Language Arts: Sensory Language and Imagery

Language Arts: Sensory Language and Imagery Students will Read The Story of the Opera Read The Characters included with the lesson. Watch the online video selections from Aida included with the lesson. Discuss and answer questions on the appropriate portion(s) of the Activity Worksheet Copies for Each Student: The Story of the Opera, The Characters, and the Activity Worksheet Copy for the Teacher: Activity Worksheet Answer Key Getting Ready: Decide which section(s) of the worksheet you wish your group to complete. Prepare internet access for Aida online listening selections. Gather pens, pencils and additional writing paper as needed for your group. Introduction: Have your students read The Story of the Opera. Give each student a copy of The Characters. Read through the information, discussing each character and viewing the online selections as you go. Guided/Independent Practice: Depending on your grade level, the ability of your students, and time constraints, you may choose to have students work as a whole class, in small groups, with a partner, or individually. Read the directions on the Activity Worksheet. Have students complete the portion(s) of the Activity Worksheet you have chosen with an opportunity for questions. Evaluation: Have students share their answers individually or by groups and tell why they gave their answers. The teacher may want to guide the discussion with the sample answers provided. For Further Study: Students may want to do additional research on Giuseppe Verdi, Aida, or related topics online or in their school library. Their findings can be shared with the class at the beginning of a later lesson. Additional Material: Our Librettist: Antonio Ghislanzoni 2012-2013 Educational Series presented by page 1 of 12

TEKs: 6th Grade 110.18.B.8 Reading/Comprehension of Literary Text/Sensory Language. Students understand, make inferences and draw conclusions about how an author's sensory language creates imagery in literary text and provide evidence from text to support their understanding. 7th Grade 110.19.B.8 Reading/Comprehension of Literary Text/Sensory Language. Students understand, make inferences and draw conclusions about how an author's sensory language creates imagery in literary text and provide evidence from text to support their understanding. 8th Grade 110.20.B.8 Comprehension of Literary Text/Sensory Language. Students understand, make inferences and draw conclusions about how an author's sensory language creates imagery in literary text and provide evidence from text to support their understanding. English Language Arts and Reading, English I 110.31.B.7 Reading/Comprehension of Literary Text/Sensory Language. Students understand, make inferences and draw conclusions about how an author's sensory language creates imagery in literary text and provide evidence from text to support their understanding. English Language Arts and Reading, English II 110.32.B.7 Reading/Comprehension of Literary Text/Sensory Language. Students understand, make inferences and draw conclusions about how an author's sensory language creates imagery in literary text and provide evidence from text to support their understanding. English Language Arts and Reading, English III 110.33.B.7 Reading/Comprehension of Literary Text/Sensory Language. Students understand, make inferences and draw conclusions about how an author's sensory language creates imagery in literary text and provide evidence from text to support their understanding. English Language Arts and Reading, English IV 110.34.B.7 Reading/Comprehension of Literary Text/Sensory Language. Students understand, make inferences and draw conclusions about how an author's sensory language creates imagery in literary text and provide evidence from text to support their understanding. Correlates Music Drama Gardner s Intelligences Verbal-Linguistic 2012-2013 Educational Series presented by page 2 of 12

Musical Interpersonal Bloom s Taxonomy Knowledge Comprehension Application Analysis Evaluation Synthesis Bibliography Aida Libretto Warrack, John and West, Ewan, The Oxford Dictionary of Opera, Oxford University Press, 1992. Holden, Amanda, The New Penguin Opera Guide, Penguin Books, 2001. Discography: Label: RCA Verdi - Aida Conductor: Erich Leinsdorf Orchestra: London Symphony Orchestra Chorus: The John Alldis Choir Artists: Price, Leontyne; Domingo, Placido; Milnes, Sherrill; Bumbry, Grace; Raimondi, Ruggero; Sotin, Hans. 2012-2013 Educational Series presented by page 3 of 12

The Story of the Opera ACT ONE The opera opens in a hall in the palace at Memphis, in ancient Egypt. The warrior Radames learns that his country is once again threatened by the forces of Ethiopia, and that he has been chosen by the Gods to lead the Egyptian army against them. Thinking of his love for Aida, an Ethiopian slave, he is interrupted by the Princess Amneris. Amneris makes it clear that she wishes Radames for herself. When Aida arrives, Amneris sees the love that Aida has for Radames. Jealous, she tries to get Aida to confess her love for Radames. Aida tells Amneris that her distress is over the hostilities between Egypt and her homeland. Radames is afraid that his love for Aida will be discovered. The tension from the love triangle is interrupted when the King arrives. Word is then received that the Ethiopian army, led by Amonasro, has attacked Egypt. Aida starts at the mention of her father s name but tries to hide her feelings. None of the Egyptians know that she is the daughter of Amonasro. The King announces that Radames is to be the supreme commander of the Egyptian forces. The King, his court, and the crowds call for Radames to be victorious. Aida joins in the calls for Egyptian victory before stopping in horror as she realizes what that victory will mean to her people and homeland. Radames goes to the Temple of Ptah where the priests and priestesses pray to the gods for victory. He is given a ceremonial sword to use in battle and leaves to take command of the Egyptian forces. ACT TWO At Amneris apartments in Thebes, she prepares for the triumphant return of Radames. The people sing a hymn to Egypt and the Goddess Isis. The Egyptian army parades by, and Radames arrives. He is greeted by the King, and will be honored by Amneris. When the King offers Radames any reward for his victory, Radames requests mercy for the Ethiopian leaders, as they have proven themselves honorable in battle. The priests and the King debate the issue, and eventually reach a compromise. The identity of the King of Ethiopia has been discovered. His relationship to Aida has been revealed. The two are to remain in Egypt as hostages while the other combatants are freed. The King of Egypt then announces the marriage of his daughter, Amneris, to Radames. Amneris is thrilled to have won out over Aida. Radames is not happy that he is to be married to someone other than his true love. ACT THREE On the banks of the Nile, near the Temple of Isis, the main characters converge. Amneris is there to pray with the High Priest for success in her marriage to Radames. Aida has convinced Radames to meet her outside the temple by threatening to kill herself. Amonsaro surprises Aida and insists that she get information out of Radames to give the Ethiopians an advantage in battle. He convinces her that she can defeat Amneris, be with Radames, and still see her homeland again. All she has to do is find out which road the Egyptian 2012-2013 Educational Series presented by page 4 of 12

army will use. At first Aida is horrified by the idea of betraying Radames. Eventually, her father wears her down, and she agrees to the deception. When Radames arrives, Amonsaro hides. Aida asks Radames how he can be in love with her but marry Amneris. Radames tells Aida that the war is flaring up again. He will lead the army again, and upon victory will ask for Aida s hand. Aida convinces him that they would be better off running away together. She tricks him into telling her which road the Egyptian army will use. Her father hears the information and reveals himself. Radames realizes what he has done and starts to flee with Aida. They are interrupted by Amneris and the High Priest, who orders the arrest of Radames. ACT FOUR In a hall of the royal palace, Amneris tries to convince Radames to defend himself. When faced with the accusations of betraying his country, he has refused to respond. Amneris offers to use her influence to save him if he will marry her. Radames refuses, saying that life is meaningless without Aida. Radames is found guilty of treason and sentenced to death. Amneris vainly protests his innocence. Priests in the Temple of Ptah seal a tomb containing Radames. Thinking of Aida, he realizes that she is there in the tomb with him. She has chosen to die with him rather than live without him. He is heartbroken that she too will die, but Aida hallucinates that she sees the angel of death, who will bring them peace and eternal love. The couple says goodbye to their earthly lives as Amneris prays for peace outside the tomb. 2012-2013 Educational Series presented by page 5 of 12

The Characters Aida (soprano) An Ethiopian princess, brought to Egypt as a slave. She is torn between her love for the Egyptian commander, Radames, and loyalty to her homeland and her family. Radames (tenor) The Eyptian Commander of the Guard who successfully defeats the king of Ethiopia (Aida s father) in battle. He is in love with Aida, but promised in marriage to Amneris, daughter of the King of Egypt. He struggles between his love for Aida and his duty to his country. The King of Egypt (bass) Appoints Radames as commander of his armies to battle against the Ethiopians and gives him Ameris, his daughter, as a bride upon his victorious return. Amonasro (baritone) The King of Ethiopia. He is defeated by Radames and brought back to Egypt as a slave. Radames spares his life because he is in love with Amonasro s daughter, Aida. Amonasro conspires to betray Aida and Radames after his capture, which leads to their death. Amneris (mezzo-soprano) Daughter of the King of Egypt. She is in love with Radames but knows that he loves Aida. She is jealous of Aida and torments her while Radames is away fighting the Ethiopians. Ramfis (bass) The high Priest of Egypt. Offers counsel and guidance to Radames and the King. 2012-2013 Educational Series presented by page 6 of 12

Watch & Listen 1. Watch part of Act I as Ramfis tells Radames that the Ethiopians have attacked the Nile Valley. Ramfis says the gods have appointed a new commander and leaves to tell the King. Radames hopes he is the chosen commander and dreams of returning victoriously to rule with his love, Aida. Look at part one of the Activity Worksheet for the translation of this text. Celeste Aida http://www.youtube.com/watch?v=xp1vp_g9mlc 2. Watch part of Act III as Aida reminisces about her homeland. Radames has summoned her to the temple after they discover he is going to marry Amneris. She does not know what Radames is going to tell her. She sings that if he is going to bid her farewell, the Nile River will be her grave. She then sings O patria mia and remembers the beautiful land she may never see again. Look at part two of the Activity Worksheet for the translation of this text. O patria mia * be sure to select the correct video (O patria mia) from the two selections offered below the video screen at this link. http://www.metoperafamily.org/metopera/broadcast/template.aspx?id=15466 2012-2013 Educational Series presented by page 7 of 12

Name Date Activity Worksheet - Part I Sensory Language and Imagery in Celeste Aida Text and Translation: Ramfis: (speaking of the new commander) Young in years is he, and dauntless. I take the divine commandment to the king. Radames: What if I were that warrior! And my dream were accomplished! I, the chosen leader of a glorious army victory, and the acclamation of all Memphis! To return to you, Aida, my brow entwined with laurel, To tell you for you I battled, for you I conquered! Heavenly Aida, beauty resplendent, radiant flower blooming and bright, queenly you reign over me, bathing my spirit in beauty s light, I would return your bright skies, the soft airs of your native land, place on your fair brow a diadem, build you a throne next to the sun, ah! 1. When Radames describes Aida, he uses several metaphors and images to help the listener know how he feels about her. List a few examples you see in the text above. 2. There is one dominant theme throughout the imagery in the passage above. What is it? What words and images support this theme? 3. Radames dreams of his perfect future: conquering Ethiopia and returning to rule there with Aida as his queen. Is this a realistic dream? Why or why not? 2012-2013 Educational Series presented by page 8 of 12

Name Date Activity Worksheet - Part II Sensory Language and Imagery in O patria mia Text and Translation: Aida Radames will come here! What can he tell me? I tremble! Ah, if you are coming, O harsh man, to bid me farewell forever, then the dark, rushing Nile will be my grave; peace and oblivion I shall find there. O native land, never to see you again! O cerulean skies, O soft breezes, where the light of my youth serenely shone. O green hills, O perfumed shores, O native land, never to see you again! O fragrant valleys, O calm refuge, once promised me by love! Now the dream of love has vanished, O my country, never again to see you! 1. List several examples of sensory language (words that appeal to our senses) found in the passage above. 2. Aida has been in captivity in Egypt for quite some time. Compare the deserts of Egypt to what Aida describes above. Use the examples you find to determine what she misses the most about her homeland. 3. Sensory language is used to help the reader know how something looks, feels, smells, sounds and tastes. What sensory language would you use to describe your homeland? List several examples below. 2012-2013 Educational Series presented by page 9 of 12

Answer Key: Activity Worksheet - Part II Sensory Language and Imagery in Celeste Aida Text and Translation: Ramfis: (speaking of the new commander) Young in years is he, and dauntless. I take the divine commandment to the king. Radames: What if I were that warrior! And my dream were accomplished! I, the chosen leader of a glorious army - victory, and the acclamation of all Memphis! To return to you, Aida, my brow entwined with laurel, To tell you for you I battled, for you I conquered! Heavenly Aida, beauty resplendent, radiant flower blooming and bright, queenly you reign over me, bathing my spirit in beauty s light, I would return your bright skies, the soft airs of your native land, place on your fair brow a diadem, build you a throne next to the sun, ah! 1. When Radames describes Aida, he uses several metaphors and images to help the listener know how he feels about her. List a few examples you see in the text above. Answers will vary. Examples: Heavenly; beauty resplendent; radiant flower blooming and bright; queenly; bathing with beauty s light; bright skies; soft airs; diadem; throne next to the sun 2. There is one dominant theme throughout the imagery in the passage above. What is it? What words and images support this theme? Dominant theme: Light. Supportive text: heavenly, resplendent, radiant, bright flower, beauty s light, bright skies, diadem, the sun 3. Radames dreams of his perfect future: conquering Ethiopia and returning to rule there with Aida as his queen. Is this a realistic dream? Why or why not? Answers will vary. Encourage students to draw their conclusions from facts presented in the story. 2012-2013 Educational Series presented by page 10 of 12

Answer Key: Activity Worksheet - Part II Sensory Language and Imagery in O patria mia Text and Translation: Aida Radames will come here! What can he tell me? I tremble! Ah, if you are coming, O harsh man, to bid me farewell forever, then the dark, rushing Nile will be my grave; peace and oblivion I shall find there. O native land, never to see you again! O cerulean skies, O soft breezes, where the light of my youth serenely shone. O green hills, O perfumed shores, O native land, never to see you again! O fragrant valleys, O calm refuge, once promised me by love! Now the dream of love has vanished, O my country, never again to see you! 1. List several examples of sensory language (words that appeal to our senses) found in the passage above. Answers will vary. Examples: the dark, rushing Nile; cerulean skies; soft breezes; light serenely shone; green hills; perfumed shores; fragrant valleys; calm refuge; love 2. Aida has been in captivity in Egypt for quite some time. Compare the deserts of Egypt to what Aida describes above. Use the examples you find to determine what she misses the most about her homeland. Answers will vary. Example: Aida misses the lush landscape of her homeland. Green fields, flowers, blue skies. It probably was not as harsh, as hot or as dry as the deserts of Egypt. 3. Sensory language is used to help the reader know how something looks, feels, smells, sounds and tastes. What sensory language would you use to describe your homeland? List several examples below. Answers will vary. Encourage students to create their own examples of sensory language, different from the examples above. 2012-2013 Educational Series presented by page 11 of 12

Our Librettist: Antonio Ghislanzoni Turning a Story into an Opera In the late 1860s, Verdi had trouble finding good stories to use for his operas. Camille du Locle, a French librettist, sent Verdi story after story, but none would please him. Finally, in 1870, Do Locle sent Verdi a scenario written by the archaeologist and Egyptologist Auguste Mariette, based on an invented story set in Egyptian antiquity. Verdi went to work immediately and appointed Antonio Ghislanzoni to write the libretto for Aida. Ghislanzoni was one of the most prolific and well known librettists of his time. He was also a journalist, an opera singer, an author, and a magazine editor. He began his studies intending to be a priest, then decided to be a doctor. Neither career suited him, so he began became an opera singer. He performed for eight years before he began to write. He wrote books about the theater, contributed to musical journals, and finally began to write librettos - stories for opera. Even though Ghislanzoni began his career as a librettist in 1857, he is best known for his later work with Verdi. Ghislanzoni met Verdi in 1851 when he sang one of the principal roles in a production of Verdi s opera Ernani. Nearly twenty years later, in 1869, Verdi asked Ghislanzoni to write a revision of another opera, La forza del destino, and then to write the libretto for Aida. Ghislanzoni s verse was always clear and correct. He had a good sense of dramatic structure, and he was a reliable and accomplished literary craftsman. Verdi was pleased with his work and continued to collaborate with him on several operas. 2012-2013 Educational Series presented by page 12 of 12