What is Opera? - La Mirada Theatre for the Performing Arts

A celebration of Mozart’s The Magic Flute
adapted by Lee Holdridge and Richard Sparks
2012/2013 EDUCATORS’ WORKBOOK
Special support for The Magic Dream is made possible by:
Nesbitt Foundation
LA OPERA’S EDUCATION AND COMMUNITY PROGRAMS
ARE MADE POSSIBLE BY GENEROUS SUPPORT FROM:
The Hearst Foundation Endowment
Los Angeles County Arts Commission
Dan Murphy Foundation
Maxwell H. Gluck Foundation
The Green Foundation
The Opera League of Los Angeles
Hispanics for Los Angeles Opera
Rx for Reading
Weingart Foundation
Wells Fargo
Anonymous
Bank of America Foundation
The Capital Group Companies Charitable Foundation
Los Angeles County Supervisor Don Knabe’s Arts Education Partnership Program
City of Los Angeles, Department of Cultural Affairs
National Endowment for the Arts
Moss Foundation
Dr. Leslie A. Pam and Dr. Ann Christie Petersen / Esper A. Petersen Foundation
The Louis and Harold Price Foundation
The David and Linda Shaheen Foundation
US Bank
Susan Zolla, in memory of Edward M. Zolla
Employees Community Fund of Boeing California
Dwight Stuart Youth Fund
Ms. Leslie Einstein
Joseph B. Gould Foundation
The Norman and Sadie Lee Foundation
Metropolitan Associates
Nesbitt Foundation
The Kenneth T. & Eileen Norris Foundation
Nordstrom
The Nissan Foundation
Mr. & Mrs. Robert E. G. Ronus
Bank of the West
California Arts Council
Maurer Family Foundation
Music Performance Trust Fund
Northrop Grumman Corporation
Park Bixby Tower, Inc.
Pasadena Showcase House for the Arts
John and Beverly Stauffer Foundation
Official Piano of LA Opera
Former Los Angeles County Supervisor Edmund D. Edelman
The Claire and Theodore Morse Foundation
The Opera Buffs Inc.
LA Opera would also like to extend a very special thank you to Milton Okun, Chair, and Eric Small, Co-Chair, of the Opera Board’s Education Committee, for
their tireless service to the Education and Community Programs Department.
For information on donating to LA Opera’s Education and Community Programs, please call 213.972.3129.
LA Opera began producing opera at the Dorothy Chandler
Pavilion of the Music Center of Los Angeles County in
1986. The Company currently performs six to eight
operas a year, as well as several operas for students, such
as The Prospector, which tour Los Angeles area schools.
About 85 people work at the Company year-round, planning new operas, raising money to produce the operas,
selling tickets, working on lighting, costumes and scenic
designs, managing the finances, and creating programs
for the community. More people are added when an opera
is being produced. People are hired to sing and play in
the orchestra, make the costumes, work backstage, and
direct the operas.
Plácido Domingo, Eli and Edythe Broad General Director
Some of the famous artists who have worked at
LA Opera include Eli and Edythe Broad General
Director Plácido Domingo and Richard Seaver Music
Director James Conlon; singers Sondra Radvanovsky,
Juan Diego Flórez, Bryn Terfel, Vittorio Grigolo, Nino
Machaidze, Anna Netrebko and Patricia Racette; directors Woody Allen, Sir Peter Hall, Franco Zeffirelli, William
Friedkin and Robert Wilson; and designers David Hockney,
Maurice Sendak, and Gottfried Helnwein.
James Conlon, Richard Seaver Music Director
For more information about LA Opera’s extensive Education and Community
Programs which reach approximately 110,000 people per year, please visit our
website at www.LAOpera.com, call 213.972.3157 or email [email protected].
Plácido Domingo photo by Greg Gorman. James Conlon photo by Chester Higgins.
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How to Use This Workbook
At LA Opera, we believe a visit to the opera is much more fulfilling for students if they know what to
expect. This workbook contains information we hope you will use to help prepare your class for an
exciting and magical journey into the world of opera.
Introducing Opera (Page 5)
In a sentence, opera is a story told through music. If your students are completely new to this art form, you might begin by asking
them what they think of when they hear the word “opera.” Because opera includes all the arts (vocal and instrumental music,
theater, dance and visual art) it is easy to come up with a list of attributes to which everyone can understand and relate. This section will help you explore the fundamental elements of opera including voice types and what to expect when visiting the theater.
The Magic Dream is LA Opera’s original adaptation of Mozart’s The Magic Flute. If you are familiar with the source material, you
know that it was created in German and feels like a fairytale. This story is easily updated to a contemporary young girl’s dream
and our version of the story, The Magic Dream, which is 45 minutes long and in English.
Introducing The Magic Flute (Pages 6-7)
The Magic Flute synopsis is a good place to start. Have your students take turns reading through the synopsis, and, as a group,
briefly summarize the story.
Further exploration - As a group or individually, have your students try setting the story in a different time or place (the famous
Shakespearian actor/director Kenneth Branaugh created a film version set in World War I).
Introducing The Magic Dream (Page 8)
Read through the synopsis with your students then examine The Magic Flute Character Sketches. This chart describes the characters in The Magic Flute and their counterparts in The Magic Dream.
Further exploration – As a group or individually, have your students add to the character sketches by developing a new column
of information with the “characters, position, personality” of The Magic Dream characters.
Have students take turns reading the synopsis again and this time incorporate the musical excerpts from The Magic Flute, stopping to play the corresponding piece of music when it appears in the synopsis. You will find “musical notes” at the bottom of
page 8. Read each musical note before you play the music. (The students will hear an adaptation in English when they see the
opera in person, but they should be able to recognize the music).
Themes to Explore with Your Students (Pages 11-12)
We have included information on three major themes to explore with your students, each followed by discussion prompts for your
use in class before and/or after your visit to the opera.
• The Enlightenment / Age of Reason (including a timeline comparing major events in the life of Mozart with events in US
history on page 10)
• Freemasons and the Power of Clubs
• History of the Flute
These are just a few of the things you will discover in this workbook. We hope you will find it useful and will continue to use it in
your classroom throughout the year. From all of us at LA Opera, thank you for enriching the lives of your students by introducing
them to this wonderful art form.
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What is Opera?
Opera is a lyric drama, but instead of speaking the lines, the performers sing them. It is accompanied by a group of instruments,
called an orchestra, and can include dancers and a group of singers who sing together, called a chorus. However, opera, with its
lavish spectacle, high drama and visual and aural treasures is much more. No other art form combines such diverse elements –
singing, acting, lighting, design, orchestra, movement and dance – into such a seamless whole. It engages our minds, captures
our hearts and releases our imaginations.
When we think of operatic voices, we think of voices that are big and powerful. Opera singers, unlike popular music singers, do
not use microphones. Their voices are trained to fill a large hall, and it takes many years of hard work to become a successful
opera singer.
There are three types of female and three types of male voices. The range is every note that a singer can sing. The highest voices
are sopranos (women) and tenors (men). The middle-ranged voices are mezzo-sopranos (women) and baritones (men). The lowest voices are contraltos (women) and basses (men).
Opera Etiquette
We want you and your students to have a fantastic time at the opera program. To make that possible, students need to be comfortable and understand their jobs as audience members. Please go over the following items with your class before attending the
opera.
Students’ job as audience members:
•
Make your school proud by being an excellent audience member – please be quiet and listen carefully. Remember that
you are seeing a live performance, not watching television or a movie. The performers can see and hear you (as can other
audience members).
•
Laugh if it is funny
•
Cry if it is sad
•
Clap at the end of the performance to show how much you liked it.
If you really enjoyed it, you can shout “BRAVO” – which means “great job!”
•
Have fun!
For our teachers and parents:
•
Please no photography or video / audio recording during the performance. It’s against the union rules and
can be hazardous to the performers!
•
Please turn off all elecronic devices (e.g. phones, mp3 players, cameras).
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The Magic Flute Synopsis
CHARACTERS:
Tamino – a young prince
The Queen of the Night – Pamina’s
selfish mother
Papageno – bird-catcher for the queen
Three Ladies – the Queen of the Night’s
Robert Millard
attendants
Pamina – the queen’s daughter, loves
Tamino, the prince
Papagena – bird-woman in love with
Papageno, the bird-catcher
Sarastro – wise Priest of the Sun
Monastatos – Sarastro’s evil guard
LA Opera’s 2009 production of The Magic Flute
Act I
Tamino, who has been out hunting far from
his land, suddenly is pursued by a ravenous serpent. Terrified, he cries out for help
and as the serpent draws near, he faints.
Before the serpent devours him, the Three
Ladies slay the serpent and instantly fall
in love with Tamino. They bicker about
who will stay and watch him, and unable
to reach a decision, decide to all go tell the
Queen of the Night what happened.
Soon after the Ladies leave, Papageno, a
merry bird-catcher, finds Tamino when he
awakes. Tamino thinks Papageno killed
the serpent and Papageno lies, taking the
credit for the beast’s death. However, the
Three Ladies return and overhear Papageno’s empty boasting, and they immediately
padlock his mouth as a punishment for
telling lies.
The Ladies give Tamino a portrait of Pamina, the Queen’s daughter, as a gift, and he
instantly falls in love with her. The Queen
then appears, telling Tamino that her
daughter was abducted by the Sarastro
and promises Pamina will be his bride if he
rescues her. After the Queen leaves, the
Ladies unlock Papageno’s mouth and give
Tamino a magic flute and Papageno magic
bells to help them in rescuing Pamina.
Meanwhile, in Sarastro’s palace, the evil
Monostatos is trying to win Pamina’s favor,
but she refuses. In a rage, he storms out
of the chamber with his slaves. Papageno
enters the chamber by a secret entrance
and befriends Pamina. When Monostatos
returns, Papageno and Monostatos are so
mutually frightened of the other’s appearance that Monostatos runs away.
Tamino, at the same time, is lead by the
Three Boys to the entrance of a temple.
There are three doors, representing Nature,
Reason, and Wisdom. When Tamino tries
to enter, he is rejected by two of the doors,
but finally a door does open, revealing a
priest. The priest cautions Tamino about
his hatred for Sarastro and the errors of
his assumptions. Tamino despairs, afraid
that Pamina already is dead, but when the
priests’ voices, echoing from the temple,
assure him she’s still alive, he rejoices by
playing the magic flute. Strange and exotic
animals flock to Tamino, delighted by the
flute’s melody.
Papageno and Pamina, unable to find
Tamino, are almost captured by Monostatos and his slaves, but Papageno enchants them by playing his bells. However,
the Sun Priests manage to find them and
Pamina begs Sarastro’s forgiveness and
relates Monostatos’ ill-treatment of her.
When Monostatos suddenly enters with
Tamino as his captive, Tamino and Pamina instantly recognize each other and
embrace. Monostatos demands a reward
for his faithful service, and Sarastro does
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reward him - with lashes to his feet. Monostatos is dragged out, protesting, while
Tamino is prepared by the priests to undergo the trials to make him more worthy of
Pamina.
Act II
Tamino and Papageno first undergo the
Trial of Silence. They must not speak, but
Papageno keeps breaking this vow of silence. Tamino remains firm and does not
speak, even when the Three Ladies tempt
them. In the last part of the Trial of Silence,
an old crone visits Papageno, revealing
she is Papagena, his future wife. Just as
he is about to question her more, she disappears. When Pamina visits Tamino, he
cannot speak to her. Pamina mistakes his
silence as a sign that he no longer loves
her.
When Papageno finally finds Papagena
and agrees to marry her, she suddenly
transforms from the old crone to a beautiful young woman. A priest, infuriated by
Papageno’s failure in the trials, shoos the
woman away.
Pamina decides to kill herself in her misery, but is prevented by the Three Boys
who lead her to Tamino. Papageno, too,
despairing of ever finding Papagena again,
tries to hang himself, but the Three Boys
appear and remind him of the magic bells.
Papageno plays a merry little tune and
Papagena finds him; they then sing about
their future together with lots of children.
Pamina reaches Tamino and undergoes
the Trial of Fire and Water by Tamino’s side.
As Tamino plays the magic flute, it keeps
them safe from the Fire and Water. Just as
they finish the trial, the Queen of the Night
with Monostatos and the Three Ladies
attack the Sun Temple, but Sarastro and
his priests defeat the Queen and her dark
powers with the powers of Light. Pamina
and Tamino face Sarastro together with the
blessings of the priests, newly inducted
into the temple and Eternal Truth.
The Magic Flute Character Sketches
Character’s
Name
The Magic Dream
Character
Voice Part
Relationship to
Other Characters
Characteristics, Positon,
Personality
Final Fate
Tamino
Tommy
Tenor
in love with Pamina
prince from far away land, brave,
honest, true and virtuous
passes the three trials and
wins Pamina’s love and
Sarastro’s blessing
Papageno
Gino
Baritone
bird catcher for the
Queen of the Night
comic character, just wants a pretty
wife, food and wine, not happy about
going through the trials
passes the trials and lives
happily ever after with
Papagena
Three Ladies
Gina
kill the serpent and carry out the
Queen’s orders
perishes with the Queen
The Queen of
the Night
(Pam sings some of her
music)
Coloratura
Soprano
Pamina’s mother
wicked, selfish woman willing to
forsake her own daughter to get her
wishes
perishes
Pamina
Pam
Soprano
the Queen’s daughter in love with Tamino
innocent child torn between pleasing
her mother and doing the right thing
- she displays honesty and integrity
ends up with her true love,
Tamino
Papagena
Gina
Soprano
in love with Papageno
young pretty bird-girl that first has
a spell that makes her look very old
but Papageno breaks the spell
marries Papageno
blesses the union of
Tamino and Pamina and
destroys the Queen of the
Night
sides with Queen and
perishes
Soprano, Mezzo, the Queen of the Night’s
Mezzo
attendants
Grandpa
Bass
Priest of the Sun
Monastatos
Manny
Tenor
one of Sarastro’s
guards
evil man who tries to use his power
over Pamina
Robert Millard
Sarastro
wise ruler of good and truth - guides
Tamino on his quest for truth and
goodness
LA Opera’s 2009 production of The Magic Flute
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The Magic Dream Synopsis
Prelude
Act I
We meet Mr. Wolfgang Amadeus Mozart, who is
getting ready to go to the palace of Emperor Franz
Joseph II and cannot find his shoe. Mozart has just
written a new opera Così fan tutte and is going to
present it to the Emperor. Mozart shares with the
young audience that he is in the process of writing a new opera with Emanuel Schikaneder, about
magic, mystery, romance, and good overcoming
evil. He tells them of a hero named Tommy and
a heroine named Pam and invites the children to
help him compose the story. Mozart plays and
hums some of Papageno’s aria “Der Vogelfänger
bin ich ja”. 1
A giant snake appears and chases Tommy, the
handsome prince, (Zu Hilfe! Zu Hilfe!)3. Gina
comes to the rescue in one of her many disguises.
Tommy passes out and wakes to the sound of a
flute. Pam introduces Gino, the bird man, who
sings about his life as a bird catcher (Der Vogelfänger bin ich ja)1. Gino takes credit for killing the
snake, until Gina, disguised as a wizard, punishes
him for lying by muting him with the remote control.
Prologue
Mozart stumbles upon his heroine Pam who loves
The Magic Flute, which she used to watch with
her grandpa. During those times, she would often fall asleep and have amazing dreams. As the
Overture2 plays, Pam shares the excitement of the
opera with its crazy cast of characters, including
a giant snake, people dressed as birds, a handsome prince and an evil queen. Pam’s grandfather,
Tommy, Gino, Gina, and Manny all join in to help
make the magic of the opera.
Gina tells Tommy they are in a dream. Afraid, Tommy wants to wake up, but she tells him it isn’t his
dream. As she reveals he actually in Pam’s dream,
he sings Who is She? (Dies Bildnis ist bezoubernd schön)4.
Wanting Tommy’s help with the remote, Gino
tries to get his attention by humming the
Muted Trio (Hm hm hm hm)5. Gina grabs the
remote and releases him. She tells them Pam
is in danger and gives Tommy a magic flute and
sword and Gino a phone. Pam is excited that
Tommy is coming to rescue her but wonders
what she needs to be rescued from. Could it
be from a scary monster, dressed as a 40-foot
hot dog? Manny, dressed as a hot dog, chases Pam (Du feines Täubchen, nur hinein!)6
until Gino appears. Manny and Gino frighten
each other. As Gino runs away he meets Pam,
and they sing about finding true love (Bei Männern welche Liebe fühlen)7. Grandpa appears and explains how important it is to
dream and that monsters can be overcome
(O Isis und Osiris)8.
Act II
(Allegro Movement I: Symphony #40 in g minor)9 We are transported into Pam’s worst nightmare: appearing on a TV game show. Gino, Gina
and Pam are the contestants and Manny is the
host. He explains the rules to the frightened trio
(Alles fühlt der Liebe Freuden)10. Pam is overwhelmed and sings I Can’t (Der Hölle Rache
kocht in meinem Herzen)11, but Grandpa comes
to comfort her and reminds her that she can succeed (In diesen heil’gen Hallen)12. Pam overcomes her fears and wins the game!
The game show fades away leaving Tommy and
Pam to have their happy ending (Dies Bildnis ist
bezaubernd schön)4. Gino and Gina discover they
are meant to be together (Pa…Pa…Pa!)13. Pam
explains that this was all an adventure because
that is what opera is, a big adventure…like a
dream (Overture)1.
Musical Notes
5. Hm hm hm hm (the Muted Trio) is 10. Alles fühlt der Liebe Freuden is
hummed by Papageno. Mozart helps
Monostatos’ second aria in which he ex1. Der Vogelfänger bin ich ja - This aria is
Papageno
out
by
keeping
the
orchestra
presses his longing for a mate, just like
based in the folk song tradition, in which
light, so that it’s easier to hear the singer.
Papageno, but Monostatos has a different
Papageno tells us he is a famous bird
way of solving the issue.
catcher who works for the Queen. He is
6. Du feines Täubchen, nur hinein!,
very successful at catching all birds but
Monostatos’ first aria explains that he will 11. Der Hölle Rache kocht in meinem
cannot seem to catch a wife.
Herzen is the classic Queen of the Night
take what he wants because he is treataria (featuring fast, runny notes called
ed badly and never gets what he wants.
2. The Overture begins with three long
coloratura) in which she rages at Tamino’s
chords. The number three is a special
failure to kill Sarastro. The Queen of the
symbolic number throughout Freemasonry 7. Bei Männern welche Liebe fühlen is the
Night’s highest note in this aria is an “F”
first duet of the opera sung by Papageno
(three knocks on the door are needed to
above the musical staff, which is the highand Pamina. They sing of finding true love
enter the Masonic lodge). Where else does
est note sung in any opera.
and happiness.
the number three appear in the opera?
3. Zu Hilfe! Zu Hilfe! is Prince Tamino’s first 8. O Isis und Osiris, the aria sung by Sarastro 12. In diesen heil’gen Hallen, Sarastro’s
second aria is a complete contrast to the
aria where he cries out for help as he is
is an aria with chorus. Sarastro is a bass,
Queen’s coloratura.
chased by a giant serpent. The fast notes in
the lowest male voice.
the string section sound like running. They
13. Pa…Pa…Pa! Papageno and Papagena
are sixteenth notes played at the tempo of 9. Symphony #40; Movement I was writsing the second duet of the opera in which
ten in sonata allegro form. (Structural
allegro which means fast.
they exuberantly plan their life together
Organization: Exposition, Development,
and the building of their happy family. The
4. Dies Bildnis ist bezaubernd schön,
Recapitulation)
German word “papagei” means parrot. LisTamino’s second aria, is about Tamino’s
ten to how Mozart plays with the word and
instant love for Pamina.
how it sounds like a bird call.
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Mozart the Magician
Touring the Courts of Europe
When Wolfgang was six years old, an extensive
concert tour took him to the foremost European concert halls and royal courts. Wherever he
performed, the sweet charm of his personality
and his incredible genius as a performer conquered the hearts of his audience. Francis I of
Vienna referred to him as “ein kleine hexenmeister” (a little master-wizard). Wolfgang’s
music was truly magical and seemed to cast
a spell of wonder and awe upon its listeners.
In fact, his talent was so unbelievable that for
a time it was rumored that young Mozart was
actually a little person pretending to be a child.
Joannes Chrysostomus Wolfgangus Thoephilus Gottlieb Amadeus Mozart (a.k.a. Wolfgang
Amadeus Mozart) was born Monday, January
27, 1756 in the town of Salzburg, Austria. His
proud parents, Leopold and Anna Maria, were
overjoyed with the birth of their seventh and
last child, and they were especially pleased
that he survived past infancy (Wolfgang and
his sister Anna Maria (AKA “Nannerl”) were
the only two Mozart children to live that long).
Wolfgang’s dad, Leopold, was a professional
musician and before long he realized that his
only son was a child prodigy. According to
Webster’s dictionary, a prodigy is “a highly talented child or youth.” This definition does not
begin to describe the greatness of this young
wunderkind, or “wonder child.”
Mozart Discovers Music
At the age of three, Wolfgang was already
sitting in front of the harpsichord attempting
to find harmonic successions of thirds. When
Wolfgang was four, his father began to teach
him the elements of harpsichord playing.
Music obviously came to him as naturally as
breathing. Wolfgang never attended schools
of any kind. His non-musical education may
not have been extensive, although it included
Latin and modern languages (Italian, French,
and some English), which were of practical
value on his many journeys. Leopold Mozart,
recognizing the extraordinary gifts of his two
children (Nannerl, five years Wolfgang’s senior,
was also strongly talented) decided to exhibit
his children before all of Europe with Wolfgang
playing both the piano and the violin.
An Act of Genious
When Mozart was 14, he and his father traveled to Rome and went to the Sistine Chapel.
In Rome, Mozart attended a performance of
the celebrated nine-part Miserere by Antonio
Allegri (1582-1652) which could be heard only
in Rome during Holy Week. By papal decree, it
was forbidden to sing the work elsewhere, and
its only existing copy was strongly guarded by
the papal choir. Any attempt to copy the piece
or reproduce it in any form was punishable
by excommunication. Mozart, after hearing
the work only once, returned home and reproduced it in its entirety upon paper. This incomparable feat soon became the subject for
awed whispers in Rome, and it was not long
before the Pope himself heard the rumors. The
Pope summoned Mozart, but instead of punishing the young genius with excommunication, he showered praise upon him and gave
him handsome gifts. A few months later, the
Pope bestowed upon Mozart the Cross of the
Order of the Golden Spur.
Rise to Fame
From that moment on, young Mozart was
constantly performing and writing music. He
was the toast of Austria and gave many concerts of his compositions and improvisations.
Wherever he appeared, people gaped in awe
at his divine gifts. By his early teens, he had
mastered the piano, violin and harpsichord,
and was writing keyboard pieces, oratorios,
symphonies and operas. Leopold gained a
good deal of money and also spread Mozart’s
reputation. These tours continued well into
Mozart’s late teenage years. Mozart’s touring
9
finally concluded when he was fired by the
Archbishop of Salzburg. Mozart was happy to
leave the Archbishop, for he confined Mozart’s
genius. He immediately left with his mother to
find work elsewhere. He traveled from Austria to Italy and finally ended up in France. He
received a minor position but hated France.
Mozart reluctantly decided to return to Salzburg after his mother died from a fever while
in Paris.
The Operas
Mozart wanted to marry and found Constanze
Weber willing to say, “I do.” Temperamentally
they were perfect, both fun-loving and playful; unfortunately, both were also spendthrifts
(especially Mozart). After a long wait, with Leopold’s blessing not forthcoming, they decided
to marry on August 4, 1782. Around this time
Mozart wrote the score to The Abduction from
the Seraglio. Later he also composed The
Marriage of Figaro and Don Giovanni. The Mozarts’ money trouble really started to show by
the time he wrote Così fan tutte and La Clemenza di Tito. His crowning operatic masterpiece, The Magic Flute, was completed in the
year of his death. Work on The Magic Flute occupied much of Mozart’s time in the first half
of 1791. He collaborated with his friend and
fellow Freemason, Emanuel Schikaneder, who
served as librettist. The Requiem was commissioned that same year by a stranger who
asked him to compose it under conditions of
secrecy. The stranger turned out to be Count
Walsegg-Stuppach (not Antonio Salieri, a contempory of Mozart’s, as the movie Amadeus
would have you believe). Count WalseggStuppach wanted to pass-off The Requiem as
his own composition in honor of his wife. All
accounts agree that Mozart’s health deteriorated visibly and rapidly that year.
An Early Death
The Magic Flute was performed in Vienna on
September 30, 1791, and Mozart died on
December 5, 1791. To the end, Mozart felt
compelled to continue work on The Requiem,
which he never finished. When he died at the
age of thirty-five, he was buried in an unmarked grave.
US History / Mozart Timeline
MOZART’S LIFE
WORLD EVENTS
1756
January 27, Wolfgang Amadeus Mozart born,
Salzburg, Austria
1756
French and Indian War begins between
Britain and France
1762
Wolfgang tours Europe as a child prodigy
1763
Treaty of Paris ends French and Indian War
1764
Wolfgang composes his first symphony at the age of eight
Mason-Dixon Line is drawn
1768
Premiere of Mozart’s first opera at the
age of twelve in Vienna,
Bastien und Bastienne
1770
Boston Massacre occurs
1773
Boston Tea Party
1775
Colonies form Second Continental Congress and
Continental army. England hires 29,000 German
Mercenaries for war in North America.
1775
La Finta Giardiniera gains
popular success in Munich
1776
United States issues
Declaration of Independence
1781
Idomeneo premieres in Munich
1781
General Cornwallis surrenders to the American forces
at Yorktown
1782
Mozart marries Constanze Weber following success of
The Abduction From The Seraglio in Vienna
1782
Benjamin Franklin presides over preliminary
peace talks between England and the
American revolutionaries
1783
Mozart composes the Mass in C minor
1784
Mozart becomes a Freemason
1783
American Revolution ends with the signing of
the Treaty of Paris
1786
The Marriage of Figaro premieres in Vienna
1787
Mozart’s father dies
1789
George Washington is inaugurated as the first
President of the United States
Don Giovanni triumphs in Prague
1790
Così fan tutte premieres in Vienna without success
1790
Washington, DC is founded as the permanent federal
capital of the U.S.
1791
The Magic Flute opens, Vienna
1791
The first ten amendments to the United States Constitution,
the Bill of Rights, are ratified
Mozart dies three months later at the age of 35
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Overlooked Impressario: Emanuel Schikaneder
Emanuel Schikaneder, born on September
1, 1751, was a dramatist, singer, composer,
dancer, and actor. In his day, he was acclaimed
for his performances in Shakespearian roles
(known best for his excellent portrayal of Hamlet), yet he was also adept at performing the
lowest of comedy. After directing several other
companies, he finally settled at the FreihausTheater auf der Wieden, in a surburb of Vienna,
where he assembled one of the most talented
groups of singers ever to perform in Vienna.
At this theatre, he produced his own plays
and commissioned settings of his operas and
singspiel librettos (such as The Magic Flute).
To pull in crowds, he did not hesitate to make
use of spectacular special effects. The term
“Schikanederei” was coined to describe those
impressive productions.
Schikaneder as Papageno
Schikaneder was a close friend to Mozart
and his family. Together they created The
Magic Flute with Schikaneder writing the
libretto/script and directing the production, and
Mozart composing the music. Schikaneder also
gave 223 repeat performances playing the
role of Papageno. It was an immediate hit and
success, and went on to become one of Mozart’s
most enduring works. It was also Schikaneder’s
single greatest success.
In 1801, ten years after the premier of The
Magic Flute and its young composer’s death,
Schikaneder reorganized his company with
the help of a new investor, and oversaw the
construction of the new Theater an der Wien,
making use of an Imperial license he had obtained 15 years earlier. This lavishly equipped,
large theatre still stands today. Perhaps the statue of Papageno that Schikaneder had installed
over an entrance to the Theater an der Wien was
an acknowledgment of his debt of gratitude to
Mozart his friend and collaborator.
Used with kind permission from San Francisco Opera
Themes to Explore with Your Students
THE ENLIGHTENMENT / AGE OF REASON
The period from 1715 to 1789 is frequently called the Enlightenment
or the Age of Reason, a time when many felt that human society could
be improved and perfected by the full application of man’s intellect,
rather than the practice of religion or obedience to traditional authority. During this period, many European philosophers such as Voltaire,
Montesquieu, Rousseau studied and wrote about how people might
form a government that would guarantee the most liberal rights of men,
including freedom of religion, freedom of speech, the right to own property and self-government. American political leaders such as Thomas
Jefferson, Benjamin Franklin, John
Adams and Thomas Paine were
deeply influenced by Enlightenment
thinking. Indeed Thomas Jefferson
paraphrased some of the Enlightenment philosophers when he wrote
in the Declaration of Independence,
“We hold these truths to be self-evident, that all men are created equal,
that they are endowed by their Creator with certain unalienable Rights,
that among these are Life, Liberty
and the pursuit of Happiness. That
to secure these rights, Governments are instituted among Men. “ A
few years later, in 1788, the preamble of the US Constitution set forth
Americans’ desire to “to form a more perfect union,” that would “secure
the blessings of liberty.” It may be said that the most profound result
of the European enlightenment was The United States of America itself.
The Magic Flute particularly resounds with the ideas and
themes of the Enlightenment.
• The structure of the opera contains a kind of pleasing balance and
technical perfection in its melodies and orchestration.
• The Queen of the Night is a dangerous despot. Her antagonist
Sarastro symbolizes the enlightened sovereign who rules according to principles based on reason, wisdom, and nature.
•
The story itself portrays the education of mankind, progressing
from chaos through religious superstition to rationalistic enlightenment.
Discussion Prompts: Do you think it is possible or advisable to have
an enlightened absolute ruler, such as Sarastro? In the opera, the wicked queen is defeated by reason and truth…do you see this occurring in
today’s society? Do you think it is possible to have a perfected form of
government and if so, what would that look like?
Thomas Jefferson
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Themes to Explore with Your Students
FREEMASONS & THE POWER OF CLUBS
Both Mozart and his librettist Emanuel Schikaneder were Freemasons.
While Freemasonry has often been
called a secret club or society,
Freemasons themselves argue that
it is more correct to say that it is
an “esoteric” society, in that certain
aspects are private. The masons
commit to a journey of self-improvement, in the belief that a man
who strives to improve himself can
also improve his community and the world at large. The private aspects
of Freemasonry concern how members acknowledge one another and
the rituals that each Lodge uses during its meetings. A mason is expected to progress through degrees or different levels of membership,
gaining knowledge and understanding of himself, his relationship with
others and his relationship with the Supreme Being.
The Vatican has long been an outspoken critic of Freemasonry, first
prohibiting Catholics from joining the fraternity in 1738. Mozart was
admitted as an apprentice to the Viennese Masonic lodge called “Zur
Wohltätigkeit” (“Beneficence”) on December 14, 1784. In 1792, the
year after The Magic Flute premiered, Emperor Francis II dissolved all
the Freemason lodges in Austria, fearing that any secret society, but the
Freemasons in particular, posed a threat to his government.
In the United States, Freemasonry was the precursor to a network of
fraternal organizations that were formed, for good and ill, immediately
following the Civil War.
Masonic elements in The Magic Flute may include:
• The journey that Tamino takes in the opera thought to be representative of the initiation that a new Mason would have undergone in
Vienna in the 1790s.
• In Masonic tradition, the number three represents the three attributes of God: will, wisdom and intelligence, as everything in nature
is a result of these three forces. The number three keeps occurring
throughout opera: Three Ladies, Three Boys, three temples, and so
forth. A drawing of Schikaneder’s revival production of 1794 shows
that in the opening scene the Three Ladies kill the serpent by cutting it into three pieces.
• The opera’s home key of E-flat was often used by Mozart for his
Masonic compositions because of its signature of three flats.
Prominent in the Overture is the three-fold repetition of the Masonic rhythmic motto (short-long-long), also heard in Act II of the
opera itself.
Discussion Prompt:
How many clubs can your students name in their community? What
are the functions and mission of each club? Do the clubs have secret
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(continued)
rituals or ways of identifying their members? How do the students feel
about these kinds of secret clubs or societies? Are they threatening?
Are they inclusive or exclusive? Why do we join clubs? How many types
of clubs can they name? Social, political, religious, charitable, sportsoriented, academic, scouting? Why do you think Francis II dissolved the
Freemason lodges? Why do you think so many secret fraternal societies
were formed after the American Civil War?
HISTORY OF THE FLUTE
The earliest known musical instrument aside from the voice is the flute.
Archeologists have found a number of flutes dating back to 40,000 to
35,000 years ago in Europe and to 6000 BCE in Asia. In Indian sanskrit
texts, a story is told of a god who through his flute commands power
over man, animals, and nature, much like Tamino in The Magic Flute.
“When Krishna plays the flute the whole world is filled with love. Rivers stop, stones are illumined, lotus flowers tremble; gazelles, cows
and birds are entranced; demons and ascetics enchanted” (Bhagavata-Purana). In the Native American tradition, Kokopelli represents the
spirit of music and is depicted as a humpbacked flute player. In Greek
mythology, it was said that the goddess Athena had invented the flute.
Made out of deer bones, Athena constructed and crafted this fine musical instrument with great precision and skill. These are a few of the
great traditions that have given this woodwind instrument great fame.
Flute Construction
Early flutes were made out of bamboo reeds or bird bones. Bird bones
are easily made into flutes because they are hollow in the center, unlike
the bones of other animals. In China, early five and six holed flutes were
made out of the bones of the Red-Crowned Crane. In Europe the oldest
flute was made out of the bones of a vulture wing.
Discussion Prompt:
Why do you think the flute is the first instrument? Can you think of any
other stories or fairytales that involve the flute? Why do you think this
instrument is connected to magic and enchantment? Can you name
any musical pieces that feature the flute?
Glossary of Opera Terms
Acoustics
The science of sound; the qualities of sound in an enclosed space
Aria
A solo song that a character uses to express feelings or comment on the story
Baritone
The middle male voice; often cast as friendly “everyman” or, conversely, as a villian
Bass
The lowest male voice; often cast as kings, priests and older men
Bravo
Italian meaning “well done”; opera tradition calls for the audience to shout “bravo!” at the end of an excellent performance
Choreography A dance or the making of a dance; some operas include dance sequences
Chorus
A group of singers usually divided into sections of sopranos, altos, tenors, and basses; the opera chorus often represents the
general community, who comments on the story and sometimes voice the thoughts, fears and suspicions of the audience
Composer
The person who writes the music of an opera or other musical composition
Conductor
The musical director of the opera, the conductor leads both the orchestra and the singers
Contralto
The lowest female singing voice
Director
The person responsible for the dramatic interpretation of an opera
Duet
A song for two voices
Dynamics
The degree of loudness and softness in the music
Ensemble
A French word that means together; a group performing together
Finale
The ending segment of an act or scene, often very lively
Leitmotif
A recurring musical theme, often a short melody (but also can be a chord progression or rhythm), that is associated with a
particular person, place, or idea
Libretto
The text of an opera; literally, “a little book”
Librettist
The person who writes the libretto
Mezzo-Soprano The middle range female voice
Musical
A staged story told by interweaving songs and music with spoken dialogue
Opera
A play that is sung
Orchestra
The group of musicians who, led by the conductor, accompany the singers
Overture
An introduction to the opera played by the orchestra
Play
A staged story told through spoken dialogue
Plot
The story or main idea
Recitative
A sung speech that moves the action along by providing information
Score
The written music of the opera or other musical composition
Set
The structures, furniture and decoration on stage
Solo
Music sung by one performer
Soprano
The highest female voice, usually cast in the leading female role
Tempo
The speed of the music
Tenor
The highest male voice; young men and heroes are often tenors
Trio
Three people singing together; a song for three people
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14
15
Mozart The Magician Wordsearch
PRODIGY
ZAUBERFLOTE
PIANO
WOLFGANG
FREEMASON
MISERERE
VIOLIN
NANNERL
REQUIEM
ARCHBISHOP
AUSTRIA
SALZBURG
LIBRETTIST
EUROPE
HARPSICHORD
WUNDERKIND
VIENNA
SALIERI
AMADEUS
CONSTANZE
SCHIKANEDER
TOUR
LEOPOLD
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The Magic Dream Creators
Lee Holdridge
Composer
Lee Holdridge, born in Haiti, spent his early years in Costa Rica, and began music studies on the violin at age ten. At 15, he moved
to Boston to study composition with Henry Lasker, and later moved to New York to continue music studies and begin his career as
a composer. He came to the attention of Neil Diamond who brought him to Los Angeles to write album arrangements. A string of
gold and platinum hits followed, which led to their collaboration on the film score for Jonathan Livingston Seagull. Since then, Mr.
Holdridge has scored numerous films including Splash, Big Business, Mr. Mom, Micki & Maude, 16 Days Of Glory, Mustang Country, The Beastmaster, Jeremy, Sylvester, A Tiger’s Tale, Old Gringo and El Pueblo Del Sol. Television work includes Moonlighting,
Beauty and the Beast, the eight-hour remake of East of Eden, The Tenth Man, Dreamer of Oz, One Against the Wind and The Story
Lady. More recently, he scored Unlikely Heroes, the Oscar-winning Into The Arms of Strangers: Stories of the Kindertransport, The
Mists of Avalon and the Emmy-nominated American Family. His extensive repertoire of concert works includes The Golden Land,
the Jefferson Tribute, his Concerto No. 2 for Violin and Orchestra, his suite from the opera Lazarus and his Beloved, the orchestral
suite Scenes Of Summer and numerous other orchestral works. He received six Emmys and both Emmy and Grammy nominations
for the title song for Moonlighting, co-written with Al Jarreau. He composed the one-act operasThe Prospector, The Magic Dream,
Tanis in America and Journey to Córdoba, all commissioned by LA Opera’s Education and Community Programs department. The
world premiere of Mr. Holdridge and Mr. Sparks’s most recent collaboration, Dulce Rosa, will be a part of LA Opera’s new “Off
Grand” project at the Broad Stage this spring.
Richard Sparks
Librettist
Richard Sparks began his writing partnership with Lee Holdridge with LA Opera’s Journey to Córdoba. The Prospector and The
Magic Dream followed, and were joined recently by their fourth in the series, Tanis in America. All these were operas of an hour
or less, for LA Opera’s Education and Community Programs. They are currently working on a full-length, major new opera, based
on a short story by Isabel Allende. With Mr. Holdridge, Mr. Sparks wrote songs for the film The Secret of N.I.M.H. 2 and, in collaboration with Brian May of Queen, they created an opera for puppets in the film The Adventures of Pinocchio. Other works
with Mr. Holdridge include The Golden Land, a millennial commission for the California Symphony; and Concierto Para Mendez, a
musical celebration of the remarkable life of trumpet virtuoso, Rafael Mendez (LA Opera). Mr. Sparks has translated, adapted and
directed several classics of the opera repertoire, including Il Seraglio for the Washington Symphony; a new libretto for LA Opera’s
most recent Hansel and Gretel; and, for Los Angeles’ El Dorado Opera, a new production of Don Giovanni in both Italian and a new
Spanish translation (a world premiere). Born in England, Mr. Sparks and his family moved to Los Angeles in 1992. His original
plays and adaptations/translations have been staged all over the UK, from the West End to the Welsh National Theatre, and at the
Chichester and Edinburgh festivals. He has created or written for a dozen TV series in three continents. Mr. Sparks is the author
of several books, including the biography of his father-in-law, the music producer Milton Okun (John Denver; Peter, Paul and Mary;
Plácido Domingo and many others). The world premiere of Mr. Sparks and Mr. Holdridge’s most recent collaboration, Dulce Rosa,
will be a part of LA Opera’s new “Off Grand” project at the Broad Stage this spring.
Mark Saltzman
“Meet Mr. Mozart” playwright
“I loved your show!” wrote one student reviewer. “You taught me twenty-six new opera words!” wrote students about
Mark Saltzman’s interactive Who Wants to be an Opera Singer? Saltzman conceived, wrote and directed the original productions of the show, in addition to the original productions of Meet Mr. Mozart and Meet Mr. Puccini, and cowrote Mozart Opera Tales for LA Opera’s Education and Community Programs. His considerable talents have been utilized by Opera Pacific, UCLA Opera Workshop, and the American Conference of Cantors. Most recently, he staged
scenes from Dead Man Walking with the participation of author Sister Helen Prejean and the opera’s composer,
Jake Heggie. Mr. Saltzman began his career singing leading tenor roles for companies that include Long Beach Opera, Opera
Pacific, Glimmerglass Opera and Arizona Opera. He continues to spread his joy of singing as the Cantor of Congregation Kol Ami
where he also developed and produces the distinguished Kol Hashamayim (“Voices of Heaven”) series, featuring eclectic, educational and provocative musical presentations. Mr. Saltzman is a partner and the head of the entertainment division at Silver
Birches, the premier event design and production company whose clients include Paramount Pictures, Buena Vista Pictures, ABC,
DreamWorks SKG, and Clive Davis.
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The Magic Dream Company
Cedric Berry
Grandpa
Bass-baritone Cedric Berry received his music diploma from Interlochen
Arts Academy and both his Bachelor's and Master's degrees from USC. He
has performed a variety of operatic roles including the title role in Puccini's
Gianni Schicchi, Mephistopheles in Gounod’s Faust, Leporello in Mozart’s
Don Giovanni, Sarastro in Mozart's The Magic Flute and Schaunard in Puccini’s La bohème. Mr. Berry made his first European stage appearance in
Spain as Jake, in a concert version of Gershwin's Porgy & Bess. He appeared
with LA Opera at Savonlinna Opera Festival in Finland and sang a concert in
tribute to Paul Robeson for the Banlieurs Bleues festival in Paris. Mr. Berry
gained his first professional experiences with LA Opera covering roles in a
number of operas including Pagliacci, Tosca, Tristan und Isolde, Le nozze di
Figaro, Carmen, Falstaff, Madama Butterfly, La Traviata, and Don Giovanni.
As a Resident Artist with the company, he also sang roles in The Barber of
Seville, La Bohème, Samson et Dalila, Faust, La Rondine and Billy Budd. He
has appeared with Pacific Symphony, Arizona Symphony, Santa Fe Symphony,
Luckman Jazz Orchestra, New West Symphony, Southwest Chamber Orchestra, Pasadena Pops Orchestra, California Philharmonic and Los Angeles Philharmonic. In addition he has been the recipient of several awards, including
first place in the Metropolitan Opera Western Region Competition.
Ashley Faatoalia
Tommy
Tenor Ashley Faatoalia is a native of Los Angeles. Noted for his soaring tenor
and warm stage presence, his recent engagements include: Crescent City
with The Industry, concerts with California Philharmonic, Candide with the
Los Angeles Philharmonic, The Festival Play of Daniel with LA Opera, Porgy
and Bess with Seattle Opera and his debut performance with San Francisco Opera for which he received critical acclaim. Mr. Faatoalia studied vocal
performance with his teacher and mentor, Dr. Peter Atherton at Chapman
University. He also recently released his first album, “Steppin Out” an exciting
collection of jazz standards now available on iTunes.
Katharine Giaquinto
Gina
Canadian soprano Katherine Giaquinto is a graduate of the American Academy of Dramatic Arts and began her performing career as a professional
actress in Canadian film and television. In 2011, Ms. Giaquinto sang Musetta
in La bohème and Fiordiligi in Così fan tutte, both with Pacific Opera Project, and the role of Maria in Definiens Chamber Music’s America Tropical,
in conjunction with the Getty. Other roles include Alice in Verdi’s Falstaff –
both at the Cincinnati College-Conservatory of Music (CCM) in 2009 and at
UCLA in 2008; Tytania in Britten’s A Midsummer Night’s Dream; Pamina in
The Magic Flute; the title role in The Merry Widow; and, in 2010, a return to
her background as a professional swordfighter as Clorinda in Monteverdi’s
Il combattimento di Tancredi e Clorinda at CCM. Ms. Giaquinto was also a
study cover for the title role in Handel’s Alcina at Wolf Trap Opera in 2008. In
addition to her operatic repertoire, Ms. Giaquinto has become a go-to singer
in the contemporary music scene, and she continues to cultivate relationships with living composers. She received her Master of Music degree from
CCM, and her Bachelor of Arts in Music from UCLA. She continues to be an
active performer in both film and opera, and can be seen starring in the film
The Ghastly Love of Johnny X, soon to be released on DVD. Please visit
www.katherinegiaquinto.com for more information about her upcoming performances.
Vivian I-Miao Liu
synthesizer
Taiwan-born pianist Vivian I-Miao Liu has worked with Aspen Opera Cen-
ter, Boys Choir of Harlem, Long Beach Opera, Opera Idaho, Opera Pacific,
Pacific Symphony, Riverside Philharmonic, Songfest, and USC Opera. She
has played competitions, auditions, master classes for Classical Singers Association, Lyric Opera of Chicago, and National Association of Teachers of
Singing. On the concert stage, she has collaborated with musicians from
the LA Opera Orchestra, Los Angeles Philharmonic, San Diego Symphony, Vienna Philharmonic, and singers from Bayerische Staatsoper, LA Opera, Metropolitan Opera, New York City Opera, and Washington Opera. She has performed internationally around the world. In 2002, she gave her Carnegie Hall
debut as a chamber music award recipient of Artists International. In 2008,
she earned her doctorate at the University of Southern California majoring in
keyboard collaborative arts. Since 2006, she performed on many tours with
LA Opera’s Education and Community Programs department. She is currently
on the faculty at Chapman University and working as a principal rehearsal
pianist for National Children’s Chorus. In summer 2012, she performed with
Gene Pokorny (principal tuba, Chicago Symphony Orchestra) at University of
Redlands and with mezzo Milena Kitic at Music Teachers’ Association of California Conference in San Diego.
Salpy Kerkonian
flute
Flutist Salpy Kerkonian’s journey began at age seven when she discovered
the flute at her elementary school in Los Angeles. From the first moment, Ms.
Kerkonian knew that music would be her life and passion. That passion led
her to win first place in 14 solo competitions; two international chamber music competitions, the Coleman and Carmel; as well as a full scholarship to the
USC School of Music where she received her Bachelors and Masters Degrees
with Honors. As symphonic flutist, Ms. Kerkonian has served as Principal
Flute of the Santa Cecilia Orchestra, American Youth Symphony, YMF Debut
Orchestra, and Asst. Principal of the Glendale Symphony. In that capacity, she
had the honor of performing three times with Luciano Pavarotti and The Three
Tenors, Andrea Bocelli, and twice in duo with diva coloratura Sumi Jo. Most
recently, she played first flute on PBS with young vocalist Jackie Evancho.
Currently, Ms. Kerkonian spends much of her year in traveling as solo flutist
with international singer Moien: visiting such extraordinary locations as: Kuala
Lumpur; Dubai; Dushanbe Tajikistan on the Ancient Silk Road; Paris: London;
Germany, Sweden, Norway, Switzerland: and Canada. Ms. Kerkonian brings
this vast experience in the vocal repertoire to the vibrant musical collaboration that is Trio America - dedicated to the art of American song. In the field
of film music, Ms. Kerkonian has performed on numerous TV, CD, and film
soundtrack/recordings for composer Lee Holdridge.
Robert Norman
Mr. Mozart / Manny
Tenor Robert Norman, finding much joy and success in the character
tenor repertoire, has performed across the country with companies such as
Opera Santa Barbara, Rimrock Opera, Opera Las Vegas, Intimate Opera
Company, and at the Bear Valley Music Festival. He received both his Bachelor’s and Master’s degree from California State University, Northridge, where
he performed several roles including The Witch in Hänsel and Gretel and
Sam Kaplan in Street Scene. Mr. Norman was a member of the Opera Santa
Barbara Young Artist Program, where he performed as Dr. Caius in Falstaff and
Benvolio in Roméo et Juliette. In 2011, he was a Los Angeles District winner at
the Metropolitan Opera National Council Auditions. Some of his favorite roles
include Goro in Madama Butterfly, Giles Corey in The Crucible, Gastone in
La Traviata, Basilio in Le nozze di Figaro, Spoletta in Tosca, and the title role
in Albert Herring. As a concert soloist, he has performed Mozart’s Requiem,
Händel’s Messiah, Bach’s St. John Passion, Magnificat, Christmas Oratorio,
18
Britten’s Cantata Misericordium, and Haydn’s Missa in Tempore Belli. This
season Mr. Norman will appear as Beadle Bamford in Sweeney Todd,
Tanzmeister and Brighella in Ariadne auf Naxos, and will make his Opera San
José debut as Gherardo in Gianni Schicchi.
addition, compositions ranging from solo vocal to choral works to popular
handbell songs, can be found through publishing companies like Fred Bock
Music and Laurendale Associates. Mr. Villanueva has appeared as guest
stage director for universities throughout Southern California.
Alisa Peterson
LeRoy Villanueva
Pam
Lyric soprano Alisa Peterson made her solo debut at Carnegie Hall in 2011
singing Haydn’s Missa Brevis Sancti Joannis de Deo and John Rutter’s
Requiem. She most recently appeared as soprano soloist in Handel’s
Messiah with the Rochester Philharmonic Orchestra. Other recent appearances include Mozart’s Coronation Mass with Rochester Oratorio Society,
Vivaldi’s Gloria at the International Festival of the Voice in Phoenicia, NY, and
the premiere of two one-act operas by New York City composer Martin Halpern. Career highlights: Tan Dun’s Water Passion after St. Matthew under the
baton of conductor Brady Allred at Libby Gardner Concert Hall in Salt Lake
City; Adina in L’Elisir d’Amore with Opera Las Vegas; the title roles in Puccini’s
Suor Angelica and Poppea in L’incoronazione di Poppea with La Musica Lirica
in Novafeltria and Pesaro, Italy; Gretel in Hänsel and Gretel with Berkshire
Opera. Ms. Peterson was a finalist in ROS’s 2012 Classical Idol opera competition, with a thrilling rendition of Anne Boleyn’s mad scene, and a regional
finalist in the 2007 Metropolitan Opera National Council Auditions. She received her degrees from Brigham Young University and the University of Utah.
Ms. Peterson is fluent in Italian and enjoys yoga, tennis, and the outdoors.
Gino
Winner of the Metropolitan Opera National Auditions and San Francisco Opera’s 1st prize Schwabacher Award, American baritone LeRoy Villanueva was
also the first recipient of the Lotos Foundation Award, earning him his debut
at Weill Recital Hall, Carnegie Hall. He has sung with San Francisco, Houston,
Philadelphia, Geneva, Montreal, Dresden, and Paris Opera houses to name a
few. Equally at home on the concert platform, he has sung with major orchestras, including Los Angeles, San Francisco, Chicago, Boston Pops, Suisse Romande, and Tokyo Symphony Orchestras. He has toured extensively throughout the United States as a solo recitalist and has toured throughout Europe in
several semi-staged music theater productions of Leonard Bernstein’s Wonderful Town and Cole Porter’s Fifty Million Frenchmen. Mr. Villanueva's recordings include the role of Sancho Panza in Fenelon's Le Chevalier Imaginaire
(Erato label), and the title role in Monteverdi's Il Ritorno d'Uiisse in Patria (Nuova Era label). He also appeared in the BBC film of Amahl & the Night Visitors,
by Gian Carlo Menotti. He and his brother Eli Villanueva have written two children's operas, Figaro's American Adventure and The Marriage of Figueroa, for
LA Opera's Education and Community Programs. They are currently collaborating on future LA Opera projects.
Tali Tadmor conductor / piano
Pianist Tali Tadmor began her musical career at the age of six, when she enrolled in Tel Aviv’s Israeli Conservatory for Music. Currently Ms. Tadmor is on
the faculty of the California Institute of the Arts (CalArts) after having earned
her doctorate in Keyboard Collaborative Arts from the University of Southern
California (USC). Additional professional engagements include work with LA
Opera’s Education & Community Programs and numerous performances collaborating with a wide variety of musicians. Recent projects include her debut
recital at Carnegie Hall’s Weill Recital Hall in June 2009 alongside soprano
Courtney Huffman, the premiere performance of composer Eric Whitacre’s
The City and the Sea at Carnegie’s Stern/Perelman Stage in April 2011, and
Esoteric Cabaret with Grammy-Award winner Hila Plitmann, a program ranging in repertoire from Schubert to Nine Inch Nails.
Eli Villanueva
stage director
Eli Villanueva has earned outstanding credentials as a performer, and has
become a respected name as a stage director and published composer. He
has appeared internationally in leading baritone roles including Figaro in
The Barber of Seville, Marcello and Schaunard in La bohème, and Falke in
Die Fledermaus with such noted companies as the San Francisco Opera Center, LA Opera, and for the Cultural Arts Festival in Cortona, Italy. In addition to
directing the acclaimed productions of Noye’s Fludde and The Festival Play of
Daniel at the Cathedral of Our Lady of the Angels in downtown Los Angeles in
previous seasons for LA Opera, he created an English translation as well as a
new orchestration for The Festival Play of Daniel. With Maestro James Conlon
conducting, these events combined a community cast and orchestra of nearly
500 as well as professional artists from LA Opera. This April at the Cathedral,
he will be directing the revival of Britten’s Noye’s Fludde in celebration of the
composer’s 100 birthday. Presently, Mr. Villanueva is resident stage director
for LA Opera’s Education and Community Programs Department. For their
In-School Opera programs, he teaches and directs more than 1,500 students
annually in original productions. These one act operas include his very popular compositions, Figaro’s American Adventure and The Marriage of Figueroa,
working with his brother LeRoy Villanueva as librettist. Mr. Villanueva’s compositions are praised for their appeal to audiences and performers alike. In
Paula Higgins costume designer
Paula Higgins has been doing theatre for a living for over twenty years.
She has designed costumes for dozens of operas, her favorites being La traviata at Opera In The Ozarks and Albert Herring (which she designed for director Eli Villanueva). Ms. Higgins has been the resident
costume designer/coordinator for LA Opera’s Education and Community Programs Department since 2007, designing costumes for The Marriage of Figueroa, Tanis in America, Puccini Opera Tales, The Festival
Play of Daniel, German Opera Tales, and most recently The White Bird of
Poston and Verdi Opera Tales. In the fall of 2006, she designed costumes
(and received an LA Weekly Theatre Award Nomination) for The Nibroc
Trilogy at The Actors Co-op while moving and rehabbing an 80-year old house.
Ms. Higgins teaches at California State University, Northridge, where she designs costumes and acts as the department Prop Master.
Original set design by Lisa Stone.
Mozart the Magician Wordsearch Answer Key
19
Letter to Performers
Write a letter to the performers. Try to use the words in the word bank below.
What did you like most? What did the music sound like? Did the singers use props or costumes to help tell the story? Who was
your favorite performer?
On a separate piece of paper, or at the bottom of this page, draw your favorite part of the performance. Give the letter and the
drawing to your teacher to send back to us.
Acting
Aria
Baritone
Chorus
Composer
Duet
Soprano
Tenor
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