Study GuIdE

News FLAsh An OperAtic, Mixed-Up, FAiry tAle newscAst

Music by Jonathan Stinson • Libretto by Sarah Rogevich & Jonathan Stinson

iSponSorS

The Atlanta Opera would like to thank the following for their

support of our community engagement programming:

Mayor’s Office ofCultural Affairs

Major support for this program is provided by the City of Atlanta Office of Cultural Affairs.

Atlanta FoundationBright Wings Foundation

George M. Brown Trust Fund of Atlanta

Mary Brown Fund of AtlantaCamp-Younts Foundation

City of Atlanta office of Cultural Affairs

Fidelity Bankprice Gilbert, Jr. Charitable Fund

The Goizueta Foundation Hills Family Foundation

Abraham J. & phyllis Katz Foundation

Kiwanis Foundation of AtlantaLois & Lucy Lampkin Foundation

Sara Giles Moore Foundationnational Endowment for the Artsnordson Corporation Foundation

Ida A. ryan Charitable TrustSunTrust Trusteed Foundations

Wells Fargo philanthropic Giving program

Frances Wood Wilson FoundationThe Zeist Foundation

i iTABLE oF ConTEnTS

Study guide

KNIGHTLYNEWS

Music by Jonathan Stinson Libretto by Sarah Rogevich & Jonathan Stinson

Welcome..............................................................................................................................1

Georgia Performance Standards Directory .......................................................2

Preparing Your Students for the Performance .................................................3

Opera 101 ....................................................................................................................... 4-5

Operatic Voices - the Physics of Vocal Sound Production........................6-7

Voice Types .......................................................................................................................8

Important Roles at The Opera .................................................................................9

Glossary of Opera Terms ............................................................................................10

Vocabulary Activity - A Night at The Opera Word Match ..........................11

Knightly News Creative Team & Synopsis ........................................................ 12

Glossary of Terms from Knightly News .............................................................. 13

Vocabulary Activity - Build the Broadcast ....................................................... 14

More About Fairy Tales .........................................................................................15-16

Create a Storyboard .................................................................................................... 17

Fairy Tale Math ............................................................................................................... 18

Create Your Own Knightly Newscast .................................................................. 19

Learning About Limericks .......................................................................................20

Think Like a Critic! ........................................................................................................ 21

1WELCoME

A performance of En Mis Palabras, one of the Atlanta Opera Studio tour shows for 2013-2014.

The Atlanta Opera Center1575 Northside Drive, Suite 350, Atlanta, GA 30318

404-881-8801 • atlantaopera.org • education@atlantaopera.org

Hello! Thank you for inviting The Atlanta Opera into your school to perform for your students!

The Atlanta Opera Studio was founded in 1980 in an effort to teach students throughout the state of

Georgia about opera through live performances and workshops. Thousands of students have been

introduced to the art form through the Atlanta Opera Studio Touring Production. It is our intention

for students to gain introductory knowledge about opera through the performance experience and

accompanying educational materials.

This guide has been developed to acquaint you and your students with Knightly News, as well as to

familiarize students with the world of opera (vocabulary, history, etc.) Our goal is to provide you with

an innovative, multidisciplinary approach to teaching required skills and curriculum, including Common

Core Georgia Performance Standards. Where applicable, you will find the corresponding standard(s)

in parenthesis after the title of each activity. A directory of all the standards associated with this guide

can be found on page 2.

What you can expect from The Atlanta Opera’s performance of Knightly News:

• We will be performing a 45-minute opera in English for your students.

• Our show requires attentive silence from the audience.

• The opera may take place in your school gymnasium or cafeteria rather than an auditorium, so

students may be seated on the floor.

• You and your students will be invited to ask questions at the end of the performance.

Thank you again for allowing us to share this experience with you. We value your feedback and will

take it into account in planning future community engagement programs. We look forward to hearing

from you, your students, administration, and/or parents following the performance.

Sincerely,

Todd Snead, Ph. D.Education Manager

Cory LippielloDirector of Artistic Planning & Community Engagement

2GEorGIA pErForMAnCE STAndArdS dIrECTorY

EnGLISH LAnGuAGE ArTSReading: ELACC(K-5)RL, ELACC(K-5)RI, ELACC(K-5)RF

Knightly News Synopsis ......................................................................................12Start with the Story ................................................................................................3 Create a Storyboard .............................................................................................17

Writing: ELACC(K-5)WWrite Your Own Limerick .................................................................................20Create Your Own Newscast ............................................................................. 19Think Like a Critic .................................................................................................21

Language/Vocabulary: ELACC(K-5)L4.5.6Glossary of Opera Terms ................................................................................... 10Opera Word Match .................................................................................................11Glossary of Terms from Knightly News ...................................................... 13Build the Broadcast .............................................................................................. 14

MATHMCC1.NBT.3, MCC1.NBT.4, MCC.1.MD.4

Problem 1 ................................................................................................................... 18

MCC2.MD.6 R, MCC2.MD.10Problem 2 .................................................................................................................. 18

MCC3.OA.2, MCC3.OA.3, MCC3.OA.7, MCC3.OA.8, MCC.3.NBT.1Problem 3 ................................................................................................................. 18

MCC3.NF.1, MCC3.MD.4, MCC3.MD.8 S, MCC3.G.1, MCC3.G.2Problem 4 .................................................................................................................. 18

MCC4.OA.2, MCC4.NF.1 , MCC4.NF.4, MCC4.MD.2Problem 5 .................................................................................................................. 18

MCC5.OA.2, MCC5.MD.1Problem 6 ................................................................................................................ 18

SCIEnCES(K-5)CS1

Resonance ..................................................................................................................7

S1P1, S2P2, S4P2The Vocal Cords .......................................................................................................6

SoCIAL STudIES Geography: SSKG2, SS1G3, SS3G1

Opera 101 ................................................................................................................ 4-5Find the Fairy Tale ................................................................................................ 15

Economic Understanding: SSKE2, SS1E1Important Roles at the Opera ...........................................................................9

SS1E1, SS3E1, SS3E3Math Problems 1 & 4 ............................................................................................ 18

ArTSMusic (Cultural and Historical Context): M(K-5)GM.8, M(K-5)GM.9

Opera 101 ................................................................................................................ 4-5

Theater: TAES(K-5).8Opera 101 ................................................................................................................ 4-5

Theater: TAES(K-5).9Important Roles at the Opera ...........................................................................9

Visual Arts: VA(K-5)MC, VA(K-5)PRCharacter Study, Design a Promotional Poster ........................................3Create a Storyboard .............................................................................................17

3prEpArInG Your STudEnTS For THE pErForMAnCE

STArT WITH THE STorY (ELACC(K-5)RL, ELACC(K-5)RI, ELACC(K-5)RF)

In simple terms, an opera is just a story that is sung. Before the performance, review the plot synopsis of

Knightly News with students (page 12). Think about the story, characters, setting, and the fairy tales in

which each character is original found. Use the following questions to lead a discussion with students:

• Where is the opera set? What is the time period? Who are the main characters?

• What is this opera about? What does the Wolf learn about himself in the end?

• Are there any differences between the characters in Knightly News and the original fairy tales?

• What might the characters look like?

• What do you expect to see in the opera?

InTroduCE VoCABuLArY TErMS (ELACC(K-5)L4-6)

Refer to the Glossary of Opera Terms (page 10) and the Glossary of Terms for Knightly News (page 13).

Discuss with the students about which of these terms they may hear and/or see during the performance.

• Are any of these words familiar in other settings?

• Are there root words, prefixes or suffixes that are familiar or lend an idea to the meaning of the term?

• Use the activities on page 11 & 14 to familiarize students with these terms.

dESIGn A proMoTIonAL poSTEr (VA(K-5)MC, VA(K-5)PR)

Create a poster to promote the upcoming performance of Knightly News at your school. Display the

poster in your school and send samples to The Atlanta Opera!

CHArACTEr STudY(VA(K-5)MC, VA(K-5)PR)

Have the students draw pictures of what they think a typical opera singer looks like. Refer to the

section on operatic voice types (page 8) to learn more about the kinds of characters singers can play.

• Which characters in Knightly News might be represented by the different operatic voice types

and why? (Hint: Consider the role each plays in the story.)

Students enjoy a Studio tour performance.

Opera stereotypes can make the art form seem

intimidating for some. Breaking down these

stereotypes and preparing your students for

the performance can make it a more enjoyable

experience for everyone. Here are some

suggestions of things you can do before The

Atlanta Opera comes to your school:

4opErA 101

Opera is a dramatic story told through song.

Considered by many to be the most complete art

form, it combines all of the elements of art, words,

music, drama and dance. The earliest Italian

operas were called by several names, such as

“favola in musica” (fable in music) and “drama per

musica” (drama by means of music). This last title

is very close to the dictionary definition, and is

the correct basis for any discussion about opera.

The unique thing about opera is the use of music

to convey an entire story/plot. This is based on

the feeling that music can communicate people’s

reactions and emotions better than words (read

or spoken) or pictures. Opera takes any type of

dramatic story and makes it more exciting and

more believable with the help of music. Many

famous stories have been made into operas,

including Cinderella, Hansel and Gretel, and

Romeo and Juliet.

The Atlanta Opera season runs similarly to

an academic calendar, opening in the fall and

closing in the spring. It presents three mainstage

productions at the Cobb Energy Performing Arts

Centre, with four performances each. We offer

two additional productions at smaller venues,

often of special productions or contemporary

works best staged in a smaller more intimate

setting, with three performances each. We also

invite students to attend special “student short”

productions and dress rehearsals.

A BrIEF HISTorY (SSKG2, SS1G3, SS3G1, M(K-5)GM.8, M(K-5)GM.9,

TAES(K-5).8)

The concept of opera was developing many years

before the first opera was written. Its beginning

can be traced to the ancient Greeks. They fused

poetry and music, creating plays that incorporate

song, spoken language and dance, accompanied

by string or wind instruments.

In the 1100s the early Christian church set

religious stories to music, a style known as

liturgical drama. The first true opera, Daphne

(1597), was composed by Jacopo Peri. It told the

story of a Greek myth. The first great composer

of opera was Claudio Monteverdi. Some of his

operas are still performed today.

German composer Christoph Gluck’s most

famous opera, Orfeo ed Euridice (1762), marked

a shift in importance from the performers to

the drama and a reduction of recitative and laid

the foundations for the progression of the art

form. Wolfgang Amadeus Mozart was another

prolific composer during this time and many of

his operas like Le nozze di Figaro (The Marriage

of Figaro - 1786) and Die Zauberflöte (The Magic

Flute - 1791) are frequently performed around the

world today. the Atlanta Opera’s 2010 production of Orfeo ed Euridice.

5opErA 101 continued

opErA Around

THE WorLd(SSKG2, SS1G3,

M(K-5)GM.8, M(K-5)

GM.9, TAES(K-5).8)

Italy was the first country where opera became

popular. It was the homeland of Jacopo Peri and

Claudio Monteverdi. In time this exciting form

of entertainment spread to the rest of Europe.

France and Germany joined Italy as the principal

opera producers. Eventually opera came to

reflect the stories and musical styles of each of

these countries.

The Italians have always been famous for their

love of singing, and so in Italian opera there has

always been great emphasis placed on the singer

and the beautiful sounds of the human voice. It

wasn’t until the late 19th century and early 20th

century with the later works of Verdi and the

operas of Puccini that a balance was achieved

between the role of the orchestra and that of the

singer. These two forces were combined to give a

more effective presentation of the story.

The French have favored the pictorial side of

drama, and this has led to a continuing emphasis

on the visual spectacle, especially with dancing.

An example of this: the Paris opera audience in

the 19th century would not accept a work for

performance if it did not contain a major ballet.

Verdi, an Italian composer, had to add ballets to

all of his works to get them performed in Paris.

The Germans have always sought to extract from

both the Italian and French traditions, and go

beyond both in an attempt to present more than

just a story. In fact, one of the greatest German

opera composers, Richard Wagner, chose legends

or myths for most of his opera plots so that he

could communicate ideas as well as just a story.

dIFFErEnT opErA STYLES (M(K-5)GM.8, M(K-5)GM.9)

opera Seria Serious opera. These stories are often tragic, and typically involve heroes and kings or ancient myths and gods. Julius Caesar (1724) by George Frideric Handel is a classic example of opera seria.

opera Buffa Comic opera, always sung in Italian. The jokesters in these operas are always the working class, such as maids, peasants, or servants, who keep busy getting the best of their employers. The Italian Girl in Algiers (1813) by Rossini (see picture below) is an amusing example of opera buffa.

Singspiel Singspeil, or “Sing Play,” evolved in German speaking countries out of the comic opera tradition. It includes elements of comic opera, spoken dialogue interjected among the sung phrases, and often, an exotic or fanciful theme. Mozart’s The Magic Flute (1791) is an example of this style.

Bel CantoThis Italian phrase means “beautiful singing”. These operas grew from a style of singing emphasizing long phrases, breath control and flexibility in singing both loudly and softly. Because the voice is considered the most expressive element of opera, the words are often secondary. The Barber of Seville (1816) by Gioachino Rossini is a popular example of bel canto.

Grand operaSpectacular opera. It is performed with elaborate sets and costumes. Many people are needed to make it happen. Grand opera involves royalty, heroism, an elaborate ballet scene, and is often long. Charles Gounod’s Faust (1869 version) is an example of grand opera.

Music dramaA style of opera that is created by a single artist who writes both the text and the music to advance the drama. This style fuses many art forms, and makes each one as important as the others. Die Walküre (The Valkyries) (1870) and other operas by Richard Wagner defined this style.

6opErATIC VoICES THE PHYSICS OF VOCAL SOUND PRODUCTION

(S1P1, S2P2, S4P2, (S(K-5)CS.1)

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

TrAInInGVery 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 who could release their first

albums as teenagers!

THE VoCAL CordS Science tells us that all sound is made by 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 cords. The vocal cords

are held in the larynx, which is sometimes called

the voicebox or (in boys) the Adam’s Apple.

These two little folds of tissue vary in length but

are typically between 1 and 2 inches long. When

you want to say something, your brain tells your

vocal cords to pull together until they’re touching

lightly. Then, air pushes through them, and the

vocal cords begin to vibrate, opening and closing

very quickly. This vibration creates a sound. The

pitches you sing are dependent on the speed at

which the cords vibrate. A faster vibration creates

a higher pitch. The length of the cords also

affects the pitch of the voice. Longer cords equal

a lower voice.

BrEATHInG/SupporTIn 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 entire torso

area (lungs, ribs, diaphragm and viscera). As

they breathe in, each part of this network does

its job: the lungs fill up with air, which forces

the ribs to expand and the diaphragm (a flat

7

muscle below the lungs) to move down. As the

diaphragm descends, the viscera (stomach,

intestines and other organs) are forced 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 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.

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 and it can be difficult to isolate. 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 is the soft palate going

up. With a relaxed mouth, 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” like you would say it in

normal conversation. Now, say “hoooo” like a

hoot owl. Can you hear the difference? Say the

sentence “How do you do?” as if you were an

old British woman. 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.

opErATIC VoICES CONTINUED

8

If you sing in a choir at school or church, you’re probably already familiar with the different kinds of

voice types. We have the same kinds of voice types in opera, but there are a few differences:

VoICE TYpES

Sopranos are the highest female voice type, with a

range similar to a violin. In opera, they usually sing

roles like the daughter, the girlfriend or wife. They

can be princesses and good girls, but they can

also have some tricks up their sleeves! Here are

some kinds of characters that could be sopranos: Sleeping Beauty Beyonce

Mezzo-sopranos are similar to your choral altos.

Their sound is darker and warmer than a soprano.

They often play older women, sometimes they play

evil women, and sometimes they even play young

boys! They can be witches but they can also be

attractive – sometimes both at the same time. Here

are some characters that might be sung by a mezzo:Angelina Jolie Lady Gaga

Tenors are the highest male voice type – they often

sing roles like the hero, the prince, the boyfriend.

They can sound like a trumpet in both range and

color. Tenors can be athletic and energetic and they

can also be sensitive and emotional. They get all the

good high notes and a lot of the applause! These

guys are definitely tenors:Justin Timberlake Chris Colfer

Baritones fit between choir tenors and basses

– not as high as the tenors, but not as low as

the basses. They can play both good and bad

characters: sometimes they’re the boyfriends or

brothers – or the ringleader for some comedic

shenanigans – but in serious operas they can

sometimes be the bad guys. Batman George Clooney

Basses are the lowest male voice type – they can

sound like a bassoon, tuba or low trombone. In a

serious opera they can represent age and wisdom

(and sometimes evil geniuses), in a comic opera

they can make you laugh. Sometimes they steal

the show with their super low notes and provide a

comforting presence with their warm rumbly tones. darth Vader King Triton

Think of your favorite story, movie or television show. If that story was to be turned into an opera,

what kind of voice types would be best for each of the characters?

You can hear different kinds of voice types in popular music too. Think about your favorite singers –

do they have high voices or low voices? What do you like best about the way they sing?

9IMporTAnT roLES AT THE opErA

(SSKE2, SS1E1, TAES(K-5).9)

In addition to the singers and musicians you see

on stage and in the orchestra pit, there are many

other folks who help bring the show to life!

Music director/Conductor is responsible for the

musical excellence of an opera. They ensure

the singers understand the music, sing in the

appropriate style, and work with the orchestra to

make sure everyone is playing correctly together.

Stage director is responsible for the action

on the stage. They work with the designers to

create the concept for the production. He or she

helps the singers understand why their characters

would act in certain ways, and how the characters

communicate with each other.

Choreographer creates movement or dancing

for operas. They study dance, movement and do

research on different historical periods.

production Manager helps make the director’s

and designers’ vision a reality by working with the

shops that build the scenery and costumes.

Technical director makes sure that the lighting,

scenery, costumes and props are coordinated and

that the crews who handle those elements know

what needs to be done during the performance.

Stage Manager manages the rehearsal schedule

and takes detailed notes about the stage

directions, lighting cues and scenery changes.

During the performance, they are backstage

calling all the technical cues and making sure the

show runs smoothly.

Set designer creates the concept for the physical

environment of the opera and works with the

director to create the scenery that helps tell

the story. They research history, color, space,

architecture, and furniture.

Lighting designer helps create the mood of each

scene with light, shadow, and color. They also

study the music and work with the set designer

and the director to decide how light will be used

to help tell the story.

Costume designer creates the look of the

characters with clothing. They choose the fabrics

and supervise the construction of the costumes,

or selection of pre-made costumes.

Wig and Make-up designer creates the hair and

make-up styling for the show in tandem with the

costumes and the production design. They are

also responsible for any special effects make-up

like scars, wounds or blood.

Wardrobe Manager makes sure all the costumes

are clean and pressed and coordinates all the

costume changes. Dressers help the singers put

on their complicated costumes and change their

costumes during the performance.

properties (props) Master is responsible for all

the objects that the singers touch or move that

are not part of their costumes. They do a lot of

research to find the perfect period newspaper,

set of glasses, bouquet of flowers, or book. They

make artificial things look real on stage, like food

or drink.

Crew and Stagehands includes carpenters and

electricians. They assist with the installation of

the set on stage once it has been built. During

the performance they are responsible for set and

lighting changes.Singers prepare before the show with wigs and make-up.

10

Act: A group of scenes with a common theme, such as a specific time or place.

Aria: Italian for “air”; A piece sung by one person.

Bravo: Italian for “nicely done”; shouted by audience members after a performance

Cast: All the singers and actors who appear on stage

Chorus: A musical piece sung by a group of people.

Conductor: The individual who determines the musical direction of the performance

duet: A song sung by two singers or voices

Finale: The final musical number in an opera, often involving multiple people

Libretto: The words or text of an opera

overture: Musical introduction played by the orchestra

Quartet: A song sung by four singers or voices

recitative: Speech-like singing in-between arias that advances the plot

Score: A notated piece of music showing each part on its own staff

Trio: A song sung by three singers or voices

GLoSSArY oF opErA TErMS

(ELACC(K-5)L4, ELACC(K-5)L5, ELACC(K-5)L6)

11

Act

Aria

Bravo

Cast

Chorus

Conductor

Duet

Finale

Libretto

Overture

Quartet

Recitative

Score

Trio

A song sung by two singers or voices

All the singers and actors who appear on stage

The individual who determines the musical direction of the performance

A notated piece of music showing each part on its own staff

The words or text of an opera

A song sung by three singers or voices

Italian for “air”; A piece sung by one person

The final musical number in an opera, often involving multiple people

A musical piece sung by a group of people

Speech-like singing in-between arias that advances the plot

Musical introduction played by the orchestra

Italian for “nicely done”; shouted by audience members after a performance

A group of scenes with a common theme, such as a specific time or place

A song sung by four singers or voices

VoCABuLArY ACTIVITY

A nIGHT AT THE opErA Word MATCH Match up the opera term with its appropriate definition.

12Knightly news CrEATIVE TEAM & SYnopSIS

Knightly newsMusic by Jonathan Stinson

Libretto by Jonathan Stinson & Sarah Rogevich

Director .............................................................. Park Cofield

Music Director/Piano ................................... Grant Jones

Set Design ...........................................................Kat Conley

Costume Design ................................... Joanna Schmink

Tour Manager ..............................................Wade Thomas

Prince ..................................................... Pedro Carreras, Jr.

Red .................................................................. Elizabeth Stuk

Pyg .....................................................................Abigail Halon

Wolf ..................................................................... Ivan Segovia

SYnopSIS Wolf – The “Big Bad” Wolf of fairy tale fame who

works in a coffee shop

prince – Prince Charming, a news anchor

searching for his queen

Little red – Little Red Riding Hood, looking for

love and her grandmother

pyg – Owner of a brick-laying company, trying to

find her brothers

It’s closing time at the Big Bad Bean Coffee

Shop, where Wolf works as a barista. Little Red

Riding Hood and Pyg watch the evening news on

TV as the Prince reports the story of a missing

grandmother and a “freak wind storm” has

destroyed the houses of two pigs. In local news,

a second Tri-Kingdom ball will be thrown to help

the Prince find his future wife.

The Wolf turns off the TV and Little Red can’t

stop talking about how much she would love to

marry the Prince. An annoyed Pyg would rather

figure out what hairy beast was chasing her

brothers through the forest after their houses

were destroyed. Little Red and Pyg realize that

the same beast has entered both their lives with

“a huff and a puff”. They vow to search together

for the missing grandmother and pigs later that

evening. As Little Red and Pyg leave, the Wolf

vows to finally show his family that he can be a

Big Bad Wolf.

In the forest, the Prince searches for Cinderella,

wondering why any girl would abandon him

at a ball. As Little Red and Pyg arrive looking

for their families the Prince interviews them as

eyewitnesses to the terrible storm. The Wolf

appears and suggests they split up and start

searching. When the Wolf accidently reveals

that he knows the color of Red’s grandmother’s

nightgown, they realize he’s the beast that

attacked their families. A chase ensues and

the Prince hits the Wolf over the head with the

slipper, knocking him out. The Prince decides to

try the slipper on the unconscious Wolf’s foot.

To everyone’s surprise, the slipper fits, but Little

Red intervenes and suggests the Prince marry

her instead.

The Wolf wakes up and when the others start to

flee he begs them to stay, realizing that he will

never be as big and bad as the rest of his family.

Pyg offers him a job as a demolitions expert at

the brick-laying company. The Wolf accepts,

rejoicing that his special talent for “huffing and

puffing” will be put to excellent use. The group

celebrates as a breaking news update is heard:

Red’s grandmother and Pyg’s brothers have

been found and the Prince and Little Red are to

be married.

Students enjoying a performance of the Atlanta Opera Studio tour.

13

(ELACC(K-5)L4, ELACC(K-5)L5, ELACC(K-5)L6)

The following are some of the terms used in the

libretto for Knightly News:

Absurd (adjective): extremely silly, foolish, or

unreasonable. Little Red thought the huff and

puff seemed absurd.

Altercation (noun): a noisy or angry argument.

There was an altercation at the ball with one of

Cinderella’s stepsisters.

Bed & Breakfast (noun): a house or small hotel

where breakfast is included in the rent. The

homeless pigs stayed at the bed and breakfast

for the night.

Calling (noun): a strong desire to spend your life

doing a certain kind of work. The Wolf found his

true calling to be a demolition expert.

Captivity (noun): the state of being kept prisoner

and not being able to leave or be free. The Prince

reported that a brother and sister were taken into

captivity by a witch.

damsel (noun): a young woman who is not

married. The Prince is searching for a young

damsel to be his wife.

demolitions (noun): deliberate destruction of a

building or other structure. Pyg wants the Wolf to

be her demolitions expert to test the strength of

the houses she builds.

dismayed (transitive verb): feeling very upset

or disappointed. Pyg was dismayed when her

brothers went missing.

distress (noun): a painful or difficult situation. A

damsel in distress is often rescued by a Prince.

Fleeing (verb): running away from danger. When

the wind began to blow, the pigs began fleeing

their houses.

Fulfilled (transitive verb): to make something,

such as a dream, true or real. The Wolf’s dreams

to use his talents were fulfilled when Pyg asked

him to work for her company.

GLoSSArY oF TErMS FroM Knightly news

Justified (verb): to provide or be a good reason

for something. The Wolf feels his terrible actions

are justified because everyone in his family is “big

and bad.”

Lament (verb): to express sorrow, regret, or

unhappiness about something. Pyg laments the

loss of her brothers in the storm.

Lurking (verb): hiding in a place to do something

wrong or bad. The Wolf is lurking in the woods to

capture Little Red and Pyg.

ordeal (noun): an experience that is unpleasant

or difficult. The storm and chasing of the pigs

was quite an ordeal.

pathetic (adjective): very bad, poor, or weak. The

Wolf’s brothers think he is pathetic because he

has not caught the pigs or Little Red Riding Hood.

ponder (verb): to think about something

carefully. Pyg has to ponder what happened to

her brothers in the storm.

porridge (noun): a soft food made by boiling

grains in milk or water until thick. The Bed and

Breakfast offered free porridge to those affected

by the storm.

ransom (noun): money that is paid in order to

free someone who has been captured. The Prince

thinks his face is so good looking that people

would pay a big ransom if he were captured.

redeem (transitive verb): to make something that

is bad better. The Wolf hopes that capturing Little

Red and Pyg in the forest will redeem him from

his failures during the “storm.”

Scone (noun): a small, sweet bread that is baked.

Little Red orders a blueberry scone to go with

her tea.

Terrorized (transitive verb): to cause someone to

be extremely afraid. The Wolf’s family has terrorized

the people in the forest since he was young.

Vowed (verb): a make a serious promise to do

something. The Wolf vowed to be as mean and

loud as he can be and attack anyone in the forest.

14VoCABuLArY ACTIVITY

BuILd THE BroAdCAST

Use the following terms from Knightly News to complete the broadcast. Not all words will be used.

Altercation Bed & Breakfast Captivity Damsel

Dismayed Fleeing Fulfilled Calling Lurking

“This is Prince Charming reporting all the late-breaking news in the Tri-Kingdom area.

Tonight’s top story, Little Red Riding Hood’s grandmother has been taken into

_____________________ by some mysterious monster. She was last seen at a local

_____________________ where she had been staying while on vacation. Reports by

local pigs suggest that the monster had been _____________________ in the forest

nearby, waiting to capture the grandmother on her evening walk. If anyone has any

information on her whereabouts, please call us at 1-800-BAD-NEWS.

In other news, a beautiful _____________________ was found in distress after an

_____________________ involving three wicked step-sisters broke out at last night’s

Tri-Kingdom Ball. Cinderella was seen _____________________ the scene and chasing

after what appeared to be a pumpkin-shaped carriage. Finally tonight, The Big Bad

Wolf _____________________ a life-long dream of working in the construction

business when he accepted a job offer at Pyg Demolitions Company. The Wolf was

quoted as saying, ‘It feels amazing to find my true _____________________ in life! Now

I can make my family proud.’ That’s all for me here at the Knightly News. This is Prince

Charming signing off!”

(noun)

(noun)

(noun)

(noun)

(verb)

(transitive verb)

(noun)

(verb)

15MorE ABouT FAIrY TALES

Every country and culture in the world has its own fairy tales. Fairy tales aren’t just stories about

princes and true love – they are stories that help us learn important lessons.

CoMMon ELEMEnTSMany fairy tales have common elements, even though they come from different countries. For

example, the stories of Little Red Riding Hood and the Three Little Pigs both feature a scary wolf

character. Both stories were created to warn children not to go into the dangerous woods.

Below are some other elements that can be found in some of your favorite fairy tales. How many

stories can you think of that feature these elements?

• Princes and princesses • Wild animals that talk

• Supernatural elements or magic • A clever character who triumphs over brute strength

FInd THE FAIrY TALE (SSKG2, SS1G3 SS3G1)

Many of our favorite fairy stories come from Europe. Locate each of these fairy tale countries on the map!

GErMAnY Many of the most famous

fairy tales come from Germany and were

written down by the Brothers Wilhelm and

Jacob Grimm. Their stories include Hansel

and Gretel, Rapunzel, Rumplestiltskin, and

Snow White and the Seven Dwarfs.

dEnMArK You may know the Disney

movie, but The Little Mermaid was first

a story by Hans Christian Andersen. He

also wrote the stories of The Princess

and the Pea, The Emperor’s New Clothes

and The Ugly Duckling.

ITALY Pinnochio is another fairy story

made famous by Disney. The story of the

puppet who wants to be a boy originally

comes from Italy and was written by

Carlo Collodi.

EnGLAnd The Three Little Pigs is

a traditional story that comes from

England and was first written down by

James Orchard Halliwell-Phillips.

FrAnCE Little Red Riding Hood comes

from France and was written by Charles

Perrault over 300 years ago. He also

wrote Sleeping Beauty, Cinderella, Puss

in Boots, and Bluebeard.

16MorE ABouT FAIrY TALES CONTINUED

oTHEr FAIrY TALE opErASKnightly News is a new opera that features several characters from different stories combined. Here

are some other operas based on different different fairy tales; if you are interested in other fairy tale

operas you can listen or watch the following:

turandot

You might not be familiar with the story of Turandot, the cold Chinese princess who makes each of

her suitors answer three riddles, but it has many of the same familiar fairy tale elements. The story

of Turandot comes from Italy and was written down by Carlo Gozzi. It was turned into an opera by

Giacomo Puccini and is often performed with elaborate set and costumes.

And the granddaddy of all fairy tale operas... is actually four operas that make up

the ring of the niebelungen (“The Ring Cycle”)

Composer Richard Wagner was from Germany and was inspired by Norse myths and legends when he

created this four part saga of gods, mortals and an all powerful ring. You can also find some elements

of these stories in The Lord of the Rings and also in Star Wars (which is sometimes referred to as a

“space opera”)!

cinderella

La Cenerentola by Gioacchino

Rossini is the story of Cinderella

written in Italian. Cendrillon is the

same story in French by Jules

Massenet. They both have some

slight changes to the story, but

you would know exactly what is

going on even if you don’t speak

Italian or French!

the Atlanta Opera’s 2008 production of Cinderella.

hansel & gretel

Hansel and Gretel is a wonderful opera

in German by Englebert Humperdinck!

His name is fun to say, and in the opera

Hansel is played by a mezzo soprano

dressed up like a boy.

the little MerMaid

Rusalka by Antonin Dvorak, tells the

story of a water sprite named Rusalka

who wants to be human and falls in

love with a prince. In it, she sings a

famous song to the moon asking for

her beloved to see her in his dreams.the Jim Henson company collaborated with the Atlanta Opera for Hansel & Gretel in 2007.

17CrEATE A STorYBoArd

(VA(K-5)MC, VA(K-5)PR, ELACC(K-5)RL, ELACC(K-5)RI)

Think about your favorite fairy tales and create a storyboard that sketches out the story in a 10 panels

or fewer. The sketches don’t have to be detailed or elaborate, but do pay attention to how an audience

would see the action of that story. Sometimes it helps to think about this in comic book or cinematic

terms!

When directors of plays, operas and movies think about how to construct the action of a scene they

will draw a storyboard that tells the story in rough thumbnail sketches. Much like a comic strip, it tells

the story in snapshots and helps them visualize what they want the audience to see.

Below is the storyboard created by director Park Cofield which represents the scene in Knightly News

in which Pyg tells the story of how his brothers came to be missing as the result of a “huff and a puff”.

Note how rough the sketches are, but they do show the scenes from a variety of perspectives.

18FAIrY TALE MATH

The following word problems explore the ways that math affects all the citizens

of the fairy tale kingdom!

5. (MCC4.OA.2, MCC4.NF.1 , MCC4.NF.4, MCC4.MD.2)

If each house Pyg builds need 3/8 of bag of concrete to

build the front steps, and 5 houses need steps built,

how many bags of concrete are needed for the

entire project? Between what two whole numbers

does your answer lie?

6. (MCC5.OA.2, MCC5.MD.1)

Pyg is trying to figure out how much lumber is

needed to rebuild the house the Wolf blew down

with his mighty huff and puff. Pyg ‘s measuring tape

is in inches, but the lumber yard only sells lumber by

the foot. The house needs lumber for 4 walls, each

measuring 144 inches by 108 inches. How many total

feet of lumber does Pyg need to purchase?

2. (MCC2.MD.6 R, MCC2.MD.10)

The Wolf is taking inventory of his coffee mugs and preparing a report

for his Big Bad Boss. Help him by drawing a bar graph representing how

many of each size mug he has in the shop. He has 4 small, 6 medium, 5

large, and 3 extra-large mugs.

3. (MCC3.OA.2, MCC3.OA.3, MCC3.OA.7, MCC3.OA.8, MCC.3.NBT.1)

The Wolf is planning to order more tables for the Big Bad Bean Coffee

Shop. He typically has 28 customers at any given time and each table

seats 4 people. How many tables will he need for the coffee shop in order

for all his costumers to have a seat? If the Wolf has 35 costumers, how

many tables would he need to order? (Hint: He may have to round up)

4. (MCC3.NF.1, MCC3.MD.4, MCC3.MD.8 S, MCC3.G.1, MCC3.G.2) (SS1E1, SS3E1, SS3E3)

The Wolf has baked a perfectly square pastry (8 inches by 8 inches) and wants to divide it into 4

equal parts to increase his profit (It’s better for him to sell 4 smaller pastries than 1 large pastry). How

many different ways can he cut the pastry into 4 equal parts? What would the measurements of each

smaller pastry be? Draw diagrams with measurements for each option.

1. (MCC1.NBT.3, MCC1.NBT.4, MCC.1.MD.4) (SS1E1, SS3E1, SS3E3)

The Wolf has 23 cups of coffee, 18 scones, and 12 donuts for sale in the coffee

shop. How many total items does he have for sale? How many items are for

drinking and how many are for eating? Does the Wolf have more items to

drink or eat?

19CrEATE Your oWn KnIGHTLY nEWSCAST

In Knightly News the character of Prince Charming is also a newscaster who appears on television

to talk about the news that is happening in his kingdom. In real life we have many different kinds of

newscasters who tell us what is happening in our world – but none of them are princes! Instead they

are reporters, working hard to find out the truth about what is happening in our city and around the

world. They can also focus on a single important issue that is facing our world and interview people to

get their ideas about that issue.

dIFFErEnT KIndS oF nEWSThere are several different kinds of news:

Local news is about what is happening in our own city and state. The reporters tell us about

information we need to know about our community, like things happening in our city and state

governments, what is happening with the traffic and weather, and even special stories about fun

things to do on the weekend.

national news features important stories from across the United States that all citizens should

know about.

International news is about events happening all over the world that are important for everyone to

know about. These are big stories that are sometimes scary but we need to pay attention to them

because they tell us about the world we live in.

You ArE THE rEporTEr ELACC(K-5)W

To create your own newscast, work in a group to brainstorm different stories to report.

Think of three local stories – these can be events happening at your school or on your street, or in

your town. Find out the facts by asking questions and doing research.

Think of two national stories that you think are important to know about.

Think of one international story that is happening right now in a different country. Tell your audience

why it is important that they know about this issue. How will this issue affect them?

Remember, real news is only about FACTS, not opinions. Just report the facts you discover - not how

you feel about the facts.

Put your newscast together by taking turns telling your class the facts about your news stories. Report

them with a clear voice and a steady gaze.

20LEArnInG ABouT LIMErICKS

There are many different kinds of poetry – each kind has special defining characteristics such as the

number of syllables per line, where the beats fall in the line and whether it rhymes or not. Not all poetry

has to rhyme, but one of the most fun kinds that do are limericks.

Limericks are funny little nonsense poems, often a little naughty, and likely named for the county of

Limerick, Ireland. One of the most famous writers of limericks was Edward Lear, who wrote a total of 212

limericks for his two volumes of Book of Nonsense (1845, 1872).

All limericks follow the same rhythmic pattern – this means that each line has a certain number of beats

and certain lines have to rhyme with others. A limerick has five lines. The first , second and fifth line all

rhyme – these lines are “A” lines. The third and fourth lines also rhyme with each other – these are the

“B” lines. Each line also has a certain place where the beats are accented – like this:

A – da DUM da da DUM da da DUM

A – da DUM da da DUM da da DUM

B – da DUM da da DUM

B – da DUM da da DUM

A – da DUM da da DUM da da DUM

pyg’s Limerick

As I peered out the window I saw something scary

A monster was lurking with features quite hairy

The creature was hiding

Most likely deciding

Which brother to chase, Joe or Larry!

red’s Limerick

I opened the door and I saw her in bed

I called out to wake her “Hey Grandma it’s Red”

Her teeth and her eyes

Were of abnormal size

I gave her flowers - she ate them instead!

In Knightly News the characters of Red and Pyg sing a limerick duet as they share their stories:

WrITE Your oWn LIMErICK (ELAC(K-5)W)

1. Choose your subject – try writing a limerick about your own favorite fairy tale.

2. Write your first line – make sure you choose a word to end on that you can rhyme.

Sometimes a one-syllable word is easiest.

3. Write your rhyming second line – make sure you stick to the same rhythm as your first line!

4. Write your shorter third and fourth lines, making sure you choose to end on a different sounding

word to rhyme on.

5. Write your last line to bring the story to a close with a word that rhymes with your first two lines.

21THInK LIKE A CrITIC!

(ELACC(K-5)W)

Reviews of performances are important to every opera company. They help the company know how

the performance was enjoyed in the outside world, and get other people excited about coming to see

the show!

To write your own review, you can focus on two different elements – what you saw and what you heard.

WrITInG ABouT WHAT WE SEE: facts & oPinionsA review often combines two things – facts and feelings. It is a piece of straight reporting in which

the reviewer tells the reader what he or she saw (facts), and an opinion piece in which the reviewer

tells the reader what they liked or didn’t like about those elements (opinions). Here is an example of a

reviewer reporting what they saw:

“The town plaza is suggested by Paul Steinberg’s dizzyingly colorful set,

with a mosaic floor and walls and piñatas hanging from above.”

For the first part of your review, briefly describe what you saw on stage – report what the sets,

costumes and lights looked like. These are the facts about the show.

Next, give your opinion about whether you liked these choices. Did they help tell the story effectively?

WrITInG ABouT WHAT WE HEAr: the art of the adJectiVeCritics need to have a great vocabulary of descriptive words when they write about what they hear so

that the people reading their reviews can imagine what it was like to be there. People use lots of different

adjectives to describe the voices of opera singers. Here’s a review that’s chock-full of great adjectives:

“The light, smoky baritone of George Gagnidze only hints at Rigoletto’s

outsize emotions, and the sweet, pure soprano of Lisette Oropesa keeps

Gilda sweet but inert. The handsome, hyperactive tenor Vittorio Grigolo has

two registers, bellowing and crooning, and the conductor, Marco Armiliato,

has his hands full trying to keep up with Mr. Grigolo’s wayward tempos.”

Sometimes it is very hard to describe the way music makes us feel. While there are definitely objective

facts we can evaluate when we listen to music (qualities like loud or soft, fast or slow) most of the time

we listen subjectively. This means that every opinion is valid – you don’t have to know anything about

opera to be moved by someone’s singing or a beautiful instrumental solo.

Write a few sentences about the character you liked best and why. How did the music help tell you who

the character was? Think of five adjectives to describe the way that person’s voice sounded to you.

How did it made you feel to listen to them?

SuM IT ALL upIn your opinion, what did you like best about the production? What did you think could use some

improvement? Would you recommend that other people come see this opera?