Brundibár Study Guide - Opera Theatre of Saint Louis

Transcription

OPERA THEATRE OF SAINT LOUIS
PRESENTS
Brundibár
Music by Hans Krása
Libretto by Adolf Hoffmeister
Study Guide for Teachers
November 2009
Written by Amy and Arnold Stricker, Ed.D
with contributions by Diane McCullough
Table of Contents
About the Opera …………………………………………………………………………… 3
History of Brundibár ……………………………………………………………………… 5
History of Terezin as Theresienstadt……………………………………………………… 6
Ela Weissberger Biography……………………………………………………………….. 8
Can You Hear Me Readers Theater……………………………………………………….. 11
Follow the Milk…………………………………………………………………………… 14
I See What You Are Saying………………………………………………………………. 16
I’m Just a Kid – Character Plus…………………………………………………………… 20
It Takes Just One - Leaders Big and Small……………………………………………….. 22
It Sounds Sort of Familiar………………………………………………………………… 24
The Truth, the Whole Truth, and Nothing but the Truth - Character Plus………………... 25
What Happens Next Is . . …………………………………………………………………. 27
The Opera Game………………………………………………………………………….. 31
Orchestra Instruments found in the Opera Brundibár…………………………………….. 33
Opera Jeopardy Game…………………………………………………………………….. 35
Composing the Opera…………………………………………………………………….. 39
Music of Brundibár: What to Listen For………………………………………………….. 44
Vocabulary………………………………………………………………………………... 50
Web Sites…………………………………………………………………………………. 51
Brundibár Fairy Tale…………………………………………………………………….. 53
Brundibár Libretto………………………………………………………………………... 60
Additional Readings……………………………………………………………………… 71
Brundibár
Brundibár Overview by Area and Grade
2
About the Opera
History of Brundibár
History of Terezin as Theresienstadt
Ela Weissberger Biography
Can You Hear Me Readers Theater
Follow the Milk
I See What You Are Saying
I’m Just a Kid – Character Plus
It Takes Just One - Leaders Big and Small
It Sounds Sort of Familiar
The Truth, The Whole Truth – Character Plus
What Happens Next Is . . .
The Opera Game
Orchestra Instruments found in the Opera Brundibár
Opera Jeopardy Game
Composing the Opera
Music of Brundibár: What to Listen For
Vocabulary
Web Sites
Brundibár Fairy Tale
Brundibár Libretto
Additional Readings
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OTSL 2009
About The Opera
What is an opera?
Opera is a story set to music in which most or all the words are sung rather than spoken.
Acting, singing, costumes, scenery, props, orchestral music, and often dance are used to convey
the storyline. The music of the opera can help bring the story to life by evoking emotions of
sadness, joy, anger, revenge, and triumph.
Brundibár
Brundibár, a two-act opera written by Jewish Czech composer
Hans Krása using Adolf Hoffmeister’s libretto, was created as a
submission for a children’s opera competition in 1938. It debuted in
secret at an orphanage in 1941 due to occupation by the German army.
Over 55 performances of the musical fable were given at
Theresienstadt, a ghetto camp where the Nazis hid their deportations
and exterminations of Europe’s Jewish population.
In the opera, helpless children overcome the bully Brundibár, an
organ grinder to provide needed milk for their mother. The people in
the ghetto viewed the playful children’s tale differently than the Nazis.
To them, the evil organ grinder was Hitler and his defeat symbolized
hope.
Hans Krása (L) and
Adolf Hoffmeister (R)
The Composer: Hans Krása
Hans Krása was born in the city of Prague in 1899. Krása began
composing music as a child and had his first piece publicly
performed when he was 11. He learned violin and piano as a
child and later studied composition in Berlin and Paris. His
style is influenced by early impressionism and by composers
such as Igor Stravinsky and Claude Debussy. In 1942 he was
arrested by the Nazis and deported to Theresienstadt, a ghetto
camp. Brundibár was rescored at Theresienstadt and performed
55 times. He was deported to the concentration camp Auschwitz
in October 1944 where he was immediately executed.
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Cast
Little Joe
Annette, his sister
Organ-grinder Brundibár
Ice Cream Man
Baker
Milkman
Policeman
Sparrow
Cat
Dog
Windows, choir
Schoolchildren, choir
Orchestra
Piccolo
Flute
Clarinet
Trumpet
Snare drum
Bass drum
Guitar
Piano
Violin I (2)
Violin II (2)
Cello
Bass
Scene
The opera takes place on a street in town with school, milk store, bakery, ice cream stand
and the stand of the organ-grinder Brundibár.
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History of Brundibár
Brundibár, a two-act opera written by Jewish
Czech composer Hans Krása using Adolf
Hoffmeister’s libretto, was created as a submission
for a children’s opera competition sponsored by the
Czechoslovak Ministry of Education in 1938.
Historical events interrupted the musical competition
as Czechoslovakia awaited its imminent invasion by
Germany; a competition winner was neither
announced nor prize money awarded.
After German occupation Jewish cultural
activities were forbidden, yet in 1941 Brundibár saw
its debut in secret at a Prague orphanage. Krása was arrested before he ever heard the
performance and was soon transported to Theresienstadt, military fortress turned into a ghetto
camp by the Nazi occupiers (see History of Theresienstadt.)
Krása was appointed head of musical activities for the camp. Using a smuggled piano
reduction of the Brundibár score and memory, he re-orchestrated the opera using available camp
resources: flute, clarinet, guitar, accordion, piano, percussion, four violins, a cello and a double
bass. The children’s musical fable saw its first public performance on September 23, 1943 under
the watchful eyes of camp guards. The production was directed by Frantisek Zelenka, formerly a
stage manager at the Czech National Theatre, and choreographed by Camilla Rosenbaum.
Rehearsals and performances were continuously disrupted by deportations of cast members to
extermination camps, but players were replaced by newly arriving children. Brundibár would be
performed 55 times through the following year.
Masters of propaganda, the Nazis promoted Theresienstadt as a “model” camp to hide
their deportations and exterminations of Europe’s Jewish population. A special performance of
Brundibár utilizing improved sets and costumes was given in 1944 for the International Red
Cross who were on a humanitarian visit. Ironically, the final act which depicts Brundibár’s defeat
was recorded for use in a Nazi propaganda film, Hitler Gives the Jews a Town, which was never
released.
The opera’s symbolism of the once helpless children overcoming the bully Brundibár was
not lost on its audience, and yet not viewed as a threat by the Nazis. This may have been due to
the opera’s Czech text and/or the playful nature of a simple children’s tale. To the Jewish
audience the evil organ grinder was Hitler and his defeat symbolized hope. The poet Emil A.
Saudek even changed the last lines of the libretto from “He who loves so much his mother and
father and his native land is our friend and can play with us.” to “He who loves justice and will
abide by it, who is not afraid, is our friend and can play with us.”
Today, Brundibár performances are layered with the history of its poignant beginning. As
all fables do, it carries meaning and lessons beyond the words and notes for all of us to hear and
remember.
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History of Terezín as Theresienstadt
Austrian Emperor Josef II founded the garrison town of Theresienstadt (today: Terezin)
on September 22, 1784, naming it after his mother, Empress Maria Theresa. It served as a minor
military base first for the Habsburg Monarchy until 1918 and then for the First Czechoslovak
Republic until 1938.
The Germans occupied the Sudetenland (western region of Czechoslavakia) in October
1938 following the Munich Agreement of September 29, 1938. The Germans used the town
Terezin, renamed Theresienstadt, as a military base until the end of summer 1941. In 1941, the
base housed approximately 3,500 soldiers and 3,700 civilians. Virtually all of the employed
adults among the civilians worked for the military.
On October 30, 1941, SS First Lieutenant Siegfried Seidl was given the responsibility of
establishing and commanding the planned camp-ghetto. After being briefed by Adolf Eichmann,
a high ranking Nazi official and architect of the Holocaust, Seidl negotiated with German
military authorities to obtain the site for the SS. The soldiers were transferred and the civilians
were relocated. On November 19, Seidl ordered the leaders of the Jewish Religious Community
in Prague, including the deputy chairman, Jacob Edelstein, to provide 1,000 members of the
community as workers to reconfigure the barracks town into a “settlement” for Jews. On
November 24, 1941, at noon, the first 1,000 Jews arrived at Theresienstadt.
The Theresienstadt "camp-ghetto" existed for three and a half years, between November
24, 1941 and May 9, 1945. During its existence, Theresienstadt served three purposes. First, it
was a transit camp for Czech Jews whom the Germans deported to killing centers, concentration
camps, and forced-labor camps in German-occupied Poland, Belorussia, and the Baltic States.
Second, it was a ghetto-labor camp to which the SS deported and then incarcerated certain
categories of German, Austrian, and Czech Jews, based on their age, disability as a result of past
military service, or domestic celebrity in the arts and other cultural life. To conceal the physical
annihilation of the Jews deported from the Greater German Reich, the Nazi regime employed the
general fiction, primarily inside Germany, that the deported Jews would be deployed as
productive labor in the East. Since it seemed implausible that elderly Jews could be used for
forced labor, the Nazis used Theresienstadt to hide the nature of the deportations. Third,
Theresienstadt served as a holding pen for Jews in the above-mentioned groups. It was expected
that that poor conditions there would hasten the deaths of many deportees, until the SS and
police could deport the survivors to killing centers in the East.
Neither a "ghetto" as such nor strictly a concentration camp, Theresienstadt served as a
“settlement,” an assembly camp, and a concentration camp, and thus had recognizable features of
both ghettos and concentration camps. In its function as a tool of deception, Theresienstadt was a
unique facility.
CULTURAL LIFE AT THERESIENSTADT
Despite the terrible living conditions and the constant threat of deportation,
Theresienstadt had a highly developed cultural life. Outstanding Jewish artists, mainly from
Czechoslovakia, Austria, and Germany, created drawings and paintings, some of them
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clandestine depictions of the ghetto's harsh reality. Writers, professors, musicians, and actors
gave lectures, concerts, and theater performances. The ghetto maintained a lending library of
60,000 volumes.
NAZI DECEPTION
Theresienstadt served an important propaganda function for the Germans. The publicly
stated purpose for the deportation of the Jews from Germany was their "resettlement to the East,"
where they would be compelled to perform forced labor. Since it seemed implausible that elderly
Jews could be used for forced labor, the Nazis used the Theresienstadt ghetto to hide the nature
of the deportations. In Nazi propaganda, Theresienstadt was described as a "spa town" where
elderly German Jews could "retire" in safety. However, the deportations to Theresienstadt were
part of the Nazi strategy of deception. The ghetto was in reality a collection center for
deportations to ghettos and killing centers in Nazi-occupied Eastern Europe.
Succumbing to pressure following the deportation of Danish Jews to Theresienstadt, the
Germans permitted the International Red Cross to visit in June 1944. It was all an elaborate hoax.
The Germans intensified deportations from the ghetto shortly before the visit, and the ghetto
itself was "beautified." Gardens were planted, houses painted, and barracks renovated. The Nazis
staged social and cultural events for the visiting dignitaries. Once the visit was over, the
Germans resumed deportations from Theresienstadt, which did not end until October 1944.
DEPORTATIONS FROM THERESIENSTADT
Beginning in 1942, SS authorities deported Jews from Theresienstadt to other ghettos,
concentration camps, and extermination camps in Nazi-occupied Eastern Europe. German
authorities either murdered the Jews upon their arrival in the ghettos of Riga, Warsaw, Lodz,
Minsk, and Bialystok, or deported them further to extermination camps. Transports also left
Theresienstadt directly for the extermination camps of Auschwitz, Majdanek, and Treblinka. In
the ghetto itself, tens of thousands of people died, mostly from disease or starvation. In 1942, the
death rate within the ghetto was so high that the Germans built--to the south of the ghetto--a
crematorium capable of handling almost 200 bodies a day.
Of the approximately 140,000 Jews transferred to Theresienstadt, nearly 90,000 were
deported to points further east and almost certain death. Roughly 33,000 died in Theresienstadt
itself. Fifteen thousand children passed through Theresienstadt. Although forbidden to do so,
they attended school. They painted pictures, wrote poetry, and otherwise tried to maintain a
vestige of normalcy. Approximately 90 percent of these children eventually perished in death
camps.
United States Holocaust Memorial Museum. "Theresienstadt." Holocaust Encyclopedia.
http://www.ushmm.org/wlc/article.php?lang=en&ModuleId=10005424(accessed 10-06-2009)
United States Holocaust Memorial Museum. "Theresienstadt: Establishment." Holocaust
Encyclopedia.
http://www.ushmm.org/wlc/article.php?lang=en&ModuleId=10007506 (accessed 10-06-2009)
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Ela Weissberger: Her Story
Ela Weissberger is an extraordinary grandmother with a
ready smile who has dedicated a great portion of her later life and
speaking to audiences around the world about the Holocaust; she
has a unique, cautionary, and ultimately hopeful message to share
through her life story.
Ela was born in 1930 in the small town of Lom U Mostu,
which is now part of the Czech Republic. She was the second
daughter to Max and Marketa Stein and grew up in a close-knit
extended family. However, Ela lived in a time and place which
was becoming increasingly hostile to her, her older sister Ilona, and
her parents because of their Jewish heritage.
When Ela was just 8 years old, townspeople came to the
Steins’ home, painted “Jews Out” on their front door, and smashed
windows everywhere. It was November 9-10, 1938, and that night became known as
Kristallnacht or “The Night of Broken Glass.” Nazi troops had invaded Czechoslovakia a month
earlier and declared it part of Germany. Only a few short weeks later, Ela’s father was taken
away by police for speaking out against Adolph Hitler in public, her home was vandalized, and
her mother was ordered to bring the remainder of the family to the Nazi headquarters. Instead,
they ran away from their hometown.
Prague, a city of tall palaces and cathedrals, became Ela’s new home, but she moved
continually as the Nazis took over more and more of the city, relocating Jews, who were forced
to wear a yellow star that said Jude (Jew). Even with the multiple moves, Ela and Ilona kept
going to school until 1940 when the Nazis passed a law forbidding Jewish children to attend
public schools. In December of 1941, Nazis began forcing Jews on transports, trains that took
prisoners to unidentified destinations out of the city. Ela’s family was told they had three days to
prepare to leave Prague with 110 pounds of belongings each. On February 12, 1942 eleven-yearold Ela Stein and her family were transported to Terezin.
Terezin had been a military fortress built in the 1780’s by the Austrian Empire.
Abandoned by the old ruling military, the fortress Terezin became the town Terezin with a
population of 7,000. In June of 1940, Nazi’s took control of Terezin, expelled its non-Jewish
residents, renamed it Theresienstadt, and began promoting it as a “model Jewish settlement” to
the outside world. In reality it served as a transit camp for those being transported to Auschwitz, a
concentration camp. Ela remembers being expelled from the transport train, being forced to
march through the snow for miles, and finally reaching the town where she watched the huge
wooden gates of Theresienstadt close behind her. At eleven years old, she knew she was in a
prison.
Thousands of prisoners were forced to live in tight quarters, crammed into the rooms,
halls and stairwells of buildings. Many died from disease and starvation before they could be
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transported on to a death camp. There wasn’t enough to eat, and meals often consisted of watery
green soup made from dried peas and potatoes. Ela remembers seeing old men and women
sifting through the garbage hoping to find scraps of rotten food. Fortunately, Ela’s mother
worked in the guards’ garden, and she proudly recalls that her “mother was the best thief in
Terezin!” Marketa exchanged the stolen vegetables to for bits of bread and sugar for her
daughters Ela and Ilona. At times she also prepared food for children who did not have parents at
the camp.
Soon after the Steins’ arrival, the decision was made to house all children in separate
barracks while their parents and elders worked. Ela was assigned to Room 28 with about thirty
other girls her age. Under the tutelage of a few caretakers and teachers, the children studied
traditional subjects, piano, art and more. The Nazis strictly forbade any kind of study, but the
camp was full of university professors, artists, actors and writers who would visit secretly to
conduct their lessons. Some paintings, drawings and poetry survive today from the children of
Theresienstadt. Another piece of art which survives is the children’s opera, Brundibár.
Brundibár was written by the Czech composer Hans Krása as a submission for a
children’s opera competition sponsored by the Czechoslovak Ministry of Education in 1938. The
first performance was staged in a Prague orphanage in 1941. But it is best known from the 55
performances by the children of Theresienstadt. Ela with her beautiful voice was given the role
of the “Cat.” The production was directed by Frantisek Zelenka, formerly a stage manager at the
Czech National Theatre, and choreographed by Camilla Rosenbaum. Rehearsals and
performances were continuously disrupted by deportations of cast members to extermination
camps, but players were replaced by newly arriving children. Brundibár would be performed 55
times through the following year.
Many concerts, plays and lectures were allowed and then taken away as punishment. The
cast of Brundibár did not know if their opera about a bully and his defeat would ever be
presented, but on September 23, 1943 Brundibár was performed in front of the Nazi guards. It
was received with deafening applause, for many in the audience knew that the cruel organ
grinder Brundibár represented Hitler, the dictator of Germany, and the opera played out his
defeat. The opera was presented every week thereafter. Cast members were allowed to remove
their yellow stars during performances, allowing them a brief moment of freedom, and audiences
experienced the hope that one day the real-life tyrant Hitler would be vanquished.
As cast members were sent away on the transports, Ela received protection from her
mother and uncle who were in positions of limited power. The International Red Cross visited
the camp in the summer of 1944, a trip planned by the Nazis to showcase their “model camp” for
Jews. In preparation for the one-day visit the Germans transported large numbers of prisoners to
reduce crowding, painted buildings, planted flowers and ordered the inmates to present various
performances including Brundibár. After what they thought was a successful visit, a few weeks
later the Nazis filmed the camp and Brundibár for a propaganda film Hitler Gives the Jews a
Town. The film captured one of the last performances of Brundibár, because transports rose
sharply thereafter.
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Soon most of the children had been taken away and Ela returned to live with her mother
and sister near the gardens. On May 3, 1945, Theresienstadt was turned over to the International
Red Cross and became Terezin, once again. Ela had spent three and a half years at the camp and
was almost fifteen when she was freed.
The bonds of friendship and survival she formed in Room 28 stayed with Ela her entire
life. Throughout her life, which has included moves to Israel and the United States, marriage
and children, Ela searched for the girls from Room 28. In 1986 Ela and her friends reunited in
Prague, and they agreed to meet at least once every year. They kept their promise, and now Ela is
the last surviving cast member of Terezin’s Brundibár. Today she resides in New York as an
American citizen and travels the world sharing her story.
…we performed this opera at Terezin. Only a few of us survived. I lost
many of my friends. But when we were performing Brundibár, we forgot
where we were, we forgot all of our troubles. Music was part of our
resistance against the Nazis. Music, art, good teachers, and
friends mean survival.
~Ela Weissberger
Biography Sources:
Rubin, Susan Goldman. Cat with the yellow star coming of age in Terezin. New York: Holiday House,
2006.
United States Holocaust Memorial Museum. "Theresienstadt." Holocaust Encyclopedia.
http://www.ushmm.org/wlc/article.php?lang=en&ModuleId=10005424(accessed 10-06-2009)
United States Holocaust Memorial Museum. "Theresienstadt: Timeline." Holocaust Encyclopedia.
United States Holocaust Memorial Museum. "Theresienstadt: Cultural Life." Holocaust Encyclopedia.
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OTSL 2009
Can You Hear Me?
Readers Theater
Overview:
Students will perform a read aloud the libretto of Brundibár
Grades:
3-8
Subjects:
Communication Arts,
Theatre
Missouri Grade
Level Expectations:
Communication Arts:
R2A, R2C
Theatre: PP1B, PP1F,
AP1A
Outcomes:
Students will reformat a text according to Readers Theatre
guidelines
Students will perform a play version of Brundibár
Students will read with fluency and expression
Suggested Time:
Approximately two 50 minute classes
Materials:
Copies of the libretto of Brundibár
Found in the Opera Theatre of Saint Louis Brundibár Study Guide (p. 60)
Classroom board
Highlighters
Activity/Procedure:
Day 1
♦ Preparing to Read
Divide class into two groups and assign parts (many students will be responsible for more
than one part.)
Using a highlighter, have students mark their speeches in their copy of the script. Ask them
to mark only words they will speak—not stage directions which are in italics.
Have students underline words that tell about anything they will need to act out—words in
either the stage directions or other readers’ speeches.
Have students read through their part silently. If there are words with which they are not
familiar, have students look them up in a dictionary. If there are words the student must
remember to stress, underline them. If there are places to pause, mark them with a couple of
slashes, //. (For instance, a student may have to pause so the audience will know there’s a
change of scene or time in the story.)
Have student groups read through their part aloud. Ask them to think about how that
character would sound. Should they try a funny voice? How would the character feel about
what’s happening in the story? Speak as if you were feeling that.
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Day 2
♦ Pointers to Review (written on the board):
1. Hold your script at a steady height, but make sure it doesn’t hide your face. If there’s
anyone in the audience you can’t see, your script is too high.
2. While you speak, try to look up often, not just at your script. When you do look at it,
move just your eyes and keep your head up.
3. Talk slowly. Speak each syllable clearly.
4. Talk loudly! Talk with feeling. Audiences love a ham!
5. Stand and sit straight. Keep your hands and feet still, if they’re doing nothing useful!
6. If you’re moving around, face the audience as much as you can. When rehearsing,
always think about where the audience will be.
7. Characters, remember to be your character even when you’re not speaking.
♦ Rehearsing and Performing
Have groups move around and read through the script again, trying out faces and actions.
Would the character stand or move a special way? Can you do that? If possible, have a big
mirror for students to use practicing.
♦ Performing
Performances should take about 12-15 minutes each.
Assign read aloud pairs – a student paired with another from the other group and use a “Read
Aloud” checklist (p. 13)
♦ Before an actual performance, discuss with your students the “what-ifs.”
If the audience laughs, stop speaking until they can hear you again.
If someone talks in the audience, don’t pay attention to them, keep going.
If someone walks into the room, don’t look.
If you make a mistake, pretend it was right.
Have fun, and tell your readers what they’re doing well!
Credits:
Shepard, Aaron. "RT Tips, Chapter 3 ~ Tips on Reading." Aaron Shepard's Home Page *Stories, Scripts, More*.
N.p., n.d. Web. 06 July 2009. <http://www.aaronshep.com/rt/Tips3.html>.
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Reader’s Name___________________________
Completed by____________________________
Readers Theatre
Read Aloud Checklist
1. Did the reader use a loud voice?
Needs some work
Pretty good
Awesome
2. Did the reader speak slowly and clearly?
Needs some work
Pretty good
Awesome
Pretty good
Awesome
Pretty good
Awesome
3. Did the reader use expression?
Needs some work
4. Did the reader read with fluency?
Needs some work
5. Could you see the reader’s face while he or she read during the play?
Needs some work
Pretty good
Awesome
6. Did the reader use appropriate gestures and motions?
Needs some work
Brundibár
Pretty good
13
Awesome
OTSL 2009
Follow the Milk
Overview:
Students will read the fairy tale version of Brundibár, identify
literary elements of the plot and organize them graphically
Outcomes:
Students will identify the literary elements of plot
Students will be able to demonstrate text comprehension through
reflecting on and analyzing the literary elements of plot and
then will communicate them graphically
Students will place plot events in chronological order
Grades:
3-5
Subjects:
Communication Arts
Missouri Grade
Level Expectations:
Communication Arts:
R1E, R1G, R1H, R2A
Students will create an evaluative scale which ranks plot events
from high points to low points
Suggested Time:
Approximately two 50 minute classes
Additional time may be needed for background preparation or to
complete drawings
Materials:
Copies of the fairy tale version of Brundibár
Classroom board
Colored pencils, crayons, and/or markers
Construction Paper/Chart Paper
Activity/Procedure:
Day 1
♦ Use background preparation as needed:
What is Plot?
The literary element which describes the events of a story
Elements of Plot:
Beginning (exposition): The situation before action begins the story
Rising Action: Conflicts in the story which lead to the middle (climax)
Middle (climax): the turning point, the most dramatic moment
Falling Action: the action which follows the dramatic moment
End (conclusion/resolution): the tying together of the story’s events
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♦ Review the literary elements to plot as needed for your class
♦ Read the fairy tale version of Brundibár. You can choose to read aloud, do independent
reading, pair or group readings – but each student should have a copy of the story
♦ Once you have finished the story, arrange students in groups of 4-6 and have each group
discuss and record their answers to the following questions written on the board:
What did the author need to explain at the beginning of the story?
What event begins the action?
What is the most dramatic point of the story? Is it clear?
What happens after the climax?
How does the story end?
Are there other important events that were not included in the questions above?
Day 2
♦ Have student groups review their answers from the previous class. Ask students to write
or draw a representation of each event they described on construction paper. Explain that
there will be 3 different colors of construction paper used:
1st color: Beginning and End events
2nd color: Rising and Falling action events
3rd color: Climax
♦ When they are finished creating their events each group needs a piece of chart paper to
plot their events chronologically. Have students divide their paper horizontally with a
line. On the upper half have the students write “Positive” and on the lower half have the
students write “Negative.” Not only do the students need to plot their events
chronologically, but how strongly they feel the event was positive or negative.
♦ Have groups share their completed plot organizers and discuss differences between the
groups.
Extension:
♦ Allow students to revise plot organizers after the group discussion
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I See What You Are Saying
Overview:
Students will listen to the fairy tale version of Brundibár, select a
character of which to draw a picture and identify specific
character elements/traits
Outcomes:
Students will utilize strategies of visualizing characters while
Brundibár is being read
Students will be able to identify specific relevant character
elements/traits as it relates to a character in the story
Grades:
3-5
Subjects:
Communication Arts
Missouri Grade
Level Expectations:
Communication Arts:
R1G, R1I, LS1A
Students will be able to demonstrate text comprehension through
reflecting, analyzing and then drawing character
elements/traits
Students will make connections between their selected character
and the world around them
Suggested Time:
Approximately 50 minutes
Additional time may be needed for background preparation or to
complete drawings
Materials:
Fairy Tale version of Brundibár
Classroom board
Colored pencils, crayons, and/or markers
Character Trait Drawing Paper (p. 18-19)
Activity/Procedure:
♦ Use background preparation as needed:
What is a character?
Using a book and/or television show you know with which your class is familiar, ask
“WHO the characters are in the book (or television show)” For example, they might
know that Charlotte is the main character in the book Charlotte's Web.
For example, Joe is a character on the television show “Blue's Clues.”
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Stories need a plot (the series of events that happen), setting (the places where they
occur), and characters (the people or animals who are affected by the plot and setting).
But that's still WHO the characters are. We're talking about WHAT character is, not who
some characters are.
Character elements and development are the collection of features that bring the people
(or animals) to life. It's not just what they look like, but how they think, what they do,
what they wear, and so on.
Character is something you can figure out by paying attention to what they do,
what they say, what they think and feel, and what others say about them.
Here is a list of common characters:
The Hero/Heroine
Bully
Class Clown
Brain
Athlete
For most of them, you can think of specific features that they're likely to have. In a good
piece of writing, the characters go beyond the obvious features. They might have an
unusual or surprising feature. Remind students to describe inner qualities, as well as
what the character looks like.
How often have you seen a movie after reading the book it was based on and said,
"That's not how I pictured ______; she should be [taller, meaner, funnier]"?
Readers often see themselves or others they know in the fictional characters
(human or animal) they read about in books. When we think about all the features
that make up character, what the readers bring to the story is just as important as
what the author wrote.
♦ Explain that as you read the story version of Brundibár, students should visualize the
details about the characters – what they look like (short, tall, big, slim, hair color, hair
style, etc.); what clothes they are wearing (neat, messy, new, old, bright, drab, etc.); what
they act like (move quickly or slowly, happy, mean, sad, excited, etc.)
♦ Once you have finished the story, hand out the Brundibár Character Trait Drawing paper
found at the end of this lesson and have students select one character to draw and
describe. Have students think about “clues” in the text to create their characters.
Encourage students to go back and check specific details in the short story text.
Options to have a variety of characters represented:
Have students select their character by “drawing out of a hat”
Place students in groups of 4 or 5 and ask each member to select a
different character
Extensions:
♦ Have students group a set of character drawings and use them to retell the story
♦ Group students by same character and have them share their drawings
♦ Have students decide which character they are most like and write about why
♦ After the students see the performance, have them compare their character drawings to
what they saw on stage
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Name: ____________________
Brundibár
Character Traits
The character I chose is____________________________
and this is what my character looks like:
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OTSL 2009
The clues I used from the story to create my character were:
I would/would not like my character to be my friend because:
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OTSL 2009
I’m Just a Kid
Character Plus Extension to “Can You Hear Me? Readers Theatre”
and/or the Brundibár Opera performance
Overview:
Students will identify things for which Joe and Annette in
Brundibár were responsible and relate it to their own lives
Outcomes:
Students will identify responsibilities to self, family, friends and
community
Suggested Time:
Grades:
3-8
Materials:
Copies of Brundibár libretto
Subjects:
Character Education,
Communication Arts
Missouri Grade
Level Expectations:
Communication Arts:
R1I, LS1A, LS2A
Classroom board
Index cards
Writing paper
Prerequisite:
Classroom performance and/or Opera Theatre performance of
Brundibár
Activity/Procedure:
♦ Reflection
As a class record a list of responsibilities that Joe and Annette had in Brundibár on the board.
Ask students to categorize these responsibilities into the following categories:
Responsibilities to Self, Family, Friends and Community
Discuss how Joe and Annette were able to fulfill their responsibilities. What personal qualities
did it take? Did they receive help?
♦ Game – Stand Up!
Ask students to reflect on their own responsibilities. They can be ones they fulfill regularly, or
even ones they are trying to fulfill. On an index card have students write their top one or two
responsibilities for each category in the following order:
1. Community; 2. School; 3. Friends; 4. Family; 5. Self
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Collect the index cards. Ask everyone in the class to stand and select a card. Read off the
responsibilities starting with community on the card and ask anyone who had the same idea to
remain standing and if they did not have that idea on their card, those students would sit down.
For example: the card may read under community “pick up trash/don’t litter” and anyone who
had that idea on their card would remain standing, those that did not would sit down. Continue
down the list, allowing students to sit after each category. After each card is complete, one
student (possibly a couple of more) will be left standing. Select a new card, ask the class to stand
again and repeat. These “stand up” rounds go fast, complete at least 5 or 6 for material
discussions – you can return to the stack at the end of the period if the class wants more.
After completing your “stand up” rounds ask the class to reflect on the responsibilities that were
called out during the game. What were the similarities? Differences? New ideas? How can each
student help with the responsibilities discussed? Do any of the student’s responsibilities reflect
Joe and Annette’s in Brundibár?
Extension:
♦ On a sheet of paper have students write out a new list of responsibilities. Have them
focus on one for each category (their list may or may not change after the game and
discussion.) Return to this list after a week or so and have students do a self-check on
how they are meeting their responsibilities.
Refresh the list throughout the remainder of the year.
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OTSL 2009
It Takes Just One – Leaders Big and Small
Grades:
3-8
Subjects:
Communication Arts,
Social Studies
Missouri Grade
Level Expectations:
Communication Arts:
R1G, R1H
Social Studies:
TSSI7A
Overview:
Using the short story Brundibár, students will identify the
leadership qualities of the characters
Outcomes:
Students will identify responsibilities to self, family, friends and
community
Suggested Time:
Materials:
Fairy Tale version of Brundibár
Characteristics for Leadership Sheet (p. 23)
Activity/Procedure:
♦ Read the short story Brundibár aloud. Tell students they should pay particular attention to
any leadership qualities the characters demonstrate. Have them preview the
Characteristics for Leadership Sheet so they know exactly for what qualities they are
looking.
♦ After the story, divide students into groups of 4 and have them discuss and fill out their
Leadership Sheets.
♦ Once sheets are completed, discuss the answers as a class. Ask why some characters did
not demonstrate any leadership qualities. Have students select one character who has the
same leadership style and skills that they do.
Extensions:
♦ Have students read “Ela Weissberger: Her Story” and write a list of the leadership
characteristics she has demonstrated throughout her life. Give specific examples of how
Ela has been a leader for her community, friends, family and self.
♦ Have students read about Nobel Prize winner Irena Sendler who recently died and follow
the same instructions as above. Visit www.snopes.com/politics/war/sendler.asp
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Leaders Big and Small
List the character name next to the leadership quality and give an example of how that
character shows the characteristic
Leadership Quality
Character
Example
Trustworthy
Good Communicator
Provides a Vision
Motivates Others
Hard Worker
Positive Attitude
Takes Care of Others
Enthusiastic
Sense of Humor
Takes Responsibility for Actions
Informed
Stands up for What They Believe
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OTSL 2009
It Sounds Sort of Familiar
Overview:
Students will use the libretto of Brundibár to identify literature
terms and techniques
Outcomes:
Students will demonstrate knowledge of literary techniques
Grades:
6-8
Subjects:
Communication Arts
Missouri Grade
Level Expectations:
Communication Arts:
R2B, W1A
Students will analyze the Brundibár libretto
Students will create a brief libretto
Suggested Time:
Materials:
Copies of the Brundibár libretto
Classroom board
Activity/Procedure:
♦ Explain to students that a libretto literally means “little book” and it refers to the text of
an opera. Librettos commonly use literary and poetic techniques to give their words form
along with the music.
♦ Using the board to record answers, ask students to recall any literary and poetic
techniques with which they are familiar. Alliteration, dialogue, foreshadow, free verse,
imagery, metaphor, meter, onomatopoeia, personification, rhyme, simile, stanza, etc.
♦ You may have students work individually, in pairs or small groups. Hand out the libretto.
Have students identify the literary and poetic techniques which are used throughout the
piece.
♦ Ask students to identify their favorite passages and why they feel the technique used is
particularly successful.
♦ Have students create a brief stanza of their own using one or two of the same techniques.
Extension:
♦ Have students compose their own libretto about a scene from their lives and set to music.
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OTSL 2009
The Truth, the Whole Truth, and Nothing but the Truth
Overview:
Using the “History of Terezin as Theresienstadt” and selected web
sites, students will write a news article from the perspective of
the Red Cross who visited the camp and how they would get
the “truth” and help those inside the camp.
Outcomes:
Students will research an historical event
Grades:
6-8
Subjects:
Communication Arts,
Social Studies
Suggested Time:
Additional time may be needed to complete articles
Materials:
Copies of “History of Terezin as Theresienstadt”
Missouri Grade
Level Expectations:
Communication Arts:
R3A, W2A, W3A,
IL1A, IL2A
Social Studies:
TSSI7A
Classroom Board
Internet access (or teacher may print out needed materials if
computers are not available)
Writing paper
Prerequisite:
General knowledge of the Holocaust
Activity/Procedure:
♦ List the following web sites on the board:
Theresienstadt: Red Cross Visit
http://www.ushmm.org/wlc/article.php?lang=en&ModuleId=10007463
Photos from the Red Cross Visit
http://www.ushmm.org/wlc/media_ph.php?lang=en&ModuleId=10007463&MediaId=6600
Nazi Propaganda
http://www.ushmm.org/wlc/article.php?lang=en&ModuleId=10005202
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♦ Have students read “History of Terezin as Theresienstadt.” Explain that they are to put
themselves in the position of the visiting Red Cross authorities. Discuss what questions
they could ask the prisoners of Theresienstadt under Nazi supervision to try and get the
whole truth about the camp. Write these questions on the board.
♦ Tell students that they are going to write a news article to expose what is really going on
at Theresienstadt. They can investigate further information by using the web sites listed
on the board which will include additional information the Red Cross had, along with
pictures that were taken during the visit. Encourage students to use their investigative eye
to get clues to the truth.
♦ Remind them that they are writing to a world who is not sure about what is going on in
the camps and to only use information that the Red Cross would have had, not what we
know today.
♦ Wrap up discussion: Why is it important to take action when you see abuses? What kind
of action was available to the Red Cross at that time? What happens when people choose
not to acknowledge abuses? What are some things that our country and your school have
in place to prevent abuses?
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OTSL 2009
What Happens Next Is…
Overview:
Students will read the short story version of Brundibár in sections,
make predictions about what happens next and articulate the
author’s intent
Outcomes:
Students will make predictions at certain points during the reading
of Brundibár
Students will support their predictions with information and
analysis
Students will identify the author’s intent
Grades:
6-8
Subjects:
Communication Arts
Missouri Grade
Level Expectations:
Communication Arts:
R1F, R1G, R1I, R2C
Suggested Time:
Materials:
Copies of the fairy tale version of Brundibár
Classroom Board
Prediction Question Sheet and Chart (p. 29-30)
Activity/Procedure:
♦ Explain that the fairy tale version Brundibár is based on the opera that they will see in
November. Offer the hint that the opera’s creation, first performers and performances
have a very meaningful historical context and students should keep that thought in the
back of their mind when reading the story of Brundibár and making predictions – it is
more than a simple fairy tale.
♦ You may have students work individually, in pairs or in small groups. Hand out the fairy
tale Brundibár. Ask students to read the “At Home” passage and answer question 1.
♦ Once the class is ready, read aloud until you come to the stopping point for question 2.
Have students check their predictions from question 1. Did they pick up on any clues in
the text? Have students fill out the “what actually happened” section.
♦ You may continue stopping and checking predictions as a class, or have students check
predictions and finish reading and the short story in small groups.
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♦ After students have completed their prediction questions and charts, remind them about
Brundibár’s background you discussed at the beginning of class before they answer
question 2. Have students think about the authors’ primary intent whether it was to
persuade, inform or entertain and who they believe was the intended audience.
Extension:
♦ Have students read the “History of Brundibár” and reevaluate and rewrite their author’s
intent and audience writings.
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Name:____________________
Brundibár Prediction Questions and Chart
Read the questions below and use the following chart to record your answers.
1. Do you think Joe and Annette have money for the milk?
2. Will the Milkman help Joe and Annette?
3. What happens to Joe and Annette after they have been chased into the
alley?
4. Will the plan be successful and how will it work?
5. How will Joe and Annette buy milk?
6. What was the author’s main intent, to persuade, entertain or inform?
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Question
Prediction
Text Clues
What Actually Happened
1.
2.
3.
4.
5.
6.
Brundibár
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OTSL 2009
The Opera Game
Overview:
Just as many students know the terms and players that make up a
baseball game, students will learn basic opera vocabulary and
who the key people are in creating an opera.
Grades:
3-5
Subjects:
Music,
Communication Arts,
Theatre
Missouri Grade
Level Expectations:
Music (rev. 6/7/2007):
HC1A5, HC1B5,
HC1C5
IC1B3, IC1B4, IC1B5
Outcomes:
Students will be able to identify basic music terms associated with
opera.
Students will be able to demonstrate their understanding of opera
terms through theatrical interpretation for the class.
Suggested Time:
Materials:
Classroom board
Large Index Cards with Terms on one side/ Definitions on the
other (p. 32)
Props for acting out terms
Activity/Procedure:
♦ Have opera terms written on the classroom board.
♦ The baseball warm-up: ask students if they have ever seen or played a baseball game.
Have them name the participants in a game – pitcher, fielders, batter, catcher, umpires.
Select one or two students to explain the purpose or “how to play the game.” Next, ask
students what would happen if a player didn’t know the terms of the game or there were
some participants missing. Ask if it is more fun to watch baseball if you know the terms
and what the participants are supposed to do.
♦ Explain that it is the same with watching an opera. It is more fun if you understand who
the players are and what they all do to perform an opera. They are going to learn the basic
terms that are used in an opera.
♦ Students will divide into groups of two or three and be given an index card with an opera
term. Explain that they will have to act out the term that they have been given. Remind
students that they don’t just have to be people, they can pretend to be an object, and they
can use any words but the actual term to demonstrate their word.
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♦ Have groups come up one at a time to perform their word. Once the group has finished
their performance, have the audience guess which word the performers acted out. Many
students will be unfamiliar with the terminology at first so encourage the audience to use
the list on the classroom board for guesses and mark them off once they have been used.
♦ Once the groups have finished mix the cards and have the groups try acting out a new
term. And now you can play ball! If the audience guesses the term on the first try – it’s a
home run! If they guess on the second try – it’s a triple; on the third try – it’s a double;
and on the fourth try – it’s a single. You can have the groups play against each other
(you would need multiple index card sets) or even keep score between classes.
Extensions:
♦ Have students pick one of the opera terms and write or draw how it is like a baseball
term. (Acts=Innings; Conductor=Manager or Pitcher; Singers=Players; Singing an
Aria=Being at Bat; etc.)
♦ Play “pick-up games” as a refresher as the opera draws near.
Basic Opera Vocabulary
Acts- how the action in an opera is divided
Aria- a vocal solo or song
Composer- individual who writes the music to a libretto of an opera
Conductor-individual who leads the orchestra and singers for the opera
Duet-two people singing or playing instruments together
Libretto- the words of an opera; literal meaning is little book
Overture- an instrumental piece which introduces the opera
Score-music of the opera used by the conductor to conduct
Solo-one person singing or playing an instrument
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Orchestra Instruments found in the Opera Brundibár
Overview:
Students who watch or listen to baseball games can recognize
players by the number on their uniform, their voice, or even
their appearance. Visual and aural recognition factors play a
big part in daily life. Students will review or in some cases
learn the specific instruments Hans Krása had available when
he composed Brundibár and how that affected the sound of
the orchestra.
Grades:
3-5
Subjects:
Music
Missouri Grade
Level Expectations:
Music (rev. 6/7/2007):
AP1B3-5
IC1B3-5
Outcomes:
Students will be able to visually and aurally identify the musical
instruments that perform in the opera.
Suggested Time:
Materials:
Classroom board
Large pictures, photographs, or drawings of the instruments (found
in separate files on the OTSL Brundibár Website)
Sound bytes of the instruments (found in separate files on the
OTSL Brundibár Website)
One set of 11 index cards with the names of the instruments (p. 34)
Activity/Procedure:
♦ Have pictures of instruments on the classroom board.
♦ Organizing the team: ask students if they have ever seen or heard an interview with
Albert Pujols from the St. Louis Cardinals. Besides seeing his name at the bottom of the
television screen, how did they know it was him? Besides hearing his name mentioned
on the radio, how did they know it was him?
♦ Just as there are different players that can be seen and heard on the St. Louis Cardinals,
there are different instruments in the opera Brundibár that Hans Krása used when he
composed the music. It is more enjoyable if you can identify the instruments that
perform in the opera. They are going to see and hear the instruments which were
available and used in the opera.
♦ Students will review the different families of instruments and the instruments which are a
part of the families.
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♦ Divide students into groups of three or four. Post the instrument pictures on the board
and pass out a few cards to each group. Explain they will have to match the instrument
named on the card with the picture of the instrument. Have a different student from each
group come up one at a time and match the card with the picture. Continue until all the
cards are used.
♦ Once all the instruments are matched with the correct name card, redistribute the cards in
like manner. Explain they will hear a brief sound byte of an instrument. They will have
to match the correct card with the sound they hear and put it under the picture of the
instrument. After listening to the instrument and identifying the sound of the instrument,
students will come up one at a time and match the card with the picture. Continue until
all the cards are used.
♦ Now you can begin to play match the instruments and their sounds. Turn the instrument
pictures and the cards over so the picture and name of the instruments are away from the
students. Arrange them in a square, circle, or other design. Have one person from each
team turn over an instrument picture and then a card. When the card is turned over, play
the sound byte of the instrument named. If the picture and card match, the team gets a
point. If they don’t match, the next team gets a turn. Continue until all of the cards are
matched.
Extension:
♦ Vary the game: (1) Put duplicate instrument pictures with a matching card in the
grouping, (2) Don’t play the sound byte, but have students match the word with the
picture, (3) Place bonus cards (cards without the instrument name) in the group. When
students select a bonus card, they will only hear the instrument sound byte and will get
double points if they match it with the correct picture of the instrument.
Instrument Names
Bass Drum
Snare Drum
Piano
Guitar
Piccolo
Flute
Brundibár
Clarinet
Trumpet
Violin
Cello
String Bass or Double Bass
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OTSL 2009
The Opera Jeopardy Game
Grades:
6-8
Subjects:
Music
Missouri Grade
Level Expectations:
Music (rev. 6/7/2007):
IC1B6-8
HC1A6-8
Overview:
Many students know the terms and players that make up a baseball
game, students will learn basic opera vocabulary and who the
key people are in creating an opera.
Outcomes:
Students will be able to identify basic music terms associated with
opera.
Suggested Time:
Materials:
Classroom computer and projector
Index cards with definitions of the basic music opera terms on
them
Jeopardy game (See game instructions on pages 37-38; PowerPoint
found in separate file on the OTSL Brundibár Website)
Basic opera vocabulary (p. 36)
Activity/Procedure:
♦ Have opera terms written on the classroom board.
♦ The baseball warm-up: Ask students if they have ever seen or played a baseball game.
Have them name the participants in a game – pitcher, fielders, batter, catcher, umpires.
Select one or two students to explain the purpose or “how to play the game.” Next, ask
students what would happen if a player didn’t know the terms of the game or there were
some participants missing. Ask if it is more fun to watch baseball if you know the terms
and what the participants are supposed to do.
♦ Explain that it is the same with watching an opera. It is more fun if you understand who
the players are and what they all do to perform an opera. They are going to learn the basic
terms that are used in an opera.
♦ Students will divide into groups of two or three and be given an index card with an opera
term. Explain that they will have to explain the term they have been given. They can use
any words except the actual term to describe their word. Students who are not explaining
will have to give the specific name of the term being described.
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OTSL 2009
♦ Groups should come up one at a time to discuss their word. Once the group has finished
and their description has been given a name, the word card should be placed on the board.
♦ Once the groups have finished they are ready to try computer Jeopardy. Remind students
that in Jeopardy, they will be given the answer and they must come up with the question.
Extensions:
♦ Have students place the terms in similar groupings and explain why they are similar
(soprano, alto, tenor, bass: all voices of varying ranges)
♦ Play “pick-up games” as a refresher as the opera draws near.
Basic Opera Vocabulary
Acts- how the action in an opera is divided
Alto or Contralto-lowest female voice
Aria-a vocal solo or song
Baritone-male voice between the tenor and bass
Bass-lowest male voice
Composer-individual who writes the music to a libretto of an opera
Conductor-individual who leads the orchestra and singers for the opera
Leitmotif-short musical passage that identifies certain ideas, places, and characters each time
they appear in the opera
Libretto-the words of an opera; literal meaning is little book
Mezzo Soprano-middle or medium female voice between the soprano and alto
Musical Comedy-a lighthearted piece of song and dance numbers whose roots are found in
operetta
Opera House-a specially designed theatre for opera
Operetta-a light opera with spoken dialogue, songs, and dances
Oratorio-a musical work which features soloists, chorus, and orchestra and may tell a story just
like an opera, performed in a concert hall without acting, costumes, or scenery.
Overture-an instrumental piece which introduces the opera
Recitative-text that is sung in a sing-speech style which carries the action from one aria to the
other
Score-music of the opera used by the conductor to conduct
Soprano-highest female voice
Tenor-highest male voice
Vibrato-the wavering of pitch by a performer to add expression and quality
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Opera Jeopardy Instructions
Background
Opera Jeopardy is a learning resource using the format of the popular game Jeopardy. The
categories of Opera Jeopardy include: Voices of the Opera, People of the Opera, Opera
Potpourri, and Terms in the Opera. All of the information that is used for answers is found in
the Opera Jeopardy Lesson Plan. Please remember that answers are given and students are to
formulate questions. You must have Microsoft PowerPoint to view the presentation and play
Opera Jeopardy. There are sound files so please make sure the volume on the computer is
turned up. Do not make any changes or the PowerPoint may not function as designed.
Opera Jeopardy will run with minimal assistance.
Playing Opera Jeopardy
1. Open the Opera Jeopardy PowerPoint.
2. Start the slide show from the first slide by:
a. Clicking Slide Show
at the lower left of the PowerPoint window, or
b. On the Slide Show menu, click View Show, or
c. Press F5.
3. When Slide 1 is complete, click on the button
hand corner.
which appears in the lower right
4. Clicking with the mouse on any $ amount will move the PowerPoint to an answer in
the associated category.
a. When students give a correct question to the answer on the PowerPoint,
click on the
button. PowerPoint will go to the correct question.
After points are written down, you can click on the
return to the Category/$ slide.
button and you will
b. When students give an incorrect question to the answer on the PowerPoint,
click on the
button. PowerPoint will return you to the Category/$
slide.
5. Make sure you keep track of the money that is earned for the individuals or teams
playing.
6. The Daily Double will appear under Category Terms in the Opera for $200.
Individual students or the team will have an opportunity to choose any amount from
$0 to $400 for the Daily Double. Click on the
to move to the answer. Follow
the previous method as described in number
four above for correct and
incorrect answers.
7. Final Jeopardy is the small box in the lower right hand corner of the Category/$ slide.
When clicked, the PowerPoint will proceed to Final Jeopardy. Individual students or
teams will have the opportunity to choose any amount from $0 to their current total
for Final Jeopardy. Once amounts have been chosen, click on the
to view the
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OTSL 2009
Final Jeopardy answer. Once the answer appears, students will have 15 seconds to
write down their answer. The 15 seconds begins when you click the
button.
To view the correct question, click on
.
8. The
9. The
Brundibár
button at the end of Final Jeopardy will take you to the last page.
button will take you then to the very beginning of Opera Jeopardy.
38
OTSL 2009
Composing the Opera Brundibár
Overview:
Students who organize and/or play neighborhood games
know they may not be able to have enough students to
field a complete team and may need to adapt or modify
positions to play their game. Students will learn Hans
Krása did something similar when he composed the
music to Brundibár using the instruments that were
available.
Grades:
6-8
Subjects:
Music
Missouri Grade
Level Expectations:
Music (rev. 6/7/2007):
PP2A3-8, PP2B3-8,
PP2D3-8, PP2E3-8
PP4A3-8,
EM1A3-8, EM1B3-8,
EM1C3-8, EM1D3-8,
EM1E5-8,
AP2A3-8
Outcomes:
Given a set of instruments, students will be able to
compose and perform a short song involving a variety
of musical skills and expression using: at least three
pitches, rhythm patterns in simple meters, timbre,
tempo, and dynamics.
Suggested Time:
Materials:
Classroom board
Musical terms (p. 40)
Variety of Pitched and Non-pitched Percussion Instruments
Two brief rhythmic excerpts from Brundibár and the same
excerpts using at least three pitches, in simple meter,
demonstrating a variety of tempo and dynamics. (p.
41-43)
Activity/Procedure:
♦ Have musical terms on the classroom board.
♦ Organizing the team: ask students if they have ever seen or played a game in the
neighborhood or in physical education when they did not have enough players. Have
them give some examples: not enough outfielders in baseball, no tackles or guards in
football, only two for a basketball game. Select one or two students to explain how they
continued to play the game without the “correct” number of players. Next, ask students if
they would rather play a game with some participants missing or not play the game at all.
♦ Explain that it was the same for Hans Krása when he wrote the music to Brundibár. It is
more fun if you understand how the composer used the instruments he had available to
perform the opera. They are going to learn how to compose and perform a song with
instruments available.
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♦ Students will review a variety of musical skills and expressions previously learned
including: variety of forms, performance of songs with at least three pitches, rhythm
patterns in simple meters, and dynamics.
♦ Divide students into groups of three or four and give each group random instruments and
group assignments. Explain that they will have to perform the same composition with the
instruments that they have been given. Tell students that some groups may be combined
to form a larger group.
♦ Have groups perform as a class together and then as individual organized groups. Once
each group has finished their performance, have the students discuss the how the same
song sounded different using different instruments and different number of instruments.
Many students may be unfamiliar with some terminology at first so encourage them to
use the list on the classroom board for guesses and mark them off once they have been
used.
♦ Once the groups have finished, have the groups compose a song of their own using the
instruments and groupings given to them. And now you can compose a song even if you
don’t have all of the instruments you may want to use! Have the students perform their
compositions to each other and discuss the variety of music being performed.
Extension:
♦ Have students write a song individually or collectively as a group and perform it several
times using different instrumentation. Discuss the different timbres produced and why
the songs sound alike and different.
Musical Terms
Accent – emphasis on a note
Adagio - slow
Allegro – fast
Andante - moderately slow
Crescendo – steady increase in volume
Decrescendo – steady decrease in volume
Eighth note/ eighth rest – an eighth of a rest in quarter or duple time
Fermata – a hold or pause on a note or rest
Forte – loud
Half note/ half rest – two beats of rest in duple or triple time
Musical staff – a set of fine horizontal lines and four spaces on which music is written
Piano – soft
Quarter note/ quarter rest – one beat of rest in duple or triple time
Time signature – signifies number of beats per measure and which note value constitutes a beat
Whole note/whole rest – four beats of rest in common time
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BRUNDIBÁR – Music by Hans Krása – Text by Adolf Hoffmeister
General observations about the music:
• The melodies are purposely repetitious and childlike. This makes for easier mastery by the
performers and also, perhaps more importantly, creates an atmosphere of innocence.
• The opera is organized as a “numbered opera”, that is, each Act is made up of several
distinct songs, each of which has a number. This practice dates back to early opera and
Mozart was its most famous practitioner.
• As in Mozart’s “Magic Flute” there is a lot of spoken dialogue.
• The harmonies are reminiscent of Kurt Weill and cabaret of the 1930s. The dissonances
heard in the inner voices of the orchestra create an ominous quality throughout the opera.
• The combination of the innocent melodies and the disturbing harmonies creates the desired
irony that the composer and librettist undoubtedly wanted to express in a time of open
repression.
• “Side by side” constructions – This describes Krása’s practice of starting a song with one
key signature but then, without changing the key signature, he uses so many accidentals
(added sharps or flats) that it creates sudden key changes. I am calling this “side by side”
because he usually uses “neighbor notes”. For example in song #1, the lower instruments
play a tune made up of a sequence of one measure phrases. These phrases use different
chromatic notes in each measure. Measure one starts on C and has no sharps or flats,
measure two starts on B flat and uses B flat, measure three starts on A flat and uses A flat
and E flat, measure four has no flats but does use C sharp and D sharp. The notes C, B flat
and A flat are only a whole step way from each other. The upper instruments also use
neighbor notes and frequent accidentals. This is one of many examples throughout the
opera.
WHAT IS HAPPENING IN THE
STORY
Act One
# 1: Joe and Annette are walking in the
middle of the street. Many other
children are at home. You can hear
them singing but they cannot be seen.
They describe the plight of Joe and
Annette whose father is dead and
mother is sick.
HOW THE MUSIC EXPRESSES IT
Act One
# 1: The orchestra leads with a kind of
fanfare (a musical form originally used
for ushering in royalty or other important
persons). The fanfare is fast and
energetic in 4/4 time. The unseen
children make up the Chorus. They
repeat the orchestra fanfare.
The music changes meter to 6/8. The
Kurt Weill/cabaret sound begins in this
section. The only soaring melody in the
opera is introduced for the first time here
in the orchestra. This ascending melody
is used throughout the rest of the opera as
the thematic material representing the
children.
Joe and Annette describe what
happened when the doctor visited their
sick mother and that he sent them on a
mission to buy milk for her.
Brundibár
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Copyright September 2009, Diane McCullough
We hear more details from the two
children – that the doctor’s hands were
cold when they touched mother’s face,
that the children were making too
much noise and their mother needed
milk and quiet.
Joe’s melody uses fragments of the
soaring melody. The melody uses the
“side by side” construction referred to
in the general observations –
juxtaposing F/F sharp, B/B flat, C/C
sharp, E/E flat and D/D flat. Much of
Annette’s melody is hushed and uses a
repeated note with lots of pauses
between notes. This creates a
breathless effect. The orchestra
continues the development of the
soaring melody. The “cabaret” sound
continues throughout this number.
#2 : The street is filling up with
people. The people refer to the heat
and wanting some ice cream. The ice
cream man, the baker and the milkman
all hawk their wares.
#2 : This music is in march tempo. It
is worth mentioning that when Krasa
composed this opera, there were
military police in the streets every day
and the townspeople would have
observed them marching on a daily
basis.
#3: The chorus, Joe and Annette and
the milkman exchange observations
about the mother’s need for milk and
how the doctor’s care is for the wealthy
but milk is healthy.
#3: This music is very upbeat with use
of the interval of the fourth
predominant. There are lots of
syncopated rhythms and the tempo is
allegro (fast, joyful).
#4: The policeman enters. He sings
about how expensive it is to live and
that without money it is very hard to
get by.
Brundibár
#4: The march of #2 returns.
#5: Brundibar, the organ-grinder,
appears in the crowded street. As they
leave, people throw a coin into his hat.
The people talk about how the music
can give them pleasure. Annette and
Joe think they could earn some money
by singing for the crowd.
#5: This music is a waltz. The waltz is
associated with the Austro-Hungarian
Empire – power, prosperity, dancing.
It is ironic in this ghetto of poverty and
oppression where those in power are
“putting on a good show”. By using
the “side by side” constructions, this
waltz has a kind of crazy, off-kilter feel
to it.
#6: Annette and Joe sing about the
ducks and geese flying away when it’s
chilly, when they could be warm on a
plate.
#6: This music is a mocking children’s
song in a simple ABAB form.
45
#7: This number was cut in the Terezin
performances. It is a song about
Captain Novak flying in a plane over
the town. Annette and Joe sing of
wishing they could be in a plane high
above the ground. It could be that the
Captain in his airplane represents power
and freedom because he could just fly
away and escape. The children finish
their songs and then discuss whether the
people liked their songs and about how
hard it is to get anyone’s attention.
They complain about how loud
Brundibar’s hurdy-gurdy is. They
cannot sing loud enough to be heard
over it so they start making fun of the
music, the adults and the dancing.
Brundibar becomes angry and swings
his arm at the children. They run away
and hide.
#7: This number has the feel of a tune
from a LeHar operetta. It is less
dissonant than most of the other
numbers in this opera. The cadences
are expected. The piece is another
march, which is again logical in this
time of military dominance.
This number concludes with the return
of Brundibar’s organ grinder waltz.
#8 Finale: Brundibar’s theme has a
“na-na-na-na-na” aspect to it as if he is
shaking his finger at everyone. The
outer voices of the orchestra sound as if
they are simply in the key of C but the
inner voices create seventh and ninth
chords on the relative minor key of A.
The use of “side by side” construction
is present in the melody as well as the
harmony. This Brundibar theme is in
C/a. It will return in Act 2 #5 in E
flat/c.
#8 Finale: Brundibar sings about how
he would discipline the children if he
were their father. He would rule his
own “empire”. If anyone didn’t like his
music, they would be out or aching. He
is the star of his own show. (Brundibar
represents the tyrant, Hitler.)
Brundibar plays and departs. The
people disperse and nightfall
approaches. Joe and Annette wonder
what can be done. They are sleepy and
scared. They wonder if they will be
visited by a fairy or a faun and decide to
spend the night on a nearby bench.
They decide that just the two of them
cannot make enough sound to fight
Brundibar’s loud music, but with more
children, they could be successful. The
Sparrow, the Cat and the Dog enter one
by one and describe their individual
characteristics and think they can help.
Brundibár
The music changes to “molto adagio”
(extremely slow) tempo. This section
is reminiscent of Hansel and Gretel
falling asleep in the forest. We hear a
variation of the ascending melody first
introduced in #1. Each of the animals
has its own musical theme. Listen for
the flute bird call accompanied by
short, quick notes like a bird’s steps.
The Cat’s theme is slower and more
sinuous. The Dog is energetic. The
Sparrow’s music is in 2/4 meter, the
Cat’s in 3/4 and the Dog is back in 2/4
but the tempo (speed) is faster than the
Sparrow’s 2/4 meter.
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The three animals create a plan and sing
about how strength is in numbers and that
Brundibar’s glory will fade is they all
work together.
Joe and Annette fall asleep. The animals
swear to protect them and wish them a
good night’s sleep. The animals vow to
help the children.
The music combines the animals’ themes
and the Hansel and Gretel-like sleeping
theme to create an effective ensemble
piece. Listen for the many changes of
tempo.
The music turns into a gentle march
suggesting that there can be protection
within a military feel. “Side by side
construction” is used again as well as
fragments of the children’s ascending
melody. Act One ends extremely softly –
“ppp”.
The children sleep.
Between acts is a SERENADE that was
created for the Terezin version. The music
uses the familiar ascending melody theme
and fragments of it as well as references to
the Sparrow’s bird call and other themes
from Act One to weave a quiet, soothing
piece. Listen particularly for the cello at
the end.
Act Two
Act Two
#1: The Sparrow wakes up Joe and
Annette. The Dog and Cat join in.
Brundibár
#1: Dawn is represented by high,
shimmering chords. The ascending melody
is heard played by the clarinet along with
bird calls played by the flute or piccolo.
#2: They all do their morning exercises
and sing comparing the rooster to a tinny
alarm clock and how annoying they both
are when one just wants to sleep.
The street starts filling with people.
#2: This music is marked “presto”
(pressingly fast). It is in 3/4 meter but is
not a waltz.
#3: The chorus of people sing about
individuals and their activities when they
first wake up and begin going about their
daily routines. The street fills with
children carrying bookbags and Sparrow,
Cat and Dog recruit them to help Joe and
Annette.
#3: This number is marked “allegro”
(happy, quick). This is “traveling music”
(an opera technique that provides music for
people to get from one place to another on
stage). It is meant to evoke the hustle and
bustle of the street coming to life for a new
day.
47
#4: The animals scatter around and each
talks to a different group of children.
#4: This number is titled “March of the
School Children”. The orchestra plays a
strong march with musical figures that
sound like trumpet calls (calls to arms) and
percussion riffs. The ascending melody is
used again and this time with a kind of
“triumphal” feel to it. The School Children
sing in a fast, same-note, patter-song style.
It could be interpreted as the “rat-a-tat-tat”
of a machine gun.
The School Children declare that, when
needed, they will be ready. They run to
school, the school bell rings and the street
fills up with adults. Brundibar appears.
#5: Brundibar’s tune is repeated this time
on E flat/c. (In the Terezin version, they
used the C/a notation found in Act One,
#8.)
#5: Brundibar enters immediately
bragging about being the music master,
more powerful than any czar and
commanding everyone to listen and dance
to his tune.
The tempo becomes agitated as the animals
organize the children. Their musical
themes are heard again and, this time, the
Cat’s theme is in 2/4 as it is combined with
the Dog’s theme in the musical
development. The school children use
Sprechtstimme (speaking voice) to express
what they are doing while the Cat and Dog
sing.
Brundibar plays his hurdy-gurdy, Cat
starts meowing and Dog howling.
Brundibar tries to chase them away. Cat
continues to meow and Dog pulls
Brundibar’s pants. People laugh. He
becomes increasingly angry.
Brundibar’s theme returns.
Very agitated and chromatic music is heard
as the School Children are gathered
together.
The School Children gather and Joe
conducts them. Annette gives them their
starting pitch and they announce that they
are about to sing a beautiful lullaby.
Annette gives an A and the tempo suddenly
changes to “Lento” (very slow). They sing
in two part harmony as they announce the
coming beautiful lullaby.
#6: All of the children sing about
Mommy cradling them. The text refers to
the cares of a mother and her speculation
about what will become of her children.
Brundibar tries in vain to drown out the
children’s singing but the listeners turn
away from him and throw coins in Joe’s
cap. They disperse deeply moved. Joe
shows the content of the cap to Annette.
Brundibár
#6: “Side by side” construction is used
again. The music starts in D then begins
adding and subtracting sharps and flats to
create complex and ominous sounding
chords. Listen for the very dense and
disquieting chord at the end of the second
verse when the text is: “far away”. The
third verse is sung.
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Brundibar is being ignored by the crowd.
He sneaks up on Joe and steals his money.
#7: The children chase Brundibar. After
a short chase, they catch him, retrieve the
cap and money and return it to Joe.
#8: The children march on stage and sing
of their victory over the mean tyrant.
They proclaim that, because they were
brave and worked together, they were able
to win their victory.
Their final words are: “He who loves his
dad, mother and native land, who wants
the tyrant’s end, join us hand in hand and
be our welcome friend!”
This happens during spoken dialogue.
#7: The chase music is, of course, allegro.
The melody is familiar but pitched very
high at first.
#8: The School Children’s March returns
characterized by more “side by side”
construction. This is sung joyfully.
Toward the end of the number, listen,
again, for the ascending melody that
represents Joe and Annette and the
children’s victory over evil tyrants.
This “What to Listen For” follows the template used in the MUSIC!WORDS!OPERA! curriculum
section of the same name written for Opera America. As a teacher of that curriculum for nearly
twenty years, I have found their “What to Listen For” sections invaluable. I hope that you will
find this helpful as you prepare to teach BRUNDIBÁR to your students.
Diane McCullough, September 26, 2009
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Basic Terminology
Opera
Aria-vocal solo
Composer-individual who writes the music to the libretto (text) of an opera
Libretto-text of an opera; literal meaning is little book
Overture-an instrumental piece which introduces the opera
Score-music of the opera used by the conductor
Holocaust
Concentration Camps-In German, Konzentrationslager. Prison camps constructed to hold Jews,
Gypsies, and other political and religious opponents considered "enemies of the state." Before
the end of World War II, more than 100 concentration camps had been created across Germanoccupied Europe.
Ghetto-The Nazi term for a section of a city where all Jews from surrounding areas were forced
to reside. Established mostly in Eastern Europe (e.g. Lodz, Warsaw, Vilna, Riga, Minsk), and
characterized by overcrowding, starvation and forced labor. All ghettos were eventually
destroyed when the Jews were deported to death camps.
Holocaust -The term “Holocaust” literally means “a completely burned sacrifice.” It was applied
to the destruction of six million Jews by the Nazis and their followers in Europe between 19411945. Yiddish speaking Jews used the term “Churbon,” meaning “a great destruction.” The
word Shoah, originally a Biblical term meaning widespread disaster, is the modern Hebrew
equivalent.
Terezin (Czech) / Theresienstadt (German)- German name for Czech town of Terezin, located
about 40 miles from Prague. Nazis used the {Theresienstadt} ghetto, established in November
1941, as a "model Jewish settlement" to show Red Cross investigators how well Jews were being
treated. In reality, thousands died there from starvation and disease, and thousands more were
deported and killed in extermination camps.
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Web Site Resources
Memorial Terezín, The Ghetto Museum in Terezín, Czech Republic
http://www.pamatnik-terezin.cz/
United States Holocaust Memorial Museum. Holocaust Encyclopedia
http://www.ushmm.org/wlc/en/
"A Conversation with Ela Stein Weissberger" Reviews and photographs of the 2000
Cincinnati Opera production. Interview with Ela Stein Weissberger, Holocaust survivor and
original Brundibár cast member who performed in Terezín, Czechoslovakia.
http://www.enquirer.com/editions/2000/10/19/tem_a_conversation_with.html
“Children in the Ghetto” A website about children, written for children. It portrays life during
the Holocaust from the viewpoint of children who lived in the ghetto, while attempting to make
the complex experience of life in the ghetto as accessible as possible to today’s children.
http://ghetto.galim.org.il/eng/
“Yad Vashem” Established in 1953 as the world center for documentation, research, education
and commemoration of the Holocaust, Yad Vashem is today a dynamic and vital place of
intergenerational and international encounter.
http://www.yadvashem.org/
“NOW” with Bill Moyers: March 2004 program on PBS. Review of Brundibár, a book by
Maurice Sendak and Tony Kushner. History, links to variety of topics (children of the Holocaust,
Terezín, music, poetry, legacy and learning links) at the United States Holocaust Memorial
Museum site.
http://www.pbs.org/now/arts/brundibar.html
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Facing History and Ourselves
Facing History and Ourselves is an educational movement based on the belief that education in a
democracy must be what noted 19th century historian Alexis de Tocqueville called "an
apprenticeship in liberty." Facing History helps students find meaning in the past and recognize
the need for participation and responsible decision making. For more than 27 years, Facing
History has engaged teachers and students of diverse backgrounds in an examination of racism,
prejudice, and anti-Semitism in order to promote the development of a more humane and
informed citizenry. By studying the historical development of the Holocaust and other examples
of collective violence, students make the essential connection between history and the moral
choices they confront in their own lives. Site includes resources, professional development,
curricula.
http://www.facinghistory.org
Museum of Tolerance Online, Multimedia Learning Center (maintained by the Simon
Wiesenthal Center) A comprehensive resource on the Holocaust and World War II, with over
3,000 text files, and tens of thousands of photos Teacher's Resources: Glossary, timeline,
bibliographies, questions and answers about the Holocaust, and curricular resources for teachers.
FAQs provide succinct information often asked about the Holocaust. "Teacher Programs" will
take you to important guidelines to remember when teaching about the Holocaust.
http://motlc.wiesenthal.com/site/pp.asp?c=gvKVLcMVIuG&b=358201
UNESCO Music and Peace Projects/International Music Council
http://www.imc-cim.org/
Education World: Using opera as a tool in the classroom to enhance learning. Resources, links
www.education-world.com/a_curr/curr380.shtml
CHARACTERplus: An organization dedicated to developing positive character traits in young
people by providing a high quality character education learning process and resources to schools,
homes, and communities.
http://www.characterplus.org/
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BRUNDIBÁR
A Fairy Tale based on the opera by Hans Krása and Adolf Hoffmeister
At Home
Outside a small sleepy town one early morn, there stood a small quiet hut, its planks were worn.
In that hut was a small room with a mother sick in bed and her two small children beside her with dread.
Dear reader, I want you to meet Little Joe, he lost his daddy long ago, he is with his sister, dear
Annette and their sick mother is in bed.
That day the doctor came it was very cold.
“Everyone calls me Little Joe, I lost my daddy long ago,” Joe introduced himself with a shiver.
“This is my younger sister, dear Annette.”
“Our sick mother is in bed,” little Annette quivered. “My, he has big glasses and he sure is old,”
whispered Annette, “and he is touching mommy’s head with his hand – oh, his hands are so cold!”
The doctor shushed, “Don’t make such a commotion. Not to worry, your mother needs no potion.
Milk and sleep, that’s your mother’s need, buy some for her, go indeed!”
“Come on, Annette, milk and sleep, that’s our mother’s need,” Joe boldly stated.
But, Annette wondered “how can we buy some, how indeed?” (*1)
In Town
Dear reader, I present to you the town square and it is waking. Everyone comes to sell and buy
their wares, no mistaking.
A tall thin man shouts, “Come and get your ice cream! It’s so cold, it pleases all. Everyone loves
ice cream, young, old and big and small. Vanilla, strawberry, chocolate and raspberry! Boys and girls
everywhere hurry here, get your share!”
It is the clockmaker’s theory, “When hot weather makes you weary, ice cream cones will keep
you cheery.”
“Rolls, buns, bread, cakes, doughnuts, pastry! All delicious, full of flavor, strictly fresh, straight
from the oven. Taste it! Do yourself a favor! Satisfy your appetite with my goodies! Try a bite!” calls
the baker in his apron so white.
“Nothing gives the baker pleasure more, than when he sells his treasure,” winks the banker who
knows money’s measure.
Finally, we see the man Joe and Annette seek. Before dawn is the start of his day, but now he is
ready to speak.
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“Milk, Milk, fresh milk, butter, cheese! Come and buy some, if you please! For the children and
their mother, for the pets and all the other. Milk, milk, fresh milk, butter, cheese! Come and buy some, if
you please!”
Running towards the square, Joe belts his request, “Hey mister milkman! We need milk for
mommy.”
On his heels and out of breath, Annette worries, “How can we get it, if we’re short of money?”
“Hey! Mister milkman! They need milk for mommy. How can they get it, if they’re short of
money?” calls a bystander.
And the milkman answers, “Who needs a doctor’s care? That’s for the wealthy. I sell a better
ware, fresh milk is healthy. Milk and cream I will gladly pour into your milk can, but if you don’t have a
quarter, your poor kitten must lap water.”
“Hey, Mister milkman, hear our plea. Please, give us some milk. Fresh milk is healthy, healthy,
healthy!” (*2)
________
Dear reader, the ice cream man has a loaded cart, the baker has bread and rolls, but as for Joe and
Annette, instead of money in their pockets, only holes. Oh, everything is quite expensive, they’ll get
nothing for free, but the sad fact is that money does not grow on a tree. Milk and bread you must eat
daily to stay healthy and strong.
The milkman was troubled by the children with no money. He knew if you wanted wages, you
must work every day. It just isn’t easy to work without pay. He gave his advice to Joe and Annette,
“Your mother at home needs food and drink – How to get money, you must think!”
Joe and Annette thought as they watched the townspeople trade their goods to and fro, when all of
the sudden an ill wind began to blow. A squeaky, creaky organ-grinder’s music filled the air and the
townspeople rewarded the awkward tune, much to Joe and Annette’s surprise, with coins in his hat and a
sparkle in their eyes. Brundibár was the grinder’s name and with his too toothy smile to the coins, he lay
claim. Joe turned to the police officer, after all could this be legal?
“How did he earn all that money in return?”
With a shrug and a smile the officer replied, “For one nickel and one dime he gives us music, a
good time.”
“Little Joe, do you know what?” an idea swirled in Annette’s mind. “We could sing and earn a
lot!”
“A cheerful song, a happy tune! Yes,” exclaimed Joe. “We can make some money soon.”
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Dear reader, Joe and Annette put their heads together and decided on a sweet summer song about
birds, weather, flying and planes.
“Ducks and geese up high were flying on a windy day, our grandfather from his window watched
them fly away. Why did you, and you, ducklings, fly from here so late? When the duck starts feeling
chilly, serve him on the plate.”
“Over our little town often a big bird flies, and Captain Navak waves down to us from the skies.
When to his aeroplane wee clouds snuggle up, he strokes them gently with his silvery prop. As I walk on
the ground, my eyes raised to the sky, I, also, high up there with birds would like to fly.”
Their song soared sweetly, but ignored completely. Hacking and hawing from the organ grinder,
kept anyone from noticing the tune much kinder.
Annette fretted, “I don’t think they liked our song. Was it childish or too long? What the grownups want to hear, little kids don’t know, I fear.”
“It doesn’t matter. No matter how loud we sing, nobody hears anything,” Joe sadly said. “When
he plays that hurdy-gurdy, he makes so much noise. That, in spite of all our efforts, I can’t hear my voice
with his sound he destroys.”
With frustrated tears Annette wept, “This musician without talent plays here every day;
his music is weary, boring, he should go away!
Not knowing what else to do, Annette and Joe mimic the dance and the grinder’s hew. A hee and
a haw. A gee and a gaw. The children danced with their arms flung askew.
“Who is screeching, squealing here?” called one.
“All of these darn noises hurt my ear!” shouted another not to be outdone.
The grinder’s music slowed and he growled, “Those shrimps are making fun of us!”
The police officer came over, “Do you think that this is nice?
Brundibár knowing he had the audience in his hand, egged them on with a “And this rascal at a
glance acts as if this were a silly dance.”
Others joined in, “Look at the two pests, acting tough.”
“How they hold their noses up!”
“He is just a little squirt in a dirty worn out shirt!”
Brundibár leaned towards the police officer and mused, “Should we have the kids, put in jail?”
“That would fix them without fail.”
Joe and Annette were beside themselves in distress, “Gentlemen, we beg your pardon...”
Brundibár cut off their apology with a “Shut up now! Shut up, by thunder! How you do behave,
I wonder.”
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Another try, “Gentlemen, we beg your pardon...”
Brundibár stormed, “Silence! And get out of here! Fly!”
Dear reader, he chased them out beyond the town square. And Joe and Annette hid, they weren’t
sure quite where. Back at the square some adults were somewhat abashed. For they realized, two small
children’s hopes they had smashed.
“They are overcome by fear.”
But not Brundibár, “Doggone children, what a bother! If I only were their father, I would teach
them proper manner: courtesy, respect, and honor. And you kids don’t make a riot! Where I rule you
must be quiet. Here’s my empire. I’m the czar, organ-grinder Brundibár. When I play and turn this
handle, sing with me, don’t make a scandal! Don’t you like my music making? Out of here! Or you’ll
be aching! Of this show I am the star! I, organ-grinder Brundibár!” (*3)
In an Alley
“Little Joe, I think it is okay to peek out. “Oh, what can be done?”
“The old grinder is gone and that is good. But, Annette, we have not finished what we should.”
“It’s so late, I’m feeling sleepy. Joe,” Annette reaches a hand out, “all the shadows look so
creepy.”
Mustering cheer Joe admits, “Night is coming, and it can be scary! Perhaps we’ll see a good fairy,
if we wait here till the dawn.”
“Will she fly silently across the lawn?”
“Sit down, Annette, hold my hand, on this bench the night we’ll spend.”
“I’m afraid of Brundibár,” Annette said so softly Joe could barely hear.
“In the square, perhaps we went too far.”
“Shhhh. It will be okay. If you listen closely, you will hear Brundibár snoring!”
“I can’t sleep, tomorrow makes me worry. With our voices not too sturdy we can’t match that
hurdy gurdy, there are only two of us!”
Joe thought, “If only… well, many more could make a fuss.”
Dear reader, what happened next is true. In that dark narrow alley, where Joe and Annette sat
holding hands; there were those listening in and ready to form a plan.
A common brown sparrow sat on the edge of a barrel and said, “More shall we seek!”
Annette exclaimed, “Did I hear a birdie speak?”
“With my long beak I like to peek, I like to know what’s going on during the week.”
Another voice mewed, “As darkness sets in, my eyesight gets keen. When I roam alone at night,
I content my appetite.”
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“In the nook the cat is purring. Come here, Cat, and look, a kind of mischief is stirring.”
Cautiously Cat added, “This situation needs observation. My friend Dog is very wise and he can
give us good advice.”
Walking down the alley in a conspiratorial voice Dog shared a story, “When a Russian greyhound
mean stalks a rabbit quick and keen, watch the clever rabbit outsmart him. But, if many Russian hounds
chase the rabbit on their grounds, chances to escape alive are slim.”
“More shall we seek!” Sparrow chimed, “You heard me speak. Right will prevail, Brundibár’s
mean outlook is bleak.”
Dog remembered a previous encounter with Brundibár and vowed, “You know that I am your
friend. All this trouble soon must end. I would like to bite that old man’s hand.”
In that neighborhood combined, dog, cat and sparrow knew all three hundred children. Some big,
some small. Boys and girls, fearless friends, that would gladly join hands.
“We promise you their aid, with that you’ll have it made.” Proclaimed Cat, “It’s really obvious,
we’ll be victorious. Add to three hundred, two, you’ll get three hundred two. Your huge majority gives
you authority. Brundibár’s glory fades into obscurity.”
Dear reader, with Joe and Annette’s fears calmed down, Cat, Sparrow and Dog pledged, “The
moon gets dark afar, the children’s little star sparkles with silver gleam and guides them through their
dream. We wish you, Little Joe, a good night, and to you, dear Annette, lovely dreams. We’ll come to
help you fight with morning sun’s first beam. We will help you fight, now sleep well, good night.” (*4)
_____
“Morning breaks and it is my luck at six o’clock to you wake. Gone is the night. Get up! Get up!
Rooster crows on the wall, say, can you hear his call? Morning star’s fading, sunshine is reigning. Get
up you all! ”
“If I may disagree dear Sparrow. My greatest pleasure is sleep’s full measure. Getting up I do
delay, night is better than the day,” said Cat with a yawn and a stretch.
“It’s bad habit to sleep late, Sparrow, Cat, we have a date. Arf! Arf! In the bed you can not stay!
Get up, children, do your part! On your feet! We have to start, we must do a lot of work today!
Just Outside the Square
Dear reader, the Dog, Cat and Sparrow lost no time. To their friends they brought the rhyme.
“Children, give us your attention, form three units, as we planned. Our two comrades are in
trouble, let’s extend our helping hand. For their mom, to cheer her up, they need milk, at least a cup!
Singing they will raise some money, we are joining them in song. Add your talent to our efforts, voice to
voice and we’ll be strong.”
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“Arf. Pull together with our fold, right and justice we’ll uphold. Dictator, he’ll be defeated,
united we’ll win our stand, we shall give a good example to all people in this land.”
Schoolchildren from far and wide replied, “Yes we know, we know already, when you need us,
we’ll be ready.
“Yes, we know, we know already, when you need us, we’ll be ready.”
“Yes, we know, we know already, when you need us, we’ll be ready.”
In the Square
The sun is high and business is brisk, and Brundibár sets to his task
“Music is for poor and wealthy. If you wish to stay on healthy, listen to my songs and dances,
they will satisfy your fancies. Waltz and polka, fox-trot, gallop, all my tunes are what a wallop! Dance to
them, please, slower, faster, here I am your music master. Mightier than any czar, I, organ grinder
Brundibár”
Feeling stronger and no longer willing to be pushed, Joe and Annette prepare and say, “Whimper,
whine, chirp, howl and twitter, interrupt his boring play! We’re not scared of that old critter, children’s
help is on the way.”
Very organized are the three, Dog readies the children for the spree, “Listen, children, to my call,
hasten to the villain’s fall. Now the war with Brundibár begins. Swing your tail Cat, give a sign,
Sparrow, put the kids in line. Brundibár’s own conclusion, dealing with our size and strength, won’t be
worth a measly cent.
Cat concurs, “Brundibár will pay for all his sins. In this confusion his own conclusion, dealing
with our size and strength, won’t be worth a measly cent.”
“Talking to each kid I could reach, I made it clear, time now is near here to appear,” Sparrow
chirped excitedly. “The school bell rings. As the bell rings, good news it brings. We’re on the way
without delay. Hooray! Hooray!”
As Brundibár grinds the gurdy louder and louder a meowing and howling match note for note.
With a kick and a jab Brundibár shouts “Beat it! Scram! You mangy mongrel, let go, both my leg
and trousers! Stop that howling and the meowing with this noisy King of Mousers. If my scolding is not
ample, I’ll give you a good example how to treat a foul offender: Box him till his ears are tender.”
Annette sees that her friends are in jeopardy, she calls to the children, “Janitor’s sons, John and
Guy, landlord’s daughter Lorelei. The kids of all the tenants living in the homes close by, come sing the
most beautiful charming little lullaby.”
Dear reader, what a sight when the children had gathered. All of their sweet small voices
combined into choir just as they rathered.
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“Mom rocks a cradle, humming a lullaby, and wonders what will be, when days have drifted by.
Every bird must one day spread his wings, leave his nest, he will fly, God knows where, to pursue his
quest. Trees grow up, weeks go by, clouds move on in the sky, day by day, for away. Dear mommy, you
should see how we grew strong and fair. To think about the past maybe you do not care, how you used to
bathe us in the tub naked, bare, and with love gave us names: Kitten, Teddy bear. Trees grow up, weeks
go by, clouds move on in the sky, day by day, for away.” (*5)
Stomping and squeaking, Brundibár tries in vain to drown out the children singing on the plain.
Listeners turn away from him as they hear a sweeter tune. Coins fall into Joe’s hat, as the audience is
deeply moved.
“Look here, Annette, what we got! All that money! Thanks a lot! We must buy milk in the
store.”
As Joe and Annette plan to take care of their mother, Brundibár sneaks in and steals the hat with
the money.
While Dog howls like a siren and Cat meows in panic, Sparrow peeps the problem to the children
of the town.
“Gee whizz! Gee whizz! O good grief! Hurry, children, catch the thief!”
Children pour in from every corner of the square and Brundibár finds that he can go – nowhere!
The coins are returned to Joe and Annette and they know exactly on what their money will be spent.
The children from town are thrilled at their victory. A march to celebrate Brundibár’s defeat to
make sure is record in history.
“We’ve won a victory over the tyrant mean!”
“Sound trumpets, best your drum, and show us your esteem!”
“We’ve won a victory, since we were not fearful, since we were not tearful, because we marched
along singing our happy song, bright, joyful and cheerful.”
Dear reader, darling little friend, our story now ends. It’s getting very late, you must go home.
But wait! I won’t say “Good night” as yet! I’ll send you on your way, just listen once more to our story
with you today.
“We’ve won a victory over the tyrant mean, sound trumpets, best your drum, and show us your
esteem! We’ve won a victory, since we were not fearful, since we were not tearful, because we marched
along singing our happy song, bright, joyful and cheerful.”
The one who loves his dad, mother and native land, who wants the tyrant’s reign to end, join us
hand in hand and be our welcome friend!
The End (*6)
© Amy Stricker 2009
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Brundibár Libretto
Act One
Scene I
Joe and Annette are walking in the middle of the street.
Many other children are at home. You can hear them singing but you cannot see them.
Chorus: Dear children, this is Little Joe, he lost his daddy long ago, he leads his sister, dear
Annette, their sick mother is home in bed.
Joe: Everyone calls me Little Joe, I lost my daddy long ago. I lead my sister, dear Annette,
Joe and Annette: our sick mother is home in bed.
Joe: Doctor came in the day was cold,
Annette: He wore big glasses he was old. He sat down next to mommy’s bed, with his cold
hand he touched her head.
Joe and Annette: After a while in lowered voice he said to us: Don’t make such noise. Milk and
sleep, that’s your mother’s need, go, buy some for her, go indeed!
Chorus: Milk and sleep, that’s your mother’s need, go, buy some for her, go indeed.
Joe and Annette: Milk and sleep, that’s our mother’s need. How can we buy some, how
indeed?
Scene II
The street is filling with people.
Ice Cream Man: Come and get your ice cream! It’s so cold, it pleases all. Everyone loves Ice
cream, Young, old and big and small. Vanilla, strawberry, Chocolate and raspberry! Boys and
girls everywhere Hurry here, get your share!
Chorus: When hot weather makes you weary, ice cream cones will keep you cheery.
Baker: Rolls, buns, bread, cakes, doughnuts, pastry! All delicious, full of flavor, strictly fresh,
straight from the oven. Taste it! Do yourself a favor! Satisfy your appetite With my goodies!
Try a bite!
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Chorus: Nothing gives the baker pleasure more, than when he sells his treasure.
Milkman: Milk, Milk, fresh milk, butter, cheese! Come and buy some, if you please! For the
children and their mother, For the pets and all the other. Milk, milk, fresh milk, butter, cheese!
Come and buy some, if you please!
Scene III
Chorus: Hey! Mister milkman! They need milk for mommy. How can they get it, if they’re
short of money?
Joe and Annette: Hey mister milkman! We need milk for mommy. How can we get it, if we’re
short of money?
Milkman: Who needs a doctor’s care? That’s for the wealthy. I sell a better ware, fresh milk is
healthy.
Chorus: Milk and cream the jolly milkman gladly pours into your milk can.
Chorus and Milkman: But if you don’t have a quarter, your poor kitten must lap water.
Joe and Annette:
You have a loaded cart,
baker has bread and rolls,
we have instead of money
in our pockets only holes.
Hey! Mister milkman,
please, give us some milk.
Fresh milk is healthy, healthy, healthy!
Chorus:
Milk and cream the jolly milkman gladly
pours into your milk can, but if you
don’t have a quarter, your poor kittem must
lap water.
Joe, Annette, and Chorus: Hey! Mister milkman, please, give us some milk. Fresh milk is
healthy, healthy, healthy!
Scene IV
Policeman: Everything is quite expensive, you’ll get nothing for free, but the sad fact is that
money does not grow on a tree. Milk and bread you must eat daily to stay healthy and strong.
Without money in your pocket you won’t get by for long. If you want to have some money, you
must work every day. In this world it isn’t easy to exist without pay.
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Annette: Mother at home needs food and drink.
Joe: How to get money, I must think.
Scene V
Brundibár is playing. Pantomime of people buying from the milkman, baker and ice cream man.
Upon leaving, everybody throws a coin into the organ-grinder’s hat.
Annette: People must work daily, honey, if they want to obtain money.
Joe (Pointing to Brundibár’s hat with money): Officer, how did he earn all that money in return?
Policeman: For one nickel and one dime he gave us music, good time.
Annette: Little Joe, do you know what? We could sing and earn a lot!
Joe: Cheerful song, a happy tune! We can make some money soon.
Annette: Let’s sing about birds and bees!
Joe: Or perhaps a mouse and cheese?
Annette: Song about the spring or fall?
Joe: No, one from Summer!
Joe and Annette: We like this one most of all!
Scene VI
Joe and Annette: Ducks and geese up high were flying on a windy day, our grandfather from his
window watched them fly away. Why did you, and you, ducklings, fly from here so late? When
the duck starts feeling chilly, serve him on the plate.
Scene VII
Joe and Annette: Over our little town often a big bird flies, and Captain Navak waves down to
us from the skies. When to his aeroplane wee clouds snuggle up, he strokes them gently with his
silvery prop. As I walk on the ground, my eyes raised to the sky, I, also, high up there with birds
would like to fly. I’d like to own a plane faster than a hack, and be an Air Force Captain like
Mister Novak.
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The organ grinder goes on playing, all are humming. Nobody noticed the children.
Annette: I don’t think they liked our song. Was it childish or too long?
Joe: What the grown-ups want to hear, little kids don’t know, I fear.
Annette: No matter how loud we sing, nobody hears anything.
Joe: When he plays that hurdy-gurdy, he makes so much noise, that, in spite of all my efforts, I
can’t hear my voice.
Annette: This musician without talent plays here every day;
Joe: His music is weary, boring, he should go away!
Joe and Annette are making the adults, making fun of the organ-grinder’s melody, and
caricaturing the dance. The adults take notice of them.
Milkman: Who is screeching, squealing here?
Ice Cream Man: These darn noises hurt my ear!
Baker: Who is making all that fuss?
Brundibár: That shrimp is disturbing us!
Ice Cream Man: Full of mischief are his eyes!
Policeman: Do you think that this is nice?
Baker: Look at two pests, acting tough, how they hold their noses up!
Brundibár: And this rascal at a glance acts as if this were a dance.
Milkman: He is just a little squirt in a dirty worn out shirt.
Ice Cream Man: He can yell and scream and shout, he’s the King of Noise - no doubt.
Brundibár: I’ll have you, kids, put in jail!
Policeman: That would fix them without fail.
Joe and Annette: Gentlemen, we beg your pardon...
Brundibár: Shut up now! Shut up, in thunder! How you do behave, I wonder.
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Joe and Annette: Gentlemen, we beg your pardon...
Brundibár: Silence! And get out of here!
Brundibár swings with his arm at the children. They run away and hide.
Milkman: They are overcome by fear.
VIII
Act One Finale
Brundibár: Doggone children, what a bother! If I only were their father, I would teach them
proper manner: courtesy, respect, and honor. And you kids don’t make a riot! Where I rule you
must be quiet. Here’s my empire. I’m the czar, organ-grinder Brundibár. When I play and turn
this handle, sing with me, don’t make a scandal! Don’t you like my music making? Out of here!
Or you’ll be aching! Of this show I am the star! I, organ-grinder Brundibár!
( Brundibár plys and departs. People disperse. Nightfall approaches.)
Annette: Comes out from behind the barrel. Little Joe, what can be done?
Joe: That old man at least is gone.
Annette: It’s so late, I’m feeling sleepy.
Joe: All the shadows look so creepy.
Annette: Night is coming, it’s so scary!
Joe: Perhaps we’ll see a good fairy, if we wait here till the dawn.
Annette: Do you think we’ll meet a fawn?
Joe: Sit down, Annette, hold my hand, on this bench the night we’ll spend.
Annette: I’m afraid of Brundibár.
Joe: With him it’s another story.
Annette: Well, perhaps we went too far.
Joe: Now he’s snoring,
Annette: Makes me worry. My weak voice sounds somewhat sorry.
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Joe and Annette: With our voices not too sturdy we can’t match that hurdy gurdy, there are only
two of us!
Annette: Many more could make a fuss.
Sparrow: More shall we seek!
Annette: Hear birdie speak!
Sparrow: With my long beak I like to peek, I like to know what’s going on during the week.
Cat: As darkness sets in, my eyesight gets keen. When I roam alone at night, I content my
appetite.
Sparrow: In the nook the cat is purring. Come and look, kind of mischief is he stirring.
Cat: This situation needs observation. My friend Fido’s very wise, he can give us good advice.
Dog: When a Russian greyhound mean stalks a rabbit quick and keen, watch the clever rabbit
outsmart him. But, if many Russian hounds chase the rabbit on their grounds, chances to escape
alive are slim.
Sparrow: More shall we seek! You heard me speak. Right will prevail, Brundibár’s mean
outlook is bleak.
Dog: You know that I am your friend. All this trouble soon must end. I would like to bite that
old man’s hand.
Cat, Sparrow, and Dog: In our neighborhood we know all three hundred children, some big,
some small. Boys and girls, fearless friends, will gladly join our hands. We promise you their
aid, with that you’ll have it made. It’s really obvious, we’ll be victorious. Add to three hundred,
two, you’ll get three hundred two. Your huge majority gives you authority. Brundibár’s glory
fades into obscurity.
Annette and Joe fall asleep. It is night.
Cat, Sparrow, and Dog: The moon gets dark afar, the children’s little star sparkles with silver
gleam and guides them through their dream. We wish you, Little Joe, a good night, and to you,
dear Annette, lovely dreams. We’ll come to help you fight with morning sun’s first beam. We
will help you fight, now sleep well, good night.
The end of the first act.
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Act Two
Scene I
Sparrow: It is my luck at six o’clock to wake you up. Gone is the night. Get up! Get up!
Cat: My greatest pleasure is sleep’s full measure. Getting up I do delay, night is better than the
day.
Dog: It’s bad habit to sleep late, sparrow, cat, we have a date. Arf! Arf! In the bed you can not
stay! Get up, children, do your part! On your feet! We have to start, we must do a lot of work
today!
Sparrow, Cat, and Dog: Annette is waking up Little Joe.
Annette: Good morning, Little Joe!
Sparrow, Cat, and Dog: Little Joe’s waking up Annette.
Joe: Good morning, little one!
Annette, Joe, Sparrow, Cat, and Dog: All houses on the street are bathing in the sun.
Scene II
Annette, Joe, Cat, Sparrow, and Dog do their morning exercises (and sing)
Annette, Joe, cat, Sparrow, and Dog: Darn, that alarm clock, likewise the farm cock, alarm
clock made of tin rings early rooster’s kin, to one’s chagrin. Rooster crows on the wall, say, can
you hear his call? Morning star’s fading, sunshine is reigning. Get up you all! Away in college
instead of knowledge students seek fun and play, in their beds they will stay on the next day. Be
it too hot or cold, you have to go to school. To be intelligent you can’t be negligent, that is the
rule.
Street is coming to life.
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Scene III
Chorus: Julie gives milk to her cat, Marilyn shakes out the mat, Henrietta makes her bed, Rose
pulls into the shed. Janet sweep’s around the door, Helen scrubs the dirty floor, Dorothy runs to
the store, everyone must do some chore. Lisa plays the violin, and the landlord from the window
watches all that smilin’.
Sparrow, Cat, and Dog: Children, give us your attention, form three units, as we planned. Our
two comrades are in trouble, let’s extend our helping hand. For their mom, to cheer her up, they
need milk, at least a cup! Singing they will raise some money, we are joining them in song. Add
your talent to our efforts, voice to voice and we’ll be strong. Pull together with our fold, right
and justice we’ll uphold. Dictator, he’ll be defeated, united we’ll win our stand, we shall give a
good example to all people in this land.
The animals scatter around and each talks to a different group of children, while the March of
Schoolchildren is being played.
Scene IV
March of Schoolchildren
Schoolchildren (1st Group): Yes we know, we know already, when you need us, we’ll be ready.
Schoolchildren (2nd Group):
ready.
Yes, we know, we know already, when you need us, we’ll be
Schoolchildren (3rd Group): Yes, we know, we know already, when you need us, we’ll be
ready,
All: we’ll be ready! We know.
Scene V
Brundibár: Music is for poor and wealthy. If you wish to stay on healthy, listen to my songs and
dances, they will satisfy your fancies. Waltz and polka, fox-trot, gallop, all my tunes are what a
wallop! Dance to them, please, slower, faster, here I am your music master. Mightier than any
czar, I, organ grinder Brundibár
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Dog: Listen, children, to
my call, hasten to the
villain’s fall. Now the war
with Brundibár begins.
Swing your tail cat, give a
sign, sparrow, put the kids
in line. Brundibár will pay
for all his sins. His own
conclusion, dealing with
our size and strength,
won’t be worth a measly
cent.
Cat: In this confusion his
own conclusion, his own
cent. In this confusion his
own conclusion, his own
cent.
Annette and Joe:
Whimper, whine, chirp,
howl and twitter, interrupt
his boring play! We’re not
scared of that old critter,
children’s help is on the
way.
Sparrow: Talking to each kid I could reach, I made it clear, time now is near here to appear. The
school bell rings. As the bell rings, good news it brings. We’re on the way without delay.
Hooray! Hooray!
Brundibár plays the hurdy-gurdy; cat starts meowing and dog howling. Brundibár tries to chase
them away.
Brundibár: Beat it! Scram! You mangy mongrel, let go, both my leg and trousers! Stop that
howling and the meowing with this noisy King of Mousers. If my scolding is not ample, I’ll give
you a good example how to treat a foul offender: Box him till his ears are tender.
The schoolchildren have gathered. Joe is their conductor. Annette gives “a” and the choir
begins.
Annette, Joe, and Chorus: Janitor’s sons, John and Guy, landlord’s daughter Lorelei, and the
kids of all the tenants living in the homes close by, like to sing the most beautiful charming little
lullaby:
Scene VI
Annette, Joe, and Chorus: Mom rocks a cradle, humming a lullaby, and wonders what will be,
when days have drifted by. Every bird must one day spread his wings, leave his nest, he will fly,
God knows where, to pursue his quest. Trees grow up, weeks go by, clouds move on in the sky,
day by day, for away. Dear mommy, you should see how we grew strong and fair. To think
about the past maybe you do not care, how you used to bathe us in the tub naked, bare, and with
love gave us names: Kitten, Teddy bear. Trees grow up, weeks go by, clouds move on in the
sky, day by day, for away.
Brundibár tries in vain to drown the singing of the children. Listeners turn away from him...
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Annette, Joe, and Chorus: Mom rocks a cradle, which time left empty, cold, and wonders what
will be, when...
...and throw coins in Joe’s cap. The disperse deeply moved. Joe shows the content of the cap to
Annette.
Chorus: ...she is frail and old.
Joe: Look here, Annette, what we got! All that money! Thanks a lot!
Annette: Wait for us a little more! We must buy milk in the store.
The mean organ-grinder, ignored for a while by all, sneaks up to Joe and steals his cap with
money. The chasing of Brundibár begins.
Dog howls like a siren
Cat meows in panic
Sparrow peeps, imitating telegraph
Annette: Gee whizz! Gee whizz! O good Grief!
Joe: Hurry, children, catch the thief!
The chasing of Brundibár begins (with music)
Scene VII
After a short chase, children catch Brundibár, take away from him the cap with money and
return it to Joe.
Scene VIII
Children march on the stage and sing.
Annette, Joe, and Chorus: We’ve won a victory over the tyrant mean, sound trumpets, best your
drum, and show us your esteem!
Chorus: We’ve won a victory, since we were not fearful, since we were not tearful, because we
marched along singing our happy song, bright, joyful and cheerful.
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Joe: My darling little friends, our opera now ends. It’s getting very late, you must go home. But
wait!
Annette: Don’t say “Good night” as yet! We’ll send you on your way, when we have sung once
more our song with you today.
Annette, Joe, and Chorus: We’ve won a victory over the tyrant mean, sound trumpets, best your
drum, and show us your esteem! We’ve won a victory, since we were not fearful, since we were
not tearful, because we marched along singing our happy song, bright, joyful and cheerful. He
who loves his dad, mother and
Chorus: native land, who wants the tyrant’s end, join us hand in hand and be our welcome
friend!
The End
Brundibár
70
OTSL 2009
Additional Reading
Holocaust History and Historical Fiction
9-12 years old
Art, Music, and Writings from the Holocaust by Susan Willoughby
The Cat With The Yellow Star: Coming of Age in Terezin by Susan Goldman Rubin and Ela
Weissberger
The Children We Remember: Photographs from the Archives of Yad Vashem, the Holocaust
Martyrs' and Heroes' Remembrance Authority, Jerusalem, Israel by Chana Byers Abells
Clara's War (Holocaust Remembrance Book for Young Readers) by Kathy Kacer
The Diary of a Young Girl by Anne Frank
Elly: My True Story Of The Holocaust by Elly Gross
Forging Freedom: A True Story of Heroism During The Holocaust by Hudson Talbott
The Hidden Children by Howard Greenfeld
Hiding to Survive: Stories of Jewish Children Rescued from the Holocaust by Maxine B. Rosenberg
Holocaust by Angela Gluck Wood and Dan Stone
The Holocaust: A History of Courage and Resistance by Morrison David Beal, Maron L. Waxman,
Bea Stadtler, and David Stonee Martin
I Am a Holocaust Torah: The Story of the Saving of 1,564 Torahs Stolen by the Nazis by Alex J.
Goldman
In My Hands: Memories of a Holocaust Rescuer by Irene Opdyke and Jennifer Armstrong
The Nazi Olympics, Berlin 1936 (United States Holocaust Museum) by Susan D. Bachrach
The Night Spies (The Holocaust Remembrance Series) by Kathy Kacer
Number the Stars by Lois Lowry
Righteous Smuggler (Holocaust Remembrance Book for Young Readers) by Debbie Spring
The Secret of Priest's Grotto: A Holocaust Survival Story by Peter Lane Taylor and Christos Nicola
Six Million Paper Clips: The Making Of A Children's Holocaust Memorial by Peter W. Schroeder
and Dagmar Schroeder-Hildebrand
Survivors: True Stories of Children in the Holocaust by Allan Zullo and Mara Bovsun
Brundibár
71
OTSL 2009
Ten Thousand Children: True Stories Told by Children Who Escaped the Holocaust on the
Kindertransport by Anne Fox and Eva Abraham-Podietz
A Tribute to Anne Frank: Collected by her father, Otto Frank. Edited by Anna G. Steenmeyer
Understanding the Holocaust Edition 1. (Holocaust Reference Library) by George Feldman and
Linda Schmittroth
The United States Holocaust Memorial Museum America Keeps the Memory Alive by Eleanor H.
Ayer
We Remember the Holocaust by David A. Adler
Holocaust History and Historical Fiction
Teen & up
After the Holocaust by Howard Greenfeld
After the Holocaust: The Long Road to Freedom by Erna F. Rubinstein
Art of the Holocaust by Janet Blatter and Sybil Milton
The Blaze Engulfs, Vol.3: January 1939 to December 1941 by Lisa Clyde Nielsen
The Diary of Petr Ginz 1941-1942 edited by Chava Pressburger
Emmanuel Ringelblum: Historian of the Warsaw Ghetto (Holocaust Biographies) by Mark Beyer
A Firestorm Unleashed, Vol.4: January 1942 to June 1943 by William L. Shulman, Michael
Berenbaum, and Lisa Clyde Nielsen
Forever Outsiders, Vol.1: Jews and History from Ancient Times to August 1935 by Lisa Clyde
Nielsen and Michael Berenbaum
Hans and Sophie Scholl: German Resisters of the White Rose (Holocaust Biographies (Nonfiction)
by Toby Axelrod
Heroes of the Holocaust by Arnold Geier
Heroes Of The Holocaust (Holocaust (Brookfield, Conn.) by Ted Gottgried
History Firsthand - The Holocaust: Death Camps by Tamara L. Roleff
Holocaust by Angela Gluck Wood and Dan Stone
The Holocaust: Bearing Witness Liberation and the Nuremberg Trials (Holocaust (Abdo)) by Stuart
A. Kallen
The Holocaust: A Primary Source History (In Their Own Words) by Judy Bartel
Brundibár
72
OTSL 2009
The Holocaust: The World and the Jews, 1933-1945 by Seymour Rossel
The Holocaust Lady by Ruth Minsky Sender
The Holocaust Library - The Resistance (Holocaust Library (San Diego, Calif.) by Deborah
Bachrach
The Holocaust Remembered by Ann Byers, Linda Jacobs Altman, and Tabatha Yeatts
Holocaust Rescuers: Ten Stories of Courage (Collective Biographies) by Darryl Lyman
How Did It Happen? - The Holocaust by Sean Sheehan
I am a star--child of the Holocaust by Inge Auerbacher
I Have Lived A Thousand Years: Growing Up In The Holocaust by Livia Bitton-Jackson
In My Hands: Memories of a Holocaust Rescuer by Irene Gut Opdyke
Literature & Thought: Voices of the Holocaust by Literature & Thought Series
Literature of the Holocaust (Bloom's Period Studies) by Harold Bloom
The Little Boy Star: An Allegory of the Holocaust by Rachel Hausfater
Never to Forget: The Jews of the Holocaust by Milton Meltzer
Night by Elie Wiesel
The Oath by Elie Wiesel
Raoul Wallenberg: Swedish Diplomat and Humanitarian (Holocaust Biographies) by Thomas
Streissguth
The Rescue: The Story of How Gentiles Saved Jews in the Holocaust by Milton Meltzer
Smoke and Ashes: The Story of the Holocaust by Barbara Rogasky
The Survivor in Us All: Four Young Sisters in the Holocaust by Erna F. Rubinstein
Tell Them We Remember: The Story of the Holocaust by Susan Bachrach
An Unbroken Chain: My Journey Through the Nazi Holocaust by Henry A. Oertelt and Stephanie
Oertelt Samuels
We Survived the Holocaust by Elaine Landau
Writers of the Holocaust (Global Profiles) by Sherri Lederman Mandell
World History Series - The Holocaust by Michael V. Uschan
Brundibár
73
OTSL 2009
Opera
4-8 years old
Bantam of the Opera by Mary Jane Auch
Brundibár (New York Times Best Illustrated Books (Awards) by Tony Kushner and Maurice Sendak
The Dog Who Sang at the Opera by Marshall Izen, Jim West, and Erika Oller
Encore, Opera Cat! by Tess Weaver and Andrea Wesson
Lady White Snake: A Tale From Chinese Opera by Aaron Shepard and Song Nan Zhang.
Lambs' Tales from Great Operas by Donald Elliott
Madame Butterfly: The Story of the Opera by Giacomo Puccini by Giacomo Puccini, J. Alison
James, and Renata Fucikova
The Magic Flute: An Opera by Mozart by Kyra Teis
The Magic Flute: The Story of Mozart's Opera by Margaret Greaves and Francessca Crespi
Oddhopper Opera: A Bug's Garden of Verses by Kurt Cyrus (Paperback - April 1, 2007)
Opera by Crystal Kirgiss
Opera Cat by Tess Weaver and Andrea Wesson
The Phantom Cat of the Opera by David Wood, Gaston Leroux, and Peters Day
______________________________________________________________________________________
Opera
9 years old & up
Adventures in Music Opera book by Roy Bennett
The Barefoot Book of Stories from the Opera by Shahrukh Husain, Shackle Shahrukh Husain, and
James Mayhew
Bravo! Brava! A Night at the Opera: Behind the Scenes with Composers, Cast, and Crew by Anne
Siberell and Frederica von Stade
Sing Me a Story: The Metropolitan Opera's Book of Opera Stories for Children by Jane Rosenberg
and Luciano Pavarotti
The Random House Book of Opera Stories by Adele Geras
The Young Person's Guide to the Opera: With Music from the Great Operas (Book & CD) by Anita
Ganeri and Nicol
Brundibár
74
OTSL 2009

Brundibár Study Guide - Opera Theatre of Saint Louis

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