Madame Butterfly - Brazoswood High School Choir

Transcription

Madame Butterfly
Composer: Giacomo Puccini
Librettists: Luigi Illica and Giuseppe Giacosa
Study Guide
Study Guide
Compiled by HGOco and Hillary Storey
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[email protected] to reserve tickets.
These student-only performances
happen once this year.
Don’t miss out!
For Grades 4-8
Tuesday, November 2, 2010 10:00 AM
Tuesday, November 9, 2010 10:00 AM
All tickets $10.00
Supported in part by:
WANT MORE INFORMATION?
For Grades 9-12
Phone: 713-546-0230
7:00
PMthe
HGOco’s Study
Guides and Teacher Workshops areThursday,
supportedNovember
in part by4,a2010
grant
from
Email: [email protected]
Tickets range from $12.25-$27.25
William Randolph Hearst Foundation
Website: www.HGOco.org/studentperformances
The Student Performance Series is supported in part by:
William Randolph Hearst Foundation
Lawrence E. Carton M.D. Endowment Fund in memory of
Rubalee Hankamer Ball
The Schissler Foundation
The Student Performance Series is part of the NEXUS Initiative.
Lead Supporters:
The Brown Foundation, Inc.
HGOco
What
is
HGOco?
About
HGOco provides innovative, multi-disciplinary programs that engage participants through observation,
participation, and creation. The “co” of HGOco stands
for company, community, collaboration, and commitment on the part of Houston Grand Opera to providing
integrated arts education in your school. HGOco not
only incorporates the education and outreach department, but community programs and the HGO Studio
as well. It’s an exciting time at the Opera, because we
are expanding our current programs and creating new
programs to reach even more people in Harris County
and its surrounding areas.
Why
should you use a
our
Study Guide
This Study Guide is designed to be used within the
classroom to prepare your students for the Student Performances of Madame Butterfly. It is divided into three
sections: the basics of opera, information about Madame Butterfly and TEKS aligned curriculum-related
activities for your students. The activities can be used
as is, or can serve as models from which you may create activities of your own. Although Madame Butterfly
stands on its own merit, a prepared student will more
easily appreciate the performance.
The HGOco Team – Sandra Bernhard, Marcie Lou,
and Kade Smith
Study Guide?
In today’s test-stressed educational system, it’s more www.HGOco.org
important than ever to incorporate Arts Education strategies into your curriculum to help create well-rounded
students. The latest studies show that the major benefits for students who are involved in the arts is not an
increase in test scores, but the development of different thinking skills- skills which are not always testable,
such as:
·
·
·
·
Reflecting on what students have created or experienced
Judging the value of what they see and create
Experimenting by trying new things
Learning from their mistakes
Each of these skills is used daily in a variety of jobs
in the workforce, and can be a valuable learning tool.
These are just some of the skills your students can develop when Arts Education strategies are incorporated
into your curriculum.
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Table of Contents
THE BASICS OF OPERA
What is an Opera?
Who Writes Opera?
Why should I see an Opera?
Opera Production
How do You Sing Opera?
Opera Myths and Facts
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MADAME BUTTERFLY
Synopsis
Characters
Composer
Librettists
Puccini and Madame Butterfly
Puccini Timeline
Japanese History and Timeline
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WORKSHEETS
Elementary School Worksheets
Middle/High School Worksheets
Vocabulary
Elementary School Book List
Middle/High School Book List
TEKS Alignment
Bibliography
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26-29, 33-43
44-45
46-48
49-51
52-58
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What is an Opera?
Ask students for their ideas of what an opera is. Write the word - opera - on the board. Under it, list students’
answers. Ask again after the performance and see if their opinions have changed.
What
is an opera?
An opera is just like a play, except people usually
sing the words instead of speak them. In most operas, all of the words are sung. There are other types
of operas, however, in which there is almost as much
speaking as singing.
If
an opera is just a play, then why do
people sing?
Theater has been around for thousands of years, and
our society is fascinated with drama, whether it be on
television, in the movies, or at the theater. Music is
usually added to these shows to enhance the drama.
Singing is a very special form of music because the
instrument we use to sing (like our feelings) comes
from inside us. Our voice is a part of us which expresses how we feel, whether we sing, talk, shout,
laugh, cry, moan, growl, whisper, gasp, hiss, etc.
Naturally, actors have used singing to express their
feelings from the beginnings of theater; however, opera as we know it is only 400 years old. Operas powerfully combine the drama of the theater with vocal
and instrumental music to create the lasting art form
that is enjoyed today throughout the world.
Why
perform an opera instead of a play?
We like to say that opera “has it all.” Students recognize this instantly. There are so many aspects to an
opera that are fascinating to young people: music, acting, singing, storytelling, costumes, sets, makeup, etc.
Houston Grand Opera brings all these things together and presents them in a fun way… there’s no question
why students like it. It’s fun!
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Who Writes Opera?
The word “opera” is the Italian word for “work”- not
work as in labor, but work as in a work of art. It
comes from the plural of the Latin “opus” with the
same meaning. Today we accept the word “opera” as
a reference to a theatrically-based musical art form in
which the drama is propelled by the sung declamation of text accompanied by instrumental music.
opera buffa, or comic opera; opera seria, or dramatic
opera, bel canto (literally translated beautiful singing) and verismo, known for its realistic characters
and situations. In Austria, Mozart championed the
singspiel (sing play), which combined spoken words
with music, a form also used by Beethoven (Germany), Bizet and Offenbach (France). Gounod and
Meyerbeer were the leaders in French opera, which
combined lavish sets and costumes, and incorporated ballet. The Germans von Weber, R. Strauss and
Wagner developed the unique style of opera popular
in their home country. The English, Spanish, and Viennese also helped to establish opera as a form of
entertainment which continues to enjoy great popularity throughout the world.
Opera as an art form has its origins in incidental
music that was performed during the tragedies and
comedies popular in ancient Greece. The tradition
of making music an integral part of the theatre grew
in ancient Rome as well, and continued through the
Middle Ages. Surviving examples of liturgical dramas and vernacular plays from Medieval times show
the use of music as a part of the action, as do the
many mystery and morality plays of the 15th and
16th centuries. Most music historians hold that the
first completely sung musical drama (or opera) developed as a result of discussions held in Florence,
Italy in the 1570’s by an informal academy known
as the Camerata. The decisions reached by the academy led to the musical setting of Rinuccini’s drama,
Dafne, by composer Jacopo Peri in 1597.
With the beginning of the 20th century, composers in America diverged from European traditions
in order to focus on their own roots while exploring and developing the vast body of the country’s
folk music and legends. Composers such as Aaron
Copland, Douglas Moore, Samuel Barber, Leonard
Bernstein and Carlisle Floyd all have crafted operas
which have been presented throughout the world to
great success. Today, composers John Adams, Philip
The work of such early Italian masters as Giulio Glass, John Corigliano, and Mark Adamo enjoy sucCaccini and Claudio Monteverdi led to the develop- cess both at home and abroad and are credited with
ment of a through-composed musical entertainment an infusion of new life into this art form which concomprised of recitative (reh-chee-ta-‘teev) sections tinues to evolve even as it approaches its fifth cenwhich revealed the plot of the drama, followed by tury of existence.
arias which provided the singer an opportunity for
personal reflection. The function of the chorus in As teachers, you have an opportunity to help shape
these early works mirrored that of the character of the future of opera by creating in your students a dethe same name found in Greek drama. The new form sire to become actively involved as an artist, singer,
of opera was greeted favorably by the public and composer, librettist, musician or stage director and as
quickly became a popular entertainment.
an educated member of the audience and a supporter
of the arts. We believe that by providing students
Opera has flourished throughout the world as a ve- with more creative and exploratory experiences, we
hicle for the expression of the full range of our emo- will be fostering the development of aesthetic awaretions. Italians claim the art form as their own - hav- ness and meaningful involvement in the arts and sociing retained dominance in the field from its earliest ety. It is our desire to see students who can interpret,
stages until the death of Giacomo Puccini in 1924. draw inferences and criticize all aspects of life– from
Rossini, Bellini, Donizetti, Verdi and Puccini devel- opera to the space program!
oped the art form through clearly defined periods of
development which produced four distinct styles:
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Why Should We See an Opera?
are a bunch of people singing in a foreign language,
hitting high notes and singing really old music, right?
We love opera, and therefore want to share it with What you may not know is that many of the old opyou! Here at Houston Grand Opera, we believe that eras are still around because the stories they tell still
opera can help people tell their stories, and think it relate to people today.
is a great way to learn about other people and their
What is one of the best ways to appreciate
cultures. We also think that opera is fun!
opera?
Just listen, and pretty soon you’ll see why everyone
What’s so special about opera?
is crazy about it. Besides, there are tons of different
In its simplest form, opera combines music and dra- musical styles you can choose from when listening to
ma to create a spectacular new art form. Not only do opera. There are even rock operas out there! Rememyou get to watch a story, you get to listen to beauti- ber: opera is telling stories through music. You could
ful music and singing as well! In its grandest form, even create an opera right there in your classroom!
opera combines choral singing, solo singing, orchestral instruments, acting, mime, dance, carpentry, set I don’t know much about opera, but I want
design, costume design, makeup design, painting, to learn. Where do I begin?
lighting, sculpture...the list goes on and on! Opera is
unique in its ability to include almost every other art If you’re interested in learning more about opera,
ask your music teacher. He or she can help you learn
form in its presentation.
some of the “hits”, many of which you have probably
I don ’t like to sing , so why should I care heard in a commercial or in a movie. They can also
help you understand operatic terms, and give you
about opera?
suggestions about what to listen to.
Do you like to dance? Our last production of Aida included a dozen dancers. Do you like to paint or build
things? Do you like fashion? HGO builds three new
shows every year, which means creating costumes,
building sets and painting sets and drops. Do you like
to draw? You could be a designer! Every show you
see starts with an artistic vision, and the set designer
draws what he wants the stage to look like. Are you
a born leader? Every show has a director who tells
the people where to go onstage, why their characters
act the way they do, and are responsible for the look
of the people onstage. There are hundreds of ways
you can become involved in opera, and you wouldn’t
even have to sing a single note!
Why
I
do you perform operas?
like music, but opera is for old people.
Many old people enjoy opera because they have
learned to love it. You may be unfamiliar with opera,
and therefore may not know much about it. It’s true
that opera can be difficult to understand at first: there
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Opera Production
ing a vision of the story to life. The conductor prepares the music, while the stage director is in charge
of what we see on stage.
Opera is created by combining several art forms.
First and foremost are the actors/singers who act:
they portray characters by revealing their thoughts
and emotions through the singing voice. The next
very important component is a full symphony, a
piano or a chamber orchestra which accompanies
the singing actors and actresses, helping to evoke
the composer’s musical characteristics in an opera.
These performances are further enhanced by wigs,
costumes, sets and specialized lighting, all of which
are designed, created, and then made by a team of
highly trained artisans. There may also be a chorus
- one of the traditons of opera that reaches all the
way back to Ancient Greece - and there may also be
supers, who act but don’t sing.
The design team, with help from the stage director,
take charge of the physical reproduction of the story’s
world on stage. Set designers, lighting designers,
costume designers, wig and makeup designers and
even choreographers are brought on board to help
create a new production. A set designer combines
the skills of an artist and an architect using blueprint
plans to design the physical settings required by the
storyline. Those blueprints are turned over to a team
of carpenters who are specially trained in the art of
stage carpentry. After the set is constructed, painters
paint the set following the original plans from the set
designer. When the set is assembled on the stage, the
lighting designer then works with a team of electricians to throw light on the stage and the set, meeting
the practical needs if the singers on stage and also
creating a mood for each scene. Using specialized
lighting instruments, color gels and computers, the
lighting designer decides which lights come on at
what time, and how quickly or slowly they change
throughout the story of the opera.
The creation of an opera begins with a dramatic concept created by a librettist, who alone or with help
fashions the script or libretto - the words the artists
will sing. Working together, the composer and librettist team up to create an opera in which the music
and words work together to express the characters’
emotions revealed in the story. When their work is
done, the composer and librettist entrust their work
to another duo, the conductor/musical director and
stage director. These two are responsible for bring-
The costume designer consults the stage director to
design appropriate clothing for the singers. These
designs are then made into patterns and created by a
team of highly skilled artisans called cutters, stitchers and sewers. Each costume is specially made for
each singer using his or her individual measurements.
The wig and makeup designer, working with the costume designer, designs and creates wigs which will
complement both the costume and the singer as well
as represent historically accurate fashions.
As a performance nears, rehearsals are held on the
newly constructed set, using the costumes, lights,
and orchestra to ensure a cohesive performance that
will be both dramatically and musically exciting to
the audience.
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How do You Sing Opera?
How
does it work?
Language,
Sprache
You will immediately notice that opera singers, unlike their peers in popular music, do not use
microphones. Rather, an opera singer develops his
or her own body as a source of “natural” amplification.
How
Operas and operettas are written in many languages,
so a professional opera singer must be prepared
to sing in at least four different languages. Opera
performers have sung in Italian, French, German,
Russian, Spanish, Czech, and even Egyptian! There
are also operas in Hungarian, Finnish, Mandarin
Chinese...the list goes on!
is this done?
The strength for good singing comes from deep
within the body. Through years of careful study and
practice he or she learns to project his or her sound
and exert control over the expelling of breath. The
process is easy– by expanding the lower abdominal
muscles while taking in air, the lungs fill. These
low muscles then assist the singer in regulating the
amount of air used in singing. This frees the neck
and throat (where the vocal cords are) so the singer
can produce a relaxed, full sound.
Obviously, not all opera singers can learn all of
these languages, though many become fluent in at
least one other language besides their native tongue.
How do they sing in all these different languages
then? Singers prepare by taking diction classes,
which help them be able to pronounce the words
correctly, and with intensive study which includes
a word-by-word translation of the text that they’re
singing. But it doesn’t end there– not only do they
have to know what they’re saying, but they have to
know what everyone else on stage is saying around
them! As you can imagine, that can be hours of
preparation for even one scene.
As the sound passes through the mouth it
resonates in the sinus cavities of the face and head,
which act as small echo chambers that help amplify
the sound. A tone or word can be made more beautiful by shaping of the mouth and placement of the
tongue near the lips. The resulting sound is not only
audible, but can be clearly perceived in the back
rows of the orchestra and the top of the balcony.
Opera Singing–
the
il linguaggio, la lingue, die
Next Olympic Event!
Since a singer’s body is literally his or her instrument, he or she must take care of it every day. A
singer is like any other athlete– what goes into the
body affects its performance. That means things
that harm the body, like junk food, smoking, and
drinking alcohol are to be avoided. You may notice
that singers want to keep their vocal tracts (throat,
mouth, nasal cavities) hydrated– moisture and
warmth are necessary for the vocal cords to work
properly so they drink a lot of water!
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Operatic Myths
1. You have
singer.
to be large to be an opera
Not all opera singers are large– although
many of them have larger-than-life personalities!
Opera singers cover the entire body shape spectrum
just like normal people. Some operas have larger
orchestras, and therefore require larger voices that
can sing over them. Often a larger voice will be in a
larger body, but it’s not necessarily the case. Birgit
Nilsson, one of the largest soprano voices of the
20th Century, was barely five feet tall!
2. Opera
singers wear
horns and blond braids.
This myth began with a
show called Die Walküre (dee
VAHL–kyoo– reh) by Richard Wagner. One production
many, many years ago had a
hat with horns worn by the
Valkyries, and it has stuck as
a symbol of the absurdity of
opera since then. You won’t
necessarily see any horns
today in opera, though you may see a braid or two.
Directors are making sure that opera more closely
resembles things that today’s audiences can relate
to.
3. Opera
singers can’t act.
There are many opera singers who were
and are specifically known for their acting abilities.
Keep in mind, though, opera singers have to balance
all these things: the mechanics of singing (posture,
breath control), executing their staging, often on a
raked (inclined) stage, remembering their music,
remembering foreign languages, and keeping an eye
on the conductor to make sure they’re with the orchestra. In many productions today, opera singers
have to be rather athletic as well.
4. Opera
singers just screech and hit high
notes all the time.
Because technology is so far advanced, most
of the music we listen to today comes from a pair of
speakers. While your ears may not be accustomed
to operatic singing, it can be a wonderful experience
to hear it live in a theater, because it’s all natural.
The sounds you will be hearing are coming straight
from the singers’ throats to your ears, with nothing in the way. Part of the beauty of opera is that
the singers are able to control their voices, and use
them to their fullest extent.
If an average person can sing
an octave and a half, then
opera singers can sing up to
twice that range! So when
a soprano hits a high note,
enjoy it! She has trained
for many years to be able to
produce that sound so that it
can reach your ears.
5. Opera is
relevant.
old and ir-
Although over 400
years old, opera is relatively new in the fine arts.
Think of paintings– they were around for centuries
before opera was invented! What many people
don’t know is that new operas are being created all
the time. There are hundreds of operas that were
written in the past few decades, and omposers are
writing more operas today. It’s a surprisingly modern art form.
6. Opera
is melodramatic, and everybody
dies at the end.
Although there are operas where everyone
dies at the end, there are certainly more comedies
and fun, crazy operas. Opera covers the entire spectrum of the theater!
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Madame Butterfly Synopsis
Synopsis by William Weaver
ACT I
Pinkerton, a lieutenant in the U.S. Navy, has arranged with the Nagasaki marriage broker Goro to marry a
fifteen-year old girl, Butterfly (Cio-Cio-San). By Japanese law, the groom is free to dissolve the marriage whenever he wants to, and though Pinkerton is clearly fascinated by his child-bride, it is obvious that he doesn’t take the
marriage seriously. He says as much to Sharpless, the American consul, who warns him that Butterfly is in earnest
and tragedy may ensue. But Pinkerton pays no attention. When the brief ceremony is over, Butterfly’s uncle, a
Buddhist priest, arrives in a fury, revealing that the girl has renounced her people’s ancient faith and taken the
white man’s god. The family, horrified, deserts Butterfly. She weeps bitterly, but Pinkerton comforts her, and soon
all is forgotten as the two express their love.
ACT II
Pinkerton has been gone for three years. Everyone—even her faithful maid Suzuki—tells Butterfly that he has
forsaken her, but she steadfastly insists that he will come back, as he promised, “when the robins make their nest.”
Goro keeps urging her to marry his wealthy client Prince Yamadori. And even Sharpless suggests that she accept
this offer, since he knows that though Pinkerton is, in fact, coming back he is bringing an American wife with him.
Sharpless tries to prepare Butterfly for this blow, but before he can do so, she reveals that she has had a child by
Pinkerton, and the consul leaves without delivering his message. The harbor cannon then announces the arrival of
a ship. It is Pinkerton’s, the USS Abraham Lincoln. With Suzuki’s help, Butterfly decorates the little house with
flowers. Then, with Suzuki and the child, Butterfly prepares to await Pinkerton’s arrival.
ACT III
Dawn. Butterfly has waited all night. Suzuki persuades her to go and rest, and in her absence from the room,
Pinkerton and Sharpless arrive. They break the news to Suzuki and try to enlist her help in persuading Butterfly to
give up the child to Kate, Pinkerton’s new wife, who has also come but is discreetly outside in the garden.
Pinkerton then leaves: the memories of the house, his remorse, are too much for him. Kate speaks with Suzuki,
then goes out again. Butterfly enters and, horror-stricken, learns the truth. When Kate repeats her request,
Butterfly answers that she will give the child to his father if Pinkerton will come back for him in half an hour.
The visitors leave. Butterfly blindfolds the child, then kills herself. She dies just as Pinkerton runs in, calling her
name.
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Characters
Cio-Cio-San (Pronounced “Cho-Cho-Sahn”) (Soprano) - A 15 year old Japanese Geisha who is also
known as “Madame Butterfly”. She has no immediate family or money and agrees to an arranged marriage with
an American military officer by the name of Pinkerton. She sacrifices her culture and traditions for a new life; one
that she hopes will bring her security and love.
B. F. Pinkerton (Tenor) – An officer in the United States Navy. He enters into a marriage contract with Butterfly. After the wedding, he leaves to continue his military responsibilities and is gone for 3 years.
Sharpless (Baritone) - The American Consul in Japan and a friend of Pinkerton. He arranges the lease on the
house and the marriage for Pinkerton and Butterfly.
Suzuki (Mezzo Soprano) - Maid and confidant of Butterfly.
The Bonze (Bass) – The uncle of Butterfly and a Buddhist Priest. He chastises Butterfly for abandoning her
faith and her people after she marries Pinkerton.
Goron (Tenor) – The Marriage Broker who helps oversee the union of Butterfly and Pinkerton.
Prince Yamadori (Tenor) – A Japanese nobleman who wishes to marry Butterfly.
The Imperial Commissioner (Bass)– Oversees the marriage of Pinkerton and Butterfly
Registrar (Bass) – Assists the Imperial Commissioner in officiating in the marriage of Pinkerton and Butterfly
Kate Pinkerton (Mezzo Soprano) – The American Wife of Officer B.F. Pinkerton.
Sorrow – The son of Butterfly and Pinkerton. Pinkerton is unaware that the child exists.
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Composer
GIACOMO PUCCINI
Giacomo Puccini (1858-1924) was born on December 22 in Lucca, Italy, where his family had lived for generations. His great great-grandfather had been choirmaster and organist at the cathedral there, and the job had been
handed down to successive generations of male Puccinis. Giacomo was expected to follow this family tradition,
but his real talent proved to be in composition.
As a youngster he preferred getting into mischief with his friends over serious study at school. Although he had
studied the music from several operas at school, he was eighteen years old before he saw an opera performed. He
and some friends walked to Pisa, a nearby city, to see a performance of Verdi's Aida. That performance convinced
him that composing operas was what he wanted to do with his life, and he settled down then to serious study.
While attending the Milan Conservatory, his school days were filled with homesickness, and sometimes hunger,
but he always made good grades. That was where he lived the Bohemian life he portrayed so well in La Boheme.
Always on the brink of financial disaster, he was kept alive by hope, a zest for living, and good friends. After
graduation, he made his first two attempts at opera writing, but neither was successful. It wasn't until his third attempt that he achieved fame and financial fortune when Manon Lescaut became a huge success.
Through his collaboration with playwrights/librettists Giuseppe Giacosa and Luigi Illica and publisher Giulio
Ricordi, Puccini produced three of his most famous operas - La Boheme, Madame Butterfly, and Tosca. However,
Puccini was a difficult man to work with: he suffered from doubt and lack of confidence, he interfered with the
librettists, and he would abandon work in progress and cast about composition for other projects.
Puccini produced 12 operas in his lifetime; for him was a particularly lengthy process. His home life was partly
responsible for this. Handsome and popular with women, he frequently aroused the terrible and justified jealousy
of his wife, Elvira, making his life at home dramatically unhappy. To escape, he traveled a great deal while his
work was put aside. He was moody, prone to depression, and uncertain about his talent. He smoked cigarettes
constantly and drank vast amounts of coffee as he worked in the quiet of the night -- often wearing a hat!
Restless and unhappy, unless he was involved in a project, he was rarely totally satisfied with his creations. His
temperament was little suited to the portrayal of heroic figures; he was best at, as he said, "the little things" such
as the death of the seamstress Mimi. Puccini had a an extensive knowledge of the demands of the stage and an
instinct for theatrical effect that rarely failed him. He wrote music that appealed to the heart and treated realistically the emotional problems of everyday life.
In 1920, Puccini began work on his final opera, Turandot. He encountered the usual difficulties and slowdowns,
and photographs of the time show him looking ill and drawn. In fact, he was suffering from throat cancer, and he
entered a hospital in Brussels for treatment. Weakened by the treatment, he died of heart failure three weeks later
on November 29, 1924. To this day he is revered as one of the great twentieth-century opera composers. He left a
legacy of operas that are performed regularly in the great opera houses all over the world.
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Librettists
LUIGI ILLICA
Luigi Illica was born on May 9th, 1857 in Castell’Arquato, Italy. He was known as rather rebellious child and
left his studies at Cremona College at age 20 to join the Navy. Illica spent 4 years in the military before returning to Italy and making his home in Milan. He became a journalist and wrote columns for various newspapers.
He briefly moved to the city of Bologna where he continued writing and became politically active. When Illica
returned to Milan in the year 1882, he began to expand his writing to poetry, satire, and plays. Many of his plays
were performed in Italy with his most well known work titled, L’Eredita del Felis. Illica’s career as an opera librettist began in 1889. For Nearly 20 years, he worked with many great opera composers and completed work on
close to 30 different productions. Illica wrote for famous opera composers such as Alfredo Catalani (La Wally),
Umberto Giordano (Andrea Chenier, Siberia), and Pietro Mascagni (Le Maschere, Isabeau). He was one of several librettists who wrote for Puccini’s opera Manon Lescaut. Along with librettist Giuseppe Giacosa, Illica wrote
the libretto for 3 of Puccini’s most famous operas, La Boheme, Tosca, and Madama Butterfly. In his later years,
he became a volunteer with the Italian military. Illica passed away on December 16th, 1919 after returning to his
hometown of Castell’Arquato.
GIUSEPPE GIACOSA
Giuseppe Giacosa was born in Turin, Italy on October 21, 1947. Giacosa followed in his father’s footsteps and
studied law. He worked in his father’s firm and was also a member of a literary organization and associated with
many writers. Giacosa wrote poetry and became quite successful with his collection titled, Chess Game (Una
Partita a Scacchi ). He wrote novels and stories but became well known for his plays and had continued success
with The Lady of Challant in 1891 which he wrote for American actress Sarah Bernhardt who also produced the
play in New York. Giacosa gave up his law career and focused on his writing and the theater. He experienced
continued success with such works as Rights of the Soul (Tristi Amori) and the comedy As the Leaves. Giacosa
collaborated with Luigi Illica and several others in writing the libretto for Puccini’s opera Manon Lescaut. He
partnered with Luigi Illica in writing the librettos for La Boheme, Tosca, and Madama Butterfly. Two years after
the premiere of Madama Butterfly, Giacosa died on September 1, 1906, near his home of Turin, Italy.
14
Puccini and Madame Butterfly
Puccini’s opera is based on the play, Madame Butterfly, written by David Belasco. The play was an adaptation of
the short story of the same title written by John Luther Long who was an American attorney. It is supposed that
Long was also very much influenced by the French Novel, Madame Chrysantheme by Pierre Loti. Loti was a well
traveled military officer and wrote his novel based on actual events that occurred.
In 1900, Puccini was visiting London and attended a performance of Belasco’s dramatic production. The play
was performed in English, which Puccini could not understand, but he was greatly inspired by the production and
the character of Madame Butterfly. During this time of the turn of the century, much of the western world was
fascinated with the Japanese culture and Puccini was no exception to this. Japan had not been easily accessible
to foreigners until the early 1860’s and much of the art, architecture, fashion, and traditions had been unseen and
unknown until this time.
Puccini was unable to visit Japan during the time he was composing Madame Butterfly, but was extremely diligent
in using the resources he had at his disposal. He familiarized himself with Japanese music, customs, and design
and details were of extreme importance to him. After Puccini secured permission from Belasco to use his text as
the basis for the opera, he then began to work on composing. The libretto had been completed by Luigi Illica and
Giuseppe Giacosa by 1902 but in 1903, Puccini was injured in a car accident which slowed down the completion
of the opera. It was finished by the end of that year and premiered at La Scala in Milan, Italy in February of 1904.
Madame Butterfly was a complete failure when it opened at La Scala. It closed after its first performance and
Puccini returned to work to make changes and modifications to the opera. Several months later, the opera was
performed again at the Teatro Grande in Brescia, Italy where it was very successful and went on to premiere in
the United States in 1906 in Washington D.C. That same year, Puccini modified Madame Butterfly yet again,
and it was this version that premiered at The Metropolitan Opera in New York. Puccini continued to make vocal and orchestral changes to the opera in 1907 and completed what is known as the “standard” version which is
performed in opera houses across the world today. Madame Butterfly is one of the world’s most ofter-performed
and best-loved operas today.
15
1884 First staging
of La Villi at Teatro
Del Verme
1880 Enrolled at
Milan Conservatory,
composed Messa
1876 Walked to
Pisa, Italy to see
Verdi’s Aida
Dec. 22nd 1858
Born in Lucca, Italy
1904 Madame
Butterfly
1900 Tosca
1896 La Boheme
1893 Manon
Lescaut
1889 Comissioned
by Ricordi to
compose Edgar
Timeline of life and major works of Puccini
1910 La Fanciulla
Del West
1918 Il Trittico
1916 La Rondine
1926 Turandot
(completed by
Franco Alfano)
Nov 29th 1924 Dies
in Brussels
Belgium
Puccini Timeline
16
Japanese History and Timeline
1941 – Japan
attacks Pearl
Harbor
1937 – Japan at
war with China,
WWII
1867 – Emperor
reinstated, Shogun
ousted from
government
1853 – United States
Commodore
Matthew Perry visits
Japan, International
trade begins
1603 – Japan
closed off from
outside world
1603 – Tokugawa
family begins reign
(250 years)
1500’s – Extended
period of civil and
regional wars
Timeline of Japan from 300 B.C. to 1945
300 BC – 300 AD
Technology borrowed
from China & Korea,
Yayoi Era
1192 First Shogun
established –
Minamoto Yoritomo
794 – Heian Era
(lasted 400 years)
645 – First
Imperial Family
established,
Emperor Kotoku
1947 – Japan
adopts democratic
constitution
1945 – The United
States drops atomic
bomb s on
Hiroshima &
Nagasaki
1980’s – 1990’s –
Japanese trading
policies are
challenged,
national recession
17
Elementary Worksheets
Lesson Title: Origami Math
Grades: Elementary - All
Subject: Math
Integrated subjects: Art, Social Studies
Related Literature:
Yoko’s Paper Cranes by Rosemary Wells
The Origami Master by Nathaniel Lachenmeyer
Butterflies for Kiri by Catherine Falwell
Objective: Students will create and write their own math story problems. The problems will be centered on the creation of an object they make using the Japanese art form of Origami. Students will solve the problems they create.
Needed Materials: paper, scissors, crayons and markers, math textbook
Lesson:
Explain what origami is to the students. Origami originated in China in the first century. About 500 years later, origami spread to Japan and it is still a popular art form today. “Ori” means “to fold” and “kami” means “paper.”
The Japanese were very good at re-using items. They would create all sorts of things out of paper – baskets and holders
for carrying gifts, animal figures and decorations for parties. Any size paper would be used for creating and folding –
it was important to not waste paper. The crane is considered to be a sacred animal in Japan and is therefore, the most
popular animal to make with the origami technique. The crane is associated with honor and loyalty.
The origami butterfly was used to decorate glasses at wedding celebrations. Butterflies symbolize change and transformation. Metamorphosis is the process that a caterpillar goes through to transform to a butterfly. When you create
origami, you transform a plain piece of square paper, into another shape or creature. In the opera Madame Butterfly,
the characters go through transformations also.
Application to the opera: Discuss what transformations Cio-Cio San (Butterfly) experience throughout the opera?
Pinkerton?
Select one of the following websites or pick one of your own that instructs how to create an origami butterfly
http://www.enchantedlearning.com/crafts/butterfly/origami/
http://www.origami-instructions.com/origami-butterfly.html
http://www.craftideas.info/html/origami_butterfly1.html
Students will make and decorate an origami butterfly (If you need to change it to something easier or more difficult for
your students feel free to do so). Have students work in small groups to develop and clearly write out story problems
that are specifically about butterflies or cranes. Have them develop problems that correlate with the math you are currently studying or use this to re-teach a difficult concept. Problems can be used for addition, subtraction, multiplication, division, fractions – let the students be creative!
As students fold their paper, point out the different geometric shapes that are formed on the paper. You can have the
students try to count the triangles, squares, rectangles, etc…
18
Have everyone try to solve each other’s problems! Post the student created problems with the origami creations in the
hallway. Invite others to look and try to solve the problems.
Assessment:
•Observe to see if the student was able to follow the origami instructions.
•Was the math problem that the student created at an appropriate level? Was the problem written clearly?
•Were others able to understand the problem and solve it?
•Was the student able to solve the problems that others created?
Differentiations and Extensions:
This lesson can be simplified or be made more challenging by using more complicated origami patterns and designs.
Math problems can be differentiated to meet the learning needs of the students.
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Lesson Title: Measure by Measure
Grades: Elementary Level
Subject: Math
Integrated Subjects: Social Studies
Related Literature:
Kodomo – Children of Japan by Susan Kuklin
We Live in Japan by Alexandre Messager
Objective: Students will practice measurement skills and also how to determine the perimeter and area of shapes and
figures
Needed Materials: Paper, writing and drawing materials, copies of provided template, ruler
Lesson:
Differentiate your instruction based on the grade level of your students. You may use this document on the smart board
for whole group instruction or copy it to use as worksheet for small group or individual instruction. The shapes are
made from basic text boxes and you may adjust the size of them if you so desire.
Geometric figures and standard shapes are used a great deal in Japanese architecture and art. Use the attached document titled “Madame Butterfly’s House”. The picture depicts a wall that you might find if you were to enter a home
in Japan.
Note: The picture we have provided for you was formed using text boxes. You may adjust the size and location of the
boxes and objects to accommodate your desires and needs in the classroom.
For lower grade levels, use the picture to identify the different shapes. Count the rectangles and triangles.
Use a ruler to measure the sides of each shape. Discuss how to use a ruler to measure in centimeters or in inches.
Compare sizes of the different shapes.
For upper grade levels, use the shapes to teach area and perimeter of squares, rectangles, and triangles. Measure the
sides with rulers and apply the formulas for area and perimeter. Try solving the equations for millimeters, centimeters,
and inches.
Students can draw or design their own “wall” with squares and rectangles as well as other shapes. They may trade
papers and have others measure and evaluate the area and perimeter.
Assessment:
•Did the student measure the lines and objects accurately?
•Was the student able to differentiate the difference between establishing the perimeter and the area?
Conduct basic research of Japanese architecture and gardens. Have students draw or design a garden.
Students can create more detailed depictions of a Japanese style home or use large butcher paper to make larger scale
drawings and measurements.
20
21
Lesson Title: San! Ni! Iti! (Three! Two! One!)
Grades: Elementary - All
Subject: Math
Integrated Subjects: Writing, Social Studies
Related Literature:
Count Your Way through Japan by Jim Haskins
The Seven Gods of Luck by David Kudler
Objective: Students will learn to count to 10 in Japanese. Students will be able to match the numerical number with
the written work or Japanese symbol.
Needed Materials: writing materials, paper, copies of attached worksheet
Lesson:
Kanji is the name of the Japanese writing system that is primarily used throughout the country. The Kanji symbols
are referred to as “characters”. One character can symbolize an entire word or phrase as well as an individual letter
or number.
You are provided with a list of Kanji symbols for numbers 0 -10. The verbal pronunciation is also provided for you.
You may copy and reproduce this page for various activities.
1. Number match – copy the symbols, written words, and numbers to make a matching game. Students can match
symbols, the symbol to the word, or the symbol to the number. This can be played in whole or small group.
2.Writing – have students practice writing the Japanese symbols for the numbers
3.Math Problems – have students compose a math problem using the Japanese symbols to represent the numbers. Ask
students to trade problems to see if they can figure them out.
Assessment:
•Was the student able to learn and recognize the Japanese symbols for numbers 1-10 and demonstrate this understanding by verbally expressing the number that corresponds with the symbol or by matching pictorial representations of
the Japanese symbol with the numerical counterpart?
•Was the student able to copy and write the numbers in the Japanese written form of Kanji?
•Was the student able to come up with a grade level appropriate math problem that could be understood and solved by
others?
Most children learn to read and write “Hiragana” before progressing to learn Kanji. Hiragana is composed of symbols
that are easier to write and learn. The following website is in Japanese but has worksheets that show Hiragana symbols
and pictures.
http://kids.nifty.com/study/hira_rensyu/index.htm
22
0
rei
零
1
Iti
一
2
ni
二
3
san
二
4
shi
四
5
go
五
6
roku
六
7
nana
七
8
hati
八
9
kyu
九
10
jyu
十
The letter “t” is pronounced “ch”
23
Lesson Title: Symmetry
Grades: Elementary
Lesson Title: Symmetry
Subject: Math
Integrated Subjects: Art
Related Literature:
The Paper Dragonfly by Mary Watson
Objective: Students will learn about symmetry by creating butterflies
Needed Materials: white construction paper with butterfly template copied, paint, brushes, scissors
Lesson:
Teach the students about how butterfly wings relate to the mathematical concept of symmetry. Symmetrical objects
are proportionately equal in size and in appearance. Each side should be a mirror image of the other. Butterflies are
an example of bilateral symmetry.
Provide each student with a piece of white tag or construction paper that has the butterfly template copied on it.
You may go to the following links to find a butterfly template or you may create your own.
http://familycrafts.about.com/od/butterflycrafts/ss/Buttefly_Pattern.htm
http://www.first-school.ws/t/pattern/butterfly-1.htm
Instruct the students to fold the paper in half vertically
Students will use another sheet of paper to cover the right side of the butterfly
Students will glop on different colored paint on the uncovered side of the butterfly
Have the students remove the paper that was covering the right side of the butterfly.
Fold the right side vertically over the left and have students press the paper firmly with their hands
When the paper is unfolded, the paint will have created a symmetrical and matching design on both sides of the butterfly
Let the paper dry and then have students cut out their butterfly
Class discussion – How are the characters in Madame Butterfly symmetrical? How are Butterfly and Pinkerton the
same? How are they different? Are there other characters that share certain characteristics and traits?
24
Assessment:
Student demonstrates understanding of symmetry by being able to divide an object into two equal, reflective parts
Show students examples of various objects that have symmetry and others that do not. Have students try to find objects
in the room that are symmetrical.
Have students write a short poem or story about their butterfly.
25
Elem/Middle/High Worksheets
Lesson Title: Haiku-mono? (Haiku – Kimono)
Grades: Elementary, Middle, High School
Subject: English Language Arts
Integrated Subjects: Social Studies, History Art
Related Literature:
Elementary
Colors of Japan by Holey Littlefield
Count Your Way through Japan by Jim Haskins
Haiku by Patricia Donegan
Middle/High
Haiku by Peter Washington
Haiku: Poetry Ancient and Modern by Jackie Hardy
Good Luck Gold and Other Poems by Janet S. Wong
A Suitcase of Seaweed and Other Poems by Janet S. Wong
Objective: Students will be taught about Haiku poetry and write their own Haiku that relates to the opera Madame Butterfly
Needed Materials: Construction Paper of various colors, writing paper, colored yarn or string, glue, markers, scissors
Note: Older and more advanced students can use a wide variety of mediums as determined by the teacher to create a more
elaborate or detailed kimono or piece of art
Lesson:
Part I
Haiku is a form of poetry that originates from Japan. Haiku form and meter has changed several times over hundreds of
years. The form that is used today consists of 3 written lines, each containing a specific number of syllables. The first line
is composed of 5 syllables, the second line contains 7 syllables, and the third and final line is also 5 syllables. Haiku can be
written on any subject. Here is an example:
5 – The bird is pretty
7 – Singing loud in the cool breeze
5 – Calling friends to come
Have the students compose a Haiku about the opera Madame Butterfly. They may describe a scene or a character. Encourage the students to think of new and unknown adjectives in their descriptions.
Part II
One of the forms of traditional Japanese dress is the Kimono. It is the most well-known and recognizable. Kimonos are
usually made from very beautiful and fine fabrics and can be very simple or elaborate in design.
26
In different cultures, colors have significant symbolism and meaning. Here is a list of colors and their symbolism in Japan:
Red – Luck, Prosperity
Yellow – Courage
Pink – Love
Orange – Strength
Green – Nurture and Growth
Blue – Calm and Peace
Purple – Wealth
Black – Success, Power, and Evil
White - Death
Using the provided templates, have the students create a kimono from paper. You may photocopy the template onto colored
construction paper or have the students trace the pattern on paper of their choosing and then cut it out (wallpaper is very
good paper to use for this project because of the varying designs and durability but patterned scrapbook paper will also
work).
Glue the top piece of the Kimono to the bottom piece. Use a different colored paper for the “waistband” (obi). Wrap a
colored string or embroidery thread several times around the waistband and tie in a bow.
Have students decorate and color their Kimono. They may cut out their Haiku to glue on. If students have access to computers, have them type out their Haiku and they may cut it down to fit onto the kimono.
Display the finished kimono’s with Haiku poems in the classroom or the hallway.
Assessment:
•Did the student compose a Haiku on the assigned subject matter and follow the structure and syllabic pattern of 5, 7, 5?
•Was the student able to construct the Kimono properly? Were particular colors used for a certain reason based on their
meaning in Japanese culture?
Higher level art students may design and construct their own Kimono with more elaborate details. Patterns and designs can
be found online on various websites.
27
Kimono Template
28
Kimono Template
29
Lesson Title: Butterfly - Sci
Grades: Elementary
Subject: Science
Integrated Subjects: ELA
Related Literature:
The Very Hungry Caterpillar by Eric Carle
The Girl who Loved Caterpillars by Jerry Merrill
Objective: Students will learn about the life cycle of a butterfly and it’s progression from egg to adult. Students will
be able to sequence and/or explain how a butterfly develops.
Needed Materials: crayons, markers, scissors, glue, copy of butterfly life cycle template or sequence pictures
The following websites have templates available or you may use your own.
http://www.teachervision.fen.com/tv/printables/orange/SL-37.pdf
http://www.enchantedlearning.com/subjects/butterfly/sequencingpl/
Lesson:
Use available visuals to explain the life cycle of a butterfly.
Read one of the suggested books above to the students.
Have students use one of the available templates above or one of your own and ask them to sequence them in order –
egg, caterpillar, chrysalis, and butterfly.
Assessment:
•Is the student able to demonstrate understanding by explaining verbally, the life cycle of a butterfly?
•Did the student place the pictures in the appropriate sequence?
Use different shaped noodles to represent the various phases of the life cycle – small round noodles are the eggs, spiral
noodles are caterpillars, shell noodles are the chrysalis, and bowtie noodles can be the butterfly.
Use available technology to enhance your lesson by showing a video of the butterfly’s life cycle.
30
Lesson Title: Mt. Fuji
Grades: Elementary
Subject: Science (geography)
Related Literature:
Volcanoes! (National Geographic) by Anne Schreiber
The Best Book of Volcanoes by Simon Adams
Objective: Students will become acquainted with the characteristics of volcanoes and also chemical reactions by
studying Japan’s Mt. Fuji
Needed Materials: Rubbermaid container, foil, baking soda, vinegar, red food coloring, writing paper or student journals, various pictures or photos of volcanoes, map of Japan
Lesson:
Mt. Fuji is a famous Japanese geographical landmark. It is Japan’s highest mountain and is an active volcano. It is
located west of Tokyo. Mt. Fuji last erupted just over 300 years ago.
Show students a map of Japan. Explain north, south, east, west, and how to locate places on a map. Locate Tokyo and
Mt. Fuji on the map.
Mt. Fuji is classified as a strata volcano. This type of volcano consists of various layers of different materials - lava,
a material called tephra, pumice (mix of hardened lava and water), and ash. Most of these cone shaped volcanoes are
located in areas of the world where the ocean plates or crust are located under the earth’s crust.
Other examples of locations where this exists are New Zealand and the Andes Mountains in South America.
Volcanoes can erupt suddenly and can be very dangerous for those who live close by. Many different types of chemicals and materials are released during a volcanic eruption. The most famous volcano in the United States in Mt. St.
Helens located in Washington State.
http://www.fs.fed.us/gpnf/mshnvm/
Explain to the students that you are going to make a volcano in the classroom. Create a volcano with the Rubbermaid
container opening placed near the top. Make sure you have paper or plastic on the floor to help the area stay clean.
Add the first “layer” – 3 tsps of baking soda. Next add the second layer – 5-7 drops of red food coloring. For
the final “layer” you will pour in ½ to 1 cup of vinegar and your volcano will erupt!! The more baking soda and vinegar you add the more it will bubble and “explode” so be careful.
Have students document what happened in their science journals.
The following links have pictures and additional lesson ideas for volcanoes.
http://school.discoveryeducation.com/searchresults.cfm?N=0&Nty=1&Ntk=all&blnPublic=1&Ntt=volcano
31
http://kids.discovery.com/games/pompeii/pompeii.html
In the opera Madame Butterfly, there are several scenes where the characters experience an emotional “explosion”.
One example would be when The Bonze arrives at the end of the marriage ceremony to chastise Butterfly for her
choice to abandon her religion and culture. Another example would be when Butterfly discovers Pinkerton has an
American wife.
What are some other examples of emotional “explosions” that occur in the opera? How could the characters have
handled situations differently?
Lesson:
•Can students name the layers of a strata volcano?
•Can students demonstrate finding north, south, east, and west, on a map?
•Did students accurately describe the chemical reaction or “eruption” of the class made volcano?
Expand more on tectonic plates and how volcanic formations are formed.
Have students draw and label the parts of a volcano.
Discuss chemical reactions and how the baking soda reacted with vinegar to cause the “eruption”.
32
Lesson Title: Cross-Cultural Connection
Grades: Elementary, Middle, High
Related Literature:
Elementary
Floating Lanterns and Golden Shrines: Celebrating Japanese Festivals by Rena Krasno
How my Parents Learned to Eat by Ina R. Friedman
Middle/High
Teens in Japan (Global Connections Series) by Sandy Donovan
Various non-fiction books on Japan history and culture at your campus library
Objective: Compare and contrast Japanese and American culture
Needed Materials: Writing Materials
Lesson:
Place students in small groups of at least two people per group.
Have students conduct research on Japanese culture and history and also American culture and history. For younger
students you may read books, watch approved videos, or have short whole group lessons on various aspects of the
culture and history.
After the research is completed and lessons have been given, ask the students to construct and write out a contrast and
comparison chart of the two cultures. You may use a Venn diagram or other graphic organizer.
After the information is organized, assign one student on the team to write a pen pal style letter to the other about Japan. Have the other student write a letter about culture and history in America. When the students exchange “letters”
have them edit, revise, and then rewrite.
Students may also write responses to one another as well. For younger students, you may conduct a whole group activity and write a class letter. Older students should write with extensive detail and narration.
Assessment:
•Did students follow the writing process?
•Did students find and use accurate facts and information?
•Was the writing clear and expressive?
•Did the student follow writing and grammar rules?
Select a specific event or different time period for the students to focus on their research and writing (examples: World
War II or the expansion of Japanese culture to the west during the mid 1800’s).
33
Lesson Title: Story Sequence
Grades: Elementary
Subject: ELA
Related Literature:
Madame Butterfly: The Story of the Opera by Giacomo Puccini by J. Alison James
Madama Butterfly by Monica E. Lapenta
Objective: Sequence the events that occur in Madame Butterfly.
Needed Materials: Writing Materials, pictures from Madame Butterfly
Lesson:
Tell or review the story of Madame Butterfly with the students.
Have students retell the story back to you without visuals.
Use visual aids and ask students to place the pictures in order of when the events occurred in the story.
Assessment:
•Was the student able to retell the story of Madame Butterfly with events occurring in the proper order?
•Was the student able to use visual aids to tell the story accurately?
Have students draw their own pictures and see if others can place them in order
34
Middle/High Worksheets
Lesson Title: Travel Blog
Grades: Middle/High School
Subject: Social Studies
Integrated Subjects: ELA (TEKS covered in lesson “Cross Cultural Connection”), Technology
Related Literature:
Focus on Japan by Mavis Pilbeam
Various non-fiction books on Japan history and culture at your campus library
Objective: Students will use descriptive writing to create a travel brochure or web page about Japan
Needed Materials: Computer, writing materials
Lesson:
Students will participate in basic research about Japan. Research should include customs and traditions, geographical
points of interest, and information that would be useful to someone traveling to the country (time zone, transportation,
etc…).
Have students search for images and pictures to include in their final presentation.
Students will organize collected information and pictures and create a “Blog” presentation on the computer using different layouts and technology skills.
You can use this activity in correlation with technology skills you are currently working on or want to develop with
your students.
Assessment:
•Did the student obtain accurate information?
•Were the rules of writing and grammar properly applied?
•Did the student use creativity with the use of fonts, graphics, and organization?
Have students create their blog travel brochure based on the time period of Madame Butterfly
Have students create blogs and brochures for other countries
Allow student to give an oral presentation on their country and use persuasive arguments to convince others to visit.
35
Lesson Title: Extended Ending
Subject: ELA
Related Literature:
Madame Butterfly: The Story of the Opera by Giacomo Puccini by Giacomo Puccini and J. Alison James (Adapter)
Madame Butterfly and a Japanese Nightingale: Two Orientalist Texts by Maureen Honey and Jean Lee Cole
Madame Butterfly Libretto – Luigi Illica, Giuseppe Giacosa
Objective: Students will write an alternative or extended ending to the story of Madame Butterfly
Needed Materials: Writing Materials
Lesson:
Students should have a good understanding of the story of Madame Butterfly and its characters for this activity.
Review the story with the students and discuss significant events that occur throughout that help in understanding the
characters and their choices. Possible discussion topics could be:
•Reasons that Pinkerton and Butterfly get married
•The relationship between Butterfly and Suzuki
•Butterfly’s transition from her traditional cultural and religious beliefs to new ones
•The consequences of the choices made by the characters including Butterfly’s decision to take her own life at the end
Have students write an alternate or extended ending to Madame Butterfly. What would they change? What would
stay the same? Is there an additional character? Is there a different choice made? What are the new or extended consequences of those choices?
Have students use and follow the writing process to edit and revise their compositions.
You may also want to share that the composer, Puccini, died before he was able to complete his final opera, Turandot.
Suppose he had died before completing Madame Butterfly and the student is selected to finish the story.
Assessment:
•Student demonstrates understanding of the text and subject matter by making logical conclusions and connections in
their writing
•Student demonstrates organization and proper writing technique
•Student demonstrates use of imagination and creativity
Students may write extended endings for additional texts being used in the classroom
Allow students to extend a scene within the opera that changes the outcome
36
Lesson Title: Modern Day Soundtrack
Subject: Music
Integrated Subjects: English Language Arts, Social Studies
Related Literature:
CD - Madame Butterfly – Giacomo Puccini, Composer & Luigi Illica and Giuseppe Giacosa, Libretto
Objective: Achieve a better understanding of the storyline and themes in Madame Butterfly by creating a modern
musical soundtrack
Needed Materials: computer, blank cd’s, personal or public music library, Madame Butterfly cd, writing materials
Lesson:
Music has evolved a great deal since Puccini’s time. Some students today find it difficult to appreciate the complexity and the sound of opera and classical music. In today’s world, music is extremely diverse in sound, rhythm, and
composition. Music has always been a medium to express and invoke emotions of all kinds and is used to tell stories
and create moods and environments to help people connect.
Examine the story of Madame Butterfly and list the important scenes and moments in the opera. Students may discuss
in whole or small group, the feelings and attitudes that are exhibited in the characters in these scenes.
How does Puccini’s music or the words from the libretto help you understand the position and emotion of the characters?
How do the characters change throughout the story?
Have students develop and list modern day songs to represent the important scenes and events in Madame Butterfly.
Students need to write several sentences and give a coherent explanation for their song choice. Was the song selected
because of its style, lyrics, or other reason?
Let students have fun and be creative with their song choices. Teachers may ask students to record or burn song selections. HGO advises that copyright laws and rules be followed.
Assessment:
•Were students able to make a connection between the feelings and situations of the characters from Madame Butterfly
and feelings and situations experienced by people today?
•Was the student able to give an appropriate explanation regarding the songs he/she chose and how they related to the
opera?
•Did the student demonstrate creativity and thought behind the songs selected?
•Did the student follow teacher guidelines regarding the use of music and related copyright rules?
Have students compose and create an additional piece of music for the opera.
Have students create a cd jacket to accompany their soundtrack.
37
Lesson Title: Previous Life
Subject: ELA
Related Literature:
Madame Butterfly: The Story of the Opera by Giacomo Puccini by Giacomo Puccini and J. Alison James (Adapter)
Objective: Students will write a story about one of the characters from Madame Butterfly. The story will be about the
character’s life before the story begins.
Needed Materials: Writing materials
Lesson:
The Libretto of Madame Butterfly provides us with some small insight into the lives of Pinkerton and Cio-Cio San
(Butterfly). We know that Pinkerton is an established Naval Officer who has traveled a great deal. We are told that
Butterfly has lost her parents and has taken up the life of a Geisha. We have less or no insight into the lives of other
characters in the story such as Suzuki or the American Consul, Sharpless.
Have each student select a character from Madame Butterfly and write a story about that character and the life they led
prior to the events that take place in the opera. Students can pick a main character or a lesser known one from the story.
What was the childhood like for this character?
What choices did they make in the past that led them to where they are now?
Who were the important people in their lives? What kinds of relationships did they have with others growing up or as
adults?
Was there a significant incident or event that happened in the life of this character that influenced them?
Have students follow the writing process in developing their story.
Assessment:
•Do students follow basic writing and grammar rules in their compositions?
•Are students able to write logically and clearly as they describe the life of the selected character?
•Do the experiences of the character relate to how they ended up where they are currently in Madame Butterfly?
Have students write about what happens to a character after the conclusion of Madame Butterfly. What happens to
Suzuki? How does Butterfly’s death influence Pinkerton throughout the rest of his life?
38
Lesson Title: Movie Trailer
Subject: Technology
Integrated Subjects: Music, Social Studies, ELA
Related Literature:
CD - Madame Butterfly – Giacomo Puccini, Composer & Luigi Illica and Giuseppe Giacosa, Libretto
Objective: Create a movie trailer or music video for Madame Butterfly using computer and video technology
Needed Materials: Computer and video equipment, Madame Butterfly cd
Step-By-Step Procedures:
The film and video industry has recently been booming with “remakes” of older movies and television shows. There
are several video adaptations of Madame Butterfly that have been made over the years. It is now time to create a new
version of Madame Butterfly and students will need to create a movie trailer or music video to help promote this new
“movie”. Use this activity to help students improve on and develop new technology skills that you would like to teach.
The student should decide how the story will be interpreted. Will it be told in a traditional manner or in a more modern
way?
What kind of graphics or artwork will be used in this creation?
What music from the opera will be used in this trailer or video?
What scenes will be used or emphasized?
Helpful links:
http://www.imdb.com/title/tt0113731/
http://www.imdb.com/title/tt0256165/
http://www.youtube.com/watch?v=5ofaoLKPz7c
http://www.youtube.com/watch?v=mbG1ySzPMsM
Assesment:
•Did students apply and/or demonstrate understanding of the required technology skills to produce and create the final
product?
•Did students show an understanding of the story of Madame Butterfly?
•Did students demonstrate creativity?
•Does the audience understand the story or get a proper idea of the production by watching the trailer or video?
Have students create a movie poster for Madame Butterfly
Have students write and act out a scene from the opera
39
Lesson Title: Set the Stage
Subject: Math
Integrated Subjects: Social Studies, Art, Theater Arts
Related Literature:
Various books related to set design and Japanese architecture and design available at campus and local library
Objective: Design and Create a set for Madame Butterfly
Needed Materials: Writing materials, art materials, drafting paper, magazines and photos of various set designs, measurements of school theater stage or room, photos and videos of various productions of Madame Butterfly, measuring
tools
Lesson:
Opera is one of the most wonderful art forms today because it encompasses numerous aspects of the fine arts including
music, drama, dance, and visual. The visual aspect of opera includes costume, lighting, and set design. These are critical components in establishing the desired ambiance during an operatic production. Effective set design is essential in
allowing the audience to understand and participate in the story as it is being performed.
Have students view several clips of various productions of Madame Butterfly (Seek approval and preview material to
be presented). Take note and discuss the visual aspects of the productions.
How are they different?
How are they the same?
What did you feel or experience as a result of the design used in the production?
What did you like or not like about the set and other visual elements?
Did the visual experience match the emotion of the music?
Using measurements of the school stage or theater have students design a set for one of the scenes in Madame Butterfly. Students may need to research aspects of Japanese architecture and design to help them with their project. Some
ideas might be:
The use of Japanese lanterns and lighting
Japanese Gardens and horticulture
Pagodas and interior home design
40
The significance of color is important throughout Eastern design. Here is a key of colors and their meanings:
Red – Luck, Prosperity
Yellow – Courage
Pink – Love
Orange – Strength
Green – Nurture and Growth
Blue – Calm and Peace
Purple – Wealth
Black – Success, Power, and Evil
White - Death
Allow for creativity and interpretation. Some students may choose to use more traditional architectural designs and
others may want to try a more modern interpretation. Students should make sure that the design and set pieces fit
within the allotted space and that measurements are accurate. Students should show measurements on their drawings
and select sizes and shapes that are appropriate.
Assessment:
•Did the design elements and pieces used by students fit into the allotted space? Where they measured correctly?
•Was the student able to explain the design and give reasons for why certain pieces were selected?
•Did the student demonstrate understanding of elements of Japanese design?
Allow students to create costumes for one or more characters in the opera
Have students design a set for a space that is smaller or larger. What would they keep? What would they take away?
41
Lesson Title: Consequence Stick
Grades: Middle, High
Related Literature:
Madame Butterfly: The Story of the Opera by Giacomo Puccini by Giacomo Puccini and J. Alison James
(Adapter)
A Time to Choose by Edward Blight
Objective: Students will discuss characterization and how choices and consequences are intertwined within
literature and how those connections are logically established within writing
Needed Materials: Writing Materials, a stick with “choice” written on one end and “consequence” written
on the other
Lesson:
Madame Butterfly is a story that deals with choices and consequences. We have the power to make a choice
but the consequence is already attached to that choice. Sometimes we are aware of the consequences of our
actions before our choice but other times, we make a choice not knowing beforehand what may result. Consequences can be negative or positive.
Have a class discussion regarding the choices and consequences of the two main characters, Pinkerton and
Butterfly.
•What was the motivation for Pinkerton to marry Butterfly? Why did he make the choice to do so?
•What were the consequences Pinkerton suffered as a result of entering into a marriage contract with Butterfly?
•What were the consequences of Pinkerton choosing to marry an American Woman later in the opera?
•What was the motivation for Butterfly to marry Pinkerton? Why did she choose this life?
•Butterfly abandoned her culture and beliefs to marry Pinkerton and was chastised by her Uncle for doing so.
Why did she choose to accept the culture and belief system of her new husband?
•What do you believe the consequences are for the characters at the end of the story after Butterfly takes her
own life? What will the consequences of her choice be?
•Could tragedy have been avoided if the characters had made different choices?
•Have you made a choice that had a great consequence (negative or positive) that you did not expect?
•Did someone in your life make a choice that influenced you in a negative or positive way? How did you
choose to respond to the actions of that person and how did your choice influence the result?
42
Students may write a response regarding the theme of choice and consequence from the opera.
Students may write a paper about a personal experience they have had regarding choices and consequences.
Assessment:
•Did the student participate in the discussion and/or writing assignment and demonstrate understanding of
choices and consequences or the idea of cause and effect?
•Did the student follow proper writing and grammar protocols?
Discuss choices and consequences in other literature you are studying in class
Discuss choices and consequences in relation to historical events in Japan and The United States
43
Vocabulary
ACCOMPANIMENT
The musical background provided for a principal part
ARIA
A musical piece for solo voice focusing on emotional expression
BARITONE
The middle range male voice
BASS
The lowest male voice
BASSO BUFFO
An agile bass voice singing a comic role
CHORUS
A group of singers who sing and act en masse, never as soloists
COLORATURA
Elaborate ornamentation of a vocal line, or a voice having the ability and agility to sing many notes quickly, usually in an extended range
CONTRALTO
The lowest female voice with the same range as an alto. It is a dark, warm voice, and is usually cast as an older revered female, or sometimes as a witch
CONDUCTOR
The person who leads the orchestra
COMPOSER
The person who writes the music
DUET A musical piece for two performers
ENSEMBLE
Two or more singers singing and expressing their emotions at the same time
FINALE The last musical number of an act or show, it usually involves most of the cast and often repeats musical themes from the show
LIBRETTIST The person who writes the words of an opera
LIBRETTO
Literally “little book”, this is the text or words of an opera
MEZZO SOPRANO
The middle female voice, usually darker and fuller than a soprano
OPERA
A play that uses singing instead of speaking and is accompanied by instrumen
tal music
OVERTURE/PRELUDE Introductory orchestral movement of the opera. In later opera, it set the theme or mood for the coming drama or comedy, containing musical materi
alsto be heard later in the work, but in the early operas it was simply used to quiet the audience
PROPS
Objects placed on the stage and used by the actors; “properties”
44
Vocabulary
QUARTET
A piece written for four performers, or the performers themselves
RECITATIVE
A type of text setting where the music matches more directly spoken rhythms and inflections
SCORE The printed page upon which all the vocal and instrumental music of an opera is written
SET
The scenery used on the stage to show location
SOPRANO
The highest female voice
STAGE DIRECTOR
The person who decides how the singers will move on stage and how they will act while they are singing their parts
TENOR
The highest male voice
TRIO A group of three performers or a piece written for three
45
Elementary Book List
The Magic Fan by Keith Baker
Japan in Pictures by Alison Behnke
The Sea Maidens of Japan by Lili Bell
The Big Wave by Pearl S. Buck
Japan by Robert Case
The Cat Who Went to Heaven by Elizabeth Coatsworth (available in Spanish)
Mierko and the Fifth Treasure by Eleanor Coen
Japan by Gina De Angelis
Haiku by Patricia Donegan
The Long Silk Strand by Laura E. Eilliams
Art of Japan: Wood Block and Color Prints by Carol Finley
How my Parents Learned to Eat by Ina R. Friedman
Count Your Way Through Japan by Jim Haskins
Japan by Ann Heinrichs
Madame Butterfly: The Story of the Opera by Giacomo Puccini by J. Alison James
Floating Lanterns and Golden Shrines: Celebrating Japanese Festivals by Rena Krasno
A Carp for Kimono by Virginia Kroll
The Seven Gods of Luck by David Kudler
Madama Butterfly by Monica E. Lapenta
Kazunomiya by Kathryn Lasky
Colors of Japan by Holey Littlefield
46
Mysterious Tales of Japan by Rafe Martin
Shibumi and the Kitemaker by Mercer Mayer
Hannah’s Winter by Kieren Meehan
The Girl who Loved Caterpillars by Jerry Merrill
Basho and the River Stones by Tim Meyers
Girl from the Snow Country by Masako Midaka
Brave Story by Miyuki Miyabe
The Hungriest Boy in the World by Lensey Namioka
The Loyal Cat by Lensey Namioka
Japan by Patricia D. Netzley
Hachiko Waits by Leslea Newman
An Illustrated History of Japan by Shigeo Nishimura
Kogi’s Mysterious Journey by Elizabeth Partridge
The Master Puppeteer by Katherine Patterson
The Sign of the Chrysanthemum by Katherine Paterson
The Tale of the Mandarin Ducks by Katherine Paterson
Dragon of the Red Dawn by Mary Pope Osborne
Jingu- The Hidden Princess by Ralph Pray
The Peace Bell by Margi Preus
Jiro’s Pearl by Daniel Powers
The Falling Flowers by Jennifer B. Reed
Wabi Sabi by Mark Reibstein
47
Life in Ancient Japan by Hazel Richardson
Tea with Milk by Allen Say
Tree of Cranes by Allen Say
The Bicycle Man by Allen Say
Erkia San by Allen Say
Grandfather’s Journey by Allen Say
The Ink-Keeper’s Apprentice by Allen Say
Kamishibai Man by Allen Say
The Silver Charm by Robert D. San Souci
Tasty Baby Belly Buttons by Judy Sierra
Exploration into Japan by Richard Tames
The Bears’ Autumn by Keizaburo Tejima
Traditional Crafts from Japan by Florence Temko
The Two Foolish Cats by Yoshiko Uchida
My Japan by Etsuko Watanabe
The Paper Dragonfly by Mary Watson
Yoko’s Paper Cranes by Rosemary Wells
K is for Kabuki by Gloria Whelan and Jennifer Nolan
Night of the Fireflies by Karon B. Winnick
The Story of Cherry the Pig by Utako Yamada
Crow Boy by Taro Yashima
The Friends by Kazumi Yumato
48
Middle/High Book List
A Time to Choose by Edward Blight
Commodore Perry in the Land of the Shogun by Rhonda Blumberg
Shipwrecked! The True Adventures of a Japanese Boy by Rhonda Blumberg
Sadako and the Thousand Paper Cranes by Eleanor Coerr and Robert Himler
Fighting for Honor: Japanese Americans & World War II by Michael Cooper
Little Sister by Kara Dalkey
The Journal of Ben Uchida: Citizen 13559 Mirror Lake Internment Camp by Barry Denenberg
The Eternal Spring of Mr. Ito by Sheila Garrigue
The Journey: Japanese Americans, Racism & Renewal by Sheila Hamanaka
On the Wings of Peace: Writers and Illustrators Speak Out for Peace in Memory of Hiroshima edited by Sheila
Hamanaka
Haiku: Poetry Ancient and Modern by Jackie Hardy
The Samurai’s Tale by Erik Haugaard
The Girl with the White Flag by Tomiko Higa and Dorothy Britton
The Ghost in the Tokaido Inn by Dorothy Hoobler and Thomas Hoobler
Chopsticks from America by Elaine Hosozawa-Nagano
Farewell to Manzanar by Jeanne Wakatsuki Houston and James D. Houston
Kim/Kimi by Hadley Irwin
Strawberry Road by Yoshimi Ishikawa
Weedflower by Cynthia Kadohata
The Japanese Americans by Harry Kitano
49
Naomi's Road by Joy Kogawa
Achieving the Impossible Dream: How Japanese Americans Obtained Redress by Mitchell T. Maki, Harry
Kitano, & S. Megan Berthold
Five Years on a Rock by Milton Maruyama
Beacon Hill Boys by Ken Mochizuki
Shizuko's Daughter by Kyoko Mori
When the Emperor was Divine by Julie Otsuka
Madame Butterfly: The Story of the Opera by Giacomo Puccini by Giacomo Puccini and J. Alison James
(Adapter)
Focus on Japan by Mavis Pilbeam
The Moon Bridge by Marcia Savin
A Bridge Between Us by Julie Shigekuni
Pacific Crossing by Gary Soto
I Am An American:A True Story of Japanese Internment by Jerry Stanley
The Children of Topaz by Michael Tunnell and George Chilcoat
Desert Exile by Yoshiko Uchida
The Happiest Ending by Yoshiko Uchida
The Invisible Thread: A Memoir by Yoshiko Uchida
A Jar of Dreams by Yoshiko Uchida
Journey Home by Yoshiko Uchida
Samurai of Gold Hill by Yoshiko Uchida
Pacific Pioneers: Japanese Journeys to America and Hawaii, 1850-1880 by John E. Van Sant
Candle in the Wind by Maureen Wartski
Haiku by Peter Washington
50
My Brother, My Sister & I by Yoko Kawashima Watkins
Gaia Girls – Way of Water by Lee Welles
Good Luck Gold and Other Poems by Janet S. Wong
A Suitcase of Seaweed and Other Poems by Janet S. Wong
The Amah by Laurence Yep
American Dragons: Twenty-five Asian-American Voices edited by Laurence Yep
Hiroshima by Laurence Yep
Angelfish by Laurence Yep
The Friends by Kazumi Yumoto
51
TEKS Alignment
Lesson 1 – Origami Math (Math)
Kindergarten: 111.12.b.4., 111.12.b.9.B, 111.12.b.13.B
1st: 111.13.b.3.A, 111.13.b.3.B, 111.13.b.11.B
2nd: 111.14.b .3.A, 111.14.b.3.B, 111.14.b.7.A
3rd: 111.15.b.3.A, 111.15.b.8, 111.15.b.14.B
4th: 111.16.b.8.C, 111.16.b.14.B, 111.16.b.14.C
5th: 111.17.b.14.B, 111.17.b.14.C
Lesson 2 – Measure by Measure (Math)
Kindergarten: 111.12.b.7.A, 111.12.b.8.A, 111.12.b.8.C, 111.12.b.9.A, 111.12.b.9.B, 111.12.b.9.C, 111.12.b.10.A,
111.12.b.10.B, 111.12.b.10.C, 111.12.b.13.A
1st: 111.13.b.6.A, 111.13.b.6.B, 111.13.b.6.C, 111.13.b.7.A, 111.13.b.7.D, 111.13.b.11.A, 111.13.b.11.B
2nd: 111.14.b.7.A, 111.14.b.7.B, 111.14.b.9.A, 111.14.b.9.B, 111.14.b.12.A, 111.14.b.12.B
3rd: 111.15.b.8, 111.15.b.11.A, 111.15.b.11.B, 111.15.b.11.C, 111.15.b.14.A
4th: 111.16.b.11.A, 111.16.b.11.B, 111.16.b.14.A, 111.16.b.14.B, 111.16.b.14.C
5th: 111.17.b.10.A, 111.17.b.10.B, 111.17.b.10.C, 111.17.b.14.A, 111.17.b.14.B, 111.17.b.14.C
Lesson 3 – San! Ni! Iti! (Three! Two! One!) (Math)
Kindergarten: 111.12.b.1.C, 111.12.b.2.A, 111.12.b.4, 111.12.b.14.A, 111.12.b.14.C
1st: 111.13.b.1.A, 111.13.b.1.D, 111.13.b.3.A, 111.13.b.5.D, 111.13.b.12.A, 111.13.b.12.B, 111.13.b.13
2nd: 111.14.b.1.A, 111.14.b.1.B, 111.14.b.3.A, 111.14.b.3.B, 111.14.b.12.B, 111.14.b.13.A
3rd: 111.15.b.1.A, 111.15.b.3.A, 111.15.b.3.B, 111.15.b.15.A, 111.15.b.15.B
4th: 111.16.b.1.A, 111.16.b.3.A,
111.16.b.15.A, 111.16.b.15.B
5th: 111.17.b.1.A, 111.17.b.3.A,
111.17.b.15.A, 111.17.b.15.B
52
TEKS Alignment
Lesson 4 – Symmetry (Math)
Kindergarten: 111.12.b.3.A, 111.12.b.3.B, 111.12.b.13.A, 111.12.b.14.A
1st: 111.13.b.2.A, 111.13.b.11.A, 111.13.b.12.A
2nd: 111.14.b.7.B, 111.14.b.12.A, 111.14.b.13.A 3rd: 111.15.b.9.C, 111.15.b.14.A, 111.15.b.15.A
4th: 111.16.b.8.B, 111.16.b.9.B, 111.16.b.9.C, 111.16.b.14.A, 111.16.b.15.A
5th: 111.17.b.14.A, 111.17.b.15.A
Lesson 5 – Haiku-mono? (Haiku – Kimono) (ELA)
Kindergarten: 110.11.b.2.B, 110.11.b.7, 110.11.b.14.B
1st: 110.12.b.8, 110.12.b.13, 110.12.b.17.E, 110.12.b.18.B
2nd: 110.13.b.7,110.13.b.17.E, 110.13.b.18.B
3rd: 110.14.b.6,110.14.b.17.E, 110.14.b.18.B, 110.14.b.23.A
4th: 110.15.b.4,110.15.b.16.B.i, 110.15.b.16.B.ii, 110.15.b.16.B.iii, 110.15.b.21.A
5th: 110.16.b.4, 110.16.b.16.B.i, 110.16.b.16.B.ii, 110.16.b.16.B.iii, 110.16.b.
6th: 110.18.b.4,110.18.b.15.B.i, 110.18.b.15.B.ii, 110.18.b.15.B.iii
7th: 110.19.b.4, 110.19.b.8, 110.19.b.15.B.i, 110.19.b.15.B.ii, 110.19.b.15.B.iii, 110.19.b.
8th: 110.20.b.4,110.20.b.15.B.i, 110.20.b.15.B.ii, 110.20.b.15.B.iii
High School ELA & Reading I: 110.31.b.3, 110.31.b.14.B High School ELA & Reading II: 110.32.b.3, 110.32.b.14.B
High School ELA & Reading III: 110.33.b.3, 110.33.b.14.B
High School ELA & Reading IV: 110.34.b.3, 110.34.b.14.B
Lesson 6 – Butterfly – Sci (Science)
Kindergarten: 112.11.b.9.A, 112.11.b.9.B, 112.11.b.10.D
53
TEKS Alignment
1st: 112.12.b.9.A, 112.12.b.10.A, 112.12.b.10.D
2nd: 112.13.b.9.A, 112.13.b.9.B, 112.13.b.10.C
3rd: 112.14.b.9.A, 112.14.b.10.C
4th: 112.15.b.10.B, 112.15.b.10.C
5th: 112.16.b.10.C
Lesson 7 – Mt. Fuji (Science)
Kindergarten: 112.11.b.3.C, 112.11.b.4.B, 112.11.b.7.A
1st: 112.12.b.7
2nd: 112.13.b.5.B, 112.13.b.7
3rd: 112.14.b.7.B
4th: 112.15.b.7
5th: 112.16.b.7
Lesson 8 – Cross- Cultural Connection (ELA)
Kindergarten:110.11.b.9,110.11.b.13.A, 10.11.b.13.B,110.11.b.13.C,110.11.b.13.D,110.11.b.13.E, 110.11.b.14.A,
110.11.b.16.A.iii, 110.11.b.16.C, 110.11.b.19.A, 110.11.b.19.B, 110.11.b.20.A
1st:110.12.b.4.B,110.12.b.4.C,110.12.b.10,110.12.b.13,110.12.b.17.A,110.12.b.17.B,110.12.b.17.C,110.12
.b.17.D,110.12.b.17.E,110.12.b.18.A,110.12.b.19.B,110.12.b.24.A,110.12.b.25,110.12.b.26,110.12.b.27.A,
110.12.b.28, 110.12.b.29
2nd:110.13.b.1,110.13.b.10,110.13.b.13,110.13.b.14.b,110.13.b.17.A,110.13.b.17.B,110.13.b.17.C,110.13.b.1
7.D,110.13.b.17.E,110.13.b.18.A,110.13.b.19.B, 110.13.b.22.A, 110.13.b.24.A,110.13.b.24.B, 110.13.b.25.A,
110.13.b.25.B, 110.13.b.25.C, 110.13.b.26, 110.13.b.27, 110.13.b.28.A, 110.13.b.29, 110.13.b.30
3rd:110.14.b.2.B,110.14.b.9,110.14.b.12,110.14.b.17.A,110.14.b.17.B,110.14.b.17.C,110.14.b.17.D,
110.14.b.17.E, 110.14.b.20.A.ii, 110.14.b.20.B, 110.14.b.25.A, 110.14.b.25.B, 110.14.b.27, 110.14.b.28,
110.14.b.30, 110.14.b.31
4th:110.15.b.7,110.15.b.10,110.15.b.15.A,110.15.b.15.B,110.15.b.15.C,110.15.b.15.D,110.15.b.15.E, 110.15.b.1
8.A.ii,110.15.b.18.B,110.15.b.21.A, 110.15.b.24.A.ii, 110.15.b.25, 110.15.b.26, 110.15.b.28, 110.15.b.29
5th:110.16.b.7,110.16.b.10, 110.16.b.11.B, 110.16.b.13.B, 110.16.b.15.A, 110.16.b.15.B, 110.16.b.15.C,
54
TEKS Alignment
110.16.b.15.D, 110.16.b.15.E, 110.16.b.16.A.i, 110.16.b.16.A.ii, 110.16.b.18.B, 110.16.b.23.B, 110.16.b.26.A,
110.16.b.26.B, 110.16.b.26.C, 110.16.b.26.D, 110.16.b.27.A, 110.16.b.27.C, 110.16.b.28, 110.16.b.29
6th: 110.18.b.7, 110.18.b.9, 110.18.b.14.A, 110.18.b.14.B, 110.18.b.14.C, 110.18.b.14.D, 110.18.b.14.E,
110.18.b.15.A.i, 110.18.b.15.A.ii, 110.18.b.17.A.iii, 110.18.b.17.B, 110.18.b.22.B, 110.18.b.23.A, 110.18.b.23.C,
110.18.b.25.A, 110.18.b.27, 110.18.b.28
7th: 110.19.b.7, 110.19.b.9, 110.19.b.14.A, 110.19.b.14.B, 110.19.b.14.C, 110.19.b.14.D, 110.19.b.14.E,
110.19.b.17.A.iii, 110.19.b.22.B, 110.19.b.27, 110.19.b.28
8th: 110.20.b.7, 110.20.b.9, 110.20.b.14.A,110.20.b.14.B, 110.20.b.14.C, 110.20.b.14.D, 110.20.b.14.E,
110.20.b.17.A.iii, 110.20.b.17.B, 110.20.b.22.B, 110.20.b.23.A, 110.20.b.25.A, 110.20.b.27, 110.20.b.28 High School ELA & Reading I: 110.31.b.6, 110.31.b.8, 110.31.b.13.A, 110.31.b.13.B, 110.31.b.13.C,
110.31.b.13.D, 110.31.b.13.E, 110.31.b.15.A.iv, 110.31.b.15.B.i, 110.31.b.18, 110.31.b.21.A, 110.31.b.23.B,
110.31.b.25, 110.31.b.26
High School ELA & Reading II: 110.32.b.6, 110.32.b.8, 110.32.b.13.A, 110.32.b.13.B, 110.32.b.13.C,
110.32.b.13.D, 110.32.b.13.E, 110.32.b.15.A.iv, 110.32.b.15.B.i, 110.32.b.18, 110.32.b.21.A, 110.32.b.23.B,
110.32.b.25, 110.32.b.26
High School ELA & Reading III: 110.33.b.6, 110.33.b.8, 110.33.b.13.A, 110.33.b.13.B, 110.33.b.13.C,
110.33.b.13.D, 110.33.b.13.E, 110.33.b.15.A.iv, 110.33.b.15.B.i, 110.33.b.18, 110.33.b.21.A, 110.33.b.25,
110.33.b.26
High School ELA & Reading IV: 110.34.b.6, 110.34.b.8, 110.34.b.13.A, 110.34.b.13.B, 110.34.b.13.C,
110.34.b.13.D, 110.34.b.13.E, 110.34.b.15.A.iv, 110.34.b.15.B.i, 110.34.b.15.B.v, 110.34.b.18, 110.34.b.21.A,
110.34.b.25, 110.34.b.26
Lesson 9 – Story Sequence (ELA)
Kindergarten: 110.11.b.4.A, 110.11.b.4.B, 110.11.b.6.A, 110.11.b.8.A, 110.11.b.8.B, 110.11.b.10.B, 110.11.b.10.D,
110.11.b.14.A, 110.11.b.20.B
1st:
110.12.b.4.A, 110.12.b.7.A, 110.12.b.9.A, 110.12.b.9.B, 110.12.b.11, 110.12.b.13, 110.12.b.14.A,
110.12.b.14.B, 110.12.b.14.C,110.12.b.14.D
2nd: 110.13.b.3.A, 110.13.b.3.B, 110.13.b.6.A, 110.13.b.13, 110.13.b.14.C, 110.13.b.15.B
3rd: 110.14.b.2.A, 110.14.b.2.B, 110.14.b.5.A, 110.14.b.8.A, 110.14.b.8.B, 110.14.b.12
4th: 110.15.b.3.A, 110.15.b.3.B, 110.15.b.6.A, 110.15.b.6.B, 110.15.b.10
5th: 110.16.b.3.A, 110.16.b.3.C,
110.16.b.10, 110.16.b.11.A, 110.16.b.11.D
55
TEKS Alignment
Lesson 10 – Travel Blog (Social Studies)
Note: ELA - TEKS are the same as those in lesson 8
6th: 113.22.b.2.A, 113.22.b.3.A, 113.22.b.4.A, 113.22.b.4.B, 113.22.b.4.D, 113.22.b.5.A, 113.22.b.5.B,
113.22.b.8.A, 113.22.b.12.D, 113.22.b.15.A, 113.22.b.15.B, 113.22.b.15.C, 113.22.b.15.D, 113.22.b.18.A,
113.22.b.18.B, 113.22.b.18.C, 113.22.b.18.D, 113.22.b.19.A, 113.22.b.19.B, 113.22.b.22.B, 113.22.b.22.C,
113.22.b.22.D, 113.22.b.22.E
7th: 113.23.b.21.C, 113.23.b.21.D, 113.23.b.21.E, 113.23.b.22.B, 113.23.b.22.C, 113.23.b.22.E
8th: 113.24.b.10.B, 113.24.b.24,113.24.b.30.C, 113.24.b.30.D, 113.24.b.30.E, 113.24.b.30.F, 113.24.b.31.B,
113.24.b.31.C, 113.24.b.31. D
High School World History Studies: 113.33.c.1.A, 113.33.c.1.B, 113.33.c.6.C, 113.33.c.7.A, 113.33.c.9.A,
113.33.c.12. A, 113.33.c.17.A, 113.33.c.17.B, 113.33.c.19.A, 113.33.c.20.A, 113.33.c.20.B, 113.33.c.20.C,
113.33.c.21.A, 113.33.c.21.B, 113.33.c.25.B, 113.33.c.26.A, 113.33.c.26.B, 113.33.c.26.C, 113.33.c.26.D
High School World Geography Studies: 113.34.c.1.A, 113.34.c.2.A, 113.34.c.5.A, 113.34.c.5.B, 113.34.c.9.A,
113.34.c.10.B, 113.34.c.11.B, 113.34.c.14.C, 113.34.c.15.B, 113.34.c.16.B, 113.34.c.16.C, 113.34.c17.A,
113.34.c.18.B, 113.34.c.18.C, 113.34.c.22.C, 113.34.c.22.D, 113.34.c.23.B
Lesson 11 – Extended Ending (ELA)
6th: 110.18.b.5, 110.18.b.6.A, 110.18.b.8, 110.18.b.9, 110.18.b.10.D, 110.18.b.14.A, 110.18.b.14.B, 110.18.b.14.C,
110.18.b.14.D, 110.18.b.14.E, 110.18.b.15.A.i, 110.18.b.15.A.ii, 110.18.b.15.A.iii,
7th: 110.19.b.3.C, 110.19.b.5, 110.19.b.6.A, 110.19.b.6.B, 110.19.b.6.C, 110.19.b.7, 110.19.b.9, 110.19.b.10.D,
110.19.b.14.A, 110.19.b.14.B, 110.19.b.14.C, 110.19.b.14.D, 110.19.b.14.E, 110.19.b.15.A.i, 110.19.b.15.A.ii,
110.19.b.15.A.iii, 110.19.b.15.A.iv, 110.19.b.15.A.v
8th: 110.20.b.3.C, 110.20.b.5, 110.20.b.6.A, 110.20.b.6.B, 110.20.b.6.C, 110.20.b.9, 110.20.b.14.A,
110.20.b.14.B, 110.20.b.14.C, 110.20.b.14.D, 110.20.b.14.E, 110.20.b.15.A.i, 110.20.b.15.A.ii, 110.20.b.15.A.iii,
110.20.b.15.A.iv, 110.20.b.15.A.v
High School ELA & Reading I: 110.31.b.2.C, 110.31.b.4, 110.31.b.5.B, 110.31.b.5.C, 110.31.b.13.A,
110.31.b.13.B, 110.31.b.13.C, 110.31.b.13.D, 110.31.b.13.E, 110.31.b.14.A
High School ELA & Reading II: 110.32.b.2.B, 110.32.b.2.C, 110.32.b.4, 110.32.b.5.B, 110.32.b.8, 110.32.b.13.A,
110.32.b.13.B, 110.32.b.13.C, 110.32.b.13.D, 110.32.b.13.E, 110.32.b.14.A
High School ELA & Reading III: 110.33.b.2.A, 110.33.b.2.B, 110.33.b.2.C, 110.33.b.4, 110.33.b.5.B, 110.33.b.6,
110.33.b.8, 110.33.b.13.A, 110.33.b.13.B, 110.33.b.13.C, 110.33.b.13.D, 110.33.b.13.E, 110.33.b.14.A,
110.33.b.15.C.iv,
56
TEKS Alignment
High School ELA & Reading IV: 110.34.b.2.B, 110.34.2.C, 110.34.b.4, 110.34.b.5.B, 110.34.b.6, 110.34.b.8,
110.34.b.13.A, 110.34.b.13.B, 110.34.b.13.C, 110.34.b.13.D, 110.34.b.13.E, 110.34.b.14.A,
110.34.b.15.C.iv
Lesson 12 – Modern Day Soundtrack (Fine Arts - Music)
6th: 117.33.b.1, 117.33.b.2, 117.33.c.5.A, 117.33.c.5.D, 117.33.c.6.B
7th: 117.36.b.1, 117.33.b.2, 117.36.c.5.A, 117.36.c.5.D, 117.36.c.6.B
8th: 117.39.b.1, 117.39.b.2, 117.39.c.5.A, 117.39.c.5.D, 117.39.c.6.B
High School Music I: 117.60.b.1, 117.60.b.2, 117.60.c.1.C, 117.60.c.5.A, 117.60.c.5.B
High School Music II: 117.61.b.1, 117.61.b.2, 117.61.c.1.B, 117.61.c.5.A, 117.61.c.5.B
High School Music III: 117.62.b.1, 117.62.b.2, 117.62.c.2.C, 117.62.c.5.A, 117.62.c.5.B
High School Music IV: 117.63.b.1, 117.63.b.2, 117.63.c.1.A, 117.63.c.1.C, 117.63.c.5.A, 117.63.c.5.B
Lesson 13 – Previous Life (ELA)
6th: 110.18.b.5, 110.18.b.6.A, 110.18.b.8, 110.18.b.9, 110.18.b.10.D, 110.18.b.14.A, 110.18.b.14.B, 110.18.b.14.C,
110.18.b.14.D, 110.18.b.14.E, 110.18.b.15.A.i, 110.18.b.15.A.ii, 110.18.b.15.A.iii,
7th: 110.19.b.3.C, 110.19.b.5, 110.19.b.6.A, 110.19.b.6.B, 110.19.b.6.C, 110.19.b.7, 110.19.b.9, 110.19.b.10.D,
110.19.b.14.A, 110.19.b.14.B, 110.19.b.14.C, 110.19.b.14.D, 110.19.b.14.E, 110.19.b.15.A.i, 110.19.b.15.A.ii,
110.19.b.15.A.iii, 110.19.b.15.A.iv, 110.19.b.15.A.v
8th: 110.20.b.3.C, 110.20.b.5, 110.20.b.6.A, 110.20.b.6.B, 110.20.b.6.C, 110.20.b.9, 110.20.b.14.A,
110.20.b.14.B, 110.20.b.14.C, 110.20.b.14.D, 110.20.b.14.E, 110.20.b.15.A.i, 110.20.b.15.A.ii, 110.20.b.15.A.iii,
110.20.b.15.A.iv, 110.20.b.15.A.v
High School ELA & Reading I: 110.31.b.2.C, 110.31.b.4, 110.31.b.5.B, 110.31.b.5.C, 110.31.b.13.A,
110.31.b.13.B, 110.31.b.13.C, 110.31.b.13.D, 110.31.b.13.E, 110.31.b.14.A
High School ELA & Reading II: 110.32.b.2.B, 110.32.b.2.C, 110.32.b.4, 110.32.b.5.B, 110.32.b.8, 110.32.b.13.A,
110.32.b.13.B, 110.32.b.13.C, 110.32.b.13.D, 110.32.b.13.E, 110.32.b.14.A
High School ELA & Reading III: 110.33.b.2.A, 110.33.b.2.B, 110.33.b.2.C, 110.33.b.4, 110.33.b.5.B, 110.33.b.6,
110.33.b.8, 110.33.b.13.A, 110.33.b.13.B, 110.33.b.13.C, 110.33.b.13.D, 110.33.b.13.E, 110.33.b.14.A,
110.33.b.15.C.iv,
High School ELA & Reading IV: 110.34.b.2.B, 110.34.2.C, 110.34.b.4, 110.34.b.5.B, 110.34.b.6, 110.34.b.8,
110.34.b.13.A, 110.34.b.13.B, 110.34.b.13.C, 110.34.b.13.D, 110.34.b.13.E, 110.34.b.14.A,
110.34.b.15.C.iv
57
TEKS Alignment
Lesson 14 – Movie Trailer (Technology)
Middle School Technology Applications: 126.12.c.1.A, 126.12.c.5.A, 126.12.c.5.B, 126.12.c.7.D, 126.12.c.7.J,
126.12.c.10.A, 126.12.c.11.A
High School Digital Graphics: 126.25.c.1.A, 126.25.c.1.E, 126.25.c.1.K, 126.25.c.3.A, 126.25.c.5.A, 126.25.c.5.B,
126.25.c.5.c, 126.25.c.7.A, 126.25.c.7.I, 126.25.c.10.A, 126.25.c.10.C, 126.25.c.11.A, 126.25.c.12.B
High School Multimedia: 126.26.c.1.A, 126.26.c.2.A, 126.26.c.2.C, 126.26.c.3.A,126.26.c.5.B,
126.26.c.7.B, 126.26.8.H, 126.26.c.10.C, 126.26.c.11.A, 126.26.c.12.B
126.26.c.6.B,
High School Video Technology: 126.27.c.1.A, 126.27.c.2.B, 126.27.c.3.A, 126.27.c.5.A, 126.27.c.7.A,
126.27.c.9.E, 126.27.c.10.D, 126.27.c.11.A, 126.27.c.12.B
Lesson 15 – Set the Stage (Math)
6th grade math: 111.22.b.8.A, 111.22.b.8.B, 111.22.b.8.C, 111.22.b.8.D, 111.22.b.11.A
7th grade math: 111.23.b.8.C, 111.23.b.9.A, 111.23.b.13.A
8th grade math: 111.24.b.8.C, 111.24.b.9.B, 111.24.b.10.A, 111.24.b.14.A
High School Geometry: 111.34.b.8.A, 111.34.b.8.F, 111.34.b.11.D
High School Mathematical Models with Applications: 111.36.c.9.A
Lesson 16 – Consequence Stick (ELA)
6th: 110.18.b.3.A, 110.18.b.3.B, 110.18.b.5, 110.18.b.6.A, 110.18.b.6.B, 110.18.b.9, 110.18.b.10.C, 110.18.b.17.C
7th: 110.19.b.3.C, 110.19.b.5, 110.19.b.6.A, 110.19.b.6.B, 110.19.b.6.C, 110.19.b.9
8th: 110.20.b.3.C, 110.20.b.5, 110.20.b.6.A, 110.20.b.6.B, 110.20.b.6.C, 110.20.b.9, 110.20.b.10.A, 110.20.b.16
High School ELA & Reading I: 110.31.b.2.C, 110.31.b.4, 110.31.b.5.B, 110.31.b.5.C, 110.31.b.6, 110.31.b.8
High School ELA & Reading II: 110.32.b.2.B, 110.32.b.2.C, 110.32.b.4, 110.32.b.5.A, 110.32.b.5.B, 110.32.b.8
High School ELA & Reading III: 110.33.b.2.A, 110.33.b.2.B, 110.33.b.2.C, 110.33.b.4, 110.33.b.5.B, 110.33.b.8
High School ELA & Reading IV: 110.34.b.2.B, 110.34.b.2.C, 110.34.b.4, 110.34.b.5.B, 110.34.b.6, 110.34.b.8,
110.34.b.9.C
58
Bibliography
Puccini: a biography by Mary Jane Phillips-Matz, Boston, Northeastern University Press, 2002
Puccini: His Life and Works by Julian Budden, Oxford, New York, Oxford University Press, 2002
Operagoer's Guide: One Hundred Stories and Commentaries by M. Owen Lee, Portland,Oregon, Amadeus Press,
2001
Casa Illica, Castell’Arquato Italy and Grove Dictionary of Music and Musicians
The Canavese Giacosa Italy and Grove Dictionary of Music and Musicians
http://www.columbia.edu/itc/music/NYCO/butterfly/orient.html
http://www.operatoday.com/content/2007/01/puccini_madama_1.php
http://en.wikipedia.org/wiki/Madama_Butterfly
59

Madame Butterfly - Brazoswood High School Choir

Transcription

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