02 Jack Note to Teachers - Florentine Opera Company

Teacher
Resource
Guide
®
Dear Educators,
Welcome! Thank you so much for choosing us to be a part of your school year! We are
confident that you will find our program, Jack and the Beanstalk, to be an exciting and
inspiring part of your classroom curriculum! Within this resource guide we have included a
wide range of materials and activities: from general opera studies, to our featured composer,
Sir Arthur Sullivan, and the great fairy tale story of Jack and the Beanstalk!
Please feel free to adapt and use any of the suggestions for your classroom discussions and
activities. We encourage you to take advantage of our photocopy-friendly format and generate
copies for students or other colleagues. We would also like to encourage you to fill out and
return both the teacher and student evaluations. Student evaluations can come in a variety
of forms: artwork, classroom projects, letters, writing samples, etc. Your input is very
important to us as we continue to implement arts education in the schools.
In addition to the tour of Jack and the Beanstalk at the Florentine Opera this
season, we encourage you to look into our other education and community engagement
programs. Please visit www.florentineopera.org for more information on GET OPERA, Opera
Inside Out, Talk Opera and the Young Singing Actor Intensive!
Please don’t hesitate to contact me if you have any questions regarding the performance, the
study guide, or the Florentine Opera.
Thanks again and we look forward to seeing you this year!
Pablo Siqueiros
Education and Community Engagement Manager
FROM THE GENERAL DIRECTOR William Florescu…
While many people in the Milwaukee area enjoy the Florentine Opera’s mainstage offerings, our
education and outreach programs are an additional essential element of the work done at the
Company. Florentine Opera General Director William Florescu strongly believes in the power of
opera to teach and inspire students, noting: “We are dedicated to enriching the lives of children
through the performing arts, and providing them the opportunity for self-expression that will
ultimately help to develop valuable and effective communication and leadership skills. This
commitment provides a strong foundation for the reason for our being—bringing this allencompassing art form to our community—in the past, in the present, and into the future.”
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Note to Teachers
Evaluation Forms
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Florentine Opera Company Education Mission
About this Study Guide
New to Opera?
What Is Opera?
Who Makes It All Happen?
Operatic Voices
Operatic Singing
Glossary of Opera Terms
The Conductor’s Score
The Vocal Score
The Story of Jack and the Beanstalk
Jack and the Beanstalk Libretto Comparisons
Meet the Librettist/Arranger: John Davies
Meet the Composer: Sir Arthur Sullivan
All About Operetta
Opera Etiquette
Before the Opera
Last-Minute Thoughts
You’re Never Too Old for a Fairy Tale
Post-Opera Activities
Music
Costume Design
Theatre
Visual Art
Language Arts
Social Studies
Math, Science, & Technology
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Appendix
Meet the Cast
Happily Ever After the Performance
Additional Information and Resources
Evaluation Forms
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FLORENTINE OPERA COMPANY EDUCATION MISSION
The mission of the Florentine Opera Company Education Department is to make opera more inviting and
accessible to communities in Milwaukee and throughout the state of Wisconsin by:
1. Educating students and the community about opera and career opportunities within the opera.
2. Providing opera introduction and continuing education events for adults.
3. Providing opportunities for young artists.
The Florentine Opera Education Department’s strategic plan includes four goals:
1.
2.
3.
4.
Establishing new partnerships
Supplementing arts education at every level
Improving the quality and quantity of teaching artists
Involving new audiences by exploring new, non-traditional venues
“The music makes me feel happy, and it made me go to my home and sing to my grandma.” – student at
Greenfield Bilingual School
“I learned that it takes a lot of work to be in the opera.”
– student at Lancaster Elementary
“With my lifestyle and the way I was brought up, I would have never been naturally introduced to the
opera. I can replace movies with the opera, I can relax at the opera, I can get away from the world at the
opera.” – student at West Bend High School
“I loved the performance for ‘The Three Little Pigs’ opera performance. It was a good show for the
children in the school.” – student at 53rd Street School
“They made me laugh through the whole show. I think they should come again so we can see another
show. All the kids were enjoying it.” – student at Honey Creek School
“I really liked it! My stomach started to hurt because it was so funny. I thought that the singing was
awesome and that the whole performance was wonderful!” – student at Honey Creek School
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We acknowledge the Nashville Opera’s Education Department for sharing portions of their study guide
with the Florentine Opera. For more information about the Nashville Opera and their education
programs, visit http://www.nashvilleopera.org/Education_%26_Outreach.html.
Each section of this guide was created to supplement your school’s curriculum, as well as to provide
opera newcomers with more insight into the world of opera. Many sections (such as What is Opera?)
are geared specifically towards teachers. You are welcome to take this information and reframe it in
whatever way best suits your class. With the information and activities provided in this guide, we hope
to help you create a more meaningful experience for your students.
Our objectives with this study guide and performance are…
! To introduce students to the fundamental components of opera.
! To give students a very brief historical perspective of opera’s development.
! To introduce some basic terminology.
! To encourage multidisciplinary studies across many subject areas.
! To educate as well as entertain.
We achieve these objectives by…
! Presenting opera as fun, entertaining, and culturally significant.
! Providing you with background information on this year’s production as well as some basics
about opera and its history.
! Connecting opera to your music and general classroom curriculum with suggested pre- and
post-opera activities.
Why opera education?
! Our in-school programs present material through visual, aural, and action methods, thus
reaching out to many different types of learners.
! Exposure to opera as a multidisciplinary art helps students develop intelligence in a variety of
areas, including abstract thinking and problem solving.
! Opera provides opportunities for self-expression through a variety of forms, which in turn leads
to the development of valuable communication skills, self-discipline, perseverance, and
leadership.
! Opera combines drama, poetry, instrumental music, singing, scenery, costumes, lighting, and
many wonderful special effects. Such collaboration is important for students to witness, as it
helps to encourage them to develop a broadened, multidisciplinary perspective.
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Why Being an Opera Novice Helps You Enjoy Opera
We firmly believe that newcomers have a great advantage over many opera fanatics worldwide. The
composers of the great operas knew what they were doing – they created potent musical dramas aimed
straight for the heart. Many opera buffs forget that in opera, the intellect should take a backseat to
emotion. More than many other art forms, opera is meant to appeal directly to the senses. All you need
are eyes, ears, and a soul to fully appreciate opera. Let us help you activate your senses.
The Popular-versus-Classical Myth
Until very recently (at least in geological terms), going to an opera was like going to a movie. People
went to an opera as you might go to a rock concert: to have fun! They went to see their favorite stars
and hear their favorite tunes. They wore casual clothes; they brought along food and drinks; they even
cheered (or booed, or threw flowers or tomatoes) during the show if the spirit moved them. Classical
music was pop music.
In fact, when Verdi wrote Otello, the crowd went crazy, calling him back to the stage over and over again
with standing ovations, finally carrying him all the way home on their shoulders, and then serenading him
under his window. Opera is just as entertaining as it ever was. But these days, it has become much less
familiar.
~adapted from Opera for Dummies
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Before defining opera, ask your students to share their ideas about what opera could be. Write “opera”
on the board and list their answers beneath it.
What is opera?
An opera is simply a play in which people sing. In most operas, all the words are sung, and none are
spoken. There are other types of operas; however, in which there is as much speaking as singing.
If an opera is just a play, then why do people sing?
The theater has been around for hundreds of years. People were being entertained by plays long before
television and radio were even invented. Music was added to enhance the feelings portrayed on the
stage. Singing is a very special form of music because the instrument (like our feelings) comes from
inside. Our voice is a part of us which expresses how we feel, whether we sing, talk, shout, laugh, cry,
moan, growl, whisper, gasp, hiss, etc. It is the actor’s job to express such feelings, and singing is a
perfect way of doing just that. Naturally, singing was used very early in the history of the theater;
however, opera as we know it is only about 400 years old. Opera powerfully combines the drama of
theater with music – vocal and instrumental – to create the lasting art form that audiences enjoy
throughout the world today.
From opera to musical theater to music video
and everything in between – the length of
musical performances is considerably shorter
today than it was in the past.
How is this a reflection of society today
compared to hundreds of years ago?
Is it harder for us today to sit through a threehour-long opera than it was for people back in
the 1800s? Why or why not?
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What Are the Elements that Make Up an Opera?
A score is the blueprint to an opera. It consists of the words, music, stage directions, and often
performance notes needed for an entire show. An opera score is often divided into sections. It begins
with the overture, followed by one to five acts (large sections of acting and singing), and one or more
intermissions. Each act may be divided into scenes. The scenes are made up of recitatives, arias,
duets, larger ensembles, and choruses. You can find all of these terms in the Glossary of Opera and
Musical Terms located in this guide.
A trio from the Florentine Opera’s production of
Puccini’s Turandot, November 2011
Photo Credit: Kathy Wittman
What Are Some Different Styles of Opera?
Bel Canto
This Italian phrase means “beautiful singing.” Bel canto operas grew from a style of singing emphasizing
long phrases, breath control, a light upper register, flexibility in singing both loudly and softly, and a
“sweet” timbre (tone color). Because the voice is considered the most expressive element of bel canto
singing, the words are often considered to be secondary. Gaetano Donizetti, Vincenzo Bellini, and
Gioacchino Rossini were prominent bel canto composers. Soprano Renée Fleming and mezzo-soprano
Cecilia Bartoli are two contemporary singers who are renowned for their incredible bel canto technique.
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Grand Opéra
This is a style of opera that originated in France and is characterized by its magnificence. It is performed
with elaborate sets and costumes, and requires many people to make it happen. Grand opéra always
involves royalty, heroism, an elaborate ballet scene, and is often quite long. Composer Jules Massenet
wrote opera in this style.
Opera Seria
This Italian phrase means “serious opera” and refers to the noble, dramatic, and serious qualities of
Italian opera that dominated Europe in the mid-1700s. These stories are often tragic, and typically
involve heroes and kings or ancient myths and gods. Some of Mozart’s operas are in this style.
Opera Buffa
This style of opera, meaning “comic opera,” is the counterpart of opera seria, and is always sung in
Italian. The characters that supply the jokes represent the working class, such as maids, peasants, or
servants. These operas usually end with a happy lesson and with the antagonist defeated. Mozart’s Le
Nozze di Figaro and Don Giovanni and Rossini’s Il Barbiere di Siviglia (The Barber of Seville) fall under
this category of opera.
Singspiel
Singspiel evolved in German-speaking countries out of the comic opera tradition. It includes elements
of comic opera (funny lower-class characters), spoken dialogue interjected among the sung phrases,
and often includes an exotic or fanciful theme. Mozart’s Die Zauberflöte (The Magic Flute) is an example
of this style.
Music Drama
This is a style of opera that is created by a single artist who writes both the text and the music – as
opposed to having a composer and a librettist working together – in order to advance the drama.
Composer Richard Wagner (1813-1883) defined this style.
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A Brief Overview of Opera History
“Opera is where a guy gets stabbed in the back, and instead of dying, he sings.”
-Ed Gardner
Opera is more than just large women singing loudly; it is the complete collaboration of music, drama, art,
and poetry. Opera has been around for more than 400 years and can be broken down into the following
musical periods:
! Baroque Period (1600-1725)
! Classical Period (1725-1820)
! Romantic Period (1820-1900)
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Italian Romantic Opera
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German Romantic Opera
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French Romantic Opera
! Modern American Opera (1900-present)
Baroque Period (1600-1725)
In the early 17th century, a group of men called the Florentine Camerata began meeting to
discuss music and the arts. By linking existing musical pieces together with sung recitation, they laid
the groundwork for what we now know as modern Western opera. By the 1630s, opera was being
performed all over Europe. Many countries, like Germany, were enjoying Italian operas while other
countries, like France, began to experiment with their own variations of opera. By the eighteenth
century, the model of opera seria was firmly established. The plots usually centered on mythological
stories. The chorus was saved for the end of the opera where it added to the festivities of the inevitable
happy ending, and the solo singer became glorified. The standard aria during this time was composed in
a strict A-B-A form called da capo, literally meaning “from the head.” The first A section is sung in a
straightforward manner, exactly as written; it is followed by a short B section that has a different melody,
contrasting tempo, and is written in a different key. The aria ends with a restatement of the A section
(same melody, same words), but this time the singer would add ornamentations to appropriate places
throughout the vocal line.
*Recording example: Handel’s Giulio Cesare (RCA 1990 with Beverly Sills)
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Classical Period (1725-1820)
By the eighteenth century, the rigidity of the opera seria model and da capo form
were losing popularity since they limited the dramatic capabilities of music.
Increasingly less emphasis was placed on the singer, and the spotlight moved toward
the drama. Comic operas, or opera buffa as they were called in Italy, became very
popular throughout Europe. The most important figure in the Classical Period of opera
was Wolfgang Amadeus Mozart. Mozart wrote many successful operas in both the
opera seria and opera buffa styles. Many of the libretti (the text of an opera usually
written by someone other than the composer) he chose reflected the new ideas that
were circulating throughout Europe at that time.
Recording Examples:
*Mozart’s Le nozze di Figaro (EMI 1990 with Giuseppe Taddei & Anna Moffo)
*Mozart’s Così fan tutte (Angel Records 2000 with Elisabeth Schwarzkopf)
*Mozart’s Die Zauberflöte (Angel Records 2000 with Lucia Popp)
Romantic Period (1820-1900)
In the nineteenth century’s Romantic Period, opera suddenly fell into categories
defined by the nationality of the composer. Every major country in Europe made its
own unique contributions to the art form.
Italian Romantic Opera
Italian opera composer, Giuseppe Verdi broke down the walls between recitative and arias and
tried to achieve a continuity that added to the drama of the piece. In the end of the nineteenth century
and the early twentieth century, there was a strong trend toward realism in opera. This was called
verismo. The plot of a verismo opera generally follows common people dealing with familiar situations.
Recording Examples:
*Rossini’s Il barbiere di Siviglia (Decca 1989 with Cecilia Bartoli)
*Donizetti’s Lucia di Lammermoor (Decca 1985 with Joan Sutherland)
*Verdi’s La Traviata (Deutch Grammaphon 1990 with Placido Domingo)
*Verdi’s Rigoletto (Decca 1995 with Luciano Pavarotti & Joan Sutherland)
*Puccini’s La bohème (Decca 1990 with Mirella Freni & Luciano Pavarotti)
*Puccini’s Madama Butterfly (EMI Classics 1997 with Maria Callas)
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German Romantic
German opera during this period can be broken down into two categories:
German Romantic Opera and Richard Wagner’s music dramas. German Romantic
Operas were quite similar to Italian opera but differed in plot material. They drew more
upon supernatural and medieval tales (rather than the verismo topics the Italians chose)
and also employed more folk tunes. In the second half of the nineteenth century
Wagner created the concept of Gesamtkunstwerk [guh-zahmt-koontz-vairk], which
means “total artwork.” He believed that opera should be a fusion of stagecraft, visual
arts, literature, and music. He did almost everything related to production himself:
composed the music, wrote the libretto, and designed the costumes and scenery. In
Wagner’s dramas there were almost no distinctions between arias and recitative;
instead of showcasing the voice, he treated it like any other instrument. He also
increased the size of the orchestra and even developed a new instrument he called the
Wagner Tuba, which had a rich, mellow tone. Only very large voices can be heard over
his expanded orchestra.
Recording Examples:
*Wagner’s Tristan und Isolde (EMI Classics 2001 with Dietrich Fiescher-Dieskau)
*Wagner’s The Ring Cycle (Decca 1997 conducted by Georg Solti)
*Strauss’ Salome (Decca 1990 with Brigit Nilsson)
*Humperdink’s Hansel und Gretel (RCA 1999 with Anna Moffo & Christa Ludwig)
French Romantic Opera
French opera was typically visually spectacular, and usually included a ballet
somewhere in the second or third act. In the Romantic Period, three types of French
opera were prominent:
! Opéra comique – usually comical, used spoken dialogue instead of recitative.
! Grand opéra – popular in the second part of the nineteenth century when composer
Giacomo Meyerbeer came onto the scene. Grand opéra was built around
grandiose plots and used a large chorus and elaborate sets.
! Drama lyrique – a combination of opéra comique and grand opéra.
Recording Examples:
*Gounod’s Faust (EMI Classics 1990 with Placido Domingo & Mirella Freni)
*Gounod’s Roméo et Juliette (EMI Classics 1994 with Franco Corelli)
*Bizet’s Carmen (EMI Classics 1997 with Maria Callas & Nicolai Gedda)
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Modern American (1900-Present)
Despite the dominance of Italian, French, and German opera within today’s
popular repertoire, not all opera comes from the other side of the globe. American
composers have been writing operas based on familiar themes for over a century. In
the earliest years of American history, English settlers brought with them the Ballad
Opera – a short, comic play with musical numbers interspersed throughout. These
songs were basically original text set to popular tunes. In 1825, the first opera
performed entirely in its original language was produce at the Park Theater in New
York. Over the next 50 years, many traveling companies took opera all over the
country, and in 1883 the Metropolitan Opera Company opened its doors. Today, The
Met is recognized internationally for its high-quality productions and daring artistic
ventures; several new American operas have been commissioned by The Met in the
past century, giving composers exposure and prominence among the European
masters. American composers have made many important contributions to opera.
George Gershwin was the first to incorporate jazz into opera with his Porgy and Bess.
Composers like Gian Carlo Menotti and Carlisle Floyd have continued to write popular
works that have a distinctly American sound. New operas are often based on
American history (John Adams’ Nixon in China) or American literature (Floyd’s Of Mice
and Men), offering familiar plots for new audiences.
Recording Examples:
*Menotti’s Amahl and the Night Visitors (RCA 1990)
*Menotti’s The Medium (Cedille 1999 with Patrice Michaels & Joyce Castle)
*Floyd’s Susannah (Virgin Classics 1994 with Cheryl Studer & Samuel Ramey)
*Floyd’s Of Mice and Men (Albany Records 2004 conducted by Patrick Summers)
*Copland’s The Tender Land (Virgin Records 1992 conducted by Philip Brunelle)
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The Creators
A composer writes music and a librettist writes the words to create an opera. Most Western operas are
composed in European languages – mainly Italian, German, French, Russian, and English.
The Composer
The composer has a historically important role in Western culture. Both the nobility and the Church
respected musicians, and thus provided for the care and livelihood of artists throughout the latter part of
the 18th century. Although artists benefited from the personal security of the patronage system, most did
not have the freedom to choose the subject or style of their compositions. It was not until the end of the
1700s that the patronage system declined. The rise of the consumer class allowed composers to write
music that could be published and sold to the public. This resulted in an explosion of creativity, for new
styles and subjects, throughout Europe.
The Librettist
The librettist creates or adapts a story so that it can be sung. The stories adapted for opera were usually
taken from historical events, myths, poems, or plays. Composers often had favorite librettists with
whom they worked regularly. Perhaps the most well-known librettist is Lorenzo da Ponte (1749-1838)
who collaborated with Mozart on three of his most popular operas: The Marriage of Figaro, Don
Giovanni, and Così fan tutte.
The Interpreters
Once an opera is created, a team of artists begins the process of transforming the words and music into
a visual spectacle. These artists are called directors and designers. Their role is essential in interpreting
the intentions of the composer and librettist.
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The Directors and Designers
The directors and designers develop an opera’s visual concept by first identifying the key themes. Next,
they engage in extensive research on the historical context of the work, including the clothing of the
period and the culture of the society. Sometimes directors and designers choose to stay true to the
history and setting of the work. Other times they elect to change the location or historical period of an
opera. Either way, they are required to make countless decisions about everything from costumes to
sets to the action on the stage.
The Florentine Opera’s
mainstage productions take
place in Uihlein Hall, at the
Marcus Center for the
Performing Arts in downtown
Milwaukee. Uihlein Hall was
renovated in 1997 and can
seat 2,305 patrons.
What is the Artistic Team?
! The Artistic Team is the group of people who work together to make the opera performance
happen.
! The Stage Director is responsible for the action on the stage. This is accomplished by working with
the singers weeks before the performance. They direct the singer’s movements and help them
develop their individual characters.
! The Music Director, also known as the conductor, interprets the music of the opera and rehearses
it with the singers and the orchestra. During rehearsal the music is shaped to express different
moods of the opera. For example, the conductor decides how fast or slow (tempo) and how loudly
and softly (dynamics) the music is played.
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! The Set Designer designs the scenery for the opera.
! The Lighting Designer manipulates the lights to create effects that help set the mood and
complement the action on stage.
! The Costume Designer creates the clothes that the singers will wear on stage.
! The Choreographer is responsible for creating and directing any dancing that takes place in the
opera.
What happens below the stage?
The orchestra is a group
of instrumentalists who
accompany the singers.
The orchestra performs in
a pit. This is the sunken area in
front of the stage.
What happens behind the scenes?
While all the action is happening on stage, some very important people are orchestrating all the action
backstage. They are the production crew, and this is what they do:
The Stage Manager leads the crew and directs all the action that happens backstage. Stage Managers
direct scene changes, artists’ entrances and exits, sound/light changes, curtain movement, and all other
activities that make the production run smoothly. Their job requires great leadership and quick decisionmaking. A crew of stagehands works in collaboration with the Stage Manager. They move scenery and
set props (short for “properties”), which are objects used in the scene. The Props Supervisor makes
sure that all the props are placed appropriately and are available when the singers need them. The
Wardrobe Supervisor oversees the costumes and attends to last minute fittings and repairs. Dressers,
who help with fast costume changes, may assist the Wardrobe Supervisor. The Makeup Artist assists
singers with dramatic stage makeup that must be applied in order for their features to be seen from the
back of the theater.
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Not all crewmembers work backstage. The Sound Engineer, working from a booth in the rear of the
theater, operates the orchestra’s microphones and adjusts the sound. The Master Electrician, also
working in a booth in the rear of the theater, directs the positioning of the lights and then operates the
lights during a show. Both need to be in the audience to hear and see what is happening on stage. The
rehearsal pianist accompanies the artists as they rehearse the opera before they rehearse with the full
orchestra. This job also entails serving as a coach, assisting the artists with language and musical
preparation.
In the center of this photograph of Uihlein Hall is the
sound booth, located in the rear of the theatre
As you can see, the production of a fully staged professional opera requires the commitment of many
people willing and able to work together.
An ensemble
from the Florentine
Opera’s production
of Venus and Adonis,
May 2010
Photo Credit:
Richard Brodzeller
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Soprano
A soprano is the highest female voice. The normal range of a soprano is two octaves up from middle C,
sometimes with extra top notes. This range is similar to that of a violin. In opera, the soprano most
often plays the young girl or the heroine (sometimes called the Prima Donna). The choice of a high
bright voice traditionally suggests femininity, virtue, and innocence.
Famous Examples: Renée Fleming, Deborah Voigt.
Soprano Rena Harms as
Líu in the Florentine Opera’s
November 2011 production
of Puccini’s Turandot.
Photo credit: Kathy Wittman
Photo Credit: Richard Brodzeller
Mezzo-Soprano
A mezzo, the Italian word for middle, has a typical range from the “A” below middle C to the “A” two
octaves above it. This is similar to an oboe’s range. A mezzo’s sound is often darker and warmer than a
soprano’s. In opera, composers generally use a mezzo to portray older women, villainesses, seductive
heroines, and sometimes even young boys (like Hansel in Humperdinck’s Hansel and Gretel). This
portrayal of young boys is a special operatic convention, called a “trouser role” or a “pants role.”
Famous Examples: Joyce DiDonato, Marilyn Horne.
Contralto
This is the lowest female voice, similar in range to a clarinet. Contraltos usually sing the roles of older
females or special character parts such as witches and old gypsies. The range is two octaves from F
below middle C to the top line of the treble clef. A true contralto is very rare – some believe they don’t
exist at all!
Famous Examples: Stephanie Blythe, Marian Anderson.
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Men
Countertenor
This is the highest male voice, which was mainly used in very early opera and oratorio (a genre of
classical vocal music similar to opera but generally based on a religious topic and accompanied by a
choir). The voice of a countertenor sounds very much like a mezzo-soprano’s voice and they often sing
the same repertoire. Like the contralto, true countertenors are very rare.
Famous Examples: David Daniels, Andreas Scholl.
Tenor
A tenor is most often the highest male voice in an opera. It is similar to a trumpet in range, tone, color,
and acoustical ring. The tenor typically plays the hero or love interest in an opera. His voice ranges
from the C below middle C to the C above.
Famous Examples: Luciano Pavarotti, Placido Domingo.
Baritone
The middle male voice, close to a French horn in range and tone color, is the baritone. In opera buffa
(comedic opera), the baritone is often the ringleader of the comedy, but in opera seria (serious or tragic
opera), he is usually the villain. The range is from the G that is an octave and a half below middle C to
the G above middle C.
Famous Examples: Thomas Hampson, Sherill Milnes.
Baritone Mark Delavan in the Florentine
Opera’s production of Verdi’s Rigoletto, May
2003
Photo Credit: Richard Brodzeller
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Bass
The lowest male voice, it is similar to a trombone or bassoon in range and color. Low voices usually
suggest age and wisdom in serious opera. In comic opera they are generally used for old characters
that are foolish or laughable. The range is roughly two or two and a half octaves down from the F above
middle C.
Famous Examples: Sam Ramey, Rene Pape.
Discovering your voice type is not as simple as having green or blue eyes. Singers often float between
these categories, and some never really know where they fit. Sometimes, a female singer starts out her
training as a soprano and ends up singing mezzo roles a few years into her studies. Baritones with good
high notes are often mistaken for tenors. Singing the wrong repertoire can lead to all sorts of vocal
problems and can even shorten or end a singer’s career. That’s why it is very important for singers to
have a good, trustworthy teacher and to be selective in the jobs that they choose.
Voice Types Based on Size and Quality
Voices are also categorized according to size and quality of voice. There are small, medium, mediumlarge, and large voices in opera. The quality of a voice can be defined using the following terms:
Soubrette
Soubrette describes a soprano of very light vocal weight, comparatively small range, and the looks and
disposition of a young girl. Soubrette roles are often flirtatious and witty, and outsmart the rich and
powerful by the end of the opera. Many soubrette roles have names that end in –ina: Despina (Mozart’s
Così fan tutte), Adina (Donizetti’s The Elixir of Love), and Zerlina (Mozart’s Don Giovanni) are all
soubrettes.
Character
A singer with an exceedingly unique and rarely beautiful sound (and often the looks to match) can make
a fine living singing character roles. While they don’t get the fattest paycheck, they do tend to get all the
laughs. This classification is reserved for the lower voices (mezzo, tenor, baritone, and bass). Examples
are the Witch (Humperdinck’s Hansel und Gretel) and the stuttering lawyer, Don Curzio (Mozart’s The
Marriage of Figaro).
Coloratura
Female singers described as coloraturas have great vocal agility, stunning high notes, and the ability to
sing complicated vocal ornamentation. The Queen of the Night (Mozart’s The Magic Flute) is a
coloratura soprano. Rosina (Rossini’s The Barber of Seville) is a coloratura mezzo.
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Lyric
The word lyric generally describes a singer who specializes in long phrases and a beautiful tone. If you
don’t claim the distinction of coloratura, dramatic, character, or helden-, then you would probably call
yourself lyric. To break it down further, there are light-lyric, full-lyric, and just plain old lyric titles that can
precede the general voice type of soprano, tenor, and so on. For a more detailed description, read on…
if this is enough for you, our feelings won’t be hurt if you skip down to “dramatic.”
“Lyric” can mean a variety of different things, depending on who you talk to. While there are no hard
and fast rules, there are a few widely accepted distinctions, which are outlined below.
! A light-lyric soprano like Pamina (Mozart’s The Magic Flute)
should have a bigger voice than a soubrette but still possess a
youthful quality. A full-lyric soprano has a more mature sound
and can be heard over a bigger orchestra. Think Mimì (Puccini’s
La Bohème). Full-lyric sopranos are typically the highest paid of
all the voice types.
Rena Harms as Lìu in the Florentine
Opera’s April 2011 production of Turandot
Photo Credit: Kathy Wittman
! A light-lyric mezzo is the equivalent of the soubrette and
generally plays young boys like Hansel (Humperdinck’s Hansel und Gretel). In this case, the
long phrases mentioned above are traded for agility and charm. A plain old lyric mezzo (no “full”
distinction here) is usually an old woman or a temptress of some sort – Bizet’s Carmen is the
quintessential lyric mezzo.
! Most tenors fall into the lyric category and don’t call themselves light or full. However, some
specific operatic roles for tenors are separated further (though
! There are light baritones, but they fall into the lyric pot with the rest.
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Dramatic
Dramatic describes the heaviest voices in any category except for bass. Dramatic singers are capable
of sustained declamation and a great deal of power, even over the largest orchestra of about 80
instruments!
Helden
A German prefix meaning “heroic,” applies to a large voice. These singers perform the most demanding
roles in opera. Brünnhilde (the character most often associated with braids and a horned helmet) is a
helden-soprano role.
A list of famous opera
singers of each voice
type as well as some of
their most celebrated
recordings can be found
in the section entitled
Additional Information
and Resources for
Teachers, at the end of
the guide.
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Every culture in the world makes music. We can often recognize the origin of a song by its musical
elements. For example, Eastern cultures like China and Japan base their compositions on the
pentatonic scale (which is roughly represented by the black keys on the piano). Indian musicians (from
India) use instruments like the sitar and the tabla, which have very distinct sounds. In the same way,
each culture has developed its own style of singing.
Characteristics of a “Trained” Voice
Singing in Europe and America is now generally divided into two categories: classical and popular. What
most people think of as operatic or classical singing developed in Europe hundreds of years ago. This
style flourished during the seventeenth century, as opera became a popular form of entertainment and
operatic music increased in complexity. The most recognizable characteristics of a classically trained
voice are:
! an extensive range (the ability to sing both high and low)
! varying degrees of volume (loud and soft)
! resonance in the chest and sinus cavities (produces a “hooty,” “full,” or “round” sound)
! an ability to project or fill a large space without amplification.
Training
Very few people are born with the capability to sing this way. Classical singers take voice lessons about
once a week and practice every day for many years in order to develop a beautiful operatic sound. In
fact, most trained voices are not “mature” enough to perform leading roles on a big stage until they’re at
least 28 years old. Compare that with the most popular singers on the radio today – Ariana Grande
was 15 when she began to pursue her musical career!
Two Tiny Muscles
Science tells us that sound is made up through two things
vibrating together. The same concept applies when we talk or
sing. The sounds we make are really just the vibration of two little
muscles called the vocal chords. The vocal chords are held in the
larynx, which is sometimes called the voice box or (in boys) the
Adam’s Apple. These two little muscles vary in length, but are
typically between one and two inches long.
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When you want to say something, your brain tells your vocal chords to pull together until they touch
lightly. Then, air pushes through them, and the vocal chords begin to vibrate, creating a sound. The
pitches you sing are dependent upon the speed at which the chords vibrate. A faster vibration creates a
higher pitch. The length of the chords also affects the pitch of the voice. Longer chords equal a lower
voice.
The rest of the body
The vocal chords are only a small component of a larger machine that creates a beautiful singing voice.
That machine is the entire body, from the tip of the toes to the top of the head. In order to sing with
ease, every muscle needs to be relaxed – but not lazy! If even one muscle is tense, it can throw off the
entire machine, which is immediately obvious in a singer’s vocal quality.
Breathing/Support
In order to sing long phrases with a lot of volume and a good tone, singers must breathe in a specific
manner, making use of the whole torso area (lungs, ribs, diaphragm, and viscera). As they breathe in,
each part of this network does its job: the lungs fill up, which allows the ribs to expand and the
diaphragm (a flat muscle below the lungs) to move down. As the diaphragm descends, the viscera
(stomach, intestines, and other organs) move down and out. Singers describe this feeling as “fatness in
the low stomach” or “filling an inner-tube” around their waist.
Expelling the air, or singing, is essentially a slow and
controlled movement of those muscles. If all of the air
escapes from the lungs too quickly, the tone of the
voice will sound breathy and will lack intensity.
Successful opera singers must be able to isolate the
diaphragm and ribs, controlling the rate at which they
return to their original positions. This allows for a
consistent stream of air that travels from the lungs,
through the larynx, and out of the mouth.
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Resonance
One of the most obvious characteristics of an operatic voice is a full, resonant tone. Singers achieve this
by lifting their “soft palate.” This is a part of the mouth that most people don’t ever think about. It can
be difficult to isolate if you don’t obsess over it like most singers do. Here are some simple exercises to
feel where it is and hear the resonance in your voice when you lift it:
! Start to yawn. Feel that lifting sensation in the back of your mouth? That’s the soft palate going
up.
! Slide your tongue along the roof of your mouth, from your teeth back toward your throat. You
should feel your tongue go up, then down (that’s your hard palate), then back up again. That
soft, fleshy area at the very back is your soft palate.
! Say the word “who” as you would say it in normal conversation. Now, say “hoooo” like a hoot
owl. Can you hear the difference?
Lifting the soft palate is the foundation for the resonance in a singer’s voice. With a lot of practice, a
singer can lift his or her palate as soon as they begin to sing, without even thinking about it.
Vibrato
Proper breathing and full resonance are essential for producing a clear vocal tone with an even “vibrato”
(the Italian word meaning “to vibrate”). Vibrato can be described as a “wiggle” in the voice, or
technically, a consistent variation in the pitch of a tone. While many pop singers try to remove this
element of singing for the sake of style, vibrato in an opera singer’s voice is a must – it increases the
warmth and resonance of the tone and also allows for accurate tuning.
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Registers of the Voice
Head Voice
The head voice is the higher register. It’s called the head voice because you literally feel like your voice is
coming out of your head rather than your throat or chest.
Chest Voice
The natural speaking voice falls into the chest voice register. If you put your hand on your chest and yell
“Hey!” you can feel it resonate in the chest rather than the head. Broadway and pop singers like
Christina Aguilera use it almost exclusively, but female opera singers generally avoid it unless they’re
singing really low notes. Men sing mostly in this voice.
Falsetto
This register applies to male voices only. Falsetto happens when the vocal chords do not vibrate fully,
which creates a high, feminine sound. Male characters frequently use this register to imitate female
voices.
A Comparison: Trained vs. Untrained
Since we’ve already covered the characteristics of a trained voice, it may be interesting to see how they
differ from those of an untrained voice. Singers of pop music, rock and roll, R&B, folk, and country are
often referred to as “commercial.” While their styles vary considerably, the way they use their voices
seems to be relatively consistent.
Training
Commercial singers don’t always train like classical singers do. While there are schools like Belmont
University who offer degrees in Commercial Voice, many of the most successful non-classical singers of
today are known more for their unique style, natural talent, and personality rather than for their technical
mastery of the voice.
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Breathing/Support
Unlike classical singers, commercial singers often breathe as they do in normal speaking. A long phrase
might warrant a big breath, but studying the placement and movement of one’s body is not usually
something that is done by pop singers.
Resonance
Most commercial singers are just not concerned with creating a resonant tone. In fact, a pop song sung
with a lot of resonance would probably sound pretty silly to most people.
Projection/Volume
Essentially all commercial singers depend upon microphones to be heard in a large performance space.
This enables the singers to deliver their message in either a loud, dramatic style, or in an intimate,
conversational style, with little physical effort. Opera singers, however, depend on the acoustics of the
performance space and their ability to project their voices naturally to be heard. Microphones are
almost never used in operatic performances.
Operatic Singing
Commercial Singing
Years of vocal training required
No intense vocal training necessary
Breathing is controlled through
placement and movement of
internal organs
Breathing is the same as in
everyday speech
Resonant tone is achieved by
raising the soft palate
Resonant tone is generally not
desired
The voice is generally not amplified, Microphones are almost always
so the singer must project naturally used to amplify the voice
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CHECKLIST: A good opera singer must have…
Volume
Opera singers are trained to be heard in large theaters, such as the Marcus Center for the Performing
Arts, without using microphones. Singers train for years to be able to sing loudly enough to be heard
over other soloists, a chorus, and a large orchestra of about 70 instruments. How loudly can an opera
singer sing? When a jet takes off, the sound reaches 110-120 decibels, which is the human threshold
level of pain. A powerful opera singer, singing very close to another person’s ear, could reach up to 110
decibels.
Stamina
Opera requires the ability to sing for two to three hours or even longer. Opera singers rarely perform on
consecutive evenings due to the physically demanding performances.
Range
Operatic music requires singers to have a large range – from very low notes to extremely high notes.
Acting ability
Opera singers don’t just stand on stage and sing; they must be able to act, as well. The singers must
make the audience believe in their characters. For example, the Witch in Hansel and Gretel would not
be as effective (or scary!) if the singer could not act well.
The right “look”
Just like an actor in a movie, it is important for an opera singer portraying the character to look the part.
For example, even though the singer who performs the role of Goldie B. Locks is in her 20s, she should
look very young so we can believe that she’s a child.
Familiarity with different languages
Since opera was developed in Europe, most operas are written in languages other than English. A
singer must be familiar with the pronunciation of foreign languages as well as the meaning of each word
that they sing. It is not unusual for an American singer to perform in Italian, French, German, or even
Russian.
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A capella
Alto
Aria
Audition
Baritone
Bass
Beat
Bel Canto
Blocking
Bravo!
Cadence
Cadenza
Choreographer
Chorus
Chorus Master
Composer
Without accompaniment
A low female voice
A solo vocal piece within an opera that presents emotions; a
showpiece for the singer, usually with rich orchestra
accompaniment
When a singer or actor tries out for a director, hoping to be cast in
a show; usually involves singing 2 or 3 contrasting arias and
possibly a monologue
A low male voice
The lowest male voice
The underlying pulse of a song; what you would clap along with at
a concert
“Beautiful singing;” an Italian style of singing
Where the singers stand and move during a scene; singers are
given their blocking by the director, and have to memorize it
along with their music
A word that audience members shout when they like a
performance – it means “well done” or “great job”
A closing statement at the end of a musical phrase; an open
cadence sounds like a resting point or a thought that is
incomplete; a closed cadence sounds like a stopping point or
the end of a song/section
A passage usually near the end of a piece; the singer performs
“flashy” difficult music while the orchestra waits
The person who creates the dance routines and special movement
in the show
A group of singers who sing and act en masse, not as soloists
The leader of the chorus
The person who writes music to go with the words so that the
story can be sung
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Comprimario
Conductor
Contralto
Costume
Countertenor
Critic
Director
Downstage
Duet
Ensemble
Entr’acte
Finale
Grand opera
Harmony
Interval
A secondary role in an opera, usually the maid, servant, messenger
or confidante of one of the leading characters; often provides
comic relief
The person who leads and coordinates a musical ensemble
An extremely low female voice that almost sounds like a male
voice
The clothing the singers wear so that they look like the character
they are portraying
An extremely high male voice that almost sounds like a female
voice
One who describes and analyzes artistic works and performances,
also judging their merits and faults
The person who “stages” the opera or show by telling the singers
what to do, where to stand, etc. when they are performing, so
that it looks real. This may include staging fights or making up
dances, although the director occasionally has a choreographer
to help with the dancing
The position on a stage nearest to the audience; because the
“raked stage” prevalent in early opera houses was slanted, the
closer a singer came to the audience, the lower the stage was to
the ground
A musical piece for two instruments or voices
A group singing or playing together; a piece that a group sings or
plays together
A piece of music between the acts of an opera; usually signals the
beginning of the next act
The end, usually a grand scene involving as many members of the
cast as possible
The most elaborate and formal presentation of opera, signified by
size and grandeur in cast, orchestra, and sets
Several notes played and/or sung together, to create a richer
sound
The distance between two pitches
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Legato
Leitmotiv
Libretto
Melody
Meter
Mezzo-Soprano
Monologue
Note
Opera buffa
Opera seria
A smooth manner of playing or singing with no perceptible breaks
between notes
A melodic theme used throughout an opera to identify a character
or idea (love, hate, jealousy, etc.); German opera composer
Richard Wagner developed this concept in the late 19th century
Italian word for “little book”; the printed text of the opera
The tune
The grouping of beats in a piece of music into groups of 2 (duple
meter) or 3 (triple meter); meter is sometimes irregular or mixed
between groups of 2 and 3
A medium-to-low female voice
A long speech given by a single actor in the context of a play; the
operatic equivalent is the aria
A sound with a specific pitch; eight notes played in a row with a
specific pattern of intervals make up a scale
Italian comic opera (opéra comique in French)
Opera that is serious in nature
A gripping scene from the
Florentine Opera’s November
2001 production of Tosca,
an opera seria by Italian
composer Giacomo Puccini
Photo Credit: Richard Brodzeller
Operetta
Orchestra
Overture
Patter
Pit
Prima Donna
A work for the stage that is less serious in subject matter and
musical complexity; has spoken dialogue and lots of humor
A group of instruments made up of strings, woodwinds, brass, and
percussion that provides accompaniment for the opera
performance
An orchestral piece that introduces the opera, often making use of
the melodies that are heard again during the opera
A style of singing where the words are sung very quickly
A large space below the stage where the orchestra and conductor
are during a performance
Italian term for “first lady”; the lead female role in an opera
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Props
Quartet
Recitative
Ritardando
Rhythm
Scene
Score
Set
Set Designer
Soprano
Stagehand
Stage left/right
Super
Technical
Tempo
Tenor
Theme
Timbre
Trio
Tutti
Unison
Upstage
Vibrato
Items other than costumes or scenery used as part of a dramatic
or operatic production, such as a knife, a mirror, or a special
glass; short for properties
A musical piece for four voices or instruments
Speech singing that tells the plot line of the opera, imitates natural
speech patterns, and is usually heard before an aria
Italian word meaning “slowing down”
The feeling of movement in music
The surroundings or location where the action takes place; also a
subdivision of an act
The pages upon which the vocal and instrumental music of an
opera are written
The scenery, representing a particular location (short for setting)
The person who decides how to make the stage look like a castle,
or a forest, or whatever it should look like for the story; this
person usually has assistants that build the set once it has been
designed
The highest female voice
A person who helps put together and take apart the set; also
handles props and scene changes
The division of the stage from the singer’s point of view; for
example: a singer moves to stage right, which is the audience’s
left
Slang for a supernumerary; an “extra” used in non-singing, nonspeaking roles
The stage management, lighting, scene-building, and other
mechanical aspects of a theatrical production
The speed at which a piece of music is performed
A high male voice
A central melody in a piece of music; in opera, a theme may be
associated with a particular character, setting, object, or
emotion; this kind of theme is also called a leitmotiv
(rhymes with amber) Tone quality or tone color of a voice or
instrument
A musical piece for three voices or instruments
Italian word that means “everyone”
When two or more people sing the same notes and the same
words at the same time
The position on stage farthest from the audience (see downstage
for further explanation)
Vibrating quality that produces warmth of feeling in the human
voice
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Largely unseen down in the orchestra pit below stage level, the orchestra is a vital part of the operatic
experience. It not only accompanies the singers but also helps to carry the storyline and fuse the entire
production.
The orchestra consists of four sections:
The string section includes violins, violas, cellos, and basses.
The woodwind section includes the piccolos, flutes, oboes, clarinets, and bassoons.
The brass section includes trumpets, trombones, French horns, baritones, and tubas.
The percussion section includes timpani (kettle drums), triangles, cymbals, tambourines, and chimes.
The harp, harpsichord, and piano are usually listed in this category.
Maestro Joseph Rescigno,
Principal Conductor for the
Florentine Opera Company
The conductor directs both the orchestra and the singers. During the performance, the conductor
stands in the pit in front of the orchestra and the stage. From there, he or she is able to indicate the
tempo and volume to the orchestra and signal the entrance cues for both solo artists and ensembles.
A score is the written music that shows all vocal and instrumental parts on one very large page. This is
what a conductor looks at while conducting an opera. On the next page is an excerpt from the
conductor’s score of George Gershwin’s Porgy and Bess.
31
32
The vocal score (a book that has the written music for an opera) can tell you many things. Look at this
excerpt from the Act II Finale of Mozart’s Le Nozze di Figaro (The Marriage of Figaro). The score tells the
dynamics (p – piano, f – forte, etc.), tempo (allegro means “fast”), who is singing, and even gives staging
suggestions.
How could this help a director
when developing his or her
ideas for a show?
33
JACK AND THE BEANSTALK – TEACHER’S SYNOPSIS
Note: The story of Jack and the Beanstalk is quite simple and will
probably not require much explanation. Use your discretion on how
much you want to reveal about the story before the students see it.
There was once upon a time a poor widow who had an only son named
Jack, and a cow named Milky-White. And all they had to live on was the
milk the cow gave every morning, which they carried to the market and
sold. But one morning Milky-White gave no milk, and they didn't know
what to do.
"What shall we do, what shall we do?" said the widow, wringing her hands.
"Cheer up, mother, I'll go and get work somewhere," said Jack.
"We've tried that before, and nobody would take you," said his mother. "We must sell Milky-White and
with the money start a shop, or something."
"All right, mother," says Jack. "It's market day today, and I'll soon sell Milky-White, and then we'll see
what we can do."
So he took the cow's halter in his hand, and off he started. He hadn't gone far when he met a funnylooking old man, who said to him, "Good morning, Jack."
"Good morning to you," said Jack, and wondered how he knew his name.
"Well, Jack, and where are you off to?" said the man.
"I'm going to market to sell our cow there."
"Oh, you look the proper sort of chap to sell cows," said the man. "I
wonder if you know how many beans make five."
"Two in each hand and one in your mouth," says Jack, as sharp as a needle.
"Right you are," says the man, "and here they are, the very beans
themselves," he went on, pulling out of his pocket a number of strangelooking beans. "As you are so sharp," says he, "I don't mind doing a swap
with you -- your cow for these beans."
"Go along," says Jack. "Wouldn't you like it?"
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"Ah! You don't know what these beans are," said the man. "If you plant them overnight, by morning
they grow right up to the sky."
"Really?" said Jack. "You don't say so."
"Yes, that is so. And if it doesn't turn out to be true you can have your cow back."
"Right," says Jack, and hands him over Milky-White's halter and pockets the beans. Back goes Jack
home, and as he hadn't gone very far it wasn't dusk by the time he got to his door.
"Back already, Jack?" said his mother. "I see you haven't got Milky-White, so you've sold her. How much
did you get for her?"
"You'll never guess, mother," says Jack.
"No, you don't say so. Good boy! Five pounds? Ten? Fifteen? No, it can't be twenty."
"I told you you couldn't guess. What do you say to these beans? They're
magical. Plant them overnight and -- "
"What!" says Jack's mother. "Have you been such a fool, such a dolt, such
an idiot, as to give away my Milky-White, the best milker in the parish, and
prime beef to boot, for a set of paltry beans? Take that! Take that! Take that!
And as for your precious beans here they go out of the window. And now
off with you to bed. Not a sup shall you drink, and not a bit shall you
swallow this very night."
So Jack went upstairs to his little room in the attic, and sad and sorry he was,
to be sure, as much for his mother's sake as for the loss of his supper.
At last he dropped off to sleep. When he woke up, the room looked so funny. The sun was shining into
part of it, and yet all the rest was quite dark and shady. So Jack jumped up and dressed himself and went
to the window. And what do you think he saw? Why, the beans his mother had thrown out of the
window into the garden had sprung up into a big beanstalk which went up and
up and up till it reached the sky. So the man spoke truth after all.
The beanstalk grew up quite close past Jack's window, so all he had to do was
to open it and give a jump onto the beanstalk which ran up just like a big
ladder. So Jack climbed, and he climbed, and he climbed, and he climbed, and
he climbed, and he climbed, and he climbed till at last he reached the sky. And
when he got there he found a long broad road going as straight as a dart. So he
walked along, and he walked along, and he walked along till he came to a great
big tall house, and on the doorstep there was a great big tall woman.
"Good morning, mum," says Jack, quite polite-like. "Could you be so kind as to give me some
breakfast?" For he hadn't had anything to eat, you know, the night before, and was as hungry as a hunter.
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"It's breakfast you want, is it?" says the great big tall woman. "It's breakfast you'll be if you don't move
off from here. My man is an ogre and there's nothing he likes better than boys broiled on toast. You'd
better be moving on or he'll be coming."
"Oh! please, mum, do give me something to eat, mum. I've had nothing to eat since yesterday morning,
really and truly, mum," says Jack. "I may as well be broiled as die of hunger."
Well, the ogre's wife was not half so bad after all. So she took Jack into the kitchen, and gave him a hunk
of bread and cheese and a jug of milk. But Jack hadn't half finished these when thump! thump! thump!
the whole house began to tremble with the noise of someone coming.
"Goodness gracious me! It's my old man," said the ogre's wife. "What on earth shall I do? Come along
quick and jump in here." And she bundled Jack into the oven just as the ogre came in.
He was a big one, to be sure. At his belt he had three calves strung up by the
heels, and he unhooked them and threw them down on the table and said,
"Here, wife, broil me a couple of these for breakfast. Ah! what's this I smell?
Fee-fi-fo-fum,
I smell the blood of an Englishman,
Be he alive, or be he dead,
I'll have his bones to grind my bread."
"Nonsense, dear," said his wife. "You' re dreaming. Or perhaps you smell the
scraps of that little boy you liked so much for yesterday's dinner. Here, you go
and have a wash and tidy up, and by the time you come back your breakfast'll
be ready for you."
So off the ogre went, and Jack was just going to jump out of the oven and run away when the woman
told him not. "Wait till he's asleep," says she; "he always has a doze after breakfast."
Well, the ogre had his breakfast, and after that he goes to a big chest and takes out a couple of bags of
gold, and down he sits and counts till at last his head began to nod and he began to snore till the whole
house shook again.
Then Jack crept out on tiptoe from his oven, and as he was passing the ogre, he took one of the bags of
gold under his arm, and off he pelters till he came to the beanstalk, and then he threw down the bag of
gold, which, of course, fell into his mother's garden, and then he climbed down and climbed down till at
last he got home and told his mother and showed her the gold and said, "Well, mother, wasn't I right
about the beans? They are really magical, you see."
So they lived on the bag of gold for some time, but at last they came to the end of it, and Jack made up
his mind to try his luck once more at the top of the beanstalk. So one fine morning he rose up early, and
got onto the beanstalk, and he climbed, and he climbed, and he climbed, and he climbed, and he
climbed, and he climbed till at last he came out onto the road again and up to the great tall house he had
been to before. There, sure enough, was the great tall woman a-standing on the doorstep.
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"Good morning, mum," says Jack, as bold as brass, "could you be so good as to give me something to
eat?"
"Go away, my boy," said the big tall woman, "or else my man will eat you up for breakfast. But aren't
you the youngster who came here once before? Do you know, that very day my man missed one of his
bags of gold."
"That's strange, mum," said Jack, "I dare say I could tell you something about that, but I'm so hungry I
can't speak till I've had something to eat."
Well, the big tall woman was so curious that she took him in and gave him something to eat. But he had
scarcely begun munching it as slowly as he could when thump! thump! they heard the giant's footstep,
and his wife hid Jack away in the oven.
All happened as it did before. In came the ogre as he did before, said, "Fee-fi-fo-fum," and had his
breakfast of three broiled oxen.
Then he said, "Wife, bring me the hen that lays the golden eggs." So she brought it, and the ogre said,
"Lay," and it laid an egg all of gold. And then the ogre began to
nod his head, and to snore till the house shook.
Then Jack crept out of the oven on tiptoe and caught hold of the
golden hen, and was off before you could say "Jack Robinson."
But this time the hen gave a cackle which woke the ogre, and just
as Jack got out of the house he heard him calling, "Wife, wife,
what have you done with my golden hen?"
And the wife said, "Why, my dear?"
But that was all Jack heard, for he rushed off to the beanstalk and climbed down like a house on fire.
And when he got home he showed his mother the wonderful hen, and said "Lay" to it; and it laid a
golden egg every time he said "Lay."
Well, Jack was not content, and it wasn't long before he determined to have another try at his luck up
there at the top of the beanstalk. So one fine morning he rose up early and got to the beanstalk, and he
climbed, and he climbed, and he climbed, and he climbed till he got to the top.
But this time he knew better than to go straight to the ogre's house. And when he got near it, he waited
behind a bush till he saw the ogre's wife come out with a pail to get some water, and then he crept into
the house and got into the copper. He hadn't been there long when he heard thump! thump! thump! as
before, and in came the ogre and his wife.
"Fee-fi-fo-fum, I smell the blood of an Englishman," cried out the ogre. "I smell him, wife, I smell him."
"Do you, my dearie?" says the ogre's wife. "Then, if it's that little rogue that stole your gold and the hen
that laid the golden eggs he's sure to have got into the oven." And they both rushed to the oven.
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But Jack wasn't there, luckily, and the ogre' s wife said, "There you are again with your fee-fi-fo-fum.
Why, of course, it's the boy you caught last night that I've just broiled for your breakfast. How forgetful I
am, and how careless you are not to know the difference between live and dead after all these years."
So the ogre sat down to the breakfast and ate it, but every now and then he would mutter, "Well, I could
have sworn --" and he'd get up and search the larder and the cupboards and everything, only, luckily, he
didn't think of the copper.
After breakfast was over, the ogre called out, "Wife, wife, bring me my golden harp."
So she brought it and put it on the table before him. Then he said, "Sing!" and the
golden harp sang most beautifully. And it went on singing till the ogre fell asleep, and
commenced to snore like thunder.
Then Jack lifted up the copper lid very quietly and got down like a mouse and crept
on hands and knees till he came to the table, when up he crawled, caught hold of the
golden harp and dashed with it towards the door.
But the harp called out quite loud, "Master! Master!" and the ogre woke up just in time to see Jack
running off with his harp.
Jack ran as fast as he could, and the ogre came rushing after, and would soon have caught him, only Jack
had a start and dodged him a bit and knew where he was going. When he got to the beanstalk the ogre
was not more than twenty yards away when suddenly he saw Jack disappear like, and when he came to
the end of the road he saw Jack underneath climbing down for dear life. Well, the ogre didn't like
trusting himself to such a ladder, and he stood and waited, so Jack got another start.
But just then the harp cried out, "Master! Master!" and the ogre swung himself down onto the beanstalk,
which shook with his weight. Down climbs Jack, and after him climbed the ogre.
By this time Jack had climbed down and climbed down and climbed down till he was very nearly home.
So he called out, "Mother! Mother! bring me an ax, bring me an ax." And his mother came rushing out
with the ax in her hand, but when she came to the beanstalk she stood stock still with fright, for there
she saw the ogre with his legs just through the clouds.
But Jack jumped down and got hold of the ax and gave a chop at the
beanstalk which cut it half in two. The ogre felt the beanstalk shake and
quiver, so he stopped to see what was the matter. Then Jack gave
another chop with the ax, and the beanstalk was cut in two and began
to topple over. Then the ogre fell down and broke his crown, and the
beanstalk came toppling after.
Then Jack showed his mother his golden harp, and what with showing
that and selling the golden eggs, Jack and his mother became very rich, and he married a great princess,
and they lived happy ever after.
Source: Joseph Jacobs. English Fairy Tales. London: David Nutt, 1890. No. 13, pp. 59-67.
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The music in Jack and the Beanstalk was originally written by Sir Arthur Sullivan. John Davies chose
each piece because the music fit with the scene he was setting. After choosing the music that had the
right sound for a particular scene, he replaced the original words with new ones that went along with the
Jack and the Beanstalk story. The text of two pieces used in Jack and the Beanstalk are listed below,
with John Davies’ new words alongside the original text.
Come Out, Come Out, Wherever You
Are
Kind Captain, I’ve Important
Information
From John Davies’ Jack and the Beanstalk
Sung by the Giant and Wife
From Gilbert & Sullivan’s H.M.S. Pinafore
Sung by Dick Deadeye and the Captain
Giant: Come out, come out, wherever
you are, I tell you.
Sing hey, the simple Giant that I am.
I’m sure to find you soon for I can smell
you,
I’ll eat you for my lunch with bread and
jam.
Dick: Kind Captain, I’ve important
information,
Sing hey, the kind commander that
you are,
About a certain intimate relation,
Sing hey, the merry maiden and the
tar.
Both: [He’ll/I’ll] eat you for [his/my] lunch
with bread and jam.
Both: The merry maiden and the tar.
Wife: Dear husband I’m afraid you are
mistaken,
Sing hey, the simple Giant that you are.
That smell you smell’s the smell of smelly
eggs and bacon.
G: Be quiet, wife, I know he’s not too far.
W: Dear husband you’re mistaken, that’s
the smell of eggs and bacon,
Sing hey, the stupid Giant that you are.
G: Come out, come out, wherever you
are,
He cannot be too far.
Captain: Good fellow, in
conundrums you are speaking,
Sing hey, the mystic sailor that you
are,
The answer to them vainly I am
seeking;
Sing hey, the merry maiden and the
tar.
Both: The merry maiden and the tar.
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G: I think that he is playing hide and seek,
dear,
Sing hey, the hungry Giant that I be.
I’ll count to ten and promise not to peek,
dear,
At least I won’t until I get to three.
G: 1, 2, 3, 4, 5, 6, 7, 8, 9 and 10
Both: Sing o-lee o-lee en-free.
D: Kind captain, your young lady is
a-sighing,
Sing hey, the simple captain that
you are,
This very night with Rackstraw to be
flying;
Sing hey, the merry maiden and the
tar.
Both: The merry maiden and the tar.
W: There’s no one in this place but you
and me my love,
Sing hey, the simple husband that you
are.
It’s only just the two of us you see, my
love.
G: I’ll catch that boy and put him in a jar.
Both: Sing hey, the [simple Giant/stupid
husband] that [I/you] are.
C: Good fellow, you have given
timely warning,
Sing hey, the thoughtful sailor that
you are,
I’ll talk to Master Rackstraw in the
morning,
Sing hey, the cat-o’-nine-tails and
the tar.
Both: The merry cat-o’-nine-tails
and the tar.
Nasty Little Secret
In a Contemplative Fashion
From John Davies’ Jack and the Beanstalk
Sung by Giant, Wife, Jack, Narrator
From Gilbert & Sullivan’s The Gondoliers
Sung by Marco, Giuseppe, Gianetta, Tessa
Giant: I’ve got a nasty little secret,
But you must promise not to tell,
For I stole this golden chicken
From a farmer in the dell.
The farmer’s name was squire Benimble
And he had a pretty wife.
And a baby boy named Jack,
Who had just begun his life.
All: In a contemplative fashion,
And a tranquil frame of mind,
Free from every kind of passion,
Some solution let us find.
Let us grasp the situation,
Solve the complicated plot –
Quiet, calm deliberation
Disentangles every knot.
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Jack: So it’s true this ugly Giant stole my
father’s Golden Hen.
Then it’s me, Jack Benimble, who will
steal it back again.
T: I, no doubt, Giuseppe wedded
That’s, of course, a slice of luck.
He is rather dunder-headed,
Still distinctly, he’s a duck.
Wife and others: I have a nasty little
secret,
If you promise not to tell
It’s a very shameful thing you did,
If what you say is true,
For the Golden Hen you say you stole did
not belong to you.
Gia.: I, a victim, too, of Cupid,
Marco married – that is clear.
He’s particularly stupid,
Still distinctly, he’s a dear.
J: Just because you are so big and strong
Does not give you the right
To take from other people
For your pleasure and delight
W: You horrible meany, you cowardly
weeny
Why don’t you go pick on someone your
own size?
J: Now I must take back that Golden Hen
There is no other way.
W: Please understand fully, you dishonest
bully,
You may think you’re smart now,
But crime doesn’t pay.
J: I am Jack Benimble, Jack B. Quick
I’m brave and I am strong
W: Forsake and forsooth I am telling the
truth,
And I tell you that robbery surely is wrong
M: To Gianetta, I was mated;
I can prove it in a trice;
Though her charms are
overrated,
Still I own she’s rather nice.
Giu.: I to Tessa, willy-nilly,
All at once a victim fell.
She is what is called a silly,
Still she answers pretty well.
M: Now when we were pretty
babies,
Someone married us, that’s clear
Gia.: And if I can catch her
I’ll pinch and scratch her
And send her away with a flea in
her ear.
Giu.: He whom that young lady
married,
To receive her can’t refuse.
T: If I overtake her
I’ll warrant I’ll make her
To shake in her aristocratical
shoes!
41
J: That Golden Hen is mine now and I
want it back
W: Your strength and your might
Do not give you the right
Just to take a man’s property by dead of
night.
G & N: [I’ve/we’ve] a nasty little secret if
you promise not to tell
For [I/he] stole this Golden Chicken
From a farmer in the dell
Who dwelt below the skies
W & J: You horrible meany, you cowardly
weeny
Why don’t you go pick on someone your
own size
Please understand fully, you cowardly
bully
You may think you’re smart now but crime
is unwise
Forsake and forsooth I am telling the truth
And the truth to be sure never lies
Gia. (to T): If she married your
Giuseppe
You and he will have to part –
T (to Gia.): If I have to do it,
I warrant she’ll rue it –
I’ll teach her to marry the man of
my heart!
T (to Gia.): If she married Messer
Marco
You’re a spinster, that is plain –
Gia. (to T): No matter – no
matter.
If I can get at her
I doubt if her mother will know
her again!
All: Quiet, calm deliberation
Disentangles every knot!
All: We’ve got a nasty little secret
If you promise not to tell.
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Born in 1946, John Davies is not only an established performer and composer, he is also a father of six
(yes, SIX) children! He lives in a little town in central New York called DeWitt, where he loves to walk,
read, and write for fun. Mr. Davies’ attention turned seriously toward music at age 16. He spent that
summer waiting tables in Lennox, MA (near Boston) during the famous music festival, Tanglewood. At
19, he saw his very first opera, Falstaff by Giuseppe Verdi, and began studying music formally at the
Boston University School of Fine and Applied Arts. Mr. Davies has written, directed, and performed in
countless operas.
Having six children, John Davies always has a “test audience” on which to try out his operas. He
composes at his dining room table so that he can get their input throughout the compositional process.
The Florentine Opera Company has performed five of Mr. Davies’ children’s operas: Three Little Pigs,
Little Red’s Most Unusual Day, Jack and the Beanstalk, Billy Goat’s Gruff, and Pinocchio. His operas are
performed across the country and have become a staple of children’s operatic repertoire.
How Jack and the Beanstalk Came to Be
Jack and the Beanstalk is one of many children’s operas written by John Davies, all of which are based
on fairy tales. After choosing the story of Jack and the Beanstalk, he began to look for music that would
compliment the action. Having performed in many operas himself, Mr. Davies started by thinking of
music he already knew by well-known operatic composers. He settled on the music of Sir Arthur
Sullivan. Putting the music and words together wasn’t as easy as one might think. Mr. Davies said that
“sometimes a scene would work really well and sometimes it wouldn’t work at all and I’d have to look for
something else.” This led to his discovery of some delightful music from operas he had never even
heard!
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Sir Arthur Sullivan
(1842-1900)
The Basics
Sullivan was born in Lambeth, London. His father was a military
bandmaster and music teacher, and with his support Arthur was able
to join the choir at the Chapel Royal as a young boy and soon after
became a soloist. He received the Mendelssohn Scholarship at age
fourteen, which allowed him to train at the Royal Academy of Music
and then the Leipzig Conservatoire in Germany.
Known for…
Operatic collaborations with lyricist W.S. Gilbert; HMS Pinafore
(1878); Pirates of Penzance (1879); The Mikado (1885); The Yeomen
of the Guard (1888); Gondoliers (1889)
Lasting legacy…
The innovations in content and form of the works that he developed, particularly with Gilbert, directly
influenced the development of the modern musical throughout the 20th century.
Others say…
“...Sullivan has never had an equal for brightness and drollery, for humour without coarseness and
without vulgarity, and for charm and grace. His orchestration is delightful: he wrote with full
understanding of every orchestral voice. Above all, his music is perfectly appropriate to the words of
which it is the setting...”
-Sir Henry Wood
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Operetta (literally, “little opera” in Italian) is a performance art form similar to opera, but with
some of the libretto (words) spoken rather than sung. Instead of moving from one musical part
to another, the performers in operetta intersperse the musical segments (e. g. aria, recitative,
chorus) with periods of dialogue without any singing or musical accompaniment. Operetta is
often considered less “serious” than opera, although this has more to do with the generally
comic plots than with the caliber of the music.
Operetta is the precursor of the modern musical comedy. There is a fundamental but subtle
distinction between the two forms. An operetta is more of a light opera with acting, whereas a
musical is a play with singing. This can best be seen in the performers chosen in the two
forms. An operetta's cast will normally be classically trained opera singers; indeed, there is
essentially no difference between the scores for an opera and an operetta, except for the
operetta's lightness. A musical uses actors who sing, but usually not in an operatic style.
Having said that, W.S. Gilbert always preferred to use actors who could sing, for his
productions rather than singers who could act, so it isn't an unbreakable distinction.
Operetta grew out of the French opéra comique, the form of opera in use for several centuries
by most composers after the decline of tragédie lyrique. Jacques Offenbach is usually credited
with having written the first operettas, such as his La Belle Hélène.
The most significant composer of operetta in the German language was the Austrian Johann
Strauss, Jr. (1825-1899). His first and most famous work in the genre is Die Fledermaus, the
most performed operetta in the world. Its libretto was written by Offenbach's librettists. In fact,
Strauss may have been convinced to write the operetta by Offenbach. He went on to write 16
others, mostly with great success, although his later librettists were not very talented. His
operettas, waltzes, polkas, and marches often have a strongly Viennese style and his great
popularity has caused many to think of him as the national composer of Austria. Franz Suppe,
a contemporary of Strauss, closely modeled his operettas after Offenbach. The Viennese
tradition was carried on by Franz Lehar and Oscar Straus in the 20th century.
Possibly the height of English-language operetta was reached by W. S. Gilbert and Sir Arthur
Sullivan, who had a long-running musical collaboration in England during the Victorian era.
With Gilbert writing the dialogue and lyrics (similar to the libretto of opera) and Sullivan
composing the music, the pair produced operettas that were quite popular at the time, and to
some degree since. Works such as The Pirates of Penzance continue to enjoy regular
performances and even some movie adaptations. The pair of composers is popularly referred
to as Gilbert and Sullivan.
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Opera Etiquette (i.e. the proper way to behave)
Here are rules for audience behavior during the opera:
1. Remain quiet – don’t do anything that will disturb or distract the performers or the audience.
2. Do not leave your seat during the performance.
3. No gum, candy, or drinks are allowed in the theater.
4. Applaud politely at the end of a scene or act.
5. Dress appropriately for a special occasion.
Why we follow these etiquette rules:
1. Because the performers really can hear the whispers from on stage, and other people are trying to
enjoy the performance.
2. Because it is dangerous to try to step over people in the dark, and because it’s disrespectful to the
performers and the other audience members.
3. Gum, candy, and drinks make noise that will distract the performers and other audience members. It
also could make a mess in the theater.
4. Shouting or whistling is not appropriate for an opera.
5. Because it is respectful to the performers and the theater to dress nicely.
Suggestions for Question & Answer Session
An integral part of our visit to your school is our attempt to involve students in the performance. There
will be a short question and answer period immediately following the show. Teachers are requested to
prompt students to think of questions to ask before the date they are scheduled to see the opera.
Students should be prepared to ask in a voice loud enough to be heard by everyone. Listed below are
some sample questions.
! What made you decide to become a singer?
! What do you do to warm up your voice and keep it in shape?
! How do you learn the opera?
! How much did you rehearse?
! What is your favorite type of music?
! Where did the set and props come from?
! Who made the costumes?
! How do you sing so loudly?
46
Defining Opera Terms
Make a “Memory” matching game from the words in the Music and Opera Glossary. Pair students off in
groups of two and have them write a term on one card and its definition on the other. They should do
this for each term in the glossary. They will then mix the cards up and place them all facedown in a
square on the floor or a table. They will take turns flipping over two cards at a time, in hopes that they
will turn over a term with its proper definition. If they make a match, they get another turn. If not, they
turn both cards back over and it becomes the other person’s turn. The person to turn over the most
pairs of cards wins.
Reading Buddies
Pair up each child with an older student in another class as a “big brother, little sister” reading program.
Have the students read the traditional story of Jack and the Beanstalk together.
Exploring Multiculturalism
Because of their basic simplicity, many folktales make an excellent introduction to literature for young
children. Students in the early elementary grades can discuss the appropriateness of the pictures in
illustrated versions of the better-known tales, and should be exposed to the simpler folktales from a
variety of cultures. Upper elementary students can survey the entire range of folktales, noticing the
cultural variations in the treatment of common themes and the psychological implications of these tales.
Art and Advertising
Have your students create their own posters advertising the upcoming performance of Jack and the
Beanstalk.
Preconceptions about Opera
Have your students write, draw, or act out what they think opera is, or what they might already know
about opera. Try not to censor their responses – let them say it’s about fat ladies with Viking helmets.
Then go back and discuss with them the differences between the stereotypes they might know and the
reality of opera today.
47
1. What is a fairy tale? How is a fairy tale different from “real life?”
2. Read the story of Jack and the Beanstalk. Ask the students to discuss the story and its characters.
How would they tell the same story?
3. Discuss the differences between an opera and a play, a movie, a concert, or a music video; watching
a live performance and watching a performance on television.
4. What part does an audience play in an opera? What are some of the characteristics of a good
audience?
48
“Fairy tales are more than true; not because
they tell us that dragons exist, but because
they tell us that dragons can be beaten.”
-G. K. Chesterton, English writer (1874-1936)
“Deeper meaning resides
in fairy tales told me in my
childhood than in any
truth that is taught in life.”
-Johann Christoph
Friederich v. Schiller,
German poet (1759-1805)
"When I examine myself and
my methods of thought, I come
to the conclusion that the gift
of fantasy has meant more to
me than any talent for
abstract, positive thinking."
-Albert Einstein, German
Scientist (1879-1955)
“If you want your
children to be intelligent,
read them fairy tales. If
you want them to be
more intelligent, read
them more fairy tales.”
-Albert Einstein, German
Scientist (1879-1955)
“In a utilitarian age, of all
other times, it is a matter
of grave importance that
fairy tales should be
respected.”
-Charles Dickens, British
novelist (1812-1870)
“The way to read a fairy tale is to throw
yourself in.”
-W. H. Auden, English Poet (1907-1973)
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In the following sections of the guide, you will find numerous activity ideas for diverse curricula, as well
as easy-to-copy worksheets for your students. The activities are divided by subject area, but many
activities can be used in relation to several different subject areas – so don’t be afraid to glance
through each section! Feel free to amend and duplicate the activities to meet your specific needs.
*Note: Included in the study guide are supplemental activities to
promote motor and language arts skills, as well as creativity and critical
thinking. These activities are typically best suited to the early
elementary grades (Pre-K – Grade 2). Other activities and worksheets,
such as those devoted to history, culture, and logic, encourage further
critical thinking for older students.
Jack and the Beanstalk
Costume Design Packet
Music
Suggested Activities
Listen and Create!
Theatre
Suggested Activities
Visual Arts
Suggested Activities
Create Your Own Scenic Design
Color Your Own Characters
Characters and Settings
Language Arts
Suggested Activities
Questions Worksheet
Venn Diagram
Once Upon a Time
Dear Florentine Opera
A “Tale” to Tell
Viewing and Reviewing
Critic’s Corner!
Opera Crossword and Word Search
Social Studies
Suggested Activities
Math, Science & Technology
Suggested Activities
Fun with Math & Logic Grades K-2, 3-5
Additional Information & Resources
for Teachers
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51
Florentine Opera Educational Tour 2016
Jack and the Beanstalk
Giant's Wife
MUSIC
How do rhythm, dynamics, key, or tone affect the story the music is telling?
Listen to original pieces of opera and draw conclusions as to what the pieces
are about based upon composition alone. You don’t even need to know the
translation!
Have students list the differences between operatic music and other types of
music they are familiar with, such as pop, rap, R&B, rock, country, jazz, or
musical theatre. Discuss differences in vocal quality, vocal production, range of
dynamics, dramatic intensity, instrumentation, etc.
Discuss the favorite singers of your students. Do they sound like trained
classical singers? What do they like about their music?
Help your students to understand what makes up musical form. Music is built in
phrases, much like sentences that we speak. Try the following steps to find the
form of any song they might already know.
Listen to a familiar song and decide where commas and periods would
go if the melody were written down like a sentence.
Figure out how many phrases or “sentences” are in the song. Do they
sound like questions (open cadence) or answers (closed cadence)? Do
any of the phrases sound like they start with the same musical idea?
Label each phrase with a shape: circle, square, etc. If one sounds like
another, label them both with the same shape. Go back and change the
shapes to letters: A, B, C, and so on.
Once all the phrases are labeled, the form of the song is spelled out:
ABA, AABB, ABABA, etc.
Demonstrate the difference between beat and rhythm. Have the students find
their pulse on their wrist or neck. Compare the human heartbeat to the “pulse”
or “beat” of a song. You could also have them march around the room to the
beat of a song so they feel the beat in their bodies. To demonstrate rhythm,
have them speak the words to a familiar song or chant, and ask them to clap
along with the words they are saying. Once the class can do each activity
independently, divide them into two groups. Have one group march to the beat
and the other speak and clap the rhythm of the song/chant.
Explore how a singer’s voice type affects his/her character’s personality. Using
the sections of this guide devoted to specific voice types (lyric tenor, coloratura
soprano, etc.) and genres of opera (opera buffa, opera seria, operetta, etc.)
discuss with your students the roles typically played by each voice type in
different genres. Once again, choose a popular movie or TV sitcom to use as an
example, preferably one with an ensemble cast. Have the students determine
into which opera genre the show or movie could be classified, and assign each
character in the cast a voice type. (For example: The sitcom the Simpsons
would be considered an opera buffa, with Homer being a baritone, Marge being
a mezzo-soprano, Patty and Selma being contraltos, and so on.)
LISTEN AND CREATE!
Listen to opera and draw what you hear, feel, think, or see.
THEATRE
Have your students make up their own fairy tale. Select several students to tell
their stories. Use vivid descriptions to make the characters real, funny,
emotional, etc.
Divide students into small groups and read a fairy tale or use one of the
students’ fairy tales, then act it out for the class.
Determine the viewpoint from which the story is told. Jack and the Beanstalk is
told in a way that gives the audience an overall view of the events in the story
instead of a single character’s perspective. Divide students into groups and
have them write their own Jack and the Beanstalk story from the perspective of
one of the characters from the story – even the giant’s! Allow students to
perform their plays for one another. List the differences between each version
and discuss how a situation can seem different when looked at from someone
else’s perspective.
Look at the importance of the setting. Sometimes a director may take artistic
license and decide he/she wants the production of an opera to be set in a nontraditional time and place. For example, he/she might set Hansel and Gretel in a
modern-day high school. The mom and dad would be the children’s favorite
teachers, while the witch might be an evil substitute. Instead of a forest, Hansel
and Gretel could wander through the basement of the school. Since the setting
of Jack and the Beanstalk is not specified, the options are endless. Pick an
unlikely time and place for the story like the Old West or the year 2100 on Mars.
How would a time/location change affect the way the actors would portray their
characters? Think about their speech patterns, the way they walk and carry
themselves, their costumes, and their interactions with one another. Stage a
scene with both traditional and non-traditional settings. Discuss the similarities
and differences.
VISUAL ART
Create a favorite scene in the production three-dimensionally using a
shoebox. Scene designers make such working models when designing a
set for production.
Make a mask of the giant or his wife.
Sketch one of the costumes used in the production of Jack and the
Beanstalk.
Make storyboards. Before building the scenery for an opera, the
production designer draws out plans of the look of each major scene in
the show. Have students pick out the most important moments in Jack
and the Beanstalk and draw what they think each scene might look like.
Use the coloring sheet included in this packet for a drawing activity.
Have the students draw pictures of what they think a typical opera singer
looks like. Go to a few of the singer websites in the “Operatic Singing”
section and look at their photographs. Compare the students’ drawings
with the real photos and discuss their reactions.
Read a synopsis for Jack and the Beanstalk and have students draw their
own versions of what they think each of the characters could look like.
Design a poster to promote the opera. Create posters or programs for
the production of Jack and the Beanstalk that might represent the “look”
of the show. Display the posters around your classroom or school to let
other students know about the upcoming production!
Make puppets!
Jack
and the
Beanstalk
CHARACTERS AND SETTINGS
Draw your favorite scene from Jack and the Beanstalk.
Show what the characters are doing and be sure to show the setting for each of them.
Character:
Setting:
Character:
Setting:
®
LANGUAGE ARTS
! Assist students in writing a critical review of the performance of Jack and the
Beanstalk. Students in grades K-2 can be guided using single words to describe
their musical experience. This project will facilitate students’ listening, writing,
communication, and aesthetic judgment skills.
! Watch opera on Looney Tunes! Search for the “Rabbit of Seville” and “What’s
Opera, Doc?” on YouTube. (The “Rabbit of Seville” is based on Rossini’s “Barber
of Seville,” and “What’s Opera, Doc?” uses the music of Richard Wagner,
specifically “The Ride of the Valkyries.”) Before watching, give students several
questions with which to guide their viewing experience. (What kind of feelings
does this give you about opera? How would the cartoon have been different if they
had used pop music instead of opera? How do you think the director of the
episode picked the music to go with certain parts of the story?) Have students
write reactions to these two opera-infused cartoon episodes.
! Talk about the conflict. Stories generally have some conflict that needs to be
resolved. What is the conflict in this opera? How is it resolved?
! Fairy tales were often written to teach a lesson to young children. What is the
lesson that John Davies wanted to teach? Is it different from the lesson in the
traditional fairy tale?
! Sequencing: Write the following sentences on strips of paper. Mix up their order
and distribute them to your students to put back in the correct order.
✏ Jack’s mother sends him to the village to sell their cow.
✏ Jack meets Trouble Man and sells the cow for five beans.
✏ Jack plants the beans and the beanstalk grows.
✏ Jack arrives at the giant’s house.
✏ Jack steals the hen and the giant chases him down the beanstalk.
✏ The Giant realizes he’s been a bully and promises to change.
! New Endings: Read the synopsis for the opera Jack and the Beanstalk. Write a
new ending for the story.
! Revisit the characters. Imagine that five years have passed. What are all of the
characters doing now? How has their experience changed their views on life,
family, strangers? Ask students to write an autobiography as if they were one of
the characters. Don’t forget to assign some students the giant, his wife, and
Jack’s mother!
Name: _________________________________________
Jack and the Beanstalk
(traditional story)
Both
Jack
and the
Beanstalk
(the opera)
Venn Diagram
Once Upon a Time…
Name _________________________________________Date ___________________________
Answer the /wh/ questions based on the text.
Title: _____________________________________________________________________________________
Who?
Who are the characters in the story?
__________________________________ __________________________________ What happens in the story?
What? __________________________________ 1. 2. 3. __________________________________ __________________________________
__________________________________
When does the story happen? Time? Season?
When? __________________________________ __________________________________ Where does the story happen? What is the setting?
Where? __________________________________ __________________________________ Why?
(Author’s Purpose)
Why did the author write this story?
__________________________________ __________________________________ __________________________________ A “Tall Tale” to Tell
Students will write a sequel to Jack and the Beanstalk!
WHAT YOU NEED:
♦ The synopsis for Jack and the Beanstalk
♦ Any classic version of Jack and the Beanstalk
♦ Blank story maps for each student (found on the next page)
♦ Colored markers or crayons
WHAT TO DO:
1. Read with students different versions of Jack and the Beanstalk.
2. Use the story maps for each student to write a draft of their sequel.
3. Allow students to read their drafts aloud to you or a writing partner.
Encourage them to ask questions such as, “Is my writing clear?” or
“Is there anything I should add?”
4. Encourage students to draw illustrations and make a cover for their
stories.
5. Advise students to read their stories to the rest of the class in a
special Jack and the Beanstalk story hour. If a kindergarten class is
available, your students may enjoy reading their stories to the
younger students.
STORY MAP
Main characters
Problem of the story
A story event
A story event
How the problem is solved
The ending
Setting
VIEWING AND REVIEWING
Objective: To help students become informed viewers and listeners.
Activity 1:
Discuss what it means to be an informed viewer or listener. (Someone who is able to
form opinions about an opera, movie, play, orchestral or dance performance, etc.,
based on thoughtful consideration about what was seen and heard.)
Ask your students to name two movies or television programs the have seen recently;
one they liked and one they disliked. Can they describe why they liked one and not the
other? Discuss the story, the characters and the production. Was the plot interesting?
Why? Where did the major conflict occur? How did the dramatic conflict and
resolution contribute to the success (or failure) of the plot? Did the theme come across
clearly?
Was it easy to identify with the characters? Why? What actions made the characters
believable or unbelievable? Was the choice of the actors appropriate for the roles?
How would different performers have changed the dramatic effect?
Were the costumes, make-up and props effective? How did they contribute to the
furthering of the theme and characters of the story? Identify other novels, plays,
movies, operas, etc. with the same theme. If the students were going to produce their
own version of the same story, what would they have done differently?
Activity 2:
After viewing the performance, have the students write their own reviews. Ask them to
begin by stating their general reaction to the performance. What happened musically
or dramatically to cause their reaction? Students should comment on the plot,
characters and production elements (i.e. sets, costumes, lighting and make-up), as well
as the musical values. Compare reviews. Discuss how the students’ perceptions
differ.
CRITIC’S CORNER
Pretend you are an opera critic for a newspaper and write a review of Jack and the Beanstalk!
Remember that it is a critic’s job to report both the positive and the negative aspects of a
performance. Was the opera funny, sad, or scary? Was the opera too long, too short, or just the
right length? What did you like about the Florentine Opera singers? Did it help you learn about
opera? Were you left with any questions after the performance? What did you like about the
performance and what do you wish could have been different? Would you recommend the show
to other students? Ask your teacher to send us your review! Your opinion really matters to us!
REVIEW OF Jack and the Beanstalk
FOR IMMEDIATE RELEASE
By: __________________________ School: _____________________________ Grade: ______
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
OPERA CROSSWORD
ACROSS
3. The main vocal line is the _________
4. A piece for four singers
7. A large group of singers
8. A high male singer
9. The speed of the music
10. A piece for a solo singer
12. A high female singer
13. The words of an opera
1
DOWN
1. The clothing worn in an opera
2. The scenery and furniture on the stage
3. A low female singer
5. A piece for two singers
6. A production with acting and singing
7. The person who writes the music
11. When the singer speaks a simple melody
2
3
4
5
6
7
8
9
10
12
13
11
KEY – OPERA CROSSWORD
ACROSS
3. The main vocal line is the _____
4. A piece for four singers
7. A large group of singers
8. A high male singer
9. The speed of the music
10. A piece for a solo singer
12. A high female singer
13. The words of an opera
ACROSS
3. Melody
4. Quartet
7. Chorus
8. Tenor
9. Tempo
10. Aria
12. Soprano
13. Libretto
DOWN
1. The clothing worn in an opera
2. The scenery and furniture on the stage
3. A low female singer
5. A piece for two singers
6. A production with acting and singing
7. The person who writes the music
11. When the singer speaks a simple melody
DOWN
1. Costume
2. Set
3. Mezzo
5. Duet
6. Opera
7. Composer
11. Recitative
SOCIAL STUDIES
History
Read about the composer Sir Arthur Sullivan, who came from England. Do some
research with your students and try to determine what important world and US
events happened while they lived. Discuss which events might have been most
influential to both of the composers.
What was going on when the story for this opera was written? Benjamin Tabart
wrote Jack and the Beanstalk in 1807. Research what was happening in America
that year. Who was the president? What kinds of entertainment were popular?
How much did things like gas or milk cost? Did your school exist in 1807? What
has changed about your town since that time?
Find out how England and the United States fit into the history of the world. Which
country has been established the longest? Have any of these countries ever been
involved with any wars together?
Opera stars aren’t just known for their artistry. A few have made a real difference
in the cultural and social landscape of the United States. In 1939, African
American contralto Marian Anderson gave a historical concert on the steps of the
Lincoln Memorial for an integrated audience of more than 75,000 people.
(For more information, go to http://www.biography.com/people/marian-anderson9184422 or
http://www.pbs.org/wgbh/americanexperience/features/biography/eleanoranderson/)
Geography
Most popular operas were written in Europe and take place all over the world.
Have your students find the countries in which different operas were written and
those in which they take place.
Find a map of Europe and use it to learn about the different paths that Sir Arthur
Sullivan took in his lifetime. Have any of your students been to these places?
Have students draw a map of Jack’s path from his house to the village where he is
supposed to sell the cow. Include a Compass Rose, a Legend, and possible
geographical details.
Culture
Many operas and stories are multicultural. Discuss the methods writers and
composers use to effectively communicate ideas that appeal and are relevant to
various ethnic and cultural groups.
Discuss English culture. What kind of foods do people eat? What kind of
traditional clothing do they historically wear? What is the most popular form of
entertainment for elementary-aged students? Do they celebrate the same holidays
that we celebrate?
Do some basic research on the major cities in England. Compare them with major
cities in the United States. Do the buildings look the same? Do people drive, ride
a bike, or walk? Is there public transportation?
What do people do for a living in England? Do people choose their careers based
on family traditions or personal ambitions?
MATH, SCIENCE
& TECHNOLOGY
Math and music are very similar. Simple math connections can be made (e.g., 4
quarters = 1 whole dollar; 4 quarter notes = 1 whole note. ½ + ½ = 1; 1 half note +
1 half note = 1 whole note).
Calculate the size of the set. As a class, measure the space where the
performance of Jack and the Beanstalk will (or did) take place. Calculate the
correct dimensions of the space and decide how big the set should be.
Talk about various scientific discoveries that had not been made when Sir Arthur
Sullivan was writing his music. Did modern conveniences like the telephone, TV, or
light bulb exist? How would opera production have been different if these things
were available?
Take a tour of your school’s auditorium or a local performance space. Have
students list all the scientific elements of performance spaces: pulley systems,
lights, acoustics, etc.
Read the sections of this guide about “operatic voices” and “operatic singing.”
Explore the parts of the body that are used for singing.
Learn more about the science of sound by visiting the following interactive website:
http://www.exploratorium.edu/music/index.html
Let there be lighting! Lighting a stage effectively is not as simple as flipping a light
switch. Read all about the science and history of stage lighting at
http://www.mts.net/%7Ewilliam5/sld.htm
Pretend you are the General Director of an opera company. Create an Excel
spreadsheet to calculate a budget for your company.
Name __________________________________________Date ________________________
Addition and subtraction problem types for grades K-2.
Solve each number story from Jack and the Beanstalk. Show your work.
1. Jack saw 5 cows. Then he saw 7 chickens. How many animals did he find in all?
2. Jack had 18 coins. He dropped 9 coins. How many coins does he have left?
3. Jack climbed the beanstalk for 17 minutes on Monday. Then he climbed for 11 minutes on Tuesday.
How many minutes did he climb in all?
4. The giant has 13 coins. Some are bronze and 7 are gold. How many are bronze?
5. Jack’s mother made 10 cups of soup. She gave 2 cups of soup to Jack. How many cups of soup are left?
6. The giant’s wife baked 3 loaves of bread and some biscuits. She baked 12 items in all. How many are
biscuits?
7. Jack planted some carrot seeds and 12 bean seeds. He planted 23 seeds in all. How many carrot seeds
did he plant?
8. Jack’s mother harvested 8 yellow peppers and 5 red peppers. How many more yellow peppers did she
harvest than red?
9. Jack picked 6 daisies. Jack’s mother found 11 daisies. Who found more daisies? How many more?
10. Jack planted 15 magic beans. A squirrel ate 6 beans so Jack planted 10 more beans. How many magic
beans are in the garden now?
Name __________________________________________Date ________________________ Multiplication and division problem types for grades 3-­‐5. Solve each number story from Jack and the Beanstalk. Show your work. 1. Jack found 12 beanstalks. If each beanstalk has 8 beans, how many beans are there in all? 2. Jack has 56 beans. He wants to put the same amount of beans into each jar. He has 8 jars. How many beans should he put in each jar? 3. Jack climbed the beanstalk for 15 minutes each day for a week. How many minutes did he climb in all? 4. The golden hen laid 15 golden eggs. If she gave 3 eggs each to Jack and his mother, how many eggs are leftover? 5. The giant ate some bread on Sunday and had 1/2 of the loaf left over. On Monday he ate 1/3 of what was left. How much bread did he eat on Monday? 6. Jack’s mother planted 3/4 of a packet of carrot seeds and 7/8 of a packet of bean seeds. How many packets of seeds did she plant in all? 7. The giant and the ogre’s wife were served the same amount of soup. The giant ate 4/5 of his soup and the giant’s wife ate 2/3 of her soup. Who ate more soup? 8. Jack’s mother had 7 5/8 feet of fencing for her garden. She only used 4 1/8 feet for the fence. How much fencing is left over? 9. The giant had 256 gold coins. He arranged them so that each bag had 8 coins. How many bags of gold does he have? 10. The giant’s wife is buying different colored fabric to make the giant new clothes. She bought 50 yards of green at $2.69 per yard, 100 yards of blue at $1.99 per yard, 10 yards of yellow at $2.09 yard, and 20 yards of red at $3.69 per yard. Which of these items cost the most? Appendix
®
MEET THE 2015-2016 STUDIO ARTISTS
A
Ariana Douglas, Soprano (Appleton, WI)
Soprano Ariana Douglas earned her Bachelor of Music from the University of Wisconsin-Madison, where she studied under
Julia Faulkner. She recently earned her Master of Music degree from Louisiana State University, where she studied with
Dennis Jesse. Some of her recent roles include: Countess in Le nozze di Figaro, Nevěsta in Martinů’s Hlas lesa, Magda
in La Rondine, Donna Elvira in Don Giovanni, and Fiordiligi in Così fan tutte. She was an ensemble member in Lucia di
Lammermoor with New Orleans Opera, as well as Second Lady in Die Zauberflöte with Opéra Louisiane in Baton Rouge,
LA. While at Louisiana State University, other credits include the soprano soloist in Mozart’s Requiem. Ariana was recently
rewarded an Encouragement Award from the Metropolitan Opera National Council Auditions.
Katherine Fili, Mezzo-Soprano (Fairfield, CT)
Heralded as “hilarious” and “impressive” by DC Metro Theater Arts, Mezzo-soprano Katherine Fili recently graduated
from The University of Maryland’s Opera Studio. While there, she studied with both Linda Mabbs and Delores Ziegler.
As a member of the opera studio, Katherine performed the Nurse in Lee Hoiby’s Romeo & Juliet, both Nancy and
Florence in Albert Herring, and both Prince Orlofsky and Ida in Die Fledermaus. As a student of Mildred Miller during
her undergraduate studies at Carnegie Mellon University, her roles included The Sorceress in Dido & Aeneas, Bessie
in Das Kleine Mahagonny, and The Chinese Tea Cup in L’enfant et les sortileges. Katherine premiered the chamber
version of Tobias Picker’s Fantastic Mr. Fox, in the role of Mrs. Fox with the Microscopic Opera Company. She has
performed with The Pittsburgh Opera Theater as The Baroness in Candide, and Grimgerde in the premiere of Eric
Moe’s The Valkyrie Suite.
Thomas Leighton, Tenor (Saugerties, NY)
Tenor Thomas Leighton holds degrees from the Eastman School of Music in Rochester, NY, with graduate studies at
the University of Wisconsin-Madison. Recent engagements include Julia Adolphe’s Sylvia, at NYC’s Bargemusic,
and with Milwaukee’s Present Music. As a Studio Artist with Madison Opera in the 2014-2015 Season, he appeared
in Fidelio and Sweeney Todd. In the same season, he also sang the role of Tamino in the University Opera’s
production of Die Zauberflöte, and was tenor soloist in Mendelssohn’s Lobgesang. Thomas is a past ‘distinguished
voice fellow’ and teaching assistant at the UW-Madison School of Music.
Leroy Y. Davis, Baritone (New York, NY)
Baritone Leroy Y. Davis is excited to join Florentine Opera this season. He was inspired to pursue a career in opera as
an alumnus of The Boys Choir of Harlem. Leroy is a graduate of New England Conservatory, where, as a Graduate
Diploma candidate, he performed the role of Don Pomponio Storione in the American Premiere of Rossini’s La
Gazzetta. He is also a graduate of Bard College, during his graduate studies, he created the role of Atticus Finch’s
Trainer in David T. Little’s Vinkensport, or The Finch Opera. He was most recently invited to return to NEC as a guest
artist, to perform Don Alfonso, in their April production of Cosi fan tutte. Previous credits include Pish-Tush in The
Mikado, A Mandarin/Ping in Turandot, Marchese in La Traviata, and Sergeant of Police in The Pirates of Penzance
with Shreveport Opera, and Marchese in La Traviata with The Opera Company of Middlebury. Leroy was a Regional
Finalist in this year’s Metropolitan Opera National Council Auditions.
Ruben Piirainen, Pianist (Negaunee, MI)
Ruben Piirainen is happy to be back for his third season as a staff accompanist with the Florentine Opera. He is a versatile
pianist with interests ranging from opera and musical theatre, to orchestral playing new music. He holds degrees in piano
performance from the Lawrence University Conservatory of Music and Bowling Green State University. His credits include
numerous performances with the Florentine and the Skylight Music Theatre; performances on piano, harpsichord, and toy piano
with Present Music; pianist and celesta-player with Festival City Symphony and Kenosha Symphony Orchestra; performance on
toy piano at the 2012 Make Music New York Festival; numerous projects with Milwaukee Opera Theatre; and a CD recording of
Pulitzer Prize winning composer Jennifer Higdon’s music. His unique arrangements have received performances at the Skylight
and Festa Italiana, and he also recorded many of the piano accompaniments for The Singer’s Musical Theatre Anthology CD series
from Hal Leonard. Ruben has been on the faculties of the Interlochen Arts Camp, Bluffton University, and Bowling Green State
University. He is the Director of Music at Unitarian Universalist Church West in Brookfield.
B
Happily Ever After
T he Performance
Project Ideas for Continued Opera Education
After the Florentine’s Performance
Encourage personal responses by suggesting students write thank-you notes to the
singers, draw pictures of what they saw, write reviews of the performance, etc.
If opera is a completely new art form for your students, this first exposure may have
been quite different from what they expected. Discuss how their experience
differed from their expectations.
If some students have previous experience with opera, talk about how they felt
returning to the art form and how seeing opera for a second (or third) time
compared with the first.
Discuss how the main characters in Jack and the Beanstalk change over the course
of the action. What do they learn about themselves and each other?
Offer extra credit for students who undertake an opera-related project (e.g., writing
a review of the next opera televised on public television, clipping a magazine or
newspaper article about a famous opera singer to share with the class, etc.).
Pick a well-known opera to study. (Bizet’s Carmen has a powerful story and many
famous melodies.) Over a period of time, read the story of the opera to your
students, one “chapter” (act, scene, etc.) at a time. As you read through the story,
play excerpts from a recording (available at your local public library or record store)
for students and help them identify the music that goes with different characters
and parts of the narrative. Have students act out parts of the story using the
recorded music as a soundtrack. You can find narratives of famous operas on the
following websites:
http://www.metoperafamily.org/metopera/history/stories/
http://www.authorama.com/opera-stories-from-wagner-1.html (This
website has Wagner’s complete Ring Cycle divided up into short
chapters.)
The Metropolitan Opera has published a book entitled Sing Me a Story:
The Metropolitan Opera’s Book of Opera Stories for Children. This book
was written by Jane Rosenberg, with an introduction written by worldrenowned tenor Luciano Pavarotti.
B
Evidence of Learning
The Florentine Opera believes by introducing students to opera through this
opportunity, many will grow to appreciate the arts. After a first exposure to opera,
many teachers frequently recognize improvement in a student’s attitude or growth in
perspective, but unfortunately these things are nearly impossible to test for quantitative
documentation.
Methods of Documenting Learning
In order to track a student’s progress, one can use a simple method of tracking and
documenting a student’s progress through a simple written survey before and after
their opera unit. Here are some suggested questions to include on your survey:
Before the unit begins…
List some adjectives you think describes opera.
What might you see in an opera?
Do you think you would enjoy watching an opera?
After completing the unit…
List some adjectives that describe the opera you saw.
What is opera?
Did you enjoy learning about opera?
Would you like to see an opera again?
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NATIONAL AND STATE STANDARDS:
How does opera fit in?
National Standards for Music Education
according to MENC: the National Association for Music Education
(http://musiced.nafme.org/resources/national-standards-for-music-education/)
1. Singing, alone and with others, a varied repertoire of music.
2. Performing on instruments, alone and with others, a varied repertoire of
music.
3. Improvising melodies, variations, and accompaniments.
4. Composing and arranging music within specified guidelines.
5. Reading and notating music.
6. Listening to, analyzing, and describing music.
7. Evaluating music and music performances.
8. Understanding relationships between music, the other arts, and disciplines
outside the arts.
9. Understanding music in relation to history and culture.
The Florentine Opera Company’s education programs provide educators, music and classroom alike,
with opportunities for cross-curricular connection. The state and national standards for music education
can be used as a framework for such co-curricular work.
The first five standards can be described as performance-based, but are certainly not limited to music
educators or the music classroom environment. Classroom teachers may encourage students to
explore many avenues of creative writing and storytelling (such as those listed in the “Language Arts
Activities” section) while also creating accompanying musical elements. These elements can be as
simple as creating a soundscape with everyday objects to perform with the reading of a student’s work,
or as complex as composing full songs to go with each student’s writing.
Standards six and seven call upon the students’ critical thinking and observation skills. Again, one need
not be an expert on music to appreciate and critique a musical performance. Critical listening is one of
the most innate skills a child has, regardless of his or her age. Depending on the age level, teachers can
tailor guiding questions to invoke extremely thoughtful responses. Elements such as mood, setting, and
possible storyline require no musical study at all – merely a working imagination. Using the concept of a
movie soundtrack as the basis for such exercises, teachers can help students to explore the
“who/what/where/when/why/how” of any story, as told through its music. Reverse composition is a
great way to begin with students of all ages – listen to a “soundtrack” and write a possible storyline to
go with it.
Standards eight and nine are the most versatile in terms of cross-curricular opportunities. Music itself is
a cultural phenomenon. There is no music on earth that does not in some way reflect its composer, time
period, geographical location, or culture. There is an abundance of information available, both online
and in hard copy format, on the roots of any piece of music, as well as its genre, composer, targeted
C
audience, effect on the world or culture at the time, and present-day reverberations. Get creative with
your students! If you are studying explorers of Western Europe, do a class study on musical explorers
from the 17th and 18th centuries. During a unit on the peoples and cultures of West Africa, discover the
instruments and everyday uses of music in cultures from Ghana. The Florentine Opera believes that the
possibilities are endless when it comes to connecting Music Education with the other content areas.
Wisconsin Academic Standards can be found at
http://dpi.wi.gov/standards/
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OPERA-RELATED LITERATURE
FOR CHILDREN AND EDUCATORS
Anderson, Marian. My Lord, What a Morning. New York: The Viking Press, 1956.
Comstock, Ariane Csonka. The Young Person’s Guide to the Opera. Los Angeles:
Monarch Media, Inc., 1997.
Cross, Milton. The Complete Stories of the Great Opera. Garden City, NY:
Doubleday, 1952.
Geras, Adele. The Random House Book of Opera Stories. New York: Random
House, 1997.
Pavarotti, Luciano and William Wright. Pavarotti: My Own Story. Garden City, NY:
Doubleday and Co., Inc., 1981.
Pogue, David. Opera for Dummies. New York: Hungry Minds, 1997.
Price, Leontyne. Aïda: A Picture Book. New York: Harcourt Brace & Company, 1990.
Rosenberg, Jane. Sing Me a Story: The Metropolitan Opera’s Book of Opera
Stories for Children. New York: Thomas & Hudson, 1989.
Weaver, Tess and Andrea Wesson. Opera Cat. New York: Clarion Books, 2002.
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WEBSITES FOR MUSIC EDUCATORS
Opera Websites
www.florentineopera.org
Florentine Opera Company website.
www.operaamerica.org
OPERA America Website.
Find research and countless other resources here.
Arts in Education Websites
www.aep-arts.org
Arts Education Partnership website.
Support for arts in the classroom.
www.kennedy-center.org/education
Performing Arts.
www.aate.com
The John F. Kennedy Center for the
American Alliance for Theatre and Education.
www.theperformingartsalliance.org
Founded in 1977.
Advocates for the performing arts.
www.americansforthearts.org
www.namfe.org
Americans for the Arts.
National Association for Music Education.
www.exploratorium.edu/music
Interactive website for music and science.
www.juliantrubin.com/topicprojects/musicprojects.html
Music-centered science projects and experiments.
Topics, Ideas, Experiments, Reference Resources and Sample Projects
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#
1
Opera
Princess Ida
2
Jack & the Beanstalk Title
Original Title
If you give me your attention If you give me your
attention
Oh Jack my dearest boy
I built upon a rock
3
I want a cow
I’ve jibe and joke
4
5
Will you buy my cow? I
think I will
You’ve been cheated
6
I thought I heard thunder
You understand? I think I
do
To help unhappy
commoners
Good morrow, good lover
The Yeoman of the
Guard
Ruddigore
7
Fee foe fie fum
This helmet, I suppose
Princess Ida
8
Oh, why am I moody and
sad?
Please excuse me lady
Oh, why am I moody and
sad?
Prithee, pretty Maiden
Ruddigore
Kind Captain, I’ve
important information
In a contemplative fashion
H.M.S. Pinafore
11
Come out, come out,
wherever you are
I’ve got a nasty little secret
12
Now say “goodbye”
This is our duty
Princess Ida
13
You may think you’re clever
Walls and fences scaling
Princess Ida
14
I fell on my head
We are warriors three
Princess Ida
15
You should be ashamed of
the things that you’
Oh, happy the lily when
kissed by a bee
Ruddigore
9
10
Princess Ida
Gondoliers
Iolanthe
Patience
Gondoliers
D
Jack and the Beanstalk
2015/2016
Teacher Evaluation Form
The Florentine Opera Company is dedicated to sharing opera with all audiences! Your
comments will help us as we continue to develop our program and educational materials.
Thank you for taking a few minutes to share your feedback!
School name:
Performance Date:
Your name:
Position:
Today’s Date:
Tell us about your opera background (check one):
Very knowledgeable: ___ Moderate: ___ This was my first experience: ___
How much classroom preparation time did you spend before the performance?
Did you find the teaching materials helpful in planning lessons and activities?
Please describe the activities that were planned around the program:
Your recommendations for future teaching packets/materials:
How do you feel this experience impacted the students?
What was your favorite educational aspect of the performance?
Do you have any suggestions for improvement?
Would you recommend this program to other educators? Why or why not?
Have you attended or seen any of the Florentine Opera Company’s other educational
programs/productions? If so, which one(s)?
Have you attended or seen any other arts groups’ educational programs/productions?
If so, which one(s)?
Additional comments:
________________________________________________________________________
May we call you to discuss the program and this evaluation further?
Telephone number:
Best time to call:
Quick Teacher Evaluation Survey
Please Rate from 5 (Excellent) to 1 (Poor)
1. How was the quality of the Jack and the Beanstalk performance?
5
4
3
2
1
2. How was the quality of performers?
5
4
3
1
2
3. Did the study guide support already established curricular goals?
5
4
3
2
1
4. Was the performance material appropriate for the students?
5
4
3
2
1
5. How was the visual appeal of the performance i.e. costumes and set design?
5
4
3
2
1
6. Do you feel the performance and experience with Florentine Opera added to the
students overall appreciation to the arts?
Yes
No
7. How would you rate your students overall experience with Florentine Opera?
5
4
3
2
1
8. Are you planning to request a Florentine Opera education performance next year?
Yes
No
Please return this form to:
Florentine Opera Company/Attn: Pablo Siqueiros
930 E. Burleigh St., Lower Level
Milwaukee, WI 53212
FOR THE STUDENTS
NAME: ______________________ Grade: ___
SCHOOL: ______________________________
Was this your first opera? ________
How many operas have you seen? ________
What was your favorite part of Jack and the Beanstalk?
_________________________________________________
_________________________________________________
_________________________________________________
_________________________________________________
What would you change about the opera?
_________________________________________________
_________________________________________________
_________________________________________________
What did you learn about opera from the Florentine Opera?
_________________________________________________
_________________________________________________
_________________________________________________
_________________________________________________
Would you like to see another opera? ______
Explain why, or why not:
_________________________________________________
_________________________________________________
_________________________________________________
_________________________________________________
FOR THE STUDENTS:
Circle the face that best describes how you feel:
1) I enjoyed learning about opera.
☺ " #
2) I enjoyed the show.
☺ " #
3) I would like to see another opera.
☺ " #
Draw a picture of what you liked most about the opera:
Dear Florentine,
2015/2016
®