Isango Ensemble: the Magic Flute BE PRESENT

Total Page:16

File Type:pdf, Size:1020Kb

Isango Ensemble: the Magic Flute BE PRESENT 2019/20 UMS LEARNING GUIDE Isango Ensemble: The Magic Flute BE PRESENT BE PRESENT 1 2019/20 Table of Contents 04 05 06 18 ATTEND THE DETAILS LEARN CONNECT 07 Why? 19 Being an Audience Member 09 Artist 22 Arts Online 12 Art Form 23 Recommended Reading 15 Performance 25 Writing About Live Performance 28 About UMS 30 Credits and Sponsors October 17-18 October UMS SCHOOL DAY PERFORMANCE Isango Ensemble: The Magic Flute Thursday, October 17 // 11 am Friday, October 18 // 11 am Power Center BE PRESENT 3 Attend Coming to your email Inbox! Map and Driving Directions Logistical Details (drop-off/pick-up locations) Venue Information 734.764.2538 ——— UMS.ORG BE PRESENT 4 The Details ACCESSIBILITY We aim to maximize accessibility at our performances and below are details regarding this performance’s points of accessibility. If you have further questions, e-mail [email protected] or call 734.615.0122. The following services are available to audience members: • Wheelchair, companion, or other special seating • Courtesy wheelchairs • Hearing Impaired Support Systems PARKING There is handicapped parking very close to the Power Center on Fletcher Street and in the parking structure behind the Power Center on Palmer Drive. The first three levels of the Palmer Drive structure have five parking spots on each level next to each elevator. There are a total of 15 parking spaces in the garage. VENUE ADDRESS Power Center, 121 Fletcher St, Ann Arbor, MI 48109 WHEELCHAIR ACCESSIBILITY The Power Center is wheelchair accessible and has 12 seats for audience EMERGENCY CONTACT NUMBER members with special needs. 734.764.2538 BATHROOMS ADA ARRIVAL TIME Compliant toilets are available in the green room (east corner) of the Power Between 10:30-10:50 am Center for both men and women. TICKETS ENTRY We do not use paper tickets for School Day Performances. We hold school The front doors are not powered; however, there will be an usher at that door reservations at the door and seat groups upon arrival. opening it for all patrons. FOOD No food or drinks (including school lunches) are allowed in the theater. BE PRESENT 5 Learn Isango Ensemble: The Magic Flute UMS.ORG ——— 734.615.0122 BE PRESENT 6 LEARN Why? UMS EDUCATION ARTISTSIC STATEMENT Isango Ensemble is a South African theater company known for its unique and vibrant re-imaginings of classics from the Western theater canon. The company finds new context for works from Shakespeare to Puccini, placing them within a South African setting and reflecting the company’s national heritage through vibrant storytelling injected with wit and infectious joy. In the company’s retelling of Wolfgang Amadeus Mozart’s famous opera The Magic Flute, Isango Ensemble music director Mandisi Dyantyis trades Mozart’s orchestra of strings and woodwinds for an orchestra of marimbas and drums, and a spirited trumpet takes on the voice of the work’s titular magical instrument. Isango Ensemble’s retelling is instantly familiar and fits perfectly with the original opera’s themes of faith, good conquering evil, and finding true love. UMS is excited to introduce the Isango Ensemble’s joyful and uplifting version of Mozart’s beloved and timeless story. BE PRESENT 7 LEARN Why? ONLINE: CONNECTING TO THE PERFORMANCE Watch Isango Ensemble warming up for a performance of The Magic Flute. Watch Isango Ensemble perform excerpts from their re-imagining of Mozart’s classic work. BE PRESENT 8 LEARN Artist ISANGO ENSEMBLE: FIVE THINGS TO KNOW 01 02 03 Director Mark Dornford-Mayand and Music In addition to her role as Isango’s The Magic Flute (also known in South Africa as Director Pauline Malefane formed what is music director, Pauline Malefane is an Impempe Yomlingo), features Mozart’s score now the core of Isango Ensemble in Cape advocate for The Global Fund to Fight transposed by Mandisi Dyantyis for an orchestra Town in 2000. From the beginning, the AIDS, Tuberculosis, and Malaria. She saw of marimbas. It broke box office records when company has drawn its performers from worldwide success playing the role of it played in repertoire with A Christmas Carol the previously disadvantaged townships Carmen, both on stage and in the Golden (Ikrismas Kherol) at the Young Vic in London. The surrounding the city. Bear-winning feature film U-Carmen Magic Flute then went onto win an Olivier Award eKhayelithsa, for which she won a for Best Musical Revival when it transferred to the Golden Thumb from Roger Ebert. Duke of York’s Theatre for a season in the West End and received the Globes de Cristal for Best Opera Production following a sold-out season at the Théâtre du Châtelet in Paris. 04 05 Isango Ensemble is committed to creating Isango Ensemble’s educational engagement accessible theater for South Africans and to initiatives include collaborations with Injongo contributing to a more united South African Primary School and the Liwa School in South nation. Isango’s award-winning film, uCarmen Africa. Isango recruited young actors from these eKhayelitsha, and a second film, Son of Man, schools to join the ensemble in its production were filmed on location in Khayelitsha and of A Man of Good Hope at London’s Young Vic propelled this historically disadvantaged theatre and BAM in New York. Isango and Young township into the international spotlight. Vic are collaborating with Injongo and Liwa Local residents were given the opportunity to schools on a new play Fable by Luke Barnes, be part of the films. Isango intends to further a theatrical response to A Man of Good Hope. develop this process by building a truly mixed audience, reflecting and uniting a diverse South African nation. BE PRESENT 9 LEARN Artist ONLINE: GETTING TO KNOW ISANGO ENSEMBLE Watch Isango Ensemble’s Pauline Malefane discuss the ensemble’s artistic process during rehearsals of their 2012 production of La Bohème in Cape Town, South Africa. Follow Isango Ensemble on Facebook Follow Isango Ensemble on Twitter @isangoensemble BE PRESENT 10 LEARN Art Form OPERA OPERA Did You Know? Opera combines many art forms — singing, instrumental music, dancing, visual art and more — into one major production. It involves hundreds of people on, behind, and under Wolfgang Amadeus Mozart’s actual the stage. Many people and departments work together toward a common goal, and each 01 full name is Johannes Chrysostomus part is equally important to the process. Wolfgangus Theophilus Mozart. As a child, he would jokingly sign letters An opera is like a modern-day musical, in which all the characters’ lines are sung rather with his name backwards: “Trazom.” than spoken. However, the musicians and opera singers do not use microphones or speakers. The sets and the characters’ costumes are often as elaborate and finely crafted as the words and music, and the entire production is led by a director whose artistic Mozart composed over 600 works vision determines the way these elements take shape and combine in performance. 02 of classical music during his brief 35-year life, including 41 symphonies, more than 20 piano concertos, and more than 20 operas. Mozart WOLFGANG AMADEUS MOZART (1756–1791) completed his first symphony in 1764, when he was only eight years old! Mozart was born in Salzburg, Austria and was considered a child prodigy. He composed his first piece of music at the age of five; his first piece was published at age seven, and he wrote his first opera when he was only 12! By the age of six, he was a proficient pianist Wolfgang’s older sister Maria Anna and violinist, traveling all over Europe and performing for royalty with his sister and father. 03 Mozart, nicknamed “Nannerl,” was A remarkably prolific composer, Mozart remains popular today, and many of his solo, a talented performer and composer chamber, and symphonic works had a lasting influence on Western art music. as well. The Mozart siblings performed as touring musicians throughout their childhood. BE PRESENT 11 Cadenza A passage of music usually found at the end of an aria. Cadenzas showcase the singer’s skill and virtuosity, and are rhythmically free and highly ornamented. Choreographer The person who creates the steps for dances within a production. Chorus A large group of singers who sing together, portraying unnamed characters. The chorus is often called the “ensemble.” Coloratura Elaborate singing involving vocal runs, trills, LEARN and leaps. The “coloratura soprano” is a classification of singer who specializes in coloratura repertoire. Composer Art Form The person who writes the music for the OPERA opera. Wolfgang Amadeus Mozart is the composer of The Magic Flute. THE ABC’S OF OPERA: A GLOSSARY Aria Libretto A A song for solo voice with accompaniment from the orchestra. Arias reveal L The “little book” in Italian. The libretto contains all of the words and stage important information about the opera’s characters and story, whereas directions for the opera, much like the script for a play. recitatives move the plot of the opera forward. Librettist The person who writes the words to an opera. Emanuel Schikaneder is the librettist of The Magic Flute. Baritone B An adult male singing voice between tenor (highest) and bass (lowest) range. Bass Mezzo-Soprano The lowest pitched ordinary male voice type. M A female singing voice whose vocal range lies between the soprano (high) and contralto (low). Cadenza c A passage of music usually found at the end of an aria. Cadenzas showcase the singer’s skill and virtuosity, and are rhythmically free and highly ornamented. Orchestra O The group of musicians who perform the music of the opera. A conventional Choreographer opera orchestra usually includes a large group of stringed instruments along The person who creates the steps for dances within a production.
Recommended publications
  • The Magic Flute Synopsis
    Mozart’s The Magic Flute Synopsis ACT I Three ladies in the service of the Queen of the Night save the fainting Prince Tamino from a serpent (“Zu Hülfe! zu Hülfe!”). When they leave to tell the queen, the bird catcher Papageno bounces in and boasts to Tamino that it was he who killed the creature (“Der Vogelfänger bin ich ja”). The ladies return to give Tamino a portrait of the queen’s daughter, Pamina, who they say is enslaved by the evil Sarastro, and they padlock Papageno’s mouth for lying. Tamino falls in love with Pamina’s face in the portrait (“Dies Bildnis ist bezaubernd schön”). The queen, appearing in a burst of thunder, is grieving over the loss of her daughter; she charges Tamino with Pamina’s rescue (“Zum Leiden bin ich auserkoren”). The ladies give a magic flute to Tamino and silver bells to Papageno to ensure their safety, appointing three spirits to guide them (“Hm! hm! hm! hm!”). Sarastro’s slave Monostatos pursues Pamina (“Du feines Täubchen”) but is frightened away by the feather-covered Papageno, who tells Pamina that Tamino loves her and intends to save her. Led by the three spirits to the Temple of Sarastro, Tamino is advised by a high priest that it is the queen, not Sarastro, who is evil. Hearing that Pamina is safe, Tamino charms the animals with his flute, then rushes to follow the sound of Papageno’s pipes. Monostatos and his cohorts chase Papageno and Pamina but are left helpless by Papageno’s magic bells. Sarastro, entering in great ceremony (“Es lebe Sarastro”), promises Pamina eventual freedom and punishes Monostatos.
    [Show full text]
  • The Magic Flute' and It’S Written by a Composer Called Wolfgang Amadeus Mozart
    I’VE NEVER BEEN TO THE OPERA BEFORE. WHAT’S IT GOING TO BE LIKE? It’s great fun! You can expect to hear lots of great music and acting. All operas tell a story with performers who act and sing on a stage in costume whilst a band of musicians (aka an orchestra) play along. The opera that you’ll be coming to see is called 'The Magic Flute' and it’s written by a composer called Wolfgang Amadeus Mozart. E WASN'T MOZART AROUND A LONG TIME AGO? IS 'THE MAGIC FLUTE' A T REALLY OLD OPERA? U Yes, Mozart lived over 200 years ago and 'The Magic Flute' was first performed in 1791. However, all the costumes and the set are all brand spanking new and L of course all the people performing aren’t 200 years old! F The costumes, set, lighting and the way the performers act is what’s known as the production, all created by a team of people led by a director. You’ll be coming to see a new production of 'The Magic Flute' today. If you see another C production of 'The Magic Flute' in the future, it’ll look totally different to this one! I G IS THE WHOLE OF 'THE MAGIC FLUTE' SUNG? A Not all of it. 'The Magic Flute' is a type of German opera called a ‘singspiel’ M which means there are several moments where the performers speak instead of singing. E DOES THIS MEAN THAT THE OPERA WILL BE IN GERMAN? H Yes it does! But don’t worry.
    [Show full text]
  • Major Themes in the Magic Flute Filled with Ritual and Symbolism
    Major Themes in The Magic Flute Filled with ritual and symbolism, Mozart’s final masterpiece is a playful but profound look at man's search for love and his struggle to attain wisdom and virtue. From the virtuosic arias of the Queen of the Night to the folksong-like melodies of the bird catcher Papageno, the full range of Mozart's miraculous talent is on display in this magical fairy-tale opera. That The Magic Flute is a barely veiled Masonic allegory cannot be doubted. It acts, in fact, as a kind of introduction to the secret society. Its story celebrates the main themes of masonry: good vs. evil, enlightenment vs. ignorance, and the virtues of knowledge, justice, wisdom and truth. The evocation of the four elements (earth, air, water and fire), the injunction of silence in the Masonic ritual, the figures of the bird, the serpent and the padlock as well as the ‘rule of three’ all play important roles in the plot or in the musical fabric of the opera (three ‘Ladies’, three ‘Boys’, three loud chords at the beginning of the overture signifying the three ‘knocks’ of the initiates at the temple, three temples, the three flats of E-flat Major which is the primary tonality of the work, etc.) All of these symbols and characteristics come from Egyptian lore and the various original texts of Masonry; hence the opera’s libretto is set in Egypt, although many productions eschew that specification. Sources: operapaedia.org & sfopera.com Definition of Freemasonry (the Masonic order) Freemasonry is a fraternal organization that arose from obscure origins in the late 16th to early 17th century.
    [Show full text]
  • Mozart's Operas, Musical Plays & Dramatic Cantatas
    Mozart’s Operas, Musical Plays & Dramatic Cantatas Die Schuldigkeit des ersten Gebotes (The Obligation of the First and Foremost Commandment) Premiere: March 12, 1767, Archbishop’s Palace, Salzburg Apollo et Hyacinthus (Apollo and Hyacinth) Premiere: May 13, 1767, Great Hall, University of Salzburg Bastien und Bastienne (Bastien and Bastienne) Unconfirmed premiere: Oct. 1768, Vienna (in garden of Dr Franz Mesmer) First confirmed performance: Oct. 2, 1890, Architektenhaus, Berlin La finta semplice (The Feigned Simpleton) Premiere: May 1, 1769, Archbishop’s Palace, Salzburg Mitridate, rè di Ponto (Mithridates, King of Pontus) Premiere: Dec. 26, 1770, Teatro Regio Ducal, Milan Ascanio in Alba (Ascanius in Alba) Premiere: Oct. 17, 1771, Teatro Regio Ducal, Milan Il sogno di Scipione (Scipio's Dream) Premiere: May 1, 1772, Archbishop’s Residence, Salzburg Lucio Silla (Lucius Sillus) Premiere: Dec. 26, 1772, Teatro Regio Ducal, Milan La finta giardiniera (The Pretend Garden-Maid) Premiere: Jan. 13, 1775, Redoutensaal, Munich Il rè pastore (The Shepherd King) Premiere: April 23, 1775, Archbishop’s Palace, Salzburg Thamos, König in Ägypten (Thamos, King of Egypt) Premiere (with 2 choruses): Apr. 4, 1774, Kärntnertor Theatre, Vienna First complete performance: 1779-1780, Salzburg Idomeneo, rè di Creta (Idomeneo, King of Crete) Premiere: Jan. 29, 1781, Court Theatre (now Cuvilliés Theatre), Munich Die Entführung aus dem Serail (The Abduction from the Seraglio) Premiere: July 16, 1782, Burgtheater, Vienna Lo sposo deluso (The Deluded Bridegroom) Composed: 1784, but the opera was never completed *Not performed during Mozart’s lifetime Der Schauspieldirektor (The Impresario) Premiere: Feb. 7, 1786, Palace of Schönbrunn, Vienna Le nozze di Figaro (The Marriage of Figaro) Premiere: May 1, 1786, Burgtheater, Vienna Don Giovanni (Don Juan) Premiere: Oct.
    [Show full text]
  • Salzburg, Le 24 D'avril3 Ma Trés Chére Cousine!4 1780 You Answered My
    0531.1 MOZART TO MARIA ANNA THEKLA MOZART,2 AUGSBURG Salzburg, le 24 d’avril3 Ma trés chére Cousine!4 1780 You answered my last letter5 so nicely that I do not know where to look for words with which to manifest adequately my statement of gratitude, [5] and at the same time to assure you anew of the extent to which I am, madam, Your most obedient servant and most sincere cousin [BD: ALMOST THE WHOLE PAGE IS LEFT BLANK UNTIL THE SIGNATURE COMES:] Wolfgang Amadé Mozart I would have liked to write more, but the space, as you see, [10] is too Adieu, adieu restricted. But now, in joking and earnest, you must surely forgive me this once for not answering your most treasured letter as it deserves, from one word to the next, [15] and allow me to write only what is most necessary; in the coming days I will try to improve my mistakes as much as possible – it is now 14 days since I replied6 to Msr. Böhm7 – my only concern is to know that my letter did not go astray, which I would greatly regret – for otherwise I know only too well that Msr. Böhm is only too busy every day [20] – be it as it may he be, I would be so glib, my dearest squib, as to ask you to convey a thousand compliments – and I wait only for his say-so, and the finished aria8 will be there. – I heard that Munschhauser9 is ill as well; is that true? – that would not be good for Msr.
    [Show full text]
  • A European Singspiel
    Columbus State University CSU ePress Theses and Dissertations Student Publications 2012 Die Zauberflöte: A urE opean Singspiel Zachary Bryant Columbus State University, [email protected] Follow this and additional works at: https://csuepress.columbusstate.edu/theses_dissertations Part of the Music Commons Recommended Citation Bryant, Zachary, "Die Zauberflöte: A urE opean Singspiel" (2012). Theses and Dissertations. 116. https://csuepress.columbusstate.edu/theses_dissertations/116 This Thesis is brought to you for free and open access by the Student Publications at CSU ePress. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of CSU ePress. r DIE ZAUBEFL5TE: A EUROPEAN SINGSPIEL Zachary Bryant Die Zauberflote: A European Singspiel by Zachary Bryant A Thesis Submitted in Partial Fulfillment of Requirements of the CSU Honors Program for Honors in the Bachelor of Arts in Music College of the Arts Columbus State University Thesis Advisor JfAAlj LtKMrkZny Date TttZfQjQ/Aj Committee Member /1^^^^^^^C^ZL^>>^AUJJ^AJ (?YUI£^"QdJu**)^-) Date ^- /-/<£ Director, Honors Program^fSs^^/O ^J- 7^—^ Date W3//±- Through modern-day globalization, the cultures of the world are shared on a daily basis and are integrated into the lives of nearly every person. This reality seems to go unnoticed by most, but the fact remains that many individuals and their societies have formed a cultural identity from the combination of many foreign influences. Such a multicultural identity can be seen particularly in music. Composers, artists, and performers alike frequently seek to incorporate separate elements of style in their own identity. One of the earliest examples of this tradition is the German Singspiel.
    [Show full text]
  • The Magic Flute
    The Magic Flute PRODUCTION INFORMATION Music: Wolfgang Amadeus Mozart Text (English): Emanuel Schikaneder English Translation: J.D. McClatchy World Premiere: Vienna, Theater auf der Wieden Austria, September 30, 1791 Final Dress Rehearsal Date: Friday, December 13, 2013 Note: the following times are approximate 10:30am – 12:30pm Cast: Pamina Heidi Stober Queen of the Night Albina Shagimuratova Tamino Alek Shrader Papageno Nathan Gunn Speaker Shenyang Sarastro Eric Owens Production Team: Conductor Jane Glover Production Julie Taymor Set Designer George Tsypin Costume Designer Julie Taymor Lighting Designer Donald Holder Puppet Designers Julie Taymor and Michael Curry Choreographer Mark Dendy 2 Table of Contents Production Information 2 An Introduction to Pathways for Understanding Study Materials 4 Meet the Characters 5 The Story of The Magic Flute Synopsis 6 Guiding Questions 8 The History of Mozart’s The Magic Flute 10 Guided Listening Overture 12 I’m sure that there could never be 13 Such loveliness beyond compare 14 Don’t be afraid, now hear my song 15 The wrath of hell is burning in my bosom 16 Now I know that love can vanish 17 If only I could meet her 18 Pa-pa-ge-na! – Pa-pa-ge-no! 19 The Magic Flute Resources About the Composer 20 The Enlightenment & Singspiel 22 Online Resources 25 Additional Resources The Emergence of Opera 26 Metropolitan Opera Facts 30 Reflections after the Opera 32 A Guide to Voice Parts and Families of the Orchestra 33 Glossary 34 References Works Consulted 38 3 An Introduction to Pathways for Understanding Study Materials The goal of Pathways for Understanding materials is to provide multiple “pathways” for learning about a specific opera as well as the operatic art form, and to allow teachers to create lessons that work best for their particular teaching style, subject area, and class of students.
    [Show full text]
  • Reader's Theater Script- the Magic Flute
    THE MAGIC FLUTE Wolfgang Amadeus Mozart and Emanuel Schikaneder Adapted for young readers by Joshua Borths A Reader’s Theater Script for Young Audiences! 1 Cast of Characters (in order of appearance) Narrators (1-3) They guide the audience on the journey Sarastro (za-RA-stro) The wise ruler of the Sun Prince Tamino (tah-ME-no) A foreign Prince, the hero Dragon Ladies (1-3) The Queen’s handmaidens, Each lady is different Papageno (pa-pa-GEH-no) The Queen’s birdcatcher, fun loving and funny The Queen of the Night An ultimately evil Queen, but she doesn’t let people see it Monostatos (moe-NAST-tah-toes) Sarastro’s guard, who wants to marry Pamina Pamina (pah-ME-na) The virtuous daughter of the Queen Ensemble Guards, animals, voices, attendants A quick note about Reader’s Theater… Welcome to the Arizona Opera Reader’s Theater version of Mozart’s The Magic Flute! This script takes about 10-15 minutes to perform and guides the readers and audience through the first act of the opera. This script was created with 3rd— 6th grade in mind. This script helps develop reading fluency, comprehension, and imagination as both readers and audience members alike are guided through the story of the opera. We encourage double casting (students reading more than one role) when appropriate. However, make sure everyone gets a chance to read out loud! 2 Props List (in order of appearance) Mouth Lock (For Papageno) Picture Frame (The picture of Pamina for Tamino) Magic Flute (For Tamino) Magic Bells (For Papageno) A note about performance… Putting together The Magic Flute should be a fun and educational experience for your students.
    [Show full text]
  • Magic Mozart a Delighted Cabaret ! (Concert Version)
    2019 I 2020 SEASON MAGIC MOZART A DELIGHTED CABARET ! (CONCERT VERSION) DIFFUSION 1ST - 22 JULY 2020 insulaorchestra.fr MAGIC MOZART A DELIGHTED CABARET ! (CONCERT VERSION) Wolfgang Amadeus Mozart (1756-1791) Excerpts from chosen works* : Duration : 1h15 without interval The Magic Flute The Marriage of Figaro Numbers: Don Giovanni 4 soloists, 41 musicians Der Stein der Weisen La Finta semplice Diffusion : Bastien und Bastienne 1st-22 july 2020 ... * possibility to add to the program the symphony n°40 in G minor Olga Pudova, soprano Léa Desandre, mezzo-soprano Ben Bliss, ténor (tbc) Armando Noguera, baryton Insula orchestra Laurence Equilbey, conductor This programme will be recorded for a Warner Classics-Erato disc (april 2020). Mozart’s music is magic. Insula orchestra takes the statement literally, offering a selection of works and musical extracts in which the wonderment of magical experience is a central theme. Known by the music lovers as well as by the general public, these poetic or comical melodies, duos and ensembles are performed in a succession of short, diverting and enchanting acts. The Magic Flute, Mozart’s last opera, composed in 1791, is of course the cornerstone, with its magic bells, bewitched animals and Queen of the Night. But we will also find there some characters from the Marriage of Figaro, Don Giovanni, La Finta semplice, Bastien und Bastienne, or from the more unusual Der Stein der Weisen (The Philosopher’s Stone), a Singspiel written by four authors among whom Mozart and the librettist of The Magic Flute, Emanuel Schikaneder. Three dominant colours are at work in these Magic Mozart sketches: the benevolence and transparency of white magic; the tumultuous emotions of love, expressing red magic in arias like “Voi che sapete” and “Porgi amor”; and black magic, driven by vengeance and symbolized by the Queen of the Night’s aria, “Der Hölle Rache”.
    [Show full text]
  • 02-15-2020 Cosi Fan Tutte.Indd
    WOLFGANG AMADEUS MOZART così fan tutte conductor Opera in two acts Harry Bicket Libretto by Lorenzo Da Ponte production Phelim McDermott Saturday, February 15, 2020 PM set designer 12:30–4:05 Tom Pye First time this season costume designer Laura Hopkins lighting designer Paule Constable revival stage director Sara Erde The production of Così fan tutte was made possible by generous gifts from William R. Miller, and John Sucich / Trust of Joseph Padula Additional funding was received from the The Walter and Leonore Annenberg Endowment Fund, and the National Endowment for the Arts general manager Peter Gelb Co-production of the Metropolitan Opera and jeanette lerman-neubauer English National Opera music director Yannick Nézet-Séguin In collaboration with Improbable 2019–20 SEASON The 199th Metropolitan Opera performance of WOLFGANG AMADEUS MOZART’S così fan tutte conductor Harry Bicket in order of vocal appearance ferrando skills ensemble Ben Bliss* Leo the Human Gumby Jonathan Nosan guglielmo Ray Valenz Luca Pisaroni Josh Walker Betty Bloomerz don alfonso Anna Venizelos Gerald Finley Zoe Ziegfeld Cristina Pitter fiordiligi Sarah Folkins Nicole Car Sage Sovereign Arthur Lazalde dorabella Radu Spinghel Serena Malfi despina continuo Heidi Stober harpsichord Jonathan C. Kelly cello David Heiss There is no Toll Brothers– Metropolitan Opera Quiz in List Hall today. Saturday, February 15, 2020, 12:30–4:05PM JONATHAN TICHLER / MET OPERA A scene from Chorus Master Donald Palumbo Mozart’s Così Musical Preparation Joel Revzen, Liora Maurer, fan tutte
    [Show full text]
  • The Magic Flute
    The Magic Flute Opera Box Table of Contents Welcome Letter . .1 Lesson Plan Unit Overview and Academic Standards . .2 Opera Box Content Checklist . .9 Reference/Tracking Guide . .10 Lesson Plans . .13 Synopsis and Musical Excerpts . .32 Flow Charts . .38 Wolfgang Amadeus Mozart – a biography ......................49 Catalogue of Mozart’s Operas . .51 Background Notes . .53 Emanuel Schikaneder, Mozart and the Masons . .57 World Events in 1791 ....................................63 History of Opera ........................................66 2003 – 2004 SEASON History of Minnesota Opera, Repertoire . .77 The Standard Repertory ...................................81 Elements of Opera .......................................82 Glossary of Opera Terms ..................................86 GIUSEPPE VERDI NOVEMBER 15 – 23, 2003 Glossary of Musical Terms .................................92 Bibliography, Discography, Videography . .95 Word Search, Crossword Puzzle . .98 GAETANO DONIZETTI JANUARY 24 – FEBRUARY 1, 2004 Evaluation . .101 Acknowledgements . .102 STEPHEN SONDHEIM FEBRUARY 28 – MARCH 6, 2004 mnopera.org WOLFGANG AMADEUS MOZART MAY 15 – 23, 2004 FOR SEASON TICKETS, CALL 612.333.6669 620 North First Street, Minneapolis, MN 55401 Kevin Ramach, PRESIDENT AND GENERAL DIRECTOR Dale Johnson, ARTISTIC DIRECTOR Dear Educator, Thank you for using a Minnesota Opera Opera Box. This collection of material has been designed to help any educator to teach students about the beauty of opera. This collection of material includes audio and video recordings, scores, reference books and a Teacher’s Guide. The Teacher’s Guide includes Lesson Plans that have been designed around the materials found in the box and other easily obtained items. In addition, Lesson Plans have been aligned with State and National Standards. See the Unit Overview for a detailed explanation. Before returning the box, please fill out the Evaluation Form at the end of the Teacher’s Guide.
    [Show full text]
  • Opera 101 – an Introduction to Opera
    OPERA 101 – AN INTRODUCTION TO OPERA A Syllabus for March-April 2021 Loving Opera Thursdays, March 11, 18, 25, and April 1; 10:00 - 11:30am Opera has always been intended as a glorious entertainment - one that beguiles all the senses. If you’ve ever been tempted to find out what opera’s attractions are, but have been put off by seemingly incomprehensible conventions, then this is the course for you. Focusing on the operas of the late 18th, the 19th, and the early 20th centuries, members will discover together those elements that continue to attract opera audiences who love a great tale well told, thrilling sound, the dance, passions on display, and the arts working together to move the heart and lift the spirit. I, Steve Dubrow ([email protected]), have been a devotee of opera since my childhood, attending, over the years, many hundreds of opera and vocal recital performances in the U.S. and Europe and maintaining an extensive CD collection focused on the classical vocal arts. Having graduated summa cum laude from Columbia, I did graduate work in Romance Languages and Literatures at Princeton and taught French at Brown University. A specialist in press and cultural affairs, I served for 25 years as a U.S. Foreign Service Officer, worKing in Serbia, Bosnia, Croatia, Slovenia, Congo, Poland, Belgium, France, Austria, and – of course – in Washington, DC. I retired in 1998 as a member of the Senior Foreign Service. From 2000 until 2019, I taught world languages (French, Latin, Spanish, Italian) in high school in Montgomery County, MD, where I became a National Board Certified Teacher.
    [Show full text]