Opera to Go! presents

STUDY GUIDE

Music by Mary Carol WarwickLibretto by Kate Pogue

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WHAT IS HGOcO?

HGOco connects Houston Grand Opera’s creative resources with our diverse and vibrant community. The “co” in HGOco stands for company, community, and collaboration. HGOco’s innovative and engaging programs take place throughout the Houston area—in schools, parks, community landmarks, alternative performance spaces, and at the Wortham Theater Center, providing a range of opportunities for Houstonians of all ages to seek, engage, and learn through the inspiring art of opera. Our education programming includes Opera to Go!, student performances of main-stage productions, the Bauer Family High School Voice Studio, professional development workshops for teachers, opera camps, and residency programs.

WHY ARTS INTEGRATION?

Integrating the arts into your curriculum not only has the undisputed benefit of increasing student engage-ment and motivation, but plays an important role in supporting student achievement. Students who par-ticipate in arts-integrated activities can increase both oral and written language skills as well as ESL abili-ties. Curriculum rich in arts-integrated activities has been linked to the development of important 21st century skill building and increases in retention.

Using information in new and different ways facili-tates creativity and problem-solving, fosters active learning, and supports higher-level learning and ab-stract reasoning, while allowing students to make per-sonal connections to the content. The arts also build a strong sense of community and help children develop critical social and collaborative skills. Whether for purely artistic and esthetic reasons or to build spe-cific skills, integrating arts into the important work you already do with your students will provide a rich foundation for continued exploration and growth. ABOUT OUR STUDY GUIDE

This study guide is designed to be used within the classroom to prepare your students for the Opera to Go! performance. It is divided into four sections: the basics of opera; information on Cinderella in Spain, the opera; reference terms and fun activity pages; and curriculum-related lesson plans for your students.

Although Cinderella in Spain is enjoyable for all audiences, a prepared student will better appreciate the performance.

As always, we love to hear feedback. We want to know how we can best serve you!

For more information please visit our website, HGO.org/HGOco

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TABLE OF CONTENTSTHE BASICS OF OPERA

What is an opera? 4Why should we see opera? 5

CINDERELLA IN SPAIN, THE OPERA

Synopsis (our story) 6Characters 7Musical Example 8–9

REFERENCE/ACTIVITY PAGES

Vocabulary Guide 10–11Biographies - Composer & Librettist 12A Cinderella Timeline 13Cinderella’s of the World 14Geography of Spain 15

ACTIVITY PAGES

Design Your Own Slippers 16Cinderella Maze 17

LESSON PLANS

Language Arts Worksheet 18Social Studies Worksheet 19Music/Art Worksheet 20

WHAT IS AN OPERA?

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Teachers: Ask your students for their ideas about opera. Write OPERA on the board, then list students’ answers or make a word cloud. Ask again after the performance to see if their opinions have changed.

WHAT IS AN OPERA?

At Houston Grand Opera (HGO) we like to say Opera is simply storytelling, using words and music. Traditionally, all of the words are sung. However, some forms in the mid-late 19th century employed extended dialogue with comedy or satire and were called operettas. In the 21st century, exciting operas are written in many forms and styles drawing on current social trends and an increasing diverse global society.

HOW DOES IT WORK?

You will immediately notice that opera singers, unlike their peers in popular music, do not use microphones. Rather, an opera singer develops their own body as a source of “natural” ampli-fication.

HOW IS THIS DONE?

Through years of careful study and practice, they learn to project sound and control the expelling of breath. The process is simple–by expanding the lower abdominal muscles while taking in air, the lungs fill. These low muscles then assist the singer in regulating the amount of air used in singing. This frees the neck and throat (where the vocal cords are) so the singer can produce a relaxed, full sound.

As the sound passes through the mouth it resonates in the sinus cavities of the face and head, which act as small echo chambers that help amplify the sound. The resulting sound is not only audible, but can be clearly perceived in the back rows of the orchestra and the top of the balcony.

LANGUAGE, IL LINGUAGGIO, LA LANGUE, DIE SPRAcHE

Operas are written in many languages. In the United States, many new operas are written in English and several are incorporating more than one language to reflect our growing diversity. A professional opera singer may be required to sing in Italian, French, German, Russian, Spanish, Czech, and English. There are also operas in Hungarian, Finnish, Mandarin Chinese...and the list goes on!

Not all opera singers can learn all of these languages, though many become fluent in at least one language other than their native tongue. How do they sing in all these different languages? Singers prepare by taking diction classes that help them pronounce the words correctly, and with intensive study that includes a word-by-word translation of the text they are singing. But it doesn’t end there—not only do they have to understand what they’re saying, but they have to know what everyone else on stage is saying to make their interaction on stage authentic.

WHY SHOULD WE SEE OPERA?

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WHY DOES HGO PERFORM OPERAS?

We love opera, and therefore want to share it with you! Opera is the ultimate collaborative art form that tells fun and relevant stories in new and exciting ways. It is a great way to learn about other people and their cultures. We think you will love it too!

(a scene from The Barber of Seville by Rossini)

WHAT’S SO SPEcIAL ABOUT OPERA?

In its simplest form, opera combines music and drama to tell a story. In its grandest form, opera combines solo and choral singing, full or chamber orchestras, acting, movement and dance, scenic, costume and lighting design and other visual elements, and production/technical skills to make an exciting and unique art form.

I LIKE MUSIc, BUT OPERA IS NOT FOR ME...

Opera can be overwhelming at first, but you too can learn to love it! What you may not know is that many of the traditional operas are still popular because the music is so powerful and stories they tell can still relate to us today. Just like in sports where there are many different kinds - baseball, soccer, swimming, running and basketball, there are many different styles of opera - intense dramatic works, humorous

operas, operas that celebrate specific cultures, and operettas among others. It may take time to find what you love the most. Remember: opera is telling stories through music. You could even create an opera right in your classroom!

DOES THE MUSIC REALLY MAKE A DIFFERENCE WHEN TELLING A STORY?

When you watch television or a movie, you might notice music heightens the drama. If something scary is about to happen, what do you hear? What if something surprising happens? People have used music to enhance drama ever since drama was created to entertain and enlighten us. If you’re not convinced, turn on the subtitles next time you watch a movie and mute the sound. You’ll notice that having music accompany the words makes a big difference. Here’s a fun online article all about this:http://www.bbc.co.uk/arts/0/24083243

(a scene from La Traviata by Verdi)

SYNOPSIS (OUR STORY)

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As the Opera to Go! company sets the scene, they introduce Cinderella and her cruel stepmother. Isabella and Margarita, Cinderella’s stepsisters, enter to scold Cinderella for burning a shirt while ironing. They demand that Cinderella help them with their dresses and their hair, and that she do the housekeeping. Hungry, they exit, demanding that Cinderella come to prepare their dinner.

The scene changes to the king’s palace and Prince Paulo. After partying all night, he hates the sight of the glaring sun and wishes for night to return. His father, the king, enters looking for him. Determined to make his son cease this wild behavior, the king tells Paulo that he is giving a great ball in Paulo’s honor. Paulo is thrilled until the king tells him that at the ball he must choose one of the young women of the kingdom to be his bride. Paulo exits, convinced his youth and freedom are over forever.

Guillermo, the town crier, announces that all the young women in the kingdom have been invited to the fiesta given by the king. The stepmother and her daughters plan to go, convinced that one of the stepsisters will be the prince’s chosen bride. When Cinderella asks if she may go, they laugh and make fun of her rags and her poverty. After forcing her to help them get ready, they leave for the ball and Cinderella is left alone. As Cinderella weeps, her fairy godmother suddenly appears. She will help Cinderella go to the ball. In spite of Cinderella’s doubts, her fairy godmother turns a pumpkin into a golden carriage, provides her with a beautiful gown and shoes, and sends Cinderella off with the warning that she must be back by midnight.

At the palace, the ball begins. The king orders Prince Paulo to find a bride to marry. Angry at his father’s insistence, Paulo decides to punish him by choosing an unsatisfactory bride. He dances with Isabella and tells his father that she is to be his bride. Horrified, the king sends him to look again. Paulo dances with Margarita and offers her for his father’s opinion. Again the king sends him back. The town crier comes looking for the prince to show him the lovely girl who has just entered the room. Paulo sees Cinderella and everything changes for him. After dancing with her, he falls in love and is determined to marry her. However, the clock strikes midnight, and Cinderella runs away. Her glass slipper is found, and the prince decides to use it to find his lost love.

Cinderella, once again dressed in rags, comes running into the house. Her stepmother and stepsisters come in soon after, distraught because the strange beautiful foreign princess took the prince away from them. A knock at the door announces that the prince has come with the glass slipper to find his lost love. He tries the slipper on Margarita and then on Isabella. Though the stepsisters are quite persistent, the shoe does not fit. The slipper fits Cinderella, and the prince announces she will be his bride. When the family complains bitterly, the prince says if they intend to come live at the palace, they must change their ways. Ever the opportunists, the stepmother and stepsisters join the rejoicing.

CHARACTERS

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SINGERS CHARACTER DESCRIPTION CHARACTERS

Julia Fox, soprano

Cinderella/CenicientaCinderella is a poor girl whose parents died a long time ago. She now lives with her stepmother and two stepsisters, but is treated more like a servant than a child and sister. Although they are mean to her, Cinderella tries to be a good person and dreams of a better life.

What are some other stories with similar characters to Cinderella?Cinderella

Christina Scanlan,mezzo-soprano

The Stepmother/La MadrastraThe stepmother is overwhelmed taking care of three daughters. This makes her irritable and prone to nervous attacks.

The Fairy Godmother/La MadrinaThe fairy godmother is a quirky fairy, who creates magic every time she sneezes. Unfortunately, she’s allergic to almost everything.

Why does the Stepmother treat Cinderella so poorly? La Madrastra

Zachary Barba, tenor

MargaritaMargarita is Cinderella’s oldest stepsister and is the boss. However, she sometimes has trouble making friends.

Guillermo/The Town CrierGuillermo is the town crier, always eager to please and loves to be heard.

Why do you think a male opera singer is playing a female character? Margarita

Nicholas Rathgeb, baritone

Prince Paul/Prince PauloPrince Paul likes to party. He’s always drinking soda, eating candy, and play-ing video games, even though they’re bad for him. He isn’t excited to learn that his father wants him to grow up.

How does the Prince’s character transform during this opera?

Prince Paul

Geoffrey Peterson, bass

IsabellaIsabella is Cinderella’s older, shy stepsister. Sometimes she feels like a mid-dle child, but when the pressure is on, she’s ready to dance!

The King/El ReyThe king is a busy monarch who just wants his son to find a wife so he can relax knowing that the kingdom is in good hands.

How do you think this opera singer can change costumes so quickly?Isabella

MUSICAL EXAMPLE MUSICAL EXAMPLE“Esta noche la fiesta,” from Cinderella in Spain

Music by Mary Carol Warwick, Words by Kate PogueTeach your students this fun melody and they can become opera stars!

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MUSICAL EXAMPLE

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ACCOMPANIMENT The musical background provided for a principal part.

ARIA A musical piece for solo voice focusing on emotional expression.

BARITONE The middle range male voice.

BASS The lowest male voice.

CHORUS A group of singers who sing and act in a group.

COLORATURA Elaborate ornamentation of a vocal line; or a voice having the ability and agility to sing many notes quickly, usually in an extended range.

COMPOSER The person who writes the music.

CONDUCTOR The person who leads the singers and orchestra.

COSTUMES The clothes the performers wear to help tell the story.

DUET A musical piece for two performers.

ENSEMBLE Two or more singers singing and expressing their emotions at the same time.

FINALE The last musical number of an act or show. It usually involves most of the cast and often repeats musical themes from the show.

LIBRETTIST The person who writes the words of an opera.

LIBRETTO Literally “little book,” this is the text or words of an opera.

MEZZO-SOPRANO The middle female voice, usually darker and fuller than a soprano.

OPERA Storytelling using words and music. The synthesis of all art forms.

OVERTURE/PRELUDE Introductory orchestral music in an opera. In later opera, it set the theme or mood for the coming drama or comedy, containing musical materi- al to be heard later in the work. In the early operas, it was simply used to quiet the audience.

PROPS Objects placed on the stage and used by the actors; an abbreviation of the word “properties.”

VOCABULARY

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RECITATIVE A type of text setting where the music matches more directly spoken rhythms and inflections, usually accompanied by a keyboard instrument

SCORE The printed page upon which all the vocal and instrumental music of an opera is written

SET The scenery used on the stage to show location.

SOPRANO The highest female voice.

STAGE DIRECTOR The person who decides how the singers will move on stage and how they will act while they are singing their parts.

TENOR The highest male voice.

Opera to Go! cast of Cinderella in Spain from Houston Grand Opera’s 2009–10 season

photo by Eric Melear

VOCABULARY

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DR. MARY cAROL WARWIcK, cOMPOSER

Dr. Mary Carol Warwick, protégée of noted opera composer Carlisle Floyd, is a prolific composer and librettist whose works are currently enjoying American and international performances. Her body of work includes several operas for children commissioned by Houston Grand Opera: Strega Nona, The Princess and the Pea, The Velveteen Rabbit, the bilingual Cinderella in Spain, The Clever Wife, and Rapunzel. Her chamber works include the Sonata for Viola and Piano, the Sonata for 2 Oboes, Bassoon and Piano, and many works for singers and instruments. Among her many works are several previous collaborations with New York poet Ilsa Gilbert, as well as the New York premiere of In Costa Rica, a chamber piece for voices and instruments. Included among Warwick’s numerous awards are grants from Opera New

World, a Challenge Grant from the National Endowment for the Arts, and the Mayor’s Proud Partner Award from the city of Houston for her environmental musical, Celebrate the Earth, commissioned by Theater Under the Stars. Warwick also received a commission from NASA to write a wake-up call for Space Shuttle Mission STS-33, and a recent commission from New York baritone Anthony Turner to set the poems of incarcerated youth in a song cycle called Who Am I? Another song cycle, Celebrate Life! The Battle of the Breast, based on the poems of women and family members of women with breast cancer, gives a voice and song to those who have been affected by breast cancer.

Find out more at http://www.marycarolwarwick.com/

KATE EMERY POGUE, LIBRETTIST

Writer, stage director, teacher, and lecturer Kate Emery Pogue is the author of Shakespeare’s Friends, Shakespeare’s Family, and Shakespeare’s Figures of Speech. A graduate of Northwestern University and the University of Minnesota, Kate Pogue founded the drama program at Houston Community College and has been artistic director for both the Shakespeare by the Book Festival in Richmond, Texas, and Opera to Go! at Houston Grand Opera. She has written two children’s books, Bravest of All and Fritzie Goes Home, as well as librettos for a number of children’s operas including The Starbird, St. George and the Dragon, The Velveteen Rabbit, and others still in the Opera to Go! repertoire. Her Shoemaker and the Christmas Elves has become an annual children’s musical produced by the Humphreys School of Theatre

Under the Stars. Pogue lives in Houston and teaches at the University of Houston Downtown. Married to Bill Pogue, she has two children and three grandchildren.

BIOGRAPHIES

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A CINDERELLA TIMELINE

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Around the world there are thousands of variations of the classic fairy tale “Cinderella.” Each version has its own twists and turns with one underlying theme: the main character endures oppression of some nature, but by the end of the story she experiences remarkable fortune. This traditional story has had international influence on popular culture. Many themes and elements of “Cinderella” can be found in a variety of media. Today the word Cinderella is used to describe someone who has experienced neglect but unexpectedly achieves recognition.

You can find adaptations of “Cinderella” in Japan, China, and many other countries. The oldest known version of this fairy tale was recorded by the Greek historian Strabo in the first century B.C. The story is of a girl named Rhodopis rather than Cinderella. This version of the classic fairy tale includes evil servants, an eagle, and sandals. Rhodopis is given tasks from fellow servants as they attend a function sponsored by the pharaoh. As Rhodopis washes her clothes in a stream, an eagle takes her sandal and drops it in front of the pharaoh, who is then determined to figure out which woman in his kingdom it belongs to. Rhodopis successfully fits into the sandal, and the pharaoh falls in love.

Another version, “Ye Xian,” was written in A.D. 860. “Ye Xian” appeared in Miscellaneous Morsels from Youyang by Tuan Ch’eng-Shih. Ye Xian becomes friends with a fish who is the reincarnation of her mother who was killed by her evil stepmother. With no fairy godmother to help her, Ye Xian uses magical bones to get dressed for a festival, at

which she loses her slipper. The king is determined to find her and falls in love with her.

The Grimm brothers (who also wrote “Hansel and Gretel”) had a version of “Cinderella” that is also well recognized. Their story is called “Aschenputtel.” Their version also did not include a magical fairy godmother but rather a wishing tree growing on Aschenputtel’s mother’s grave. The evil stepsisters devise a plan to convince the prince that the lost slipper belongs to them. They cut off part of their feet to get the slipper to fit. However, two pigeons alert the prince to the stepsisters’ actions. The prince is tricked a couple of times in this version, but is always spared by the two birds.

The most popular version of “Cinderella” was written in 1697 by Charles Perrault. Perrault’s version introduces the magical fairy godmother, pumpkin, and glass slippers—the familiar elements of a Cinderella story we are all familiar with. However, it is believed that in Perrault’s version, Cinderella originally wore fur boots. When the story was translated into English, it was accidentally translated from fur boots to glass slippers. The story has remained the same ever since.

These examples of Cinderella stories are only a few of the thousands that exist. Each variation of this famous story is slightly different, yet the same theme is present.

Ask your students: How do these individuals overcome hardship and oppression to be recognized and experience great fortune? Within each adaptation, can you find the representation of the stepmother and stepsisters? The glass slippers?The magical fairy godmother?

CINDERELLA’S OF THE WORLD GEOGRAPHY OF SPAIN

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• According to the map on the right, how many provinces are in Spain?

• In which province do you find the capital of Spain?

• What is the name of the moun-tain range that separates Spain and France?

• Find Spain on the map to the left• Name the countries that border Spain.• Is Spain north or south of England?• What continent does the southern tip of Spain

almost touch?

CINDERELLA’S OF THE WORLD GEOGRAPHY OF SPAIN

Design Your Own SlippersColor the shoes below to create your own magical slippers. Add a pattern or shapes to make your shoes unique!

Cinderella MazeCinderella lost her shoe! Can you help her shoe find its way back to her foot?

Language Arts & Reading Worksheet

BEGINNER (K–2)

What is the main idea of Cinderella in Spain?

Where would you find the table of contents in this teacher guide? Where in the table of contents would you find infor-mation about the librettist? Where would you look to find a definition of a word you don’t know? Where would you look to find out about props and costumes?

Draw your favorite scene from Cinderella in Spain.

Before you see the show, read the synopsis and act out a part of the story the way you envision it. How do you think the characters would stand? How would they react to each other? After you see the show, then reenact the same part of the opera. How would you do it differently?

After viewing the show, would you want to change the ending? If so, share with your classmates how you would change it.

INTERMEDIATE (3–5)

Taking the five main aspects of a story, analyze Cinderella in Spain. Copy the five elements onto a sheet of paper and describe how each pertains to Cinderella in Spain.

SETTING CHARACTERS PLOT EVENTS SOLUTION

After you see the show, write a review as if you’re writing for a magazine or newspaper. Be sure to describe what you saw and heard, what you liked about the show, and what you might change. Be sure to be descriptive. Keep in mind you are writing for a public that has not yet seen the show. Be mindful of punctuation, capitalization, and spelling.

The stepmother and her daughters treat Cinderella very poorly, and even, so she and her daughters are invited to live with the prince and Cinderella at the palace. Write a journal entry as if you are the stepmother. Explain your feelings towards Cinderella, even after you were invited to live at the palace. Do you feel regret or remorse? Do you hope Cin-derella forgives you for everything you’ve done?

Follow the link below to read the Scottish version of Cinderella. Write an essay comparing and contrasting Scotland’s Cinderella story and the Cinderella in Spain story.surlalunefairytales.com/cinderella/stories/rashin.html

ADvANcED (6–8)

Write your own libretto for a popular fairy tale. Who are the characters? What would they say for each scene? Where would you need to rhyme, and where can you use free verse?

Choose a popular composer and write a brief biography on his/her life and works. How did the composer’s life affect what he/she wrote?

Update the story of Cinderella in Spain to modern times and discuss the settings, costumes, and characters of this new version.

Social Studies Worksheet

BEGINNER (K–2)

Describe the set of Cinderella in Spain. What colors, shapes, and objects did you see? Can you sketch the set from memory?

Look at the events below. Put them in the correct order.• Cinderella goes to the fiesta• Prince Paul discovers the slipper belongs to Cinderella• The king tells Paulo there will be a ball in his honor• The fairy godmother appears• Prince Paul falls in love with Cinderella• The prince decides to find who the slipper belongs to• Guillermo announces there will be a ball• Prince Paul dances with Isabella

The king or queen of a country typically puts rules in place to keep order within his/her country. His/her role is very important in maintaining a country. If you were the king or queen of your own country, what rules would you have? If people were to break your rules, what sort of consequences would you enforce?

IntermedIate (3–5)

Research and discuss Spanish culture. What elements of the culture did you see in the opera? Compare and contrast Spanish culture to the culture here in the United States.

Use a map to find Spain. On which continent does it reside? What countries border Spain? Does the United States lie in the same continent; if not what continent does it lie in?

Match the following composers to their native countries : Wolfgang Amadeus Mozart FranceBenjamin Britten Czech RepublicCharles Gounod ItalyAntonin Dvořák GermanyRichard Wagner EnglandEdvard Grieg NorwayGiuseppe Verdi Austria

ADvANcED (6–8)

Find two different versions (some are mentioned in the “Cinderellas of the World” section) of the Cinderella story in two different cultures and compare and contrast them. Be sure to include the differences and similarities between the characters and settings. What elements of the culture do you see in the story?

The Spanish language is spoken in a number of countries around the world. However, it is a bit different in each coun-try. Research Spain’s Spanish dialect and another country’s Spanish dialect. The second country can be of your choice. Share your findings with your classmates. If someone were fluent in the Spanish spoken in Spain, would it be easy to travel to another Spanish-speaking country?

Music Worksheet

BEGINNER (K–2)

Have your students sing a well-known song like “Mary Had a Little Lamb” using the dynamics f (forte) and p (piano). Explain the difference between forte and piano.

Teach your students the musical alphabet. Have them write their own songs using the musical alphabet. Play their pieces for them.

Show your students a copy of “Esta noche la fiesta” (page 8-9). Can they point out when the melody moves up and when it moves down?

INTERMEDIATE (3–5)

In opera, emotion is represented in the music. What emotions are present in Cinderella in Spain?

Have your students listen to a major and minor scale. Ask them what emotions they hear in each scale. Can they think of instances why a composer may want to use a major key? Minor key? Do they remember any moments in Cinderella in Spain where a major key was used? Minor key?

Are your students familiar with the bass clef? If not, teach it to them using the included excerpt.

ADvANcED (6–8)

Write a blank measure of 4/4 on the chalkboard. Then write a dotted eighth note. How many more can you fit in the measure? Is there any space (for rests) left over? Start over with a sixteenth note followed by a dotted eighth rest. How many of that pair can you fit in the measure?

When you see the opera, you will notice that each singer has a different voice type. Six different voice types in-clude: soprano, mezzo-soprano, alto, tenor, baritone, and bass. Have your students arrange the voice parts from highest to lowest. Give them an example of the range of each voice part. What kind of voice do they think would play an evil villain? What kind of voice would play a young child? What about a prince?

Teach your students the difference between half and whole steps. Using a piano keyboard as a visual may be help-ful. See if they can determine the following to be either a half or whole step.

G – AE – FC – DB-flat – CE – F-sharpD – E-flat