the scorpions` sting: an egyptian myth

Transcription

Photo credit: Karine Boucher as Sally Smith in the Glencore Ensemble Studio School Tour production of
The Scorpions’ Sting: An Egyptian Myth, 2014. Photo: Chris Hutcheson
PRESENTS CALGARY OPERA ON TOUR FEBRUARY 2015
THE SCORPIONS’ STING:
AN EGYPTIAN MYTH
Opera in Schools Tour Study Guide
February and March 2015 | www.calgaryopera.com
The Scorpions’ Sting: An Egyptian Myth was commissioned by the Canadian Opera Company for their
school tour in 2006. Set in the midst of an Egyptian sandstorm, the opera follows the time-travelling
adventures of Professor Hornsby and his students. When Professor Hornsby is stung by a poisonous
scorpion, his students must find the cure hidden in ancient hieroglyphics in the Lost Temple of Iset. In an
effort to save their professor, the students use Iset’s ancient wisdom and learn the power of
forgiveness. Originally produced for the Canadian Opera Company, we thank the COC for permission to
reproduce elements of their Study Guide to share with you.
This year’s tour begins in Calgary and the surrounding area February 23 - March 20, including stops in
Bragg Creek, Penhold, and Airdrie. The final week of the tour sees the production head north to
Northern Alberta, visiting schools in Athabasca country, including First Nations schools in Wabasca, and
public and separate schools in the towns and communities of Lac la Biche, Bonnyville, Goodfish,
Ardmore, and Irma.
We hope that this guide will assist you with making opera connections in your classroom in fun and
interesting ways, and to use The Scorpions’ Sting as a point of departure for their learning. Exposure to
performing and fine arts helps students develop critical analysis and problem solving skills,
perseverance, and a drive for excellence. The creative skills students develop through the arts carry
them toward new ideas, new experiences and new challenges.
Thank you for giving your students this special opportunity.
Emily Forrest,
Education and Outreach Coordinator
Calgary Opera
Phone (403) 802-3404 | [email protected]
Community Outreach sponsor
Emerging Artist Development Program Sponsored by
Adopt an Artist patrons
Terence & Judith Dalgleish
Monica Sloan & John Evison
Andrea Brussa & David Lyons
Cos & Eleanor Gabriele
Marian Williams
We acknowledge the generous
support of the
Dr. R.G. (Bud) Williams Emerging
Artist Scholarship Fund
Calgary Opera Study Guide: The Scorpions’ Sting: An Egyptian Myth
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THE STUDENT OPERA EXPERIENCE
The more students are prepared for this experience, the more they will get out of it. Knowing the story, the
life and times of the composer and the music is very important to make their opera experience a
sensational one.
Before the Opera
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Review the study guide, including the suggested preparation and learning activities, before
deciding on which will be the best fit for your students. Some of the activities/discussions should
be started prior to seeing the opera. Preparing students ahead of time gives them a chance to
view the opera with understanding i.e. history, reviewing, character studies, discussions, etc.
Read the enclosed Scorpions’ Sting synopsis, which provides a background and helps familiarize
students and teachers with the story.
Read the history of the opera, composer and director, and familiarize your group with opera
terms (all items in the guide can be reproduced).
Familiarize students with the characters and their corresponding opera voice types (i.e. soprano,
mezzo-soprano, bass, baritone, and tenor.) This enables students to identify them during the
opera.
Discuss the characters and plot, and engage students in discussion around the suggested themes.
You may wish to assign students to write a review on the opera – a guideline for writing reviews
is included in this study guide.
You may assign some students to report on singing, characters, orchestra, costumes, scenery etc.
after the dress rehearsal.
During the Opera
› Turn off all cell phones, iPods, and other electronic devices. The use of cameras or recording devices is
strictly forbidden.
› Think about what makes a good audience member
› Leave food and drinks at your class, and don’t bring them with you to the gymnasium.
› Applaud the cast as they take their bows after the performance - if you feel one person did an
exceptional job, it is permissible to shout “Bravo!” for a man, “Brava!” for a woman, and “Bravi!” for the
whole performance (most people say “Bravo!”).
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ACTIVE LEARNING ACTIVITY #1
Writing Activity
The picture on this page shows several patrons and
famous opera characters on their way to attend an
opera at the theatre. Now picture yourself in their
shoes. On a separate piece of paper, write a story as
if you are one of these people. Think about your trip
to the performance. What will the opera be like?
What will you wear? How will you and your
classmates act? At what time will you meet your
classmates? How many classmates will attend? Will you have a special dinner before the opera? If so,
where? Will the opera be exciting and entertaining? Share your thoughts here and compare your stories
with your classmates.
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ACTIVE LEARNING ACTIVITY #2
Write a Review or Critique of the
Performance
One of the best ways to encourage critical
thinking of a performing arts production is to
encourage students’ honesty and draw out
detailed opinions. A productive evaluation
session - spoken, written, visual or dramatized should follow this basic ‘how-to’ outline below.
On the internet, students can find many reviews
from other opera companies’ performances to
use as a guideline or example.
Guidelines for writing a review
When writing an opera review you can focus on
many different elements, but keep in mind the
acting, singing, technical aspects, orchestration,
and the overall view of the performance.
Performance of the Singers
The acting and singing are probably the most
important aspects of the opera. It is a good idea
to familiarize yourself with the opera and its
characters before you go see it. Make sure you
know all of the characters’ names and the
singers who are playing them; the study guide
or the Calgary Opera website is an ideal place to
find all this information.
Did they bring the music to life? Could you see
and hear the emotion while they sang? Did they
interact well with others on stage?
Did any particular performer stand out to you
and why? How did the singer communicate
his/her character? Did you feel that the singer’s
character was believable? Sympathetic? How
well are they giving and taking focus?
Technical Aspects
It has been said that if the technical aspect of
the performance becomes noticeable, then it is
not effective. Keep in mind that the sets, lights,
sound, make-up, and costumes are there to
enhance the performance.
Were the costumes appropriate to the time
period? Did they enhance the characters?
Did the lighting design communicate time of day
and/or mood? Did it cast unflattering or
distracting shadows? Was the set complex or
simple? How did this help or hinder the
production?
What do you notice about the make-up worn by
the singers on stage that differs from what
people might wear out in public? Did it age a
singer? Make them appear more youthful?
Was it done well?
Musical Aspects
Reviewing the musical performance is a tricky
thing, and most reviewers continue to develop
their ear for the music and knowledge of the art
form their entire lives.
Did you enjoy the music? Did you feel that the
singers performed it smooth and effortlessly?
What was your favourite musical moment?
What part did you feel had the power to move
you emotionally?
So in conclusion, remember the singing, acting,
music, the technical and the overall view, and
you’ll have written a successful theatre review.
Try to keep in mind that to be a theatre critic
you often have to be critical, so if you feel that
something was badly done include that in your
review. Constructive criticism can be helpful.
Keep these things in mind when writing your
review and it will be great. Have fun!
4
The Language of Opera
Act - Main sections of a play or opera.
Aria - A solo song sung in an opera.
Audience - People who watch a performance
and sit in the “house” or auditorium.
Ballet - Dance set to music within an opera.
Blocking - Action on stage.
Character - Person who is part of the opera’s
story.
Chorus - Music composed for a group of singers
or the name of a group of singers in an opera.
Overture - A piece of instrumental music played
at the beginning of an opera.
Program - Booklet that contains information
about the opera, composer, performers, and
the opera company.
Recitative - Words that are sung in the rhythm
of natural speech.
Rehearsal - Time when singers/actors practice
with or without the orchestra; time when
musicians practice together with the conductor.
Scene - Segments of action within the acts of an
opera.
Conductor - Person who rehearses and leads
the orchestra.
Types of Singers
Duet - A song performed by two singers.
Soprano - Highest pitched female voice.
Libretto - the words of the opera.
Mezzo-Soprano - Female voice between
soprano and contralto.
Opera - a musical work in one or more acts,
made for singers and instrumentalists.
Contralto – Lowest pitched female voice
Opera Buffa - Funny, light opera.
Tenor - Highest pitched male voice.
Opera Seria - Serious, dramatic opera.
Baritone - Male voice between tenor and bass.
Orchestra - A group of musicians who play
together on various musical instruments.
Bass - Lowest pitched male voice.
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ACTIVE LEARNING ACTIVITY # 3
Connect the terms
1. Opera Seria
A. Dance spectacle set to music.
2. Baritone
B. Highest pitched woman’s voice.
3. Opera
C. Dramatic text adapted for opera.
4. Ballet
D. Low female voice.
5. Orchestra
E. Comic opera.
6. Libretto
7. Duet
F. A dramatic or comedic musical work in
which singing is the essential factor; very little
is spoken.
8. Aria
G. Opera with dramatic and intense plots.
9. Soprano
H. Music composed for a singing group.
10. Chorus
I. A song written for two performers to sing
together.
11. Act
12. Contralto
13. Tenor
14. Opera Buffa
J. A group of musicians who play together on
various musical instruments.
K. Highest pitched man’s voice.
15. Recitative
L. A musical style in which the words are
spoken in the rhythm of natural speech.
16. Bass
M. Male voice between bass and tenor.
17. Overture
N. A piece of music originally designed to be
played before an opera or musical play.
O. Deepest male voice.
P. Elaborate solo in an opera or oratorio.
Q. Main division of a play or opera.
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Characters and story
MAIN CHARACTERS
Name
Voice Type
Professor Hornsby/Set
Sally Smith/Iset
David Sands/Osiris/The Scorpions
Molly Brown/Nephthys/Tahemet
Tenor
Soprano
Baritone
Mezzo-Soprano
SYNOPSIS
A blinding sandstorm in the Egyptian desert. A group of weary
archaeology students, led by their professor, search for the
mythical Lost Temple of Iset. Against the advice of his students,
the old professor sits down for a brief rest and is stung by a
scorpion. Unsure what to do next, the students carry their
teacher into a cave. Upon entering the darkness they realize
that this is no common cave – they have stumbled upon the
Lost Temple itself. In a desperate attempt to help the professor,
Sally remembers Iset was known as the Goddess of Healing and
that her knowledge might provide the answer. Perhaps the
clues lie in the ancient hieroglyphics on the temple walls, telling
the story of Iset, Osiris (her husband), Nephthys (her sister), and
Set (Osiris’s brother). Molly and David don’t believe in the spell
and leave Sally alone. After examining the hieroglyphics, Sally
decodes a portion of the legend of Iset... something about a cure for scorpion stings.
The story tells of a great rivalry between the king of all Egypt, Osiris, and his jealous brother Set. Set wishes
more than anything to become the one ruler and tricks his wife, Nephthys, into laying a trap for the king. At a
royal banquet in honour of Osiris, Set unveils a beautiful gold chest. Whoever fits perfectly into the box will
become its owner. Guest after guest lines up to win the prize, but only Osiris is the correct size. This was Set’s
scheme all along, as the box had been crafted for this purpose. The lid is slammed shut on Osiris and the box is
thrown in the river Nile. Set is now king. Good Osiris is dead and his wife Iset is banished to the unforgiving
desert.
Iset spends her days in despair. Her beloved husband is gone and she is alone. Nephthys appears and Iset at
first rebukes her for her involvement in the scheme, but she soon realizes that Nephthys was tricked as well.
The two sisters reconcile and sing to invoke the memory of Osiris. Nephthys gives Iset Osiris’s magical sistrum
that will summon the scorpions to lead her out of exile in the desert. Upon shaking the sistrum, the seven
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scorpions appear and, led by Tefen, escort Iset out
of the desert to a town, where they eventually
come to the door of Tahemet, a rich woman. The
woman is horrified at Iset’s bedraggled
appearance and the seven frightening scorpions,
and turns them away. The scorpions are enraged
by the actions of Tahemet. “How dare she turn
away the Queen of Egypt!” they cry out, and hatch
a revenge plan. The scorpions give all of their
poison to Tefen who will sting the rich woman’s
baby. Moments later, the woman runs into the
street crying that her baby has been poisoned. She
cries for help, but no one will come to her aid.
“Scorpions, did you do this?” Iset scolds them.
“The child is not to be blamed for the actions of a
thoughtless mother.” Taking the child in her arms,
she begins to cast a spell, naming each of the
scorpions in turn:
“Poison of Tefen and Befen appear on the earth. I take away your sting. Poison of Mesetet and Mesetetef
release. I take away your sting. Poison of Petet and Tjetet and Matet retreat. Come forth! I take away your
sting! I take away your sting!”
The baby is saved.
Back in the Temple of Iset, the students, by working together, realize that they have not only uncovered the
cure for a scorpion sting, but a new sense of understanding and respect for one another. The professor is saved
and they begin the triumphant journey home.
8
Meet the Composer and Librettist
Dean Burry
Dean Burry was born in St. John’s, Newfoundland in 1972, but grew
up in the small town of Gander. As both his parents’ families came
from small outport communities, he spent a great deal of time by
the ocean and out in his father’s boat. Music is in the blood of
Newfoundlanders, and it was in this environment that Burry began
his own artistic journey. Early piano lessons were not completely
satisfying, and it wasn’t until a teacher encouraged his desire for
composition, at age 10, that music became a passion. Theatre was
another great interest and soon he was writing plays and music for
the school drama club. His first produced script, Good Gods, won
first place in the local drama festival in 1987.
Following high school, Burry enrolled in the bachelor of music
program as a saxophone major at Mount Allison University in
Sackville, New Brunswick. Looking for ways to combine his love of
theatre and music, he began composing operas and musicals. In his
first three years at university, he wrote, produced and conducted three major dramatic musical works: The
Resurrection, Joe and Mary Had a Baby and Unto the Earth: Vignettes of a War. His studies in music continued,
and Burry completed his master of music in composition at the University of Toronto in 1996. Shortly
afterwards, Burry began working in ticket services at the Canadian Opera Company while composing incidental
music for small theatrical productions. Working for the COC enabled Burry to immerse himself in the Canadian
opera world. His own curiosity and interest in opera drove him to spend a lot of time at the opera company
outside of working hours, observing rehearsals and learning a great deal about the ways to create successful
opera. In 1997, Burry was hired to develop and run the COC’s After School Opera Program, a community
program designed to introduce children to all the elements of opera. The program is still vibrant today and
celebrated its 15th anniversary last year.
In 1999, while working as an educator with the COC, Burry was commissioned to write The Brothers Grimm, a
new opera for the annual school tour. The opera premiered in 2001 and received rave reviews from teachers
and students alike, putting the composer on a national stage. Since its premiere in 2001, The Brothers Grimm
has been seen by over 160,000 school children across Canada, the United States and Europe. In December
2012, The Brothers Grimm celebrated its 500th performance, making it the most performed Canadian opera in
history.
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Meet the Cast
LAURA BRANDT – SOPRANO
Soprano Laura Brandt is thrilled to be returning for a second season as an Emerging
Artist. Upcoming performances include Frasquita (Carmen) with Calgary Opera's
mainstage and Governess (The Turn of the Screw) at Opera on the Avalon. Past
performances with Calgary Opera include Gretel (Hansel and Gretel) and Female Chorus
(The Rape of Lucretia). Recent highlights for Ms. Brandt include Parasha (Mavra) with
Metro Youth Opera, Contessa (Le nozze di Figaro) with the Centre for Opera Studies in
Italy, Sprechstimme in Pierrot Lunaire with the New England Conservatory
Contemporary Ensemble, and Donna Anna (Don Giovanni) with NEC Opera. Ms. Brandt
is supported by the Nova Scotia Talent Trust and has a Master of Music in vocal performance from the New
England Conservatory. As a member of the Emerging Artist program, she sang the role of Aurore in The Portrait
of Manon (2014).
VANESSA OUDE-REIMERINK – SOPRANO
Born in Ontario, Soprano Vanessa Oude-Reimerink completed a Master’s Degree at the
Schulich School of Music at McGill University under the direction of Professor Sanford
Sylvan. Her roles include Tytania in A Midsummer Night’s Dream, Susanna and Barbarina
in Le Nozze di Figaro, Pamina and Papagena in Die Zauberflöte, Miss Wordsworth in
Albert Herring, Clara in The Light in the Piazza, Rapunzel in Into the Woods, and the
Canadian premiere of Volpone by John Musto, Ms. Oude-Reimerink has received
training from Centre d’Arts Orford, COSI, Opera NUOVA, Opera on the Avalon, the St.
Andrews Opera Workshop, and Western University. She sang the role of Aurore in The Portrait of Manon
(2014), and appeared on Calgary Opera’s mainstage as Barbarina in The Marriage of Figaro (2015).
BESTE KALENDER – MEZZO-SOPRANO
Turkish native Mezzo-Soprano Beste Kalender has been named Jeunes Ambassadeurs
Lyriques du Canada for a second time in 2014. She has won the Prix Jeune Espoir du
Centre Français de Promotion Lyrique 2013, has recently done her French debut and
represented Canada in France with Les Chorégies D’Orange in Marseille. Ms. Kalender’s
repertoire include roles such as Carmen and Mercedes in Carmen, Fox in The Cunning
Little Vixen, Zerlina in Don Giovanni, Cherubino in Le Nozze di Figaro, Third Lady in The
Magic Flute, Ellen in Three sisters who are not sisters and Tancredi in Tancredi. Ms.
Kalender holds an M.A. degree from the Department of Psychology at the University of
Toronto and an Artist Diploma in voice from The Royal Conservatory’s Glenn Gould School. She has also
received training at The International Vocal Arts Institute in Montreal, Opera On The Avalon, CoOPERAtive
Program at Westminster and The Music Academy of The West Summer Music Festival. As a member of the
Emerging Artist program, she sang the role of Jean Moncert in The Portrait of Manon (2014).
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STEPHANIE TRITCHEW – MEZZO-SOPRANO
Mezzo-Soprano Stephanie Tritchew recently completed her Opera Diploma at the
University of Toronto, under the tutelage of Wendy Nielsen. She holds a Bachelor of
Music and a Masters of Music from the University of Western Ontario. Roles include:
Nancy (Albert Herring), Mrs. Grose (Turn of the Screw), Cherubino (Le nozze di Figaro),
Prince Orlovsky (Die Fledermaus), and Mère Marie de l’incarnation (Dialogues des
Carmélites). On the concert stage, Ms. Tritchew performed Bach’s Mass in b minor and
Handel’s Messiah with Chorus Niagara, soloist with the Niagara Symphony Orchestra’s
Christmas POPS! series, and was a Sidgwick Scholar with the Orpheus Choir of Toronto. She is a contemporary
music enthusiast and has performed several times with Tapestry New Opera. Ms. Tritchew was a semi-finalist
in the 2014 Eckhardt Gramatté competition and this past summer she toured with The Bicycle Opera Project, a
company that focuses on bringing Canadian contemporary opera to communities across Ontario. Recently, Ms.
Tritchew made her Calgary Opera debut as Madeleine Audebert in the Canadian premiere of Silent Night
(2014), and appeared as Jean Moncert in The Portrait of Manon (2014).
MATTHEW BRUCE – TENOR
Matthew Bruce’s love for music was inspired from an early age. His foundation and
appreciation for the performing arts was formed through his parents’ influence, both of
whom are professional musicians. Mr. Bruce’s passion for performing inspired him to
relocate to Victoria, BC to study voice, acting, and dance at the Canadian College of
Performing Arts. Upon graduating, Mr. Bruce continued his vocal training at the Victoria
Conservatory of Music where he performed in the Opera Studio program. Mr. Bruce
recently performed the role of Jonathan Dale in the Canadian premiere of Silent Night,
played the lead role of Candide at Opera in the Village, Canada’s only summer outdoor opera festival, and is
currently participating in his second year of the Emerging Artist Program. He last performed as Tiberge in The
Portrait of Manon (2014).
KEVIN MYERS – TENOR
Tenor Kevin Myers was born and raised in Deep River, Ontario and studied voice there
with Peter Morris. He completed his undergraduate and graduate degrees at McGill
University, where he studied with Stefano Algieri and Sanford Sylvan. Highlights from his
time at McGill include many roles with the opera program; namely Lysander in Britten’s
A Midsummer Night’s Dream and Tamino in Mozart’s Die Zauberflöte. He was lucky
enough to study with renowned coaches Louise Pelletier, Esther Gonthier and Michael
McMahon. In 2012, Mr. Myers was selected as a laureate of the Jeunes Ambassadeurs
Lyriques and toured China performing opera in concert with that organization. In 2013
he performed the role of Nemorino in Donizetti’s L’elisir d’amore with Opera NUOVA in Edmonton, and in 2014
he won the grand prize at the Festivale de Musique du Royaume. As a member of the Emerging Artist program,
he last performed as Tiberge in The Portrait of Manon (2014).
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AARON DIMOFF – BASS-BARITONE
Bass-Baritone Aaron Dimoff made his Calgary Opera debut last season singing Imperial
Commissioner in Puccini’s Madame Butterfly as a member of the Emerging Artist
program. He also sang the role of Father in Hansel and Gretel for the Opera in Schools
tour and at Opera in the Village, Collatinus in The Rape of Lucretia, as well as Des Grieux
in The Portrait of Manon. Returning for a second year in the Emerging Artist program,
Mr. Dimoff will also perform on the mainstage as Zuniga in Carmen. Concert
appearances last season included Sciarrone in Puccini’s Tosca with the Calgary Philharmonic Orchestra, as well
as excerpts of Haydn’s Creation and Mendelssohn’s Elijah with The Festival Chorus Calgary. Most recently he
appeared on Calgary Opera’s mainstage as Antonio in The Marriage of Figaro (2015).
DAVID DISTON - BARITONE
Baritone David Diston is a 2014 Masters graduate in Opera Performance from the
University of Toronto. Mr. Diston’s performance credits include Mr. Gedge (Albert
Herring), Dr. Dulcamara (L’Elisir d’amore) and Dr. Malatesta (Don Pasquale) all with the
UofT, Don Giovanni with Opera NUOVA, Guglielmo (Così fan tutte) with Toronto
Summer Opera Workshop, Falke (Die Fledermaus) and Count Almaviva (Le Nozze di
Figaro) with Western University, and Don Alfonso (Così fan tutte) and Leporello (Don
Giovanni) with the Accademia Europea Dell’Opera in Milan. In concert Mr. Diston recently made his Toronto
Symphony Orchestra debut as the baritone soloist in C. Nielsen’s Symphony No. 3. Mr. Diston recently joined
Calgary Opera as an ensemble member in Candide as a part of their summer season, Opera in the Village, and
appeared as De Grieux in The Portrait of Manon (2014).
Meet the Creative Team
STAGE DIRECTOR – AARON COATES
Aaron is a director, writer, actor, and the co-artistic director of Trepan Theatre. He
studied acting at Mount Royal College and at École Philippe Gaulier in Paris. With Trepan
Theatre, he has created and performed in La Mexicaine de Perforation, The Cat Lady
Show, Matadora, and SHE. Directing credits include: Hannaraptor (Calgary Opera), La
Bohème, The Phantom of the Opera Sing-Along, The Sound of Music Sing-Along
(Cowtown Opera), The After Party, The Way of All Fish (Lunchbox Theatre), Dying City
(Pangloss), The Old Neighborhood (Rogues Theatre), Iraq and Back (Ghost River
Theatre), and The End of the Rope (Vertigo Theatre). Aaron is also the co-artistic
producer of Dirty Laundry, Calgary’s live improvised soap opera. For Calgary Opera he last directed Hansel &
Gretel at Opera in the Village (2014).
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MUSIC DIRECTOR – MEL KIRBY
Mel Kirby brings to his role of Coordinator of Calgary Opera’s Emerging Artist
Development Program over 30 years of professional experience as a performer, teacher,
conductor and highly respected member of the Calgary music community. He joined
Calgary Opera in 2006 creating the curriculum and goals for the Emerging Artist Program
which oversees the annual post-graduate training and transition to a professional
working career of an ensemble of young singers from across Canada. Mel has also
served as Artistic Director of The Festival Chorus since 1991, conducting performances
of major works with orchestra by J.S. Bach, Handel, Haydn, Mozart, and Brahms.
PIANIST – EVAN MOUNCE
Evan Mounce has most recently been music director for The Sound of Music (Cowtown
Opera), Anne of Green Gables (Central Memorial), and Oliver (Ernest Manning), and
pianist for Hansel and Gretel (Calgary Opera). He accompanies and coaches voice
students at U of C and Ambrose University College, and is the organist at St. Matthew’s
United Church. Evan attended the collaborative piano programs at Opera NUOVA, the
Centre for Opera Studies in Italy, and the Vancouver International Song Institute, and
will work as an apprentice coach at St. Andrews by the Sea this summer. He holds a
Master’s degree in Music from the University of Toronto. Mr. Mounce was last worked with Calgary Opera as
Repetiteur for The Portrait of Manon (2014)
STAGE MANAGER – CANDACE MAXWELL
Candace is a native of Winnipeg who likes to travel to follow her passion of Stage
Management. Some selected credits include Aida, Carmen (Manitoba Opera); Les
Contes D’Hoffmann, Aida (Edmonton Opera); Nutcracker (RWB); The Boys in the
Photograph (Mirvish Productions/RMTC); A Christmas Story, Fiddler on the Roof
(RMTC); Bingo!, Munscha Meeya (PTE). Ms. Maxwell attended The Banff Centre for the
Professional Theatre and Opera as Theatre Programs. Banff Centre credits include Pride
and Prejudice (with Citadel Theatre), Siren Song, and La Tragedie de Carmen. Candace
attended the University of Winnipeg. Recent credits include Calgary Opera’s school tour of Hansel & Gretel as
well as its public performances at Opera in the Village (2014), and La Bohème with Manitoba Opera.
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The Story Behind The Scorpions’ Sting
Almost every ancient culture had its own mythology that helped its people explain the mysteries of life, death
and nature, and formed an important part of religious and daily life. Our knowledge of the mythology of
various cultures comes from a variety of sources. The writings of Homer, a famous Ancient Greek poet and
storyteller, are one of the ways that scholars learned the stories of Greek myths. The mythology of Native
North American tribes has largely been passed down orally from generation to generation. We have been able
to learn of Egyptian mythology (as well as their culture and language) through their hieroglyphics.
The composer and librettist of The Scorpions’ Sting, Dean Burry, is very interested in Egyptian mythology, and
was very excited when he discovered the story of The Scorpions’ Sting as described on the Metternich Stela, a
stone tablet. He said about the opera:
“What I find most interesting about the potential of this piece is that much of the myth, including the actual
recitation, comes from tomb walls, papyrus writings and statue bases.”
The Stela contains many stories of Iset, Osiris and their son Horus, and includes recitations intended to be used
against serpents and scorpions. The incantation that Iset sings in the opera to cure Tahemet’s child is an
interpretation of the actual writings from the Stela.
The original:
“Poison of Tefen, come, go out to the earth, do not go about and do not penetrate: Poison of Befen, come, go
out to the earth, I am Iset divine, mistress of magic, exercising magic, magical in speaking, effective of words.
Every biting snake obeys me. Fall down, poison of Mestet, do not run. Poison of Mestetef, do not rise, Poison of
Petet and Tjetet. Fall down, mouth of the biting one, at the words of Iset divine, great magic among the gods, to
whom Geb has given his magic power in order to avert the poison in its power. Yield, recede, flee, backwards,
poison, do not jump up, at the words of the beloved Ra, the egg of the sun-bird and who has come forth from
the sycamore.”
In the opera:
Poison of Tefen, appear on the earth, do not advance.
Come forth.
Poison of Befen, appear on the earth, do not advance.
Come forth.
I take away your sting.
Poison of Mesetet, halt! Poison of Mesetetef, release!
Poison of Petet and Tjetet and Matet retreat!
Come forth! Come forth!
I am Iset. I take away your sting. I take away your sting!
Other elements of the story and libretto come from various sources. The Hymn to Osiris is based on words
found in the Book of the Dead, an ancient Egyptian text that was normally placed in a coffin or burial chamber
as part of the ritual thought to help the dead pass into the afterlife. Part of the Book of the Dead describes the
second life of Osiris.
14
What to Look for
About the Design of The Scorpions’ Sting: An Egyptian Myth
The set for The Scorpions’ Sting was designed by Brent Krysa. Brent’s design serves to evoke both the mystical
world of Iset in ancient Egypt and a present day, barren Egyptian desert in which Professor Hornsby, Sally,
David, and Molly find themselves in peril.
USE OF COLOUR
In Ancient Egypt, colour could be used to symbolize an integral part of a person’s nature. Different colours had
specific meanings, and colour used in combination with hieroglyphs intensified the meaning of the symbol.
Colours were often paired. For example, silver and gold were considered complementary colours because they
formed a duality of opposites, like the sun and moon. Two colours stand out in Brent’s set, costume and prop
design: gold and blue.
Blue was considered a divine colour, appropriate for sacred places. Dark blue or “Egyptian blue” was the colour
of the heavens and water, and it represented creation, life and re-birth.
Gold (or yellow) designated the eternal and the indestructible, also considered to be qualities of the sun.
Statues of the gods were either made of gold or were goldplated to symbolize their eternal life.
THE EYE OF HORUS
The Eye of Horus (also known as the Udjat or Wadjet) is painted on the centre panel of the set piece. The Eye is
the symbol of Horus who is the son of Iset and Osiris, and is one of the oldest and most revered deities in
Ancient Egyptian religion. Brent chose to depict the Eye of Horus on the set piece because it is a powerful
symbol believed to have healing and protective power. In Ancient Egypt, it was frequently represented in
jewellery to ensure the safety and health of the person who wore it. Will the Eye of Horus bring its protective
and healing powers to the Professor and his students?
COSTUME CHANGES
The singers in this opera play dual roles, meaning they each play two or more different characters. The singer
who plays Sally Smith, for instance, also plays the Ancient Egyptian Goddess, Iset. One way this is represented
is through changes in costume. Sally wears modern-day clothing that is well-suited to the climate of present
day Egypt, while her secondary character, Iset, dons draped white linens and a golden crown. See if you can
spot the other characters’ transformations. Do they act differently? Sing differently? What subtext do these
different costumes give to the story?
15
Set and Costume Sketches by Designer Brent Krysa
16
Hieroglyphics
WHAT IS HIEROGLYPHICS?
Hieroglyphics was the Ancient Egyptians’ formal writing system. Although many hieroglyphs (characters) look
like drawings, hieroglyphics is a very complicated system, and a drawing that looks like a bird doesn’t
necessarily stand for the word “bird.” Linguists, archaeologists and historians were stumped by hieroglyphs and
the Ancient Egyptian language until the discovery of the Rosetta Stone in 1799.
The Stone is carved with a decree written in two forms of Egyptian hieroglyphs and also Ancient Greek: by
comparing the Greek text with the hieroglyphs, scholars began to decipher Egyptian writing. In 1822 French
scholar Jean-François Champollion published a full translation of the Rosetta Stone text. Our understanding of
Ancient Egyptian language, mythology and culture has grown from this first amazing discovery.
17
Music in Ancient Egyptian Ritual
THE SISTRUM
Percussion has been a part of most cultures from
our earliest history, starting with hand clapping
and sounds created by stomping on the earth.
There is pictorial evidence that Ancient Egyptian
musical culture included both pitched instruments
(for example flutes, harps, and trumpets) and nonpitched instruments (for example cymbals, drums,
and rattles). Rhythmic music was at the core of
Egyptian religious practices and was always used in
ritual processions.
One instrument that was used in rituals associated
with Iset was the sistrum. The sistrum, called
seshesht in Egyptian, was a type of shaker and
considered sacred to Hathor, goddess of the sky,
love, beauty, and music. The instrument originally
consisted of cut papyrus stems, but evolved into a
more advanced and decorative metal rattle. The
sound that it produced was thought to attract the attention of the gods.
Over time, percussion music from Egypt and the Middle East continued to play an important role in the
religious, military, and cultural life of the region, and even began to influence the music and culture of other
areas in the world. In fact, the use of percussion instruments in European orchestras today can be traced to the
influence of a particular style of Turkish military music played by “Janissary bands.” Janissaries were a kind of
percussion band associated with the Turkish military and the personal bodyguards of Turkish Sultans. The
music is characterized by its use of extra percussion instruments, including the bass drum, cymbals, triangle
and one instrument that is similar to the sistrum: the crescent. The Turkish crescent is a handheld stick with
lots of bells and jingles hanging from crescent-shaped crossbars. During the 18th century, military bands all
over Europe copied the Janissary style, and imported the instruments used by the Janissary bands. By the end
of the century European composers had begun using percussion instruments such as the bass drum, cymbals,
and triangle in their orchestral compositions.
DID YOU KNOW?
In Ancient Egypt, most of the highly trained percussionists who performed for the entertainment of wealthy
and noble people were women.
18
Lesson Plan: Myths and Hieroglyphs
OVERVIEW
In this lesson students are introduced to the concepts of myths and hieroglyphs, and explore the mythology of
other cultures through personal or group research. Students use reading comprehension skills to analyze a
myth and identify selected characters, concepts and vocabulary. Visual art and language skills are used in
creating and defining their own hieroglyphs.
MATERIALS




Chart paper and markers/chalkboard and chalk for discussion (optional)
The Scorpions’ Sting: An Egytian Myth Study Guide
Research materials (library, books, computers, etc.)
“Myth and Hieroglyphs” table
(Group lesson /discussion) See Study Guide article The Story Behind The Scorpions’ Sting for information
about mythology and hieroglyphs, and types of world mythology.
SUGGESTED CLASS DISCUSSION TOPICS:




What is the difference between a myth and a fairy tale (story)?
Why do you think myths would be important for a culture?
What are some of the characters/stories/themes you would expect to find in a myth? (e.g. heroes,
gods and goddesses, creation legends, etc.)
In our world, we use symbols to tell us something without letters, like hieroglyphs – what are some
examples? (e.g. men’s and women’s bathroom signs, wheelchair access, no smoking, recycling, etc.)
ACTIVITIES
Researching World Mythology
As a class, in groups, or as individuals, students choose a type of world mythology to research (see Study Guide
article for examples – topic can also be assigned by the educator). Students will choose one particular myth
from this culture to focus on.
 For younger grades, do the activity as a class or group project, with a myth assigned by the educator
and discussed in class.
Telling a Story with Hieroglyphs
Using the “Myths and Hieroglyphics” worksheet, students identify one major character, one object, one action,
and one emotion from the myth they are studying, and create a corresponding hieroglyph, explaining why they
have created that particular symbol.
 For older grades, have them retell the story, inserting their hieroglyphs in the appropriate places
Assessment Students can be assessed on overall participation and research, and submit the worksheet
for grading.
19
20
Create a Sistrum
WHAT IS A SISTRUM?
A sistrum is an Ancient Egyptian metal shaker used extensively in religious and royal ceremonies.
SUMMARY/OBJECTIVE OF ACTIVITY



Students will research the role of music in Ancient Egypt. What are some examples of instruments
people played in Ancient Egypt? On what occasions was music played, and why?
Students will create their own sistrum as seen in the opera The Scorpions’ Sting: An Egyptian Myth out
of found materials.
Students will demonstrate an understanding of basic rhythm patterns.
INPUT
1. A week in advance, ask students to bring in toilet or paper towel rolls from home that they will use to
construct a sistrum.
2. Read the synopsis of the opera to the students or have them take turns reading aloud. Pay special
attention to the banquet for Osiris.
3. Teach students to distinguish between beat and rhythm in a simple song. Identify different tempi
(faster and slower speeds), and identify examples of dynamics (loudness and softness) and discuss how
they are achieved.
4. Create a template for students to work from and give instructions for how to create the sistrum.
5. Upon completion, work as a group to experiment with different rhythm patterns, tempi and dynamics
with your new instruments.
HOW TO MAKE A SISTRUM
Materials (per student)






Three pieces of wire (at least 22 gauge) cut into pieces
10 cm in length
Six paper clips
Duct tape or stapler
Strip of Bristol board (3 cm wide, 30 cm long)
One toilet paper roll
What to do
 Bend the strip of Bristol board into an oval shape and staple or tape it to the toilet paper roll so that it
is in the shape of a tennis racket.
 Attach the three pieces of wire horizontally inside the oval shape by poking a hole through the sides of
the Bristol board strip and bending the wire ends on the outside to secure.
 Attach two paper clips on each wire (two on each line, six in total).
 The sistrum is ready to be used in percussion-based activity.
21
Percussion Activity - create a soundscape
OBJECTIVE





Identify examples of dynamics in their environment and in music.
Produce a specific effect using various sound sources.
Identify examples in their environment and in music.
Identify different tempi in their environment and in music.
Perform a soundscape or sound collage based on a theme or topic.
INPUT
1. Have students sit in a circle facing each other. Tell them that they are about to become an orchestra
called “Sounds of a Desert Oasis.” What is a desert oasis? Brainstorm what kinds of sounds you might
hear in a desert oasis.
2. Distribute some found objects, e.g. scrap paper, fabric.
3. Give students a few minutes to think of a unique sound they would like to produce, e.g. blowing
through their hands might sound like the wind, paper rustling together might sounds like palm leaves
in the breeze, fabric flapping might sound like cranes flapping their wings.
4. Tell the students you are going to be the conductor for their sounds.
a. When you move your hands (palms up), their sounds get louder. When you lower your hands
(palms down) their sounds get softer.
b. When you move your hands in a wave-like motion quickly, they are going to speed up their sounds.
When you wave slowly, they slow down their sounds.
5. Discussion: How did the loudness/softness, fastness or slowness of their sounds change the
soundscape? Did it connote a different feeling or mood?
EXTENSION
Have students come up and be the conductor. Divide the students into two groups. Designate two conductors.
Have them each conduct their own group. How does this change the sound?
Alternatively, divide the students into two groups and have each group follow a different hand with different
commands. As a group, brainstorm the different types of sounds that a group of archaeologists might hear
while exploring an Ancient Egyptian tomb. Make a new soundscape based on this idea. Some examples of
sounds include the tomb door opening, the sound of footsteps, the sound of a chest opening slowly. This could
be an add-on activity post-performance.
Attempt to create the soundscape without using visual communication. Instead of looking to a conductor for
instructions, tell students to close their eyes. The conductor taps students once on the head to indicate that
they should begin to make their individual sound. A second tap turns the sound “off.” A touch on the right
shoulder means “get louder.” A touch on the left shoulder means “get softer.” Depending on the size of the
group, you can experiment with having more than one conductor at a time.
22

the scorpions` sting: an egyptian myth

Transcription

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