THE THREE LITTLE PIGS

Transcription

1 THE THREE LITTLE PIGS Music by Wolfgang Amadeus Mozart Story by John Davies Presented by FBN PRODUCTIONS, Inc. Opera for kids STUDY GUIDE 2011

2 THE THREE LITTLE PIGS an opera Study Guide page 2 of 17 The Three Little Pigs An opera in one act Music by Wolfgang Amadeus Mozart Words and story adaptation by John Davies This study guide has been sent to you in anticipation of a performance of The Three Little Pigs by FBN Productions, Inc. -- Opera for Kids. We hope you will look through this guide and utilize those parts which best supplement and support the arts and academic programs in your school. Please feel free to use the materials as they appear or to modify them as needed. Because of the multi-faceted nature of the art form, opera can provide a starting point for discussion and exploration for a variety of subjects. We ve offered you some ideas in our section called Warm up/follow up Activities on page 7. Most importantly to us, please take a moment to fill in the teacher evaluation form at the back of the guide. Let us know what works and what doesn t so we can continue to improve our programming. Finally, a warm and hearty THANK YOU from FBN Productions for bringing us and your students together. We hope you and your students enjoy The Three Little Pigs.

3 THE THREE LITTLE PIGS an opera Study Guide page 3 of 17 Synopsis THE THREE LITTLE PIGS Music by Wolfgang Amadeus Mozart Story by John Davies Using the familiar children s story as a point of departure, The Three Little Pigs takes the family, Despina and her brothers, Giovanni and Cherubino, through a typical family squabble. Their mother has decided they are all old enough to be on their own and that they must each build their own homes. While the siblings argue over the proper construction of a house, Despina proclaims that they can find the plans for a good house in the library. The boys reply that books are silly and they already know how to build a snug little cottage. Despina, sure of herself, heads off to the library and the boys follow. Scene two introduces Wolfgang Bigbad, who pretends to be a fierce statue guarding the steps to the library. The two brothers, Giovanni and Cherubino are frightened by the statue, but, determined not to show they are cowards, try to touch it. Suddenly coming alive, the statue startles the boys. Still pretending to be brave, they invite the statue to join them for dinner. Wolfgang Bigbad accepts the invitation, hoping the boys will be the main course. In the final scene, we see the cottages, one of sticks, one of straw and of course, Despina s sturdy house of bricks. The pigs have realized just who Wolfgang Bigbad is and lock him out. The wolf tries to enter each house, with the pigs replying not by the hair of your chiny, chin chin. One by one, the boys take refuge in Despina s house of bricks. Wolfgang Bigbad attempts to come down the chimney, but Despina is ready for him. She has read in a book from the library that even big bullies can be shrunk down to size. A reformed Wolfgang and the brothers, who have also learned their lesson, join with Despina in singing the moral of the story, When you fear a thing that s scary, just take your questions to the library.

4 THE THREE LITTLE PIGS an opera Study Guide page 4 of 17 Wolfgang Amadeus Mozart ( ) Born in Salzburg, Austria, Mozart displayed uncanny musical talent at a very early age; by the time he was five, he was a keyboard virtuoso. Mozart toured Europe as a child, astounding the musical world and charming royal audiences with his improvisational ability. In addition to composing symphonies at a tender age, he wrote his first operas while still a boy: La Finta Semplice, commissioned by the Emperor Josef II; and Bastien und Bastienne, a singspiel (German folk opera with spoken dialogue). In 1777, Mozart journeyed to Paris with his mother to seek a formal position; but he had no luck, and returned home in 1779 after his mother s death. A suitably prestigious position was to elude Mozart all his life, due partly to his complicated personality and tactless, arrogant, often childish behavior. He managed to secure a job as court organist in Salzburg, an appointment he held for two years prior to the triumphant premiere of Idomeneo. This opera seria - a highly formalized type of dramatic opera which was becoming outmoded in Mozart s day is considered one of the greatest examples of the genre. Its success led Mozart to take up residence in Vienna. The break with Salzburg marked the beginning of Mozart s maturity as a composer; nearly every work he produced thereafter is a masterpiece. In 1782, he wrote Die Entfuhrung auf dem Serail (The Abduction from the Seraglio), a charming comic opera that paved the way for Le Nozze di Figaro. A tremendous success at its premiere in 1786, Figaro was based on a satirical comedy by the French dramatist Beaumarchais. Unparalleled in its depth of characterization and synthesis of music and drama, Mozart s work contains some of the most sublime ensemble writing in all opera. Mozart s last great opera, Die Zauberflote (The Magic Flute), written in 1791, is a singspiel with a libretto by impresario Emanuel Schikaneder. Beneath the simple, fairy-tale plot is a message of love, truth, and brotherhood set to music of profound spirituality and majesty. Flute was also a seminal work in the development of German music theater, which hardly existed, according to Richard Wagner, prior to the opera's premiere. Mozart earned a living for himself and his wife, Constanze, through teaching, concretizing, and the fulfillment of occasional commissions from wealthy aristocrats, but the couple did not manage their money wisely, and was often heavily in debt. Mozart died penniless of unknown cases on December 5, 1791, and was buried in an anonymous pauper's grave. Mozart s compositions rank among the greatest of all time. They are unsurpassed in beauty, wit, and technical mastery, and they express the full range of human emotions.

5 THE THREE LITTLE PIGS an opera Study Guide page 5 of 17 A FAIRY TALE S HISTORY by Craig Casteel The history of The Three Little Pigs takes us back to the nineteenth century. One of the first versions of the tale found in print was written by James Orchard Halliwell. His account was found in a 1849 publication of Popular Rhymes and Nursery Tales. Joel Chandler Harris brought attention to the fairy tale in his Tales of Uncle Remus in Several of the tales in this publication greatly resemble the story of The Three Little Pigs. Joseph Jacob's version in his English Fairy Tales created significant notoriety for the tale in Perhaps credit for being the greatest influence in the popularity of this fairy tale belongs to the late Walt Disney. The inclusion in the 1933 Silly Symphonies, along with the popularity of the film's song, "Who's Afraid of the Big Bad Wolf? brought the tale to the height of its popularity. The last two centuries have witnessed The Three Little Pigs fade in and out of popularity. Several versions and adaptations have spun off of the originals, which received heavy influence from both Aesop and the Grimm brothers. Aesop's influence is found in tales such as The Ant and the Grasshopper. The Grimms influence is felt in The Wolf and the Seven Young Kids. These tales have different details, but share related morals. Some accounts of The Three Little Pigs have maintained the core format of the original tales, while adding modern touches to the illustrations. Other versions completely alter the details of the story by changing perspectives, attitudes, settings, and characters. Details and perspectives may change throughout the years, but one thing remains the same. Children love this fairy tale. sited Oct. 17, 2007

6 THE THREE LITTLE PIGS an opera Study Guide page 6 of 17 WHAT IS OPERA? Literally, opera is the plural of the Latin word opus, which means, work. Opera is a marriage of words and music: a drama that is often sung with an orchestra, to create an extra dimension, which can be emotional, theatrical and entertaining. It was created in Italy in the last decade of the 16 th century by an academy of musicians and writers. Their aim was the recreation of the ideals of classical Greek drama, taking as their starting point Aristotle s description of drama as words sweetened with music. This melding of drama and music has since evolved in a variety of forms, but opera is most frequently known as a large-scale spectacular production. However, It can be equally effective in the most intimate and minimal setting. It s a natural combination of a dramatic story, music and singing, scenic, lighting, and costume art, special effect, and, frequently, dance. Opera is a vital, living art, which can offer more than any musical or straight play in a greater variety than any other theatrical presentation. It is the one art form that combines all the other art forms in its performances. The text is written as a libretto ( little book in Italian), a form that can easily be set to music. It is based on dramatic conflict, solving a problem or relationships between characters, often in an unusual setting to allow for great scenery and spectacle. Sources for the stories frequently come from an historic event or a popular play, book or poem of the period. The plot of an opera does not advance the way it does in a play. During lengthy arias in which characters express emotions, the action stops, and time stands still. Opera roles are sung by those who have trained their voices (like an athlete trains for the Olympics), to be able to produce a particular style of singing, called classical voice. It involves amazing breath control and the physical use of all parts of the throat, mouth, soft palate, tongue, upper body and head. An opera singer can express the feeling in a song by controlling the tempo (speed), dynamics (loudness and softness), and color of their voice (i.e., warm and inviting or harsh and shrill). An opera singer studies several different languages to be able to sing a role as it was originally written. Although opera, as we commonly think of it was created in Italy, every culture tells its stories in words and music. Germany, Italy, France, England, Spain, Russia, Czechoslovakia and the United States are all responsible for major developments in the art form. From classic Mozart to contemporary minimalist Philip Glass, opera spans time and geography with a rich diversity of styles and settings. It can be enjoyed on many levels and the variety of performances can offer something for everyone. It s no accident that the Three Tenors Concert starring opera great Luciano Pavarotti, Placido Domingo and Jose Carreras was a best-selling CD and videotape, and that the television broadcast was the most-watched program in the history of Public Broadcasting.

7 THE THREE LITTLE PIGS an opera Study Guide page 7 of 17 WARM UP / FOLLOW UP ACTIVITIES Before or after the show 1. Ask the students for their ideas of what opera is. Write OPERA on the board. Under it list the students answers. Ask again after the performance and see if their opinions have changed. 2. Have your students listen to overtures from THE MARRIAGE OF FIGARO or COSI FAN TUTTE. Discuss the instruments of the orchestra. 3. Many students may have never attended an opera or a theatrical performance. Discuss how a theatrical performance can be different from and similar to a rock concert or an athletic event. Discuss concert manners and the need to respect a live performer and fellow audience members. 4. AFTER THE PERFORMANCE ask the students. What made the performance interesting and exciting? Was there a conflict? Was the conflict resolved? How? What was your favorite part of the production? What was your least favorite? Were the singers characters? Did you believe in their actions and reactions? How did the opera make you feel? Why? 5. Have the students make a poster advertising the opera. Submit it to FBN Productions and we might use it in upcoming events. 6. Have the students read reviews of plays or movies and then write a review of the performance. Please send the reviews to FBN Productions, so we might be able to learn from their reactions. 7. See how many references to opera can be found in the media. Make a list of advertisements and film that use operatic melodies and ask students to select one and try to find out from which opera it comes. Why was that particular music chosen? What effect does it have, and what image is it trying to evoke? Does it work? Some movie examples (cf. page 14) - Overture / The Marriage of Figaro, K.492 (Trading Places) (Wolfgang Amadeus Mozart) Un' aura amorosa / Cosi fan tutte, K.588 (My Left Foot) (Wolfgang Amadeus Mozart) Soave sia il vento / Cosi fan tutte, K.588 (Sunday, Bloody Sunday) (Wolfgang Amadeus Mozart) Song To The Moon / Rusalka, Op. 114 (Driving Miss Daisy) (Antonin Dvorak) Dance Of The Hours / La Gioconda (Fantasia) (Amilcare Ponchielli) Viens, Mallika... Dome epais le jasmin / Lakme (Someone To Watch Over Me) (Leo Delibes) Can-Can / Orpheus in the Underworld (Peter's Friend) (Jacques Offenbach) Recitar!... Vesti la giubba / I Pagliacci (The Untouchables) (Ruggero Leoncavallo) Siegfried's Death And Funeral March / Gotterdammerung (Excalibur) (Richard Wagner) Nessun dorma / Turandot (The Witches Of Eastwick) (Giacomo Puccini) O mio babbino caro / Gianni Schicchi (A Room With A View) (Giacomo Puccini) O soave fanciulla / La Boheme (Moonstruck) (Giacomo Puccini) Intermezzo / Cavalleria Rusticana (Raging Bull / Godfather III) (Pietro Mascagni) Ebben?... Ne andro lontana / La Wally (Diva) (Alfredo Catalani) Vedi, le fosche notturne / Il Trovatore (A Night At The Opera) (Giuseppe Verdi)

8 THE THREE LITTLE PIGS an opera Study Guide page 8 of 17 La mamma morta / Andrea Chenier (Philadelphia) (Umberto Giordano) Ride Of The Valkyries / Die Walkure (Apocalypse Now) (Richard Wagner) OPERA IS A play set to music The music amplifies the actions of the actors, their words and emotions in a way that words alone could never do. An art form Collaborative and cooperative efforts of many people are required to create an opera. Primary and most important is the composer, who starts the process by putting his music ideas into dramatic form. Not all composers today start by putting their ideas on paper. Some use computers, using software especially formulated to notate music. The composer hopes to use the right combination of melodies, harmonies and rhythms to convey he story with the appropriate emotion or mood. A story The composer usually first selects or writes a story that he finds suitable for telling through music a story with interesting and dramatic situations. All good drama is based on conflict - whether the individual character are in conflict with themselves or others. A performance form The text of the story, once adapted for the needs of the composer is often put into a recognizable play form called a libretto. Sometimes the composer will write the story, just as Carlisle Floyd and Gian Carlo Menotti do. Other composers prefer to work with writers or poets called librettists. Because the libretto will be greatly expanded by the addition of music, words are often kept to minimum. The text must be clear in order to be understood when sung. Working with the composer the librettist decides how the action of the story is to be divided into acts and scenes. Adding the music Once the scenes are established and the sections of the libretto are complete, the composer begins to set the words to music. What type of voice (soprano, tenor, mezzo, bass) will best suit each character must be decided. The human voice is said to be the greatest musical instrument because of its expressiveness and versatility. The composer makes the most of this versatility in making each character real. Orchestration When the opera is finished the composer divides the music among the instruments of the orchestra and decides which instrument or group of instruments will be most appropriate to color the mood of the scene. Opera orchestras range in size, from a single piano to a hundred players or more. Often the use of a particular instrument will add to the characterization of an individual portrayed. Talents combined When a score is complete, the talents of many others combine to make the vision of the composer and librettist a reality. It can take hundreds of people to bring the page to the stage. The music director of the opera house oversees the musical preparation; the conductor is responsible for all things musical and leads the performance; the vocal and instrumental artists make the music for the performances; accompanists play for rehearsals; a chorus master prepares the chorus; the stage director shapes the story visually and heads the production team of the set, costume and lighting designers. Plus there can be many stagehands, dressers and other technicians overseeing the physical production

9 THE THREE LITTLE PIGS an opera Study Guide page 9 of 17 THE ARTISTIC TEAM OPERA IS A Collaboration The following creative people are responsible for "inventing" a production of an opera. They must spend many hours studying the music and the libretto. It is helpful if they speak the language in which the opera will be performed, because it provides a better understanding if they are not dependent on a translation. They must make their own interpretation of what the composer and librettist are saying. Then, as a team, they must develop a concept of how they want the piece brought to life. The artistic team must answer the following questions: What does the opera mean? What are we trying to convey to the audience? The Conductor is responsible for the interpretation of the music. He/she is respectfully referred to as "the Maestro," which in Italian means "Master or teacher." The conductor must be a very skilled musician. The Maestro works with the orchestra and the singers to interpret the music, which is the core of the opera. Based on the composer's notes, he/she determines tempo, dynamics and the musical expression of the opera. He/she leads the orchestra during the performance, coordinating what is happening onstage with what is happening in the orchestra pit. It is important that the singers and musicians watch the conductor at all times. The Director is in charge of what will be assembled onstage. After the director has completed an intensive exploration of the music and text, and arrived at an interpretation, he/she then turns to the designers and together they arrive at a concept. When rehearsals begin, the director helps bring the concept to life through the characters of the opera: how they move, how they behave, why they behave the way they do, how they interact with one another and the environment of the opera. The Scenic Designer must have the vision and imagination of a visual artist, the ingenuity of a stage artisan and above all a knowledge and sense of theater. It is their responsibility to create the surroundings in which the characters exist physically. The design of the scenery either directly controls or indirectly influences the total visual effect of the opera. The scenic designer must work very closely with the rest of the creative team to devise a set that allows the production concept to be achieved and enhances the work of the performers, director and the other designers. The Lighting Designer uses light to reveal form. By controlling intensity, color and angle, light becomes a strong factor in the visual effect of design. The lighting creates mood as well as balance and focus. A lighting designer is responsible not only for the general stage lighting but also for special effects such as lightning or explosions. Lighting instruments are controlled by a computer, so the lighting designer must also be very proficient in lighting software and how to control the computer as well as being an expert in the principals of electricity and design. The Costume Designer is a part of the total visual effect. The costume gives meaning to the individual character and at the same time places each character in proper relationship to the total visual effect. He/she must contribute to the concept by deciding how characters will look by what they are wearing. The clothes must be historically accurate and tell us something about the individual. Opera often has lavish and elaborate costumes with many pieces to them. Often because of cost, an opera company rents a complete set of costumes to fit the particular production. The Wigs and Make-up Artist use make-up to allow a physical character to emerge from the singer. The make-up artist uses the face and hair as a palate. They can alter the physical characteristics of a person. This person is responsible for making the artists' faces and hair look like the characters they are portraying.

10 THE THREE LITTLE PIGS an opera Study Guide page 10 of 17 OPERA IS A Collaboration THE PRODUCTION TEAM While the artistic team creates, the production team implements the decisions that are made by the artistic team. Each person has an area of responsibility to oversee. These people are detail oriented and have excellent communication skills to work as a team to accomplish the goals of the production. The Director of Production schedules rehearsal time for orchestra, chorus, principal singers, technicians, etc., and makes arrangements for the arrival of production staff, sets and costumes. He/she oversees the construction of new sets as well as supervising the stagehands at the theater. The Chorus Master prepares the chorus musically. The chorus is the first of all the singers to begin rehearsal under the direction of the chorus master. Since most operas are sung in a foreign language, singers who do not speak the language must learn the words phonetically. The Stage Manager and Assistant Stage Managers ensure the rehearsals and performances run smoothly. They keep track of the "who, what, where and when" of the production. Who enters or exits, with what prop, wearing what costume, and when in the music. They cue the various stage technicians to change the set, lights where the props are needed. They follow the score and give a "Stand By" and a "Go." Stage Managers are timekeepers and the problem eliminators. The Assistant Director assists the director by recording all the staging into a piano/vocal score. He/she must be able to keep track of the director's instructions to hundreds of people onstage: when they move, where they move, and at what particular time in the music. The Accompanist or Rehearsal Pianist plays the piano as a substitute for the orchestra during staging and music rehearsals. Obviously, this person must be an excellent pianist and be very familiar with the opera score. The accompanist follows the conductor's direction and must have a lot of stamina, because the rehearsals are sometimes long and tiring. THE PERFORMERS OPERA SINGERS Most opera singers take classes and often go to school longer than doctors and lawyers do to learn their profession! Many people who become opera singers know from the time they are very young (by the time they're teenagers, anyway!) that they want to be professional singers. To help prepare for their opera career, they take as many music classes as they can at school - and then take private lessons in voice, too! If they can, they take foreign language classes in French, German and Italian. They listen to recordings of operas and famous singers, and go to the library to learn about the history of operas and about the important people in the field. All of these things help prepare the budding opera star for his or her career!

11 THE THREE LITTLE PIGS an opera Study Guide page 11 of 17 And what are the rewards of choosing such a profession? Many people who pursue artistic careers do so because they want to make full use of the talents they possess, and they feel a sense of achievement when they perform to their potential. It is also very satisfying to know that something that you do makes people laugh, cry and cheer! Good opera singers can make a decent living as performers, and the most successful opera singers in the world, like Luciano Pavarotti or Placido Domingo, make millions of dollars each year! They perform on TV, travel around the world, make recordings and perform live on stage for thousands and thousands of screaming fans each year (sort of sounds like Boyz II Men or Mariah Carey, doesn't it?). Just imagine standing on the stage of a theatre, having hundreds of people shouting "Bravo! Bravo!" (Italian for "Way to go!") throwing flowers at you, and you'll have some idea of the allure of a career on stage. Incomparable Voices! Unlike most popular singers, opera singers have been classically trained to sing - that is to say they have learned about music theory and how the human voice actually works. Anytime you see a pop singer perform, you'll also see them using a very important piece of equipment - THE MICROPHONE. Most singers need a microphone to be heard throughout a music hall, because their voices simply aren't strong enough to carry past the first few rows. This is where opera singers have it all over pop singers. You see, opera singers have such highly developed voices and lungs that they can be heard in the very last row of the very top balcony in theatres that seat thousands of people!! AND they can sing with such power over the course of a three or fourhour opera. It's no wonder that opera singers have to take such good care of their voices and their bodies. Opera singers, throughout their careers, continue to take voice lessons, and continue to practice every single day to keep their special instrument - their voices - in perfect condition. Just as sit-ups and push-ups keep your body in shape, singing special notes - called scales, following all of the notes that we use to sing - and practicing songs keeps your voice in shape. As you know, some people's voices are deeper than others, and men usually have much deeper voices than women. Because of this natural difference in our voices, each of us can sing a particular range of notes. This range determines what part we all sing, whether soprano (very high) or bass (very low). Listed below are the different kinds of voices that exist. Once you find out what part you sing, then you can begin to train appropriately for a career in the opera! Operatic Singing Operatic singing has two characteristics: 1. A wide range meaning lots of the notes are used, from the highest to the lowest, instead of just staying in a narrow range. 2. The singer's voice strong and loud meaning that the singer can be heard to the back of the theatre without a microphone. When a singer sings this way, it is called "projecting." Opera singers rely on the power from their lungs, diaphragm, vocal cords and even part of their nose to produce a strong, full sound. This is why they must train so much. As in just about anything, the more they train, the stronger and better they are!

12 THE THREE LITTLE PIGS an opera Study Guide page 12 of 17 GLOSSARY ARIA - a vocal solo or song DUET - A musical passage written for two voices BLOCKING - The basic movement pattern of performers on stage RECITATIVE - A dialogue or narrative section where the music imitates the natural inflections of speech LIBRETTO - The text or words for an opera or other large choral work OPERA - A musical play in which all or most of the words are sung SYNOPSIS - A short summary of the opera s plot VIBRATO - The fluctuation of pitch and intensity in the voice that characterizes the trained singer s sound OPERETTA - A comic opera with dialogue ENSEMBLE - Musically, when several people are singing at the same time PATTER SONG - A song with many words that is more spoken than sung. RAP songs are a direct descendent of Patter Songs. SCENES - Musical subdivisions of the opera which define the structure of the piece DYNAMICS The range of sounds from soft to loud. Pianississimo Very, very soft Pianissimo Very soft Piano Soft Mezzo Piano Medium soft Mezzo Forte Medium loud Forte Loud Fortissimo Very loud Fortississimo Very, very loud TEMPO Speed the composer indicates the music should be played. Presto Vivace Allegro Moderato slow Andante Adagio Lento Largo Grave Very fast Vivacious Joyfully, quick, lively Moderate, not fast or Rather slow Slow and expressive Very slow Very slow and dignified Very, very slow, solemn

13 THE THREE LITTLE PIGS an opera Study Guide Page 13 of 17 VOICES Soprano - The highest singing voice. Sopranos are usually female but also young boys. The sound is similar to a flute or violin in range. The soprano is often the heroine. Cio-Cio San in Madama Butterfly or Leonore in Fidelio are sopranos. Mezzo-soprano or Mezzo - Middle range female voice, similar to an oboe or a viola in range. The sound is often warmer or darker than the soprano. It is usually used for older female characters, such as mothers, villainesses, seductive heroines or servants such as Suzuki in Madama Butterfly. Contralto or Alto - The lowest female singing voice, similar to the lower range of a clarinet. A true contralto is a very rare voice type. It is usually used for older female and special character parts such as witches or old gypsies. Tenor - The highest male singing voice in most operas. It is similar to a trumpet in range, tone and color and acoustic "ring." He is often the hero or the person the soprano is in love with. Florestan in Fidelio, Pinkerton in Butterfly and Sportin' Life in Porgy and Bess are all tenors Baritone A middle range male singing voice, close to a French horn or cello in range and color. He is often the villain. Sharpless in Madama Butterfly, Crown in Porgy and Bess, and Don Pizarro in Fidelio are baritones. Bass (pronounced base) - The lowest range male singing voice. It is similar to a trombone or bassoon or bass violin in range and color. The bass voice sometimes suggests age and wisdom in serious opera and older foolish characters in comic opera. Bonze in Madama Butterfly, Porgy in Porgy and Bess and Rocco in Fidelio are basses. Coloratura Lyric Spinto Dramatic Soprano Norina (Don Pasquale) Gilda (Rigoletto) Lucia (Lucia di Lammermoor) Liu (Turandot) Mimi (La Bohème) Pamina (Magic Flute) Tosca (Tosca) Amelia (A Masked Ball) Leonora (Il Trovatore) Turandot (Turandot) Norma (Norma) Elektra (Elektra) Mezzo- Soprano Rosina (Barber of Seville) Angelina (La Cenerentola) Dorabella (Così fan tutte) Carmen (Carmen) Charlotte (Werther) Giulietta (Hoffmann) Santuzza (Cavalleria) Adalgisa (Norma) The Composer (Ariadne auf Naxos) Azucena (Il Trovatore) Ulrica (A Masked Ball) Herodias (Salome) Tenor Count Almaviva (Barber of Seville) Don Ottavio (Don Giovanni) Ferrando (Così fan tutte) Alfredo (La Traviata) Rodolfo (La Bohème) Tamino (Magic Flute) Calaf (Turandot) Pollione (Norma) Cavaradossi (Tosca) Dick Johnson (Fanciulla) Don Jose (Carmen) Otello (Otello) Baritone Figaro (Barber of Seville) Count Almaviva (Le nozze di Figaro) Dr. Malatesta (Don Pasquale) Marcello (La Bohème) Don Giovanni (Don Giovanni) Sharpless (Madama Butterfly) Verdi Baritone Germont (La Traviata) Di Luna (Il Trovatore) Rigoletto (Rigoletto) Scarpia (Tosca) Jochanaan (Salome) Jack Rance (Fanciulla) Bass Bartolo (Barber of Seville) Don Magnifico (Cenerentola) Dr. Dulcamara (Elixir of Love) Leporello (Don Giovanni) Colline (La Bohème) Figaro (Marriage of Figaro) Buffo Bass Don Pasquale (Don Pasquale) Don Alfonso (Così fan tutte) Basso Cantate Oroveso (Norma) Timur (Turandot) Sarastro (Magic Flute)

14 FBN 3 PIGS Study Guide Page 14 of 17 STAGE DIRECTIONS Long ago, the stages used to be raked or slanted toward the audience. If you went away from the audience, or climbed up the incline, it became upstage. Down the incline was downstage. Up Right Upstage Up Left The area of the stage farthest away from the audience Stage Right Center Stage Stage Left The side of the stage to the The middle of the stage where The side of the stage to the Performers' right as they face much of the action takes place. Performers' left as they face the audience. the audience Downstage Down Right The area of the stage closest to the audience. Down Left SUGGESTED LISTENING BEFORE THE PERFORMANCE Recommended recordings: Many Public Radio stations carry the Metropolitan Opera broadcasts, each Saturday afternoon. Check your local listings or visit The Met s web page YouTube also hosts many scenes and arias from popular operas. Not all clips by professionals, so be careful. Your local library may also have tapes, DVDs, CDs, records and videos of full-length operas Video Opera movies: Bizet's Carmen, directed by Francesco Rosi Mozart's Don Giovanni, directed by Joseph Losey Mozart's Magic Flute, directed by Ingmar Bergman Puccini's Tosca, directed by Andrea Andermann Verdi's Rigoletto, directed by Jean-Pierre Ponnelle Verdi's Traviata, directed by Franco Zeffirelli Live operas on video Puccini's La Bohème (1982 Metropolitan Opera telecast) Zeffirelli s most famous production: a beautiful tragedy about young artists in love. Puccini's La Bohème (1994 Australian Opera telecast) a popular updated version set in the 1950s. Wagner's Walküre (1976 Bayreuth performance) Chéreau's ground-breaking production of the second opera in the Ring cycle features an engaging cast and updates the action to the nineteenth century. Cartoons Bugs Bunny What s Opera, Doc?

15 FBN 3 PIGS Study Guide Page 15 of 17 WORD PUZZLE - Find the words Mozart, Opera, Don Giovanni, Despina, Cherubino Wolfgang, Music, Voice, FBN, Bigbad, Tone F T G N G D K M P R U B O P E R A Z D Z S O P R A N O S O B H V W O L F G A N G R E A D I N G R T I F I M U S I C I J O B M A C T M I A O V N N O T E S R E L A E U Q I N A W N I N D A C O B T S X B N L A H N D R I F R I T D E S P I N A A M G O R S M O Z A R T T Q U I R E B F Y D E S B N A B Z O X D N B I G B A D Z H V O G N I T S O L O M R T O N E S D I K Z D F C G I H C H E N A V O I C E B S W Y

16 FBN 3 PIGS Study Guide Page 16 of 17 FBN Productions, Inc. THE THREE LITTLE PIGS Teacher Evaluation School Name Performance Date Your cooperation in filling out this evaluation is greatly appreciated by the producers and performers of THE THREE LITTLE PIGS. The information will be used to improve future programs. We earnestly request your honest opinion and any constructive criticism you may have regarding the program. Please return this form to FBN Productions, Inc. Opera for Kids, 716 Old Forge Road, Chapin, SC Thank you. 1. Did you enjoy the opera program as presented? greatly some not much 2. Do you think the majority of your students enjoyed it? greatly some not much 3. What were some of their comments? 4. Did your students understand the story and the singing? YES NO 5. Could they relate to the singers; were they pleased with their talent and professionalism? YES NO 6. Judging from student to student response, would they like programs of this nature in the future? YES NO 7. Was the study guide helpful? YES NO 8. Was the material in the study guide distributed to the students? all some none Comments: 9. What suggestions can you offer to help us improve our programs and to educated and interest you students in opera?

17 FBN 3 PIGS Study Guide Page 17 of 17 FOR MORE INFORMATION ABOUT OTHER PERFORMANCES AVAILABLE FOR YOUR PROGRAM, SCHOOL OR DISTRICT, PLEASE CONTACT: FBN Productions, Inc. Opera for Kids Ellen Douglas Schlaefer 716 Old Forge Road Chapin, South Carolina (803) toll free: FBN KIDS