, Allison will be joining Indianapolis Opera’s Resident Artist program. There, she will be singing Olympia and Lady Blue in their run of John Davies’ Pinnocchio. She will also workshop Richard Aulden Clark’s Happy Birthday, Wanda June. In the Spring of 2016, Allison will join Pensacola Opera to sing Anina La Traviata, Syl- viane in The Merry Widow, as well as Krystina in Out of Darkness. There, she will also cover Violetta in La Traviata and Hanna in The Merry Widow. Previous performance credits include Sandman (Hänsel ind Gretel), Despina (Così fan Tutte), Croble (Thaïs), Tytania (A Midsummer Night’s Dream), Suor Genovieffa (Suor Angeli- ca), Helene (Die Verschwörenen), and Barbarina (le Nozze di Figaro). Allison is also a recipient of the Floren- tine Recital Award, awarded through the Metropolitan Opera.

Amanda Fink, mezzo-soprano Mezzo-soprano Amanda Fink, from Cleveland, Ohio, is thrilled to be making her Pensacola Opera debut performing the roles of Flora in La traviata and Olga in The Merry Widow. A recent member of Dayton Opera’s Artist-In-Residence program, she performed the role of 2nd Lady in Mozart’s Die Zauberflöte, as well as Sister Lillianne in Jake Heggie’s Dead Man Walk- ing. In the latter production, she also covered the lead female role, Sister Helen Prejean. Amanda was an apprentice with Ash Lawn Opera in the summer of 2014, performing the role of Mrs. McLean in Carlisle Floyd’s Susannah, and covering both the roles of Hodel and Chava in Fiddler on the Roof. While a student at the Maryland Opera Studio, she performed the roles of Idamante in Idome- neo, 2nd Lady in Die Zauberflöte, 2nd Maid in Dominic Argento’s Miss Havisham’s Fire, and covered the principal female role of Estella in Miss Havisham’s Fire. In 2012, Amanda participated in the Castleton Festival, where she performed the role of Charlotte in Stephen Sondheim’s A Little Night Music. That same year, she was invited to accompany Meastro Lorin Maazel to perform in La Boheme at the Royal Opera House in Muscat, Oman. In the 2016 season, Amanda makes exciting debuts with Pensacola Opera as a member of their Artist-In-Residence program, as well as Cathedral Choral Society in Washington, DC, as a soloist in their all-Beethoven program in May.

Nicholas DeMeo, tenor Tenor Nicholas DeMeo, from Ormond Beach, FL, is excited to be joining Pensacola Operaʼs Artist in Residence Program to sing the roles of Gastone in La Traviata, St. Brioche in The Merry Widow, and Jack in outreach performances of Jack and the Beanstalk. Nicholas spent the summer of 2015 in Central City, CO as a participant of the Central City Opera Studio Artist Program. In 2014, he made his professional stage debut as Pang in Turandot with Shreveport Opera, spent the summer in New York City as an Apprentice with Caramoor Opera, and sang Borsa in Rigoletto with Opera in the Heights in Houston, TX. Nicholas received his Bachelorʼs degree from Stetson University and his Masterʼs degree from the University of Houston. He has also participated in young artist programs at Brevard Music Center, Austrian-American Vocal Academy, and Seagle Music Colony. Other roles include Camille in The Merry Widow, Fenton in Falstaff, Tamino in Die Zauberflöte, Ri- nuccio in Gianni Schicchi, Valére in Tartuffe, Ulises in Salsipuedes, and King Kaspar in Amahl and the Night Visi- tors.

13 Thaddeus Ennen, baritone Thaddeus Ennen, from Buffalo Center, Iowa, is thrilled to be joining Pensacola opera to sing the roles of Baron in La Traviata and Cascada in The Merry Widow. Thaddeus just finished his second summer season with the Janiec Opera Company at the Brevard Music Center, where he performed the roles of Horace Tabor in The Ballad of Baby Doe and the title role in Sweeney Todd. He was awarded an Encouragement Award from the Metropolitan Opera National Council Auditions in 2014, the same year he received his Master’s in Vocal Perfor- mance from The University of Tennessee, Knoxville. Since 2012, Thaddeus has performed with Knoxville Opera, Fayetteville Opera, Asheville Lyric Opera, Bay View Music festival, and the Janiec Opera Company at The Brevard Music Center. Roles included Papageno in Die Zauberflöte, le Dancaïre in Carmen, Immigration Officer in Jonathan Dove’s Flight, Basilio in Il Barbiere di Siviglia, and Guglielmo in Così fan tutte.

Catherine Schaefer, music director/accompanist A native of Spokane, WA, Catherine Schaefer moved to Houston in 2007 and has since established herself as a freelance pianist and collaborative musician. She has worked for the Houston Grand Opera, American Festival for the Arts, Halifax Summer Opera Workshop, Opera Vista, and has collaborated with numerous Houston-based singers and instrumental- ists, including members of the Houston Symphony and Houston Grand Opera Orchestra. Catherine holds a M.M. from University of Houston’s Moores School of Music, and a B.M. from Duquesne University's Mary Pappert School of Music in Pittsburgh, where she also received her B.A. in English Literature. She has been recipient of the J. Cornetti Tucci Piano Performance Award and First Prize in the Duquesne Women's Advisory Board Scholarship Competition, and has performed concerti with the Spokane Youth Orchestra and the Duquesne Symphony Orchestra. Her principal teachers include David Al- len Wehr and Abbey Simon. Catherine is currently on faculty at the Bridges Academy of Fine Arts, where she maintains a small piano studio. During the 2010-11 season, she spent several months in Atlanta playing for the Atlanta Opera studio.

Jessica Myers, stage manager Jessica Myers, from Houston, Texas, is excited to join Pensacola Opera for the first time this year. Jessica spent the summer in Cedar City, Utah, as a Stage Manager for the Utah Shake- speare Festival’s Greenshows. Previously Jessica was the Touring Stage Manager for Houston Grand Opera’s Opera to Go! productions of The Pastry Prince and Cinderella in Spain. Since graduating from the University of Houston in 2012, Jessica has also worked at the Moores Opera Center, Opera in the Heights, the Aspen Music Festival and School, the Glimmerglass Festival, the Houston Symphony, and the Alley Theatre.

Amanda Cook, Director of Education & Outreach Amanda joined Pensacola Opera as the Director of Education and Outreach in November of 2012. In this role, she manages all aspects of the Artists in Residence Program and all other education and outreach initiatives of the company, including the From Words to Music program, summer opera camps, and production preview events. Prior to this position, Amanda worked as a Teaching Artist for three years with our From Words to Music program. She served as an active choral member from 2000-2012 and has performed several comprimario roles with the company. Amanda holds a Bachelor’s of Music Education from the University of West Florida. Prior to working for the Pensacola Opera, Amanda taught music in Escambia County area schools. In 2014, Amanda was recognized by the Yale School of Music as a Distinguished Music Educator.

14 What to Look and Listen for in an Opera

Dance, Drama, Visual Art and Music Terms

Soprano: a woman who can sing very high.

Mezzo-Soprano: a woman who can sing low.

Tenor: a man who can sing very high.

Baritone: a man who sings between high and low.

Bass: a man who can sing very low. Ensemble: a small group of singers.

Aria: the Italian word for song. In an opera, an aria is sung by one person.

Duet: a song that is sung by two singers.

Trio: a song that is sung by three singers.

Quartet: a song that is sung by four singers.

Finale: a big musical number at the end of an act or at the end of the opera.

Melody: A series of musical tones that make up a tune.

Composer: The person who writes the music

Libretto: The words that are sung in an opera.

Stage Director: The person who decides how the singers move and act while singing

Conductor: The person who leads the orchestra and singers during the performance.

Designer: The person who creates the scenery, lights, and costumes.

Score: The book which contains the music and the text of the opera.

Librettist: The person who writes the words or text of an opera

Movement: The way a character moves to music.

Character: a person represented in a play, opera, book or other artistic piece.

Set: the fixed structure that creates a recognizable location for the play.

Props: the furniture and hand held objects used in the play.

Costume: clothing made to help the audience know and understand who a character is.

15 Investigate the Opera

“Opera” means “works” in the Latin language. Today we use the word “opera” to describe one large work of performing art that combines many kinds of performances. Opera = many works that are combined together. Opera was created 400 years ago in Florence, Italy. In 1597 a composer named Jacopo Peri wrote a play that was sung throughout instead of spoken. He did this because he was trying to write a play the way the ancient Greeks did. During this time period, educated people were trying to learn all they could about the world of ancient Greece and imitate it. This first opera was about a character in Greek mythology and was called Daphne. The idea of presenting plays that were sung became very popular and more and more composers began to combine music and drama. Love of opera spread all over Europe and eventually the world. Operas have been written in every language and its popularity shows no signs of slowing down.

A Short History of Opera Baroque The first musical theatre work that we might define as an opera today was Jacopo Peri’sDafne, composed in the late 1590s. Unfortunately little of Peri’s score survives so Claudio Monteverdi’s Orfeo of 1607 takes the crown as the earliest work that you are able to hear. Both these composers were working in Italy, and it was Italian opera that would dominate what is now known as the Baroque period spanning from around 1600 to the 1740s. This form of opera came to the fore in wealthy courts across Europe, royalty frequently patrons of composers, but it rapidly became an art form that appealed to all classes, George Friedrich Handel’s work, for example, wildly popular in England. Some of the major opera composers of this period were Antonio Vi- valdi, Handel and Jean-Baptiste Lully. For much of the 20th Century, Baroque works were seldom performed but there has been something of a popularity boom over the last few decades. The H.I.P (Historically In- formed Performance) movement pushing many of these works back into the repertory. Handel’s Giulio Cesare and Henry Purcell’s Dido and Aeneas are two of the most commonly heard works today.

Classical In the mid 1700s Willibald Christoph Gluck took opera in new directions, expanding the structure, harmony and narratives away from the highly formalised forms that had dominated the previous 150 years. He made the orchestra more integral by developing “recitativo accompagnato”, recitative supported by full orchestra rather than just continuo. Opera became steadily more international and varied in style, Italian opera seria mixing with French opera comique and German singspiel amongst many other operatic genres. Some of the major opera composers were Gluck, Franz Joseph Haydn and Wolfgang Amadeus Mozart. Nei- ther Gluck nor Haydn are all that frequently heard on modern stages but Mozart has an enormous number of works in the standard repertory, Don Giovanni,The Magic Flute and Cosi Fan Tutte three of many.

16 Romantic Romantic opera has dominated operatic stages for the better part of two centuries. Emerging around the turn of the 19th century, Romanticism was the predominant artistic and literary movement until the 1st World War. As a movement it isn’t easily defined but it was born out of the French Revolution and Germa- ny’s Sturm und Drang playing heavily towards strong emotions and a rebellion against the scientific conformi- ty of the enlightenment and latterly the industrial revolution. Opera became steadily bigger and more dramatic, vast choruses and a swelled orchestra, to upwards of 100 players, building towards the immense operatic works of Richard Wagner. There are too many composers to mention here but Germany was dominated by Wagner, Italy by first Giuseppe Verdi and then Giacomo Puccini and Russia made its first real operatic impact with initially Mi- khail Glinka and then Modest Mussorgsky and Pyotr Tchaikovsky amongst many others.

20th Century More or less for the first time in operatic history, the 20th Century was dominated not by contemporary works but by those of the previous three hundred years. Few were writing new Romantic works but the old ones dominated the modern stage. It hasn’t been all doom and gloom for lovers of new music though, with sophisticated contemporary music making its way onto the operatic stages albeit sporadically and seldom popularly. Composers have become more inventive with the scoring, frequently using fewer orchestral players and creating more intimate dramas relative to the bombast of the Romantic period. The first half of the century was dominated by the modernists particularly Arnold Schoenberg and Alban Berg who developed atonal and then twelve-tone techniques (lots of dissonance used to chilling dramatic effect). Benjamin Britten and Dmitri Shostakovich came to the fore through the middle years of the 20th Cen- tury, Britten in particular arguably the most successful opera composer born after 1900. Minimalism came in full throttle by the 70s, Philip Glass and most recently John Adams the most successful composers in recent times. www.theopera101.com

17 Operatic Voices

Characteristics of a “Trained” Voice Singing in Europe and America is now generally divided into two categories: classical and popular. What most people think of as operatic or classical singing developed in Europe hundreds of years ago. This style flourished during the seventeenth century as opera became a popular form of entertainment and operatic music increased in complexity. The most recognizable characteristics of a classically trained voice are:  an extensive range (the ability to sing both high and low)  varying degrees of volume (loud and soft)  resonance in the chest and sinus cavities (produces a “hooty,” “full” or “round” sound)  an ability to project or fill a large space without amplification

Training Very few people are born with the capability to sing this way. Classical singers take voice lessons about once a week and practice every day for many years in order to develop a beautiful operatic sound. In fact, most trained voices are not “mature” enough to perform leading roles on a big stage until they're at least 28 years old. Compare that with the most popular singers on the radio today...Miley Cyrus was 15 when her first album was released!

Two Tiny Muscles Science tells us that all sound is made by two things vibrating together. The same concept applies when we talk or sing. The sounds we make are really just the vibration of two little muscles called the vocal chords. The vocal chords are held in the larynx, which is sometimes called the voice box or (in boys) the Adam's apple. These two little folds of tissue vary in length but are typically between 1 and 2 inches long. When you want to say something, your brain tells your vocal chords to pull together until they're touching lightly. Then, air pushes through them, and the vocal chords begin to vibrate, opening and closing very quickly. This vibration creates a sound. The pitches you sing are dependent on the speed at which the chords vibrate. A faster vibration creates a higher pitch. The length of the chords also affects the pitch of the voice. Longer chords equal a lower voice.

The rest of the body The vocal chords are only a small component of a larger machine which creates a beautiful singing voice. That machine is the entire body, from the tip of the toes to the top of the head. In order to sing with ease, every muscle needs to be relaxed (but not lazy!). If even one muscle is tense, it can throw off the entire machine, which is immediately obvious in a singer's vocal quality.

18 Vibrato Proper breathing and full resonance are essential for producing a clear vocal tone with an even “vibrato” (the Italian word meaning “to vibrate”). Vibrato can be described as a “wiggle” in the voice or, technically, a consistent variation in the pitch of a tone. While many pop singers try to remove this element of singing for the sake of style, vibrato in an opera singer’s voice is a must – it increases the warmth and resonance of the tone and also allows for accurate tuning.

Registers of the Voice Head Voice Without getting too technical, the head voice is the higher register, which is achieved by tapping into the resonance in the sinus cavities. It’s called the head voice because you literally feel like your voice is coming out of your head rather than your throat or chest.

Chest Voice This is where the natural speaking voice falls. If you put your hand on your chest and yell “Hey!” you can feel that this register resonates in the chest rather than the head. Broadway and pop singers use it frequently. Female opera singers tend to use it when they’re singing low notes. Men sing mostly in this voice.

Falsetto This register applies to male voices only. Falsetto happens when the vocal chords do not vibrate fully, which creates a high, feminine sound. It is frequently used by male characters when they are imitating females.

A Comparison: Classical Training vs. Commercial Training Since we’ve already covered the characteristics of a classically trained voice, it may be interesting to see how they differ from those of a commercial voice. (It’s always important to be able to compare the differences between two things without implying that one is superior to the other) Singers of pop music, rock and roll, R&B, folk and country are often referred to as “commercial”. While their styles vary considerably, the way they use their voices seems to be relatively consistent.

Training First of all, commercial singers don’t historically train like classical singers do. While there are schools like Belmont University that offer degrees in Commercial Voice, many of the most successful nonclassical singers of today are known more for their unique style, natural talent and personality than for their technical mastery of the voice.

Breathing/Support Unlike classical singers, commercial singers usually breathe just as they would when they’re speaking normally. A long phrase might warrant a big breath, but studying the placement and movement of one’s internal organs is not usually done by pop singers.

19 Breathing/Support In order to sing long phrases with a lot of volume and a good tone, singers must breathe in a specific manner, making use of the whole torso area (lungs, ribs, diaphragm and viscera). As they breathe in, each part of this network does its job: the lungs fill up, which forces the ribs to expand and the diaphragm (a flat muscle below the lungs) to move down. As the diaphragm descends, the viscera (stomach, intestines and other organs) are forced down and out. Singers describe this feeling as “fatness in the low stomach” or “filling an inner-tube” around their waist. Expelling the air, or singing, is essentially a slow and controlled movement of those muscles. If all of the air escapes from the lungs quickly, the tone of the voice will sound breathy and will lack intensity. Successful opera singers must be able to isolate the diaphragm and ribs, controlling the rate at which they return to their original positions. This allows for a consistent stream of air that travels from the lungs, through the larynx and out of the mouth.

How’s your breathing? Lying flat on your back or sitting up straight, place your hands on your waist so that your fingers point in towards your belly button. Inhale slowly and try to fill up your stomach from the bottom to the top, enough to notice your stomach pushing out and your waist and chest expanding. Exhale slowly and audibly, as if you are blowing out a candle. Repeat this exercise, but inhale for a count of eight. Hold your breath for a count of twelve and then exhale. How long can you exhale your breath? A count of twelve? Sixteen? More?

Resonance One of the most obvious characteristics of an operatic voice is a full, resonant tone. Singers achieve this bylifting their “soft palate.” This is a part of the mouth that most people don’t ever think about and it can be difficult to isolate. Here are some simple exercises to feel where it is and hear the resonance in your voice when you lift it: Start to yawn. Feel that lifting sensation in the back of your mouth? That’s the soft palate going up. With a relaxed mouth, slide your tongue along the roof of your mouth, from your teeth back toward your throat. You should feel your tongue go up, then down (that’s your hard palate), then back up again. That soft, fleshy area at the very back is your soft palate. Say the word “who” as you would say it in normal conversation. Now, say “hoooo” like a hoot owl. Can you hear the difference? Say the sentence “How do you do?” as if you were an old British man/woman. Lifting the soft palate is the foundation for the resonance in a singer’s voice. With a lot of practice, a singer can lift his or her palate as soon as they begin to sing, without even thinking about it. 20 Resonance Most commercial singers are not concerned with creating a resonant tone. In fact, a pop song sung with a lot of resonance would probably sound pretty silly to most people.

Projection/Volume Essentially all commercial singers depend upon microphones to be heard in a large performance space. This enables the singers to deliver their message in either a loud, dramatic style, or in an intimate, conver- sational style, with little physical effort. Opera singers, however, depend on the acoustics of the performance space and their ability to project their voices naturally to be heard. Microphones are rarely used in operatic performances.

A comparison: Classical training vs. Musical Theatre training Many people ask about the difference between an opera and a musical like Les Miserables or The Phantom of the Opera. Both classical (operatic) and musical theatre styles of singing require a good deal of training on the part of their singers. Though both styles stress many similar points, as good breath support, intona- tion, enunciation, acting ability, and projection, there are areas where the two styles diverge. For example: Musical theatre voice stresses the use of belt voice (straight chest voice) and mix voice (combination of head and chest voice). Classical voice usually has a warmer, rounder sound while musical theatre voice, though just as full as classical, usually has a broader, harder, even sharper sound. You generally hear a great- er use of vibrato in classical voice than in musical theatre voice. Also, singers in musicals wear microphones hidden in their costumes or wigs to amplify their voices. As we stated above, microphones are rarely used in operatic performances.

Voice Types All classical singers fall into one of the categories listed below. A singer cannot choose his/her voicetype, it is something they are born with. Composers usually assign a voice type to a character based on his/her personality or age. Read these descriptions for specific examples.

Female Voices Soprano: This is the highest female voice and has a range similar to a violin. In opera, the soprano most often plays the young girl or the heroine (sometimes called the Prima Donna), since a high bright voice tradi- tionally suggests femininity, virtue and innocence. The normal range of a soprano is from middle C through two octaves above middle C, sometimes with extra top notes. Most women are sopranos. The role of the mother is a soprano. Mezzo-Soprano: Also called a mezzo, this is the middle female voice and has a range similar to an oboe. A mezzo’s sound is often darker and warmer than a soprano’s. In opera, composers generally use a mezzo to portray older women, villainesses, seductive heroines, and sometimes even young boys (like Hansel in Hansel and Gretel). This is a special operatic convention called a “trouser role” or a “pants role.” The mezzo’s normal range is from the A below middle C to the A two octaves above it. Jacks Wife is a mezzo- soprano!

21 Contralto: This is the lowest female voice and has a range similar to a clarinet. Contraltos usually sing the roles of older females or special character parts such as witches and old gypsies. The range is two octaves from F below middle C to the top line of the treble clef. A true contralto is very rare –some believe they don’t exist at all!

Male Voices Countertenor: This is the highest male voice, which was mainly used in very early opera and oratorio (a genre of classical vocal music similar to opera but generally based on a religious topic and accompanied by a choir). The voice of a countertenor sounds very much like a mezzo-soprano’s voice and they often sing the same repertoire. Like the contralto, true countertenors are very rare. Tenor: This is usually the highest male voice in an opera. It is similar to a trumpet in range, tone, color, and acoustical ring. The tenor typically plays the hero or the love interest in an opera. His voice ranges from the C below middle C to the C above. The role of Jack is sung by a tenor. Baritone: This is the middle male voice and is close to a French horn in range and tone color. In opera buf- fa (comedic opera), the baritone is often the ring-leader of the comedy, but in opera seria (serious or tragic opera), he is usually the villain. The range is from the G that is an octave and a half below middle C to G above. The Giant is sung by a baritone. Bass: This is the lowest male voice and is similar to a trombone or bassoon in range and color. Low voices usually suggest age and wisdom in serious opera. In comic opera they are generally used for old characters that are foolish or laughable. The range spans from roughly the F above middle C down to the F an octave and a fourth below.

What’s your voice type? Discovering your voice-type is not as simple as having green eyes or blue. Singers often float between these categories, and some never really know where they fit. Sometimes, a female singer starts out her training as a soprano and ends up singing mezzo roles a few years into her studies. Baritones with good high notes are often mistaken for tenors. Singing the wrong repertoire can lead to all sorts of vocal problems and can even shorten or end a singer’s career. That’s why it’s very important to have a good teacher whom you trust and to be selective in the jobs you choose.

Voice Types Based on Size and Quality Voices are also categorized according to size and quality. There are small, medium, medium-large and large voices in opera. The quality of a voice can be defined using the following terms:

Soubrette A soprano of very light vocal weight, comparatively small range, and has the looks of a young girl. Soubrette roles are often flirtatious and witty, and outsmart the rich and powerful by the end of the opera. Many soubrette roles have names that end in -ina: Despina (Mozart’s Cosí fan tutte), Adina (Donizetti’s The Elixir of Love), and Zerlina (Mozart’s Don Giovanni) are soubrettes.

22 Character Singers with an exceedingly unique and not always beautiful sound can make a fine living singing character roles. While they don’t get the biggest paycheck, they do tend to get all the laughs. This classification is re- served for the lower voices (mezzo, tenor, baritone, and bass). Examples are Franz, the dancing butler (Offenbach’s The Tales of Hoffmann), the stuttering lawyer Blind (Strauss’s Die Fledermaus), and the Witch in Hansel and Gretel.

Coloratura Female singers described as coloraturas have great vocal agility, stunning high notes, and the ability to sing complicated vocal ornamentation. The Queen of the Night (Mozart’s The Magic Flute) is a coloratura soprano

Lyric Soprano The word lyric generally describes a singer who specializes in long phrases and a beautiful tone. They can be broken down further into light-lyric, full-lyric and just plain old lyric. These titles can precede the general voice type of soprano, tenor and so on. While there are no hard and fast rules, there are a few widely accepted distinctions, which are outlined below. A light-lyric soprano like Pamina (Mozart’s The Magic Flute) should have a bigger voice than a soubrette but still possess a youthful quality. A full-lyric soprano (Mimi in Puccini’s La Bohème) has a more mature sound and can be heard over a bigger orchestra. Full-lyric sopranos are typically the highest paid of all the voice-types. A light-lyric mezzo is the equivalent of the soubrette and generally plays young boys like Hansel (Humperdinck’s Hansel and Gretel). The long phrases mentioned above are traded for agility and charm. A lyric mezzo (no “full” distinction here) is usually an old woman or a temptress (Bizet’s Carmen is the quintes- sential lyric mezzo). Most tenors fall into the lyric category and don’t call themselves light or full. However, operatic roles for tenors are separated further. Tamino (Mozart’s The Magic Flute) must be sung by a youthful tenor with a light voice, thus earning the distinction of a light-lyric tenor role. Puccini’s Cavaradossi (Tosca) is de- cidedly heavier than Tamino but is still considered lyric by most people. There are light baritones, but they fall into the lyric pot with the rest. Baritones are baritones, unless they’re really loud.

Dramatic This describes the heaviest voices in any category except for bass. Dramatic singers are capable of sustained declamation and a great deal of power, even over the largest operatic orchestra of about 80 instruments. The title character in Puccini’s Turandot (right) is sung by a dramatic soprano. Most of Verdi’s lead characters require a dramatic voice (e.g., Otello).

Helden A German prefix meaning heroic, applied to a large voice capable of performing the most demanding roles, usually used in reference to roles written by Richard Wagner. Brünnhilde (the character most often associat- ed with braids and a horned helmet) is a helden-soprano role. Other roles which are helden sopranos include Isolde in Wagner’s Tristan und Isolde, Kundry in Wagner’s’ Parsifal and Elektra in Strauss’ Elektra. 23

Famous Opera Singers Listed with each singer is an example of one album in case you would like to build your library. Some of their websites are included too.

Sopranos Renée Fleming American full-lyric. Won a Grammy award for The Beautiful Voice – Decca label. www.renee-fleming.com Deborah Voigt- American dramatic. Obsessions: Wagner and Strauss Arias and Scenes – EMI Classics label. www.deborahvoigt.com Anna Netrebko- Russian Lyric. Souvenirs – Deutsche Grammophon label. www.annanetrebko.com Maria Callas- Greek opera singer, impossible to categorize. Sang both soprano and mezzo roles. Maria Callas: The Voice of the Century – EMI Classics label. www.callas.it Other sopranos to consider: Renata Scotto, Diana Soviero, Natalie Dessay, Mirella Freni, Birgit Nilsson, Angela Gheorghiu, Joan Sutherland, Kiri TeKanawa.

Mezzo-Sopranos Susan Graham American light-lyric. Il tenero momento: Mozart and Gluck Arias – Erato label. www.susangraham.com Joyce DiDonato American mezzo Diva, Divo – Virgin classics label. www.joycedidonato.com Marilyn Horne American singer also difficult to categorize. Rossini Heroes and Heroines – Decca label. www.marilynhornefdn.org Other mezzo-sopranos to consider: Frederica von Stade, Denyce Graves, Olga Borodina, Ewa Podles, Cecila Bartoli and Elina Garanca.

Contraltos Marian Anderson American contralto. Made history in 1955 as the first African-American female to sing at the Met. Also sang on the steps of the Lincoln Memorial in 1939 for an integrated audience of 75,000. Marian Anderson – RCA Victor label. www.mariananderson.org

Countertenors David Daniels American. Handel Operatic Arias – Veritas label. www.danielssings.com Andreas Scholl English Andreas Scholl: Heroes – Decca label. www.andreasschollsociety.org Phillippe Jaroussky French Opium – Virgin Classics. http://www.jarousskyopium.com/ Other counter-tenors to consider: Brian Asawa, David Walker, Bejun Mehta

24 Tenors Luciano Pavarotti Italian. The Pavarotti Edition: Volumes 1-10 – Decca label. www.lucianopavarotti.com Jonas Kauffmann German. Verismo Arias – Decca label. www.jonas-kaufmann.com Juan Diego Florez: Argentinean. Great Tenor Arias – Decca label. www.deccaclassics.com/artists/florez/ Other tenors to consider: Fritz Wunderlich, Enrico Caruso, Placido Domingo, Roberto Alagna,Franco Corelli

Baritones Nathan Gunn American Lyric. American Anthem – EMI Classics. www.nathangunn.com Dmitri Hvorostovsky [vor oh stáhv skee] Russian lyric. Verdi Arias – Delos label. www.hvorostovsky.com Thomas Hampson American lyric. The Very Best of Thomas Hampson – EMI Classics label. www.hampsong.com Other baritones to consider: Dietrich Fischer-Dieskau, Thomas Allen, Simon Kennlyside, Sherrill Milnes

Basses Samuel Ramey American. A Date with the Devil. Naxos label. www.samuelramey.com Rene Papé German. Gods, Kings and Demons – Deutsche Grammophon label http://www.renepape.com/mypape/ James Morris American. Opera Arias – Capitol Records label. http://www.ffaire.com/wagner/morris.html Other basses to consider: Giorgio Tozzi, Kurt Moll and Cesare Siepi

25 Pre-Performance Activities

Suggested Activities: All about Opera Find out what preconceptions your students may have about opera before you tell them anything about it. Here are some ideas for the classroom: Split them into groups and have them act out a one minute scene that includes all their ideas of what they think about opera (fat ladies and all – make no restrictions here). Do the same activity after they've watched a live performance. Divide a bulletin board into two sides. On one side, have students post descriptive words related to opera (don’t limit them to “nice” words). After watching a performance, collect a second list and post these words on the other side.

Have the students draw pictures of what they think a typical opera singer looks like. Go to a few singer websites listed on pages 24 and 25. Look at their photographs. Get students’ reactions on the look of real opera stars.

Discuss how opera is like a play (they both have a story, characters, costumes, audiences, and words) and how it is different (opera has singers, music throughout, arias, duets, ensembles, etc).

Start with the story. In simple terms, an opera is just a story that is sung. Before introducing the music, read them the plot synopsis of Jack and the Beanstalk on pgs. 9 & 10. What is a fairy tale? How is a fairy tale different from “real life?” What are some other fairy tales? Ask the students to discuss the story and its characters. How would they tell the same story? Have your students make up their own fairy tale. Select several students to tell their stories. Use vivid descriptions to make the characters real, funny, emotional, etc. Discuss the differences between an opera and a play, a movie, a concert, or a music video; watching a live performance and watching a performance on television. What part does an audience play in an opera? What would be a good topic for an opera? Think about movies, books, fairy tales, historical events, and everyday situations. What kind of music would accompany different topics...fast/slow, loud/soft, smooth/jumpy?

Ask students who their favorite singers are. Discuss whether or not they sound like trained classical singers, explaining why or why not? How does their voice sound different/same?

Read and discuss the Short History of Opera Listen to samples of opera from the different periods: Ba- roque, Classical, Romantic and 20th century. How has the sound of opera changed over the years? Ask students what they think opera is going to sound like 100 years from now. Will singers change the way they sing? Will new instruments be developed and added to the orchestra?

Talk about the people required to produce an opera. There are four groups of people necessary for an operatic performance to happen: creators, producers, performers and observers. Discuss the roles of each group using the “Working Together: Opera as a Collaboration” form on pages 41 and 42. Talk about what would happen if even one of these groups didn’t do their job. Would the show still go on?

27 Answer Key

Soprano– F Alto- C Tenor-B Bass- D Conductor- G Accompanist- I Aria- A Duet- H Trio-L Quartet-E Set- K

Props- J

28 Suggested Activities: Music Demonstrate the difference between beat and rhythm. Divide the class into two teams. Instruct one group to pat the underlying beat or pulse of a song on their knees while the other group claps the rhythm of the melody with their hands. Play a popular song that the students will recognize. Discuss how changing certain elements of the music (tempo, instrumentation, vocal timbre, text) would alter the overall effect of the song. How would it sound different? Write an original song. Within small groups, give each student a specific role in the composition/performance process: librettist (words), composer (melody), vocalist, instrumentalist, etc. Start by writing a short rhyming verse. Then add a simple melody. Next add accompaniment, and then perform it. Have students create their own instruments using simple objects that are available to them. The group should aim to perform a song which gives each member a different identity. Experiment with different timbres and tempi, and see how changes affect the song. Read “The Story of the Opera” to your students. Give each student a copy of “Jack’s Song” and have them read it aloud. After reading it through once, have the students listen to the song. Create your own lyrics. http://www.operatales.com/jack-beanstalk.shtml “Jack’s Song” Music By: Sir Arthur Sullivan Libretto By: John Davies If you give me your attention, I will tell you who I am My name is Jack Be-nimble and I’m known throughout this land I am a famous fellow as you very soon shall see For every Jack in this whole world is named after me I’m Jack-o-lantern, Jack B. Quick, I’m Jack of all the trades A lumberjack, a jumping jack, I am the Jack of spades Jack in the box, Jack rabbit, I’m the Jack whose friend is Jill I’m very good at playing jacks, there’s no one with my skill Yes my name is Jack With a jack knife in my pocket I’ll not fear if I get lost. And I always take my jacket, just in case I meet Jack Frost There is no one in this kingdom who is quite as brave as me For I am the bravest boy that any boy could ever be. If I met a scary Dragon breathing fire from his nose, I’ll run around him three times and then step upon his toes If a Giant tries to catch me ‘cause he thinks I might taste yummy, I’ll bop him on the head until he cries out for his mummy. For I am brave Jack I’ll tell you about a magic trick if you would like to know I can plant these stones right in the ground and make a garden grow I have cabbages and broccoli and pumpkins and potatoes Some radishes, asparagus some spinach and tomatoes So if you’re very hungry there’s no need for you to worry I’ve told my magic seeds that we are rather in a hurry For I haven’t had a bite to eat since ever and a day And if I do not find some food I’m sure to waste away For I’m hungry Jack (His name is Jack) I wish I had some Flap-Jacks, I’m hungry Jack 29 30 31 Suggested Activities: Taking the Stage (Theatre Games) This lesson is intended for a drama class for elementary children, but language arts teachers might also find it useful. The lesson is a small group activity based on simple fairy tales. Students tell stories through a series of sustained tableaus without using their voices. To introduce the lesson, students play a statue game. Keywords: Fairy tales, myths, folk tales, tableau, drama, acting

Body: Before class starts, select four to five simple fairy tales that are familiar to your students (or you could use stories that you have read in class). Suggestions include: “Hansel and Gretel,” “Sleeping Beauty,” “Three Lit- tle Pigs,” “Little Red Riding Hood,” and “The Three Billy Goats Gruff.” As an introductory activity for this lesson, ask students to play a statue game. Have students find their own space in the room and stay within their own space. At the sound of an instrument (drum or triangle), each student should strike a pose as a piece of sculpture and hold that position. When they hear the instrument, they should change into another statue and freeze. Encourage them to use unusual movements and to freeze immediately at the sound of the instrument. For the main part of the lesson, divide the class into four to five groups and assign a fairy tale to each group. Ask the students to decide on four to five statements that tell the plot (older students can write these down). Next they need to decide what pictures are needed to tell the story, and then they are to create these pictures with their bodies and without using words. They will need to “cast” their stories, but tell students that they can also be props and settings. For example, a student can play a door or a tree. Give students 15 minutes to practice their series of tableaus. Students can then present their stories to the other members of the class. You can be the accompanist and play the instrument to signal the transition to the next tableau, or you can give this job to a responsible student in each group.

Look at the importance of setting. Look at the importance of the setting. Sometimes a director may take artistic license and decide he/she wants the production of an opera to be set in a nontraditional time and place. Since the setting of Jack and the Beanstalk is not specified, the options are endless. Pick an unlikely time and place for the story like the Old West or the year 2100 on Mars. How would a time/location change affect the way the actors would portray their characters? Think about their speech patterns, the way they walk and carry themselves, their costumes, and their interactions with one another. Stage a scene with both traditional and non-traditional settings. Discuss the similarities and differences. Design your own costumes and set.

32 Suggested Activities: Visual Art Visual elements in opera. Opera isn’t just music. It incorporates all the arts, especially visual art. Have students list all the visual elements of an opera or play (e.g. set, costumes, props, makeup). Discuss how these things can be considered “art.” Read the synopsis for Jack and the Beanstalk. Have students draw what they think each of the characters might look like. Design a backdrop or scenery for a production of Jack and the Beanstalk. Draw pictures, build miniature models, or design a bulletin board. Make storyboards: Before building the scenery for an opera, the production designer draws out plans for the look of each major scene in the show. Have students pick out the most important moments in Jack and the Beanstalk and draw what they think each scene might look like. Imagine and draw what the set could look like. Have students draw pictures of what they think the mothers’ house and the Giants’ house might look like. What color is it? Where is it located? Is there any outdoor scene? What is the weather like? Have the students draw pictures of what they think a typical opera singer looks like. Are they short/tall? Thin/overweight? Do they all wear the horns on their heads? Go to a few of the singer websites listed ?????? and look at their photographs. Compare the students’ drawings with the real photos and get their reactions to what opera stars really look like.

ACTIVITY- MAKE A JEWELED EGG A golden egg would be very valuable. Let's make our own valuable egg. We can make a jeweled egg! You will need: A large egg, Elastic band, Craft knife, Bowl, Nail polish in a bright color, Glue, Fake jewels, Gold braid Sequins, Napkin ring, Pencil, tape Instructions: ● First, we need to make a lid for our egg. Place the elastic band about one third of the way down the egg and draw around the line with your pencil. ● Remove the elastic band. ● Cover the pencil line with clear tape. ● Use the craft knife to gently cut alone the line one bit at a time. ● Tip out the contents of the egg into a bowl. ● Carefully clean the inside of the egg with water and let dry. ● Paint the egg with several coat of nail varnish. ● Glue the gold braid around the middle of the egg. ● Glue on sequins and fake jewels and place the finished egg on the napkin ring.

33 Suggested Activities: Movement/Dance How do you create believable characters? Creating a believable character takes more than just putting on a costume and walking on stage. Talk with students about how each character in Jack and he Beanstalk might move. What parts of the body should be altered to match each character? How would The Giant move? Would it be different than Jack or his mother? Have students practice changing their bodies to become different characters. Incorporating dance into an opera. Many operas have dancing incorporated into the action of the plot. For example, in Hansel and Gretel, the children make up a dance while they're doing their chores. Where might dance fit into the plot of Jack and the Beanstalk? Or does it not fit into the opera at all? Examine how movement helps tell the story. Performers must be able to react to one another during a performance, even if it’s not their turn to sing. Pair up students and instruct one to mirror the other’s movements slowly, without speaking or giggling. Upon your signal, have the students switch roles from leader to follower. See how movement makes a scene more convincing. Good actors use their entire bodies to portray a character. Have students read the words to the scene on pg. 3 & 4 standing completely still and with no facial expression at all. Experiment with physical ways to make the acting more realistic. Remember, when you’re on a big stage, all gestures must be exaggerated for the audience to see them from far away. While one group of students acts out the scene, allow the other students in the “audience” to critique their performance, offering suggestions on gestures and appropriate movements. Play a game of 4 Corners. The teacher must designate 4 “corners” within the classroom. One student is “it” and will close their eyes and count to ten. Once the “it” person has finished counting, they must choose one of the 4 corners without opening their eyes. All students standing in that corner are out and must return to their seats. Continue playing until all but one student is out. Explain to students that they have to move around the room quietly so that the “it” person does not hear where they are headed. The “it” person must use their good listening skills to determine where the students are to get them out. Play a game of Marco/Polo. Explain to students that quiet movement is necessary to keep from being found. The “it” person must also be a good listener to find those around the room.

34 Suggested Activities: Social Studies Once Upon a Time (History) Find out how England and America fit into the history of the world. Which country has been established the longest? Have either of these two countries ever been involved with any wars together? Opera stars aren’t just known for their artistry. A few have made a real difference in the cultural and social landscape of America. Visit www.nps.gov/linc/symbol/anderson.htm to read about African American contralto, Marian Anderson, and her historical 1939 concert on the steps of the Lincoln Memorial for an integrated audience of more than 75,000 people. This landmark performance was 24 years before Martin Luther King’s March on Washington! Read about the composer Sir Arthur Sullivan, who came from England. Do some research with your students and try to determine what important world and US events happened while they lived. Discuss which events might have been most influential to both of the composers. What was going on when the story for this opera was written? Joseph Jacobs popularized the story of Jack and the Beanstalk in 1890. Research what was happening in America that year. Who was the president? What kinds of entertainment were popular? Did your school exist in 1883? What has changed about your town since that time?

Put it in Writing (Creative Writing) New Endings: Read the synopsis for the opera Jack and the Beanstalk. Write a new ending for the story. Write a version of Jack and the Beanstalk that takes place in a familiar but different location. What would be different? Who are your characters? Are they the same? Tell the story from one of the character’s point of view. What would you be thinking throughout the story? Assist students in writing a critical review of the performance of Jack and the Beanstalk. Students in grades K-2 can be guided using single words to describe their musical experience. This project will facilitate students’ listening, writing, communication, and aesthetic judgment skills. Uncovering themes: Incorporate Jack and the Beanstalk into a “themes” unit in your writing curriculum. Have students choose one of the many themes in the production of Jack and the Beanstalk (bullying, listening to your parents, friendship, telling the truth, peer-pressure, etc.) and use it for a separate activity. This activity could be writing a new short story with the same theme, or simply exploring how this theme is treated in Jack and the Beanstalk – what parts of the story provide examples of this theme?

35 Suggested Activities: Language Arts

It’s Story Time (Literature) Discuss the parts of a story. Identify the beginning, middle and end of Jack and the Beanstalk or read a traditional fairy tale version of Jack and the Beanstalk and the synopsis for John Davies’ opera. Discuss the differences between the versions. Talk about conflict. Stories generally have some conflict that needs to be resolved. What are the conflicts in this opera? How are they resolved? Identify character types in Jack and the Beanstalk. Is there a “bad guy…”, “a hero…”, “a love interest…” etc? Character discussion: Which characters are fully developed? Which are not? Are there major changes that affect the character’s growth in the story? What are each of the characters’ strengths and weaknesses? How do the characters differ from each other? The moral of the story is… Fables were often written to teach a lesson to young children. Is this opera a fable? Is there a lesson or moral that John Davies is trying to teach? Story Pyramid: 1. Name the main character. 2. Two words describing the main character. 3. Three words describing the setting. 4. Four words stating the problem. 5. Five words describing one event. 6. Six words describing a second event. 7. Seven words describing a third event. 8. Eight words stating the solution to line 4. ______

______

36 Suggested Activities: Math, Science, Technology

It All Adds Up! (Math) Math and music are very similar. Simple math connections can be made (e.g., 4 quarters = 1 whole dollar…4 quarter notes = 1 whole note. 1 half note + 1 half note = 1 whole note) Count the cost. Teach students about money using word problems based on the show. How much money do you think it would take to run an opera company? Consider things like singers’ and musicians’ salaries, costumes, administrative staff, computers, rehearsal and performance space… See page 38 for a list of operatic expenses. Calculate the size of the set. As a class, measure the space where the performance of Jack and the Beanstalk will happen. Calculate the correct dimensions of the space and decide how big the set should be. ACTIVITY 1 – MATH WITH “MAGIC BEANS” Jack was given some magical beans. We can use colorful magic beans to do our math. You will need: White card, Pen, Scissors, Jelly beans and a Bowl Instructions: ● Draw around your hand on a sheet of paper. ● Cut out the handprint. ● Put the jelly beans in a bowl. ● Each child takes a handful of magic beans and tries to guess how many beans they have in their hand. We call this 'estimation.' ● After you've made your guess, count the beans to see if you were right. ● Draw the correct number of beans on your handprint and write the number below. ● Don't forget to write your name on your handprint. ● Now it's time to eat the jelly beans! You’re the Artistic Administrator! The principal singers in a Pensacola Opera production might come from anywhere in the world. While they’re here, they need a place to stay and transportation. Using the internet, have students find the cheapest, most convenient plane tickets, rental cars, and hotel reservations for their stay. After collecting all the information, determine how much money it takes to hire one singer. Now how about a cast of 5 singers? (Think about this - a big opera like Marriage of Figaro has 11 principal singers!)

Connecting music to math: www.philtulga.com; www.songsforteaching.com; http://artsedge.kennedy-center.org/

37 The Cost of an Opera Sets and Costumes Rental of costumes ...... $12,000 Shipping for costumes...... $300 Costume mistress fee ...... $2,500 Fee for wig and make-up artists ...... $3,500 Rental of wigs and make-up ...... $3,500 Shipping of all wigs ...... $200 Rental of scenery ...... $12,000 Shipping of scenery ...... $7,000 Performers Airfare for singers, conductor and lighting designer° ...... $350 x 8 = $2,800 Performance fee for one principal singer° ...... $10,000 x 3 = $30,000 Performance fee for one secondary singers ...... $2,000 x 3 = $6,000 Rental car for two principal or secondary singers° ...... $200 x 3 = $600 Costume dresser for principal singers° ...... $250 x 3 = $750 Housing for one principal or secondary singer° ...... $900 x 6 = $5,400 Performance fee for one chorus member° ...... $375 x 30 = $11,250 Performance fee for one supernumerary° ...... $100 x 10 = $1,000 Performance fee for ballet dancers ...... $2,000 Rehearsal accompanist fee ...... $3,000 Per-performance fee for conductor ...... $5,000 Performance fee for orchestra ...... $50,000 °There are an average of 3 principals, 3 secondary singers 30 chorus members, and 10 supers in one production Production Crew Director’s fee ...... $5,000 Choreographer’s fee ...... $500 Fee for lighting engineer ...... $1,500 Prop Master’s fee ...... $1,800 Stage crew ...... $20,000 Facility and Technical Cost of lighting and special effects ...... $600 Rental or purchase of props ...... $1,000 Translation and operation of supertitles ...... $2,000 Rental of performance space for one day ...... $1,000 Rental of orchestra music ...... $1,000 Fee for ushers ...... $1,800 Total Cost for one Operatic Production: $ 154,000

38 The Science of Music

Science Activity – Grow your own Beanstalk Schedule time for your class or kids to complete a fun science project after reading the Jack and the Beanstalk story. Growing your own beanstalk offers students an opportunity to insert themselves into the middle of the story. Begin by handing out a small clay pot or plastic cup filled half-way with soil and a single bean. Next, set aside time to grow the bean, and once it sprouts insert a six to nine inch twig or stick gently into the pot alongside it. As the sprout grows wrap it around the twig. Instruct children to draw a tiny self-portrait and attach at base of plant growth so they can enjoy being "Jack." Talk about various scientific discoveries that had not been made when opera was invented. Did modern conveniences like the telephone, TV, or light bulb exist? How would opera production have been different if these things were available? Special effects: Often, smoke machines are used to add a different visual atmosphere to a production. If your school wanted to put on an opera that required smoke and you didn’t have a smoke machine, how would you create it? Medical Discoveries: One hundred years ago, there was no vaccine for polio. What other medical advances have been made in this century? Read the article about Operatic Voices on page18; Explore the parts of the body that are used for singing. Good Vibrations: Sound is made by two objects vibrating against each other. This can be demonstrated easily by pressing the lips together while blowing air out of the mouth. As the lips flap together, they make a buzzing sound. This is very similar to how the vocal chords work: air rushes between them, forcing them to vibrate against each other, which creates sounds when we talk or sing. This can also be demonstrated by blowing air between two taut blades of grass. String Band. Another way to experience vibrations and see them is by using a rubber band. Stretch the band between your thumb and forefinger on one hand. Pluck it a few times. You should be able to both see and feel the vibrations. Encourage students to pluck the rubber band harder or softer. What is the difference? Also encourage them to change the shape of the band by stretching. Does this affect the sound or the vibrations? How Sound is Heard: The Outer Ear. This is the part that you can see. It has two jobs, to protect the rest of the ear and also collect the sound. The ear canal (hole in the ear), is the funnel for sounds waves into the ear. The Middle Ear. Once the sound waves have been funneled through the outer ear, they enter the middle ear. It turns the sound waves into vibrations and sends them to the inner ear. The sound then passes through your eardrum and three tiny bones, the hammer, anvil and stirrup. These three bones are known collectively as the ossicles. When these three bones vibrate, sound is passed on to the inner ear. The Inner Ear. Once vibrations enter the inner ear, they travel to the cochlea. The cochlea looks like a snail’s shell, but is actually a small, curled tube. It is filled with liquid and millions of tiny hairs. The vibrations cause the liquid and hairs to move. The hairs then change the sounds into nerve signals and pass them onto your brain. The brain then interprets the signals and tells you

39 Suggested Activities: Real Life Application

When I grow up… (Careers in Opera) What industries might be connected to opera? (e.g., The electric company supplies opera companies with energy to run lights and super-titles during a performances; the fabric industry provides companies with material to make costumes; the travel industry provides singers, conductors, and musicians with transportation to and from the city in which the company is located.) What do you want to do when you grow up, and how would that career support the arts? What do your parents do? Could they support the arts through their jobs? Opera wouldn’t exist without two very important people: The Composer (who writes the music) and the Librettist (who writes the words). Sometimes one person does both jobs. Most of the time, the words to an opera (or the Libretto) are written before the music but, in some cases, the music comes first. Place students in librettist/composer teams. Try creating a 2-3 minute opera using both the words-then-music method and the music-then-words method. Another option would be to use existing materials for either the libretto (nursery rhyme) or the music (popular song) and go from there. Discuss the difficulties encountered in each method. Visual artists have a role too. Opera companies must advertise their performances if they want people to come. The Art Department has the task of creating printed materials that are interesting enough to catch peoples’ attention. Have students create posters for the upcoming performance of Sid the Serpent who wanted to Sing. Experiment with different colors and pictures to make the most interesting advertising materials possible. Meet the press: Often, an opera company’s Stage Director will do interviews with newspapers, magazines, and TV news programs. The Director must be prepared to answer many questions about the production. Have students role-play, acting as either the interviewer or the director. Public speaking is a skill which is necessary in many careers, including opera. Several members of the Pensacola Opera staff give presentations for groups that will attend the opera. In these talks, they present the story, the composer, and the music. Al- low students to give a short talk for the class on some aspect of opera or Jack and the Beanstalk. How do opera companies pay for their productions? They have sponsors. A sponsor can be an individual who donates money to the opera or a corporation like a bank or a grocery store. The Development Department writes letters to many people and companies, asking for donations. Wording a letter like this can be difficult. Have students try writing such a letter to a local business. What is it like to be an opera singer? It may sound glamorous to be an opera singer, traveling all around the world to perform on big stages. In reality, however, singing can be quite unreliable as a career. There is no monthly salary, no health insurance, and zero job security. Because of this, many singers hold temporary day jobs to pay the bills, and sing when they can. Interview a local opera singer and find out what life is really like for him or her. Have students compare this life with their own – what if their parents had a career where they traveled all the time? Would it be lonely? What would a typical day be like?

40 41 It Takes People to Make Opera!

Who's Backstage?

Stage Director (1) directs Production Manager Chorus a group of singers the action of the show; helps coordinates between the who mostly sing together the singers interpret artistic and business aspects Comprimario the small or characters; shows actors of production; insures that secondary character roles of how to move and gesture; everything happens on time opera, from the Italian, works with designers to and within budget meaning "next to the first" create sets and costumes Crew or Stagehands (12 & Dancers performers who Stage Manager (2) 13) assist in construction, dance instead of singing supervises singers and installation, and changes of Supernumeraries or technical staff during the set, costumes, lights, and Supers actors who rehearsals and performances props participate in the action but Lighting Designer (3) plans Artistic Director the head do not sing or speak or designs the color, of the opera company; makes Who’s in the Pit? intensity, and frequency of all the final decisions Conductor (9) interprets the light onstage Choreographer invents the composer’s score and Technical Director (4) dances and movements and makes sure the singers and coordinates the lighting, set, teaches them to dancers the orchestra is together at costumes, and the crews that and/or cast members all times handle those things Dresser helps performers Orchestra (10) the Costume Designer (5) put on their costumes musicians who play the plans or designs the properly and change during musical instruments costumes and supervises the performance their construction Music Director instructs Costume Master or singers on singing and Mistress (6) assists with the musical style; leads music costumes: how to take care rehearsals of them and how they are to Set Designer plans or be worn designs the sets and scenery; Wigs and Make-up supervises set construction Designer (7) designs and Who's on Stage? oversees hairstyles, wigs, and Principal (11) a singer who make-up performs a large or primary Properties Manager (8) role in the opera designs and oversees all Actors performers who moveable objects that are have dialogue but do not sing not part of the set or Cast all performers, singers, costumes (props) and actors who appear onstage

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