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Teacher Resource Guide Goldie B. Locks & the Three Singing Bears

A John Davies World-Premiere,commissioned by the Florentine Opera Company





A VERY SPECIAL THANKS TO OUR EDUCATION SPONSORS

The Florentine Opera's Education & Community Engagement department is supported by many generous corporate, foundation and individual donors. We offer our sincerest thanks to our dedicated supporters.

Major Support for the Florentine Opera's OPERA ON THE GO! is provided by:

with additional support fromAnon Charitable Trust

Albert J. & Flora H. Ellinger Charitable TrustEvan & Marion Helfaer Foundation

Dorothy Inbusch FoundationCharles D. Ortgiesen Foundation

Vilter Foundation, Inc.Woman's Club of Wisconsin Foundation

We would also like to thank the following Education Program champions who have helped underwrite a school performance

James Bamberger and Nancy Eastham

Donald and Donna Baumgartner

Mr. and Mrs. John Burke

Cathy and Mario Costantini

Sarah and Peter Damsgaard

Dennis and Rebecca Farrell

Robert and Christine Ferber

William and Carmen Haberman

Glen and Claire Hackmann

George and Angela Jacobi

Herbert H. Kohl Charities, Inc.

Dr. Michael J. Krco

Mary Ann and Charles LaBahn

Eric and Susi Lind

Paul Mathews and Colleen Fitzgerald

Jim Mortell

David Mungenast

Ms. Susan Muros-Parker

Andrew Nunemaker

Nancy Phelps

Mr. and Mrs. Richard Pieper

Mary and Ross Read

Dolores V. Ricci

John Shannon and Jan Serr

Dr. and Mrs. Fred Tyszka

Laura Wiesner Wake

The Wake Family Fund

Weyco Group Charitable Trust

Cathy and Michael White

The Bucyrus Foundation of the Greater Milwaukee Foundation

Edward U. Demmer Foundation

Marjorie L. Christiansen Foundation

Pieper Electric, Inc. and Ideal Mechanical

Jane Bradley Pettit

Foundation

Support for free student tickets enable passionate learners to experience mainstage opera, regardless of financial ability

and are underwritten by Nancy E. Hack Fund at the Greater Milwaukee Foundation

Bernard J. and Marie E. Weiss Fund at the Greater Milwaukee Foundation

For information or to make a contribution, please contact Sarah Jones, Education & Community Engagement

Manager, or Eric Lind, Director of Development at 414.291.5700.

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Dear Educators, Thank you for choosing the Florentine Opera to be a part of your school year! We are confident that you will find Goldie B. Locks & the Three Singing Bears to be an exciting and inspiring part of your classroom curriculum! Within this resource guide we have included a wide range of materials and activities: from general opera studies, to our featured composers – W.A. Mozart and J. Offenbach, and the great story of Goldie B. Locks & the Three Singing Bears! Please feel free to adapt and use any of the suggestions for your classroom discussions and activities. We encourage you to take advantage of our photocopy-friendly format and generate copies for students or other colleagues. We would also like to encourage you to fill out and return both the teacher and student evaluations. Student evaluations can come in a variety of forms: artwork, classroom projects, letters, writing samples, etc. Your input is very important to us as we continue to implement arts education in the schools. In addition to the tour of Goldie B. Locks & the Three Singing Bears at the Florentine Opera this season, we encourage you to look into our other education and community engagement programs. Please visit www.florentineopera.org for more information on GET OPERA, Opera Inside Out, Talk Opera and the High School Master Class! Please don’t hesitate to contact me if you have any questions regarding the performance, the study guide, or the Florentine Opera. Thanks again and we look forward to seeing you this year! Sarah Lewis Martin Education & Community Engagement Manager

FROM THE GENERAL DIRECTOR William Florescu… While many people in the Milwaukee area enjoy the Florentine Opera’s mainstage offerings, our education and community engagement programs are an additional, essential element of the work done at the Company. Florentine Opera General Director William Florescu strongly believes in the power of opera to teach and inspire students, noting: “We are dedicated to enriching the lives of children through the performing arts, and providing them the opportunity for self-expression that will ultimately help to develop valuable and effective communication and leadership skills. This commitment provides a strong foundation for the reason for our being—bringing this all-encompassing art form to our community—in the past, in the present, and into the future.”

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Note to Teachers Table of Contents 1 Florentine Opera Company Education Mission 2 About this Study Guide 3 New to Opera? 4 What Is Opera? 5 Who Makes It All Happen? 12 Operatic Voices 16 Operatic Singing 21 Glossary of Opera Terms 27 The Conductor’s Score 31 The Vocal Score 33 The Story of Goldie B. Locks & the Three Singing Bears 34 Meet the Librettist/Arranger: John Davies 39 Meet the Composers 40 J. Offenbach and W.A. Mozart Opera Etiquette 42 Before the Opera 43 Last Minute Thoughts 44 You’re Never Too Old for a Fairy Tale 45 Post-Opera Activities 46 Costume & Scenic Design Music Theatre Visual Art Language Arts Social Studies Math, Science, & Technology Appendix Meet the Cast A Happily Ever After the Performance B Additional Information and Resources C Musical Listing D Evaluation Forms E

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FLORENTINE OPERA COMPANY EDUCATION MISSION

The mission of the Florentine Opera Company Education Department is to make opera more inviting and accessible to communities in Milwaukee and throughout the state of Wisconsin by:

1. Educating students and the community about opera and career opportunities within the opera.

2. Providing opera introduction and continuing education events for adults. 3. Providing opportunities for young artists.

The Florentine Opera Education Department’s strategic plan includes four goals:

1. Establishing new partnerships 2. Supplementing arts education at every level 3. Improving the quality and quantity of teaching artists 4. Involving new audiences by exploring new, non-traditional venues

“The music makes me feel happy, and it made me go to my home and sing to my grandma.” – student at Greenfield Bilingual School “I learned that it takes a lot of work to be in the opera.” – student at Lancaster Elementary “With my lifestyle and the way I was brought up, I would have never been naturally introduced to the opera. I can replace movies with the opera, I can relax at the opera, I can get away from the world at the opera.” – student at West Bend High School “I love the performance for ‘The Three Little Pigs’ opera performance. It was a good show for the children in the school.” – student at 53rd Street School “They made me laugh through the whole show. I think they should come again so we can see another show. All the kids were enjoying it.” – student at Honey Creek School “I really liked the play. My stomach started to hurt because the play was so funny. I thought that the singing was awesome and that the whole performance was wonderful!” – student at Honey Creek School

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We acknowledge the Nashville Opera’s Education Department for sharing portions of their study guide with the Florentine Opera. For more information about the Nashville Opera and their education programs, visit http://www.nashvilleopera.org/Education_%26_Outreach.html. Each section of this guide was created to supplement your school’s curriculum, as well as to provide opera newcomers with more insight into the world of opera. Many sections (such as What is Opera?) are geared specifically towards teachers. You are welcome to take this information and reframe it in whatever way best suits your class. With the information and activities provided in this guide, we hope to help you create a more meaningful experience for your students. Our objectives with this study guide and performance are…

! To introduce students to the fundamental components of opera. ! To give students a very brief historical perspective of opera’s development. ! To introduce some basic terminology. ! To encourage multidisciplinary studies across many subject areas. ! To educate as well as entertain.

We achieve these objectives by…

! Presenting opera as fun, entertaining, and culturally significant. ! Providing you with background information on this year’s production as well as

some basics about opera and its history. ! Connecting opera to your music and general classroom curriculum with

suggested pre- and post-opera activities. Why opera education?

! Our in-school programs present material through visual, aural, and action methods, thus reaching out to many different types of learners.

! Exposure to opera as a multidisciplinary art helps students develop intelligence in a variety of areas, including abstract thinking and problem solving.

! Opera provides opportunities for self-expression through a variety of forms, which in turn leads to the development of valuable communication skills, self-discipline, perseverance, and leadership.

! Opera combines drama, poetry, instrumental music, singing, scenery, costumes, lighting, and many wonderful special effects. Such collaboration is important for students to witness, as it helps to encourage them to develop a broadened, multidisciplinary perspective.

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Why Being an Opera Novice Helps You Enjoy Opera

We firmly believe that newcomers have a great advantage over many opera fanatics worldwide. The composers of the great operas knew what they were doing – they created potent musical dramas aimed straight for the heart. Many opera buffs forget that in opera, the intellect should take a backseat to emotion. More than many other art forms, opera is meant to appeal directly to the senses. All you need are eyes, ears, and a soul to fully appreciate opera. Let us help you activate your senses.

The Popular-versus-Classical Myth Until very recently (at least in geological terms), going to an opera was like going to a movie. People went to an opera as you might go to a rock concert: to have fun! They went to see their favorite stars and hear their favorite tunes. They wore casual clothes; they brought along food and drinks; they even cheered (or booed, or threw flowers or tomatoes) during the show if the spirit moved them. Classical music was pop music. In fact, when Verdi wrote Otello, the crowd went crazy, calling him back to the stage over and over again with standing ovations, finally carrying him all the way home on their shoulders, and then serenading him under his window. Opera is just as entertaining as it ever was. But these days, it has become much less familiar.

~adapted from Opera for Dummies

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Before defining opera, ask your students to share their ideas about what opera could be. Write “opera” on the board and list their answers beneath it. What is opera? An opera is simply a play in which people sing. In most operas, all the words are sung, and none are spoken. There are other types of operas; however, in which there is as much speaking as singing. If an opera is just a play, then why do people sing? The theater has been around for hundreds of years. People were being entertained by plays long before television and radio were even invented. Music was added to enhance the feelings portrayed on the stage. Singing is a very special form of music because the instrument (like our feelings) comes from inside. Our voice is a part of us which expresses how we feel, whether we sing, talk, shout, laugh, cry, moan, growl, whisper, gasp, hiss, etc. It is the actor’s job to express such feelings, and singing is a perfect way of doing just that. Naturally, singing was used very early in the history of the theater; however, opera as we know it is only about 400 years old. Opera powerfully combines the drama of theater with music – vocal and instrumental – to create the lasting art form that audiences enjoy throughout the world today.

From opera to musical theater to music video and everything in between – the length of

musical performances is considerably shorter today than it was in the past.

How is this a reflection of society today compared to hundreds of years ago?

Is it harder for us today to sit through a three-hour-long opera than it was for people back in

the 1800s? Why or why not?

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What Are the Elements that Make Up an Opera? A score is the blueprint to an opera. It consists of the words, music, stage directions, and often performance notes needed for an entire show. An opera score is often divided into sections. It begins with the overture, followed by one to five acts (large sections of acting and singing), and one or more intermissions. Each act may be divided into scenes. The scenes are made up of recitatives, arias, duets, larger ensembles, and choruses. You can find all of these terms in the Glossary of Opera and Musical Terms located in this guide.

A trio from the Florentine Opera’s production of Puccini’s Turandot, November 2011

Photo Credit: Kathy Wittman

What Are Some Different Styles of Opera? Bel Canto This Italian phrase means “beautiful singing.” Bel canto operas grew from a style of singing emphasizing long phrases, breath control, a light upper register, flexibility in singing both loudly and softly, and a “sweet” timbre (tone color). Because the voice is considered the most expressive element of bel canto singing, the words are often considered to be secondary. Gaetano Donizetti, Vincenzo Bellini, and Gioacchino Rossini were prominent bel canto composers. Soprano Renée Fleming and mezzo-soprano Cecilia Bartoli are two contemporary singers who are renowned for their incredible bel canto technique.

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Grand Opéra This is a style of opera that originated in France and is characterized by its magnificence. It is performed with elaborate sets and costumes, and requires many people to make it happen. Grand opéra always involves royalty, heroism, an elaborate ballet scene, and is often quite long. Composer Jules Massenet wrote opera in this style. Opera Seria This Italian phrase means “serious opera” and refers to the noble, dramatic, and serious qualities of Italian opera that dominated Europe in the mid-1700s. These stories are often tragic, and typically involve heroes and kings or ancient myths and gods. Some of Mozart’s operas are in this style. Opera Buffa This style of opera, meaning “comic opera,” is the counterpart of opera seria, and is always sung in Italian. The characters that supply the jokes represent the working class, such as maids, peasants, or servants. These operas usually end with a happy lesson and with the antagonist defeated. Mozart’s Le Nozze di Figaro and Don Giovanni and Rossini’s Il Barbiere di Siviglia (The Barber of Seville) fall under this category of opera. Singspiel Singspiel evolved in German-speaking countries out of the comic opera tradition. It includes elements of comic opera (funny lower-class characters), spoken dialogue interjected among the sung phrases, and often includes an exotic or fanciful theme. Mozart’s Die Zauberflöte (The Magic Flute) is an example of this style. Music Drama This is a style of opera that is created by a single artist who writes both the text and the music – as opposed to having a composer and a librettist working together – in order to advance the drama. Composer Richard Wagner (1813-1883) defined this style.

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A Brief Overview of Opera History

“Opera is where a guy gets stabbed in the back, and instead of dying, he sings.” -Ed Gardner

Opera is more than just large women singing loudly; it is the complete collaboration of music, drama, art, and poetry. Opera has been around for more than 400 years and can be broken down into the following musical periods:

! Baroque Period (1600-1725) ! Classical Period (1725-1820) ! Romantic Period (1820-1900)

" Italian Romantic Opera " German Romantic Opera " French Romantic Opera

! Modern American Opera (1900-present)

Baroque Period (1600-1725) In the early 17th century, a group of men called the Florentine Camerata began meeting to discuss music and the arts. By linking existing musical pieces together with sung recitation, they laid the groundwork for what we now know as modern Western opera. By the 1630s, opera was being performed all over Europe. Many countries, like Germany, were enjoying Italian operas while other countries, like France, began to experiment with their own variations of opera. By the eighteenth century, the model of opera seria was firmly established. The plots usually centered on mythological stories. The chorus was saved for the end of the opera where it added to the festivities of the inevitable happy ending, and the solo singer became glorified. The standard aria during this time was composed in a strict A-B-A form called da capo, literally meaning “from the head.” The first A section is sung in a straightforward manner, exactly as written; it is followed by a short B section that has a different melody, contrasting tempo, and is written in a different key. The aria ends with a restatement of the A section (same melody, same words), but this time the singer would add ornamentations to appropriate places throughout the vocal line. *Recording example: Handel’s Giulio Cesare (RCA 1990 with Beverly Sills)

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Classical Period (1725-1820)

By the eighteenth century, the rigidity of the opera seria model and da capo form were losing popularity since they limited the dramatic capabilities of music. Increasingly less emphasis was placed on the singer, and the spotlight moved toward the drama. Comic operas, or opera buffa as they were called in Italy, became very popular throughout Europe. The most important figure in the Classical Period of opera was Wolfgang Amadeus Mozart. Mozart wrote many successful operas in both the opera seria and opera buffa styles. Many of the libretti (the text of an opera usually written by someone other than the composer) he chose reflected the new ideas that were circulating throughout Europe at that time. Recording Examples: *Mozart’s Le nozze di Figaro (EMI 1990 with Giuseppe Taddei & Anna Moffo) *Mozart’s Così fan tutte (Angel Records 2000 with Elisabeth Schwarzkopf) *Mozart’s Die Zauberflöte (Angel Records 2000 with Lucia Popp) Romantic Period (1820-1900)

In the nineteenth century’s Romantic Period, opera suddenly fell into categories defined by the nationality of the composer. Every major country in Europe made its own unique contributions to the art form. Italian Romantic Opera Italian opera composer, Giuseppe Verdi broke down the walls between recitative and arias and tried to achieve a continuity that added to the drama of the piece. In the end of the nineteenth century and the early twentieth century, there was a strong trend toward realism in opera. This was called verismo. The plot of a verismo opera generally follows common people dealing with familiar situations. Recording Examples: *Rossini’s Il barbiere di Siviglia (Decca 1989 with Cecilia Bartoli) *Donizetti’s Lucia di Lammermoor (Decca 1985 with Joan Sutherland) *Verdi’s La Traviata (Deutch Grammaphon 1990 with Placido Domingo) *Verdi’s Rigoletto (Decca 1995 with Luciano Pavarotti & Joan Sutherland) *Puccini’s La bohème (Decca 1990 with Mirella Freni & Luciano Pavarotti) *Puccini’s Madama Butterfly (EMI Classics 1997 with Maria Callas)

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German Romantic

German opera during this period can be broken down into two categories: German Romantic Opera and Richard Wagner’s music dramas. German Romantic Operas were quite similar to Italian opera but differed in plot material. They drew more upon supernatural and medieval tales (rather than the verismo topics the Italians chose) and also employed more folk tunes. In the second half of the nineteenth century Wagner created the concept of Gesammkunstwerk [guh-zahm-koontz-vairk], which means “total artwork.” He believed that opera should be a fusion of stagecraft, visual arts, literature, and music. He did almost everything related to production himself: composed the music, wrote the libretto, and designed the costumes and scenery. In Wagner’s dramas there were almost no distinctions between arias and recitative; instead of showcasing the voice, he treated it like any other instrument. He also increased the size of the orchestra and even developed a new instrument he called the Wagner Tuba, which had a rich, mellow tone. Only very large voices can be heard over his expanded orchestra.

Recording Examples: *Wagner’s Tristan und Isolde (EMI Classics 2001 with Dietrich Fiescher-Dieskau) *Wagner’s The Ring Cycle (Decca 1997 conducted by Georg Solti) *Strauss’ Salome (Decca 1990 with Brigit Nilsson) *Humperdink’s Hansel und Gretel (RCA 1999 with Anna Moffo & Christa Ludwig) French Romantic Opera

French opera was typically visually spectacular, and usually included a ballet somewhere in the second or third act. In the Romantic Period, three types of French opera were prominent: ! Opéra comique – usually comical, used spoken dialogue instead of recitative. ! Grand opéra – popular in the second part of the nineteenth century when composer

Giacomo Meyerbeer came onto the scene. Grand opéra was built around grandiose plots and used a large chorus and elaborate sets.

! Drama lyrique – a combination of opéra comique and grand opéra. Recording Examples: *Gounod’s Faust (EMI Classics 1990 with Placido Domingo & Mirella Freni) *Gounod’s Roméo et Juliette (EMI Classics 1994 with Franco Corelli) *Bizet’s Carmen (EMI Classics 1997 with Maria Callas & Nicolai Gedda)

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Modern American (1900-Present)

Despite the dominance of Italian, French, and German opera within today’s popular repertoire, not all opera comes from the other side of the globe. American composers have been writing operas based on familiar themes for over a century. In the earliest years of American history, English settlers brought with them the Ballad Opera – a short, comic play with musical numbers interspersed throughout. These songs were basically original text set to popular tunes. In 1825, the first opera performed entirely in its original language was produce at the Park Theater in New York. Over the next 50 years, many traveling companies took opera all over the country, and in 1883 the Metropolitan Opera Company opened its doors. Today, The Met is recognized internationally for its high-quality productions and daring artistic ventures; several new American operas have been commissioned by The Met in the past century, giving composers exposure and prominence among the European masters. American composers have made many important contributions to opera. George Gershwin was the first to incorporate jazz into opera with his Porgy and Bess. Composers like Gian Carlo Menotti and Carlisle Floyd have continued to write popular works that have a distinctly American sound. New operas are often based on American history (John Adams’ Nixon in China) or American literature (Floyd’s Of Mice and Men), offering familiar plots for new audiences. Recording Examples: *Menotti’s Amahl and the Night Visitors (RCA 1990) *Menotti’s The Medium (Cedille 1999 with Patrice Michaels & Joyce Castle) *Floyd’s Susannah (Virgin Classics 1994 with Cheryl Studer & Samuel Ramey) *Floyd’s Of Mice and Men (Albany Records 2004 conducted by Patrick Summers) *Copland’s The Tender Land (Virgin Records 1992 conducted by Philip Brunelle)

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The Creators A composer writes music and a librettist writes the words to create an opera. Most Western operas are composed in European languages – mainly Italian, German, French, Russian, and English.

The Composer The composer has a historically important role in Western culture. Both the nobility and the Church respected musicians, and thus provided for the care and livelihood of artists throughout the latter part of the 18th century. Although artists benefited from the personal security of the patronage system, most did not have the freedom to choose the subject or style of their compositions. It was not until the end of the 1700s that the patronage system declined. The rise of the consumer class allowed composers to write music that could be published and sold to the public. This resulted in an explosion of creativity, for new styles and subjects, throughout Europe.

The Librettist

The librettist creates or adapts a story so that it can be sung. The stories adapted for opera were usually taken from historical events, myths, poems, or plays. Composers often had favorite librettists with whom they worked regularly. Perhaps the most well-known librettist is Lorenzo da Ponte (1749-1838) who collaborated with Mozart on three of his most popular operas: The Marriage of Figaro, Don Giovanni, and Così fan tutte.

The Interpreters Once an opera is created, a team of artists begins the process of transforming the words and music into a visual spectacle. These artists are called directors and designers. Their role is essential in interpreting the intentions of the composer and librettist.

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The Directors and Designers The directors and designers develop an opera’s visual concept by first identifying the key themes. Next, they engage in extensive research on the historical context of the work, including the clothing of the period and the culture of the society. Sometimes directors and designers choose to stay true to the history and setting of the work. Other times they elect to change the location or historical period of an opera. Either way, they are required to make countless decisions about everything from costumes to sets to the action on the stage.

The Florentine Opera’s mainstage productions take place in Uihlein Hall, at the Marcus Center for the

Performing Arts in downtown Milwaukee. Uihlein Hall was renovated in 1997 and can seat 2,305 patrons.

What is the Artistic Team? ! The Artistic Team is the group of people who work together to make the opera

performance happen. ! The Stage Director is responsible for the action on the stage. This is

accomplished by working with the singers weeks before the performance. They direct the singer’s movements and help them develop their individual characters.

! The Music Director, also known as the conductor, interprets the music of the opera and rehearses it with the singers and the orchestra. During rehearsal the music is shaped to express different moods of the opera. For example, the

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conductor decides how fast or slow (tempo) and how loudly and softly (dynamics) the music is played.

! The Set Designer designs the scenery for the opera. ! The Lighting Designer manipulates the lights to create effects that help set the

mood and complement the action on stage. ! The Costume Designer creates the clothes that the singers will wear on stage. ! The Choreographer is responsible for creating and directing any dancing that

takes place in the opera.

What happens below the stage? The orchestra is a group of instrumentalists who accompany the singers. The orchestra performs in a pit. This is the sunken area in front of the stage.

What happens behind the scenes?

While all the action is happening on stage, some very important people are orchestrating all the action backstage. They are the production crew, and this is what they do: The Stage Manager leads the crew and directs all the action that happens backstage. Stage Managers direct scene changes, artists’ entrances and exits, sound/light changes, curtain movement, and all other activities that make the production run smoothly. Their job requires great leadership and quick decision-making. A crew of stagehands works in collaboration with the Stage Manager. They move scenery and set props (short for “properties”), which are objects used in the scene. The Props Supervisor makes sure that all the props are placed appropriately and are available when the singers need them. The Wardrobe Supervisor oversees the costumes and attends to last minute fittings and repairs. Dressers, who help with fast costume changes, may assist the Wardrobe Supervisor. The Makeup Artist assists singers

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with dramatic stage makeup that must be applied in order for their features to be seen from the back of the theater. Not all crewmembers work backstage. The Sound Engineer, working from a booth in the rear of the theater, operates the orchestra’s microphones and adjusts the sound. The Master Electrician, also working in a booth in the rear of the theater, directs the positioning of the lights and then operates the lights during a show. Both need to be in the audience to hear and see what is happening on stage. The rehearsal pianist accompanies the artists as they rehearse the opera before they rehearse with the full orchestra. This job also entails serving as a coach, assisting the artists with language and musical preparation.

In the center of this photograph of Uihlein Hall is the sound booth, located in the rear of the theatre

As you can see, the production of a fully staged professional opera requires the commitment of many people willing and able to work together. An ensemble from the Florentine Opera’s production of Venus and Adonis, May 2010 Photo Credit: Richard Brodzeller

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Soprano A soprano is the highest female voice. The normal range of a soprano is two octaves up from middle C, sometimes with extra top notes. This range is similar to that of a violin. In opera, the soprano most often plays the young girl or the heroine (sometimes called the Prima Donna). The choice of a high bright voice traditionally suggests femininity, virtue, and innocence. Famous Examples: Renée Fleming, Deborah Voigt.

Soprano Rena Harms as Líu in the Florentine Opera’s November 2011 production

of Puccini’s Turandot. Photo credit: Kathy Wittman

Photo Credit: Richard Brodzeller Mezzo-Soprano A mezzo, the Italian word for middle, has a typical range from the “A” below middle C to the “A” two octaves above it. This is similar to an oboe’s range. A mezzo’s sound is often darker and warmer than a soprano’s. In opera, composers generally use a mezzo to portray older women, villainesses, seductive heroines, and sometimes even young boys (like Hansel in Humperdinck’s Hansel and Gretel). This portrayal of young boys is a special operatic convention, called a “trouser role” or a “pants role.” Famous Examples: Joyce DiDonato, Marilyn Horne. Contralto This is the lowest female voice, similar in range to a clarinet. Contraltos usually sing the roles of older females or special character parts such as witches and old gypsies. The range is two octaves from F below middle C to the top line of the treble clef. A true contralto is very rare – some believe they don’t exist at all! Famous Examples: Stephanie Blythe, Marian Anderson.

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Men

Countertenor This is the highest male voice, which was mainly used in very early opera and oratorio (a genre of classical vocal music similar to opera but generally based on a religious topic and accompanied by a choir). The voice of a countertenor sounds very much like a mezzo-soprano’s voice and they often sing the same repertoire. Like the contralto, true countertenors are very rare. Famous Examples: David Daniels, Andreas Scholl. Tenor A tenor is most often the highest male voice in an opera. It is similar to a trumpet in range, tone, color, and acoustical ring. The tenor typically plays the hero or love interest in an opera. His voice ranges from the C below middle C to the C above. Famous Examples: Luciano Pavarotti, Placido Domingo. Baritone The middle male voice, close to a French horn in range and tone color, is the baritone. In opera buffa (comedic opera), the baritone is often the ringleader of the comedy, but in opera seria (serious or tragic opera), he is usually the villain. The range is from the G that is an octave and a half below middle C to the G above middle C. Famous Examples: Thomas Hampson, Sherill Milnes.

Baritone Mark Delavan in the Florentine Opera’s production of Verdi’s Rigoletto, May 2003 Photo Credit: Richard Brodzeller

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Bass The lowest male voice, it is similar to a trombone or bassoon in range and color. Low voices usually suggest age and wisdom in serious opera. In comic opera they are generally used for old characters that are foolish or laughable. The range is roughly two or two and a half octaves down from the F above middle C. Famous Examples: Sam Ramey, Rene Pape. Discovering your voice type is not as simple as having green or blue eyes. Singers often float between these categories, and some never really know where they fit. Sometimes, a female singer starts out her training as a soprano and ends up singing mezzo roles a few years into her studies. Baritones with good high notes are often mistaken for tenors. Singing the wrong repertoire can lead to all sorts of vocal problems and can even shorten or end a singer’s career. That’s why it is very important for singers to have a good, trustworthy teacher and to be selective in the jobs that they choose.

Voice Types Based on Size and Quality Voices are also categorized according to size and quality of voice. There are small, medium, medium-large, and large voices in opera. The quality of a voice can be defined using the following terms: Soubrette Soubrette describes a soprano of very light vocal weight, comparatively small range, and the looks and disposition of a young girl. Soubrette roles are often flirtatious and witty, and outsmart the rich and powerful by the end of the opera. Many soubrette roles have names that end in –ina: Despina (Mozart’s Così fan tutte), Adina (Donizetti’s The Elixir of Love), and Zerlina (Mozart’s Don Giovanni) are all soubrettes. Character A singer with an exceedingly unique and rarely beautiful sound (and often the looks to match) can make a fine living singing character roles. While they don’t get the fattest paycheck, they do tend to get all the laughs. This classification is reserved for the lower voices (mezzo, tenor, baritone, and bass). Examples are the Witch (Humperdinck’s Hansel und Gretel) and the stuttering lawyer, Don Curzio (Mozart’s The Marriage of Figaro).

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Coloratura Female singers described as coloraturas have great vocal agility, stunning high notes, and the ability to sing complicated vocal ornamentation. The Queen of the Night (Mozart’s The Magic Flute) is a coloratura soprano. Rosina (Rossini’s The Barber of Seville) is a coloratura mezzo. Lyric The word lyric generally describes a singer who specializes in long phrases and a beautiful tone. If you don’t claim the distinction of coloratura, dramatic, character, or helden-, then you would probably call yourself lyric. To break it down further, there are light-lyric, full-lyric, and just plain old lyric titles that can precede the general voice type of soprano, tenor, and so on. For a more detailed description, read on… if this is enough for you, our feelings won’t be hurt if you skip down to “dramatic.” “Lyric” can mean a variety of different things, depending on who you talk to. While there are no hard and fast rules, there are a few widely accepted distinctions, which are outlined below.

! A light-lyric soprano like Pamina (Mozart’s The Magic Flute) should have a bigger voice than a soubrette but still possess a youthful quality. A full-lyric soprano has a more mature sound and can be heard over a bigger orchestra. Think Mimì (Puccini’s La Bohème). Full-lyric sopranos are typically the highest paid of all the voice types.

Rena Harms as Lìu in the Florentine Opera’s April 2011 production of Turandot

Photo Credit: Kathy Wittman

! A light-lyric mezzo is the equivalent of the soubrette and generally plays young

boys like Hansel (Humperdinck’s Hansel und Gretel). In this case, the long phrases mentioned above are traded for agility and charm. A plain old lyric mezzo (no “full” distinction here) is usually an old woman or a temptress of some sort – Bizet’s Carmen is the quintessential lyric mezzo.

! Most tenors fall into the lyric category and don’t call themselves light or full. However, some specific operatic roles for tenors are separated further (though

! There are light baritones, but they fall into the lyric pot with the rest.

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Dramatic Dramatic describes the heaviest voices in any category except for bass. Dramatic singers are capable of sustained declamation and a great deal of power, even over the largest orchestra of about 80 instruments! Helden A German prefix meaning “heroic,” applies to a large voice. These singers perform the most demanding roles in opera. Brünnhilde (the character most often associated with braids and a horned helmet) is a helden-soprano role.

A list of famous opera singers of each voice type as well as some of their most celebrated recordings can be found in the section entitled Additional Information and Resources for Teachers, at the end of the guide.

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Every culture in the world makes music. We can often recognize the origin of a song by its musical elements. For example, Eastern cultures like China and Japan base their compositions on the pentatonic scale (which is roughly represented by the black keys on the piano). Indian musicians (from India) use instruments like the sitar and the tabla, which have very distinct sounds. In the same way, each culture has developed its own style of singing. Characteristics of a “Trained” Voice Singing in Europe and America is now generally divided into two categories: classical and popular. What most people think of as operatic or classical singing developed in Europe hundreds of years ago. This style flourished during the seventeenth century, as opera became a popular form of entertainment and operatic music increased in complexity. The most recognizable characteristics of a classically trained voice are:

! an extensive range (the ability to sing both high and low) ! varying degrees of volume (loud and soft) ! resonance in the chest and sinus cavities (produces a “hooty,” “full,” or “round”

sound) ! an ability to project or fill a large space without amplification.

Training Very few people are born with the capability to sing this way. Classical singers take voice lessons about once a week and practice every day for many years in order to develop a beautiful operatic sound. In fact, most trained voices are not “mature” enough to perform leading roles on a big stage until they’re at least 28 years old. Compare that with the most popular singers on the radio today – Ariana Grande was 15 when she began to pursue her musical career! Two Tiny Muscles Science tells us that sound is made up through two things vibrating together. The same concept applies when we talk or sing. The sounds we make are really just the vibration of two little muscles called the vocal chords. The vocal chords are held in the larynx, which is sometimes called the voice box or (in boys) the Adam’s Apple. These two little muscles vary in length, but are typically between one and two inches long.

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When you want to say something, your brain tells your vocal chords to pull together until they touch lightly. Then, air pushes through them, and the vocal chords begin to vibrate, creating a sound. The pitches you sing are dependent upon the speed at which the chords vibrate. A faster vibration creates a higher pitch. The length of the chords also affects the pitch of the voice. Longer chords equal a lower voice. The rest of the body The vocal chords are only a small component of a larger machine that creates a beautiful singing voice. That machine is the entire body, from the tip of the toes to the top of the head. In order to sing with ease, every muscle needs to be relaxed – but not lazy! If even one muscle is tense, it can throw off the entire machine, which is immediately obvious in a singer’s vocal quality. Breathing/Support In order to sing long phrases with a lot of volume and a good tone, singers must breathe in a specific manner, making use of the whole torso area (lungs, ribs, diaphragm, and viscera). As they breathe in, each part of this network does its job: the lungs fill up, which allows the ribs to expand and the diaphragm (a flat muscle below the lungs) to move down. As the diaphragm descends, the viscera (stomach, intestines, and other organs) move down and out. Singers describe this feeling as “fatness in the low stomach” or “filling an inner-tube” around their waist.

Expelling the air, or singing, is essentially a slow and controlled movement of those muscles. If all of the air escapes from the lungs too quickly, the tone of the voice will sound breathy and will lack intensity. Successful opera singers must be able to isolate the diaphragm and ribs, controlling the rate at which they return to their original positions. This allows for a consistent stream of air that travels from the lungs, through the larynx, and out of the mouth.

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Resonance One of the most obvious characteristics of an operatic voice is a full, resonant tone. Singers achieve this by lifting their “soft palate.” This is a part of the mouth that most people don’t ever think about. It can be difficult to isolate if you don’t obsess over it like most singers do. Here are some simple exercises to feel where it is and hear the resonance in your voice when you lift it:

! Start to yawn. Feel that lifting sensation in the back of your mouth? That’s the soft palate going up.

! Slide your tongue along the roof of your mouth, from your teeth back toward your throat. You should feel your tongue go up, then down (that’s your hard palate), then back up again. That soft, fleshy area at the very back is your soft palate.

! Say the word “who” as you would say it in normal conversation. Now, say “hoooo” like a hoot owl. Can you hear the difference?

Lifting the soft palate is the foundation for the resonance in a singer’s voice. With a lot of practice, a singer can lift his or her palate as soon as they begin to sing, without even thinking about it. Vibrato Proper breathing and full resonance are essential for producing a clear vocal tone with an even “vibrato” (the Italian word meaning “to vibrate”). Vibrato can be described as a “wiggle” in the voice, or technically, a consistent variation in the pitch of a tone. While many pop singers try to remove this element of singing for the sake of style, vibrato in an opera singer’s voice is a must – it increases the warmth and resonance of the tone and also allows for accurate tuning.

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Registers of the Voice Head Voice The head voice is the higher register. It’s called the head voice because you literally feel like your voice is coming out of your head rather than your throat or chest. Chest Voice The natural speaking voice falls into the chest voice register. If you put your hand on your chest and yell “Hey!” you can feel it resonate in the chest rather than the head. Broadway and pop singers like Christina Aguilera use it almost exclusively, but female opera singers generally avoid it unless they’re singing really low notes. Men sing mostly in this voice. Falsetto This register applies to male voices only. Falsetto happens when the vocal chords do not vibrate fully, which creates a high, feminine sound. Male characters frequently use this register to imitate female voices.

A Comparison: Trained vs. Untrained Since we’ve already covered the characteristics of a trained voice, it may be interesting to see how they differ from those of an untrained voice. Singers of pop music, rock and roll, R&B, folk, and country are often referred to as “commercial.” While their styles vary considerably, the way they use their voices seems to be relatively consistent. Training Commercial singers don’t always train like classical singers do. While there are schools like Belmont University who offer degrees in Commercial Voice, many of the most successful non-classical singers of today are known more for their unique style, natural talent, and personality rather than for their technical mastery of the voice.

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Breathing/Support Unlike classical singers, commercial singers often breathe as they do in normal speaking. A long phrase might warrant a big breath, but studying the placement and movement of one’s body is not usually something that is done by pop singers. Resonance Most commercial singers are just not concerned with creating a resonant tone. In fact, a pop song sung with a lot of resonance would probably sound pretty silly to most people. Projection/Volume Essentially all commercial singers depend upon microphones to be heard in a large performance space. This enables the singers to deliver their message in either a loud, dramatic style, or in an intimate, conversational style, with little physical effort. Opera singers, however, depend on the acoustics of the performance space and their ability to project their voices naturally to be heard. Microphones are almost never used in operatic performances.

Operatic Singing Commercial Singing Years of vocal training required No intense vocal training necessary Breathing is controlled through placement and movement of internal organs

Breathing is the same as in everyday speech

Resonant tone is achieved by raising the soft palate

Resonant tone is generally not desired

The voice is generally not amplified, so the singer must project naturally

Microphones are almost always used to amplify the voice

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CHECKLIST: A good opera singer must have… Volume Opera singers are trained to be heard in large theaters, such as the Marcus Center for the Performing Arts, without using microphones. Singers train for years to be able to sing loudly enough to be heard over other soloists, a chorus, and a large orchestra of about 70 instruments. How loudly can an opera singer sing? When a jet takes off, the sound reaches 110-120 decibels, which is the human threshold level of pain. A powerful opera singer, singing very close to another person’s ear, could reach up to 110 decibels. Stamina Opera requires the ability to sing for two to three hours or even longer. Opera singers rarely perform on consecutive evenings due to the physically demanding performances. Range Operatic music requires singers to have a large range – from very low notes to extremely high notes. Acting ability Opera singers don’t just stand on stage and sing; they must be able to act, as well. The singers must make the audience believe in their characters. For example, the Witch in Hansel and Gretel would not be as effective (or scary!) if the singer could not act well. The right “look” Just like an actor in a movie, it is important for an opera singer portraying the character to look the part. For example, even though the singer who performs the role of Goldie B. Locks is in her 20s, she should look very young so we can believe that she’s a child. Familiarity with different languages Since opera was developed in Europe, most operas are written in languages other than English. A singer must be familiar with the pronunciation of foreign languages as well as the meaning of each word that they sing. It is not unusual for an American singer to perform in Italian, French, German, or even Russian.

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A capella Without accompaniment Alto A low female voice Aria A solo vocal song that presents emotions; a showpiece for the

singer, usually with rich orchestra accompaniment Audition When a singer or actor tries out for a director, hoping to be cast in

a show; usually involves singing 2 or 3 contrasting arias and possibly a monologue

Baritone A low male voice Bass The lowest male voice Beat The underlying pulse of a song; what you would clap along with at

a concert Bel Canto “Beautiful singing;” an Italian style of singing Blocking Where the singers stand and move during a scene; singers are

given their blocking by the director, and have to memorize it along with their music

Bravo! A word that audience members shout when they like a performance – it means “well done” or “great job”

Cadence A closing statement at the end of a musical phrase; an open

cadence sounds like a resting point or a thought that is incomplete; a closed cadence sounds like a stopping point or the end of a song/section

Cadenza A passage usually near the end of a piece; the singer performs “flashy” difficult music while the orchestra waits

Choreographer The person who creates the dance routines and special movement in the show

Chorus A group of singers who sing and act en masse, not as soloists Chorus Master The leader of the chorus Composer The person who writes music to go with the words so that the

story can be sung

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Comprimario A secondary role in an opera, usually the maid, servant, messenger

or confidante of one of the leading characters; often provides comic relief

Conductor The person who leads and coordinates a musical ensemble Contralto An extremely low female voice that almost sounds like a male

voice Costume The clothing the singers wear so that they look like the character

they are portraying Countertenor An extremely high male voice that almost sounds like a female

voice Critic One who describes and analyzes artistic works and performances,

also judging their merits and faults Director The person who “stages” the opera or show by telling the singers

what to do, where to stand, etc. when they are performing, so that it looks real. This may include staging fights or making up dances, although the director occasionally has a choreographer to help with the dancing

Downstage The position on a stage nearest to the audience; because the “raked stage” prevalent in early opera houses was slanted, the closer a singer came to the audience, the lower the stage was to the ground

Duet A musical piece for two instruments or voices Ensemble A group singing or playing together; a piece that a group sings or

plays together Entr’acte A piece of music between the acts of an opera; usually signals the

beginning of the next act Finale The end, usually a grand scene involving as many members of the

cast as possible Grand opera The most elaborate and formal presentation of opera, signified by

size and grandeur in cast, orchestra, and sets Harmony Several notes played and/or sung together, to create a richer

sound Interval The distance between two pitches Legato A smooth manner of playing or singing with no perceptible breaks

between notes

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Leitmotiv A melodic theme used throughout an opera to identify a character

or idea (love, hate, jealousy, etc.); German opera composer Richard Wagner developed this concept in the late 19th century

Libretto Italian word for “little book”; the printed text of the opera Melody The tune Meter The grouping of beats in a piece of music into groups of 2 (duple

meter) or 3 (triple meter); meter is sometimes irregular or mixed between groups of 2 and 3

Mezzo-Soprano A medium-to-low female voice Monologue A long speech given by a single actor in the context of a play; the

operatic equivalent is the aria Note A sound with a specific pitch; eight notes played in a row with a

specific pattern of intervals make up a scale Opera buffa Italian comic opera (opéra comique in French) Opera seria Opera that is serious in nature A gripping scene from the Florentine Opera’s November 2001 production of Tosca, an opera seria by Italian composer Giacomo Puccini Photo Credit: Richard Brodzeller Operetta A work for the stage that is less serious in subject matter and

musical complexity; has spoken dialogue and lots of humor Orchestra A group of instruments made up of strings, woodwinds, brass, and

percussion that provides accompaniment for the opera performance

Overture An orchestral piece that introduces the opera, often making use of the melodies that are heard again during the opera

Patter A style of singing where the words are sung very quickly Pit A large space below the stage where the orchestra and conductor

are during a performance Prima Donna Italian term for “first lady”; the lead female role in an opera Props Items other than costumes or scenery used as part of a dramatic

or operatic production, such as a knife, a mirror, or a special glass; short for properties

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Quartet A musical piece for four voices or instruments Recitative Speech singing that tells the plot line of the opera, imitates natural

speech patterns, and is usually heard before an aria Ritardando Italian word meaning “slowing down” Rhythm The feeling of movement in music Scene The surroundings or location where the action takes place; also a

subdivision of an act Score The pages upon which the vocal and instrumental music of an

opera are written Set The scenery, representing a particular location (short for setting) Set Designer The person who decides how to make the stage look like a castle,

or a forest, or whatever it should look like for the story; this person usually has assistants that build the set once it has been designed

Soprano The highest female voice Stagehand A person who helps put together and take apart the set; also

handles props and scene changes Stage left/right The division of the stage from the singer’s point of view; for

example: a singer moves to stage right, which is the audience’s left

Super Slang for a supernumerary; an “extra” used in non-singing, non-speaking roles

Technical The stage management, lighting, scene-building, and other mechanical aspects of a theatrical production

Tempo The speed at which a piece of music is performed Tenor A high male voice Theme A central melody in a piece of music; in opera, a theme may be

associated with a particular character, setting, object, or emotion; this kind of theme is also called a leitmotiv

Timbre (rhymes with amber) Tone quality or tone color of a voice or instrument

Trio A musical piece for three voices or instruments Tutti Italian word that means “everyone” Unison When two or more people sing the same notes and the same

words at the same time Upstage The position on stage farthest from the audience (see downstage

for further explanation) Vibrato Vibrating quality that produces warmth of feeling in the human

voice

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Largely unseen down in the orchestra pit below stage level, the orchestra is a vital part of the operatic experience. It not only accompanies the singers but also helps to carry the storyline and fuse the entire production. The orchestra consists of four sections: The string section includes violins, violas, cellos, and basses. The woodwind section includes the piccolos, flutes, oboes, clarinets, and bassoons. The brass section includes trumpets, trombones, French horns, baritones, and tubas. The percussion section includes timpani (kettle drums), triangles, cymbals, tambourines, and chimes. The harp, harpsichord, and piano are usually listed in this category. Maestro Joseph Rescigno, Principal Conductor for the Florentine Opera Company The conductor directs both the orchestra and the singers. During the performance, the conductor stands in the pit in front of the orchestra and the stage. From there, he or she is able to indicate the tempo and volume to the orchestra and signal the entrance cues for both solo artists and ensembles. A score is the written music that shows all vocal and instrumental parts on one very large page. This is what a conductor looks at while conducting an opera. On the next page is an excerpt from the conductor’s score of George Gershwin’s Porgy and Bess.

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The vocal score (a book that has the written music for an opera) can tell you many things. Look at this excerpt from the Act II Finale of Mozart’s Le Nozze di Figaro (The Marriage of Figaro). The score tells the dynamics (p – piano, f – forte, etc.), tempo (allegro means “fast”), who is singing, and even gives staging suggestions.

How could this help a director when developing his or her

ideas for a show?

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Goldie B. Locks and the Three Singing Bears

An operatic version of the story of Goldilocks and the Three Bears Words and Story Adaptation by John Davies

Scene 1: The Street

Momma, Papa, and Peek (or Baby Bear as you know him), are singing in the street when the

owner of the Great Baraboo Circus invites the Three Bears to perform in his circus. The Three

Bears agree to be in the circus and they are excited to build a house and plant a garden. Peek

(you know, Baby Bear) can now be in a Junior Smokey Scout Troop.

Scene 2: Goldie’s Back Yard

Goldie B. Locks loves catching bugs. She loves bugs so much her Mom made a pet tarantula out

of her Dad’s old pajamas. The spider’s name is Danielle Webster. Goldie takes Webster with her

wherever she goes. Goldie’s Mom tells Goldie to stay in her backyard, but Goldie follows a

butterfly out of her yard.

Scene 3: The Bear’s New Home and Papa’s New Garden

Papa Bear is working in his garden when Peek comes to show off his new Junior Smokey Scout

uniform. Momma tells Papa and Peek that her homemade soup is ready, but, the soup is too hot

to eat. Momma pours some cream into Peek’s bowl to cool his soup more quickly. The Three

Bears decide to take a walk while the soup cools down. Meanwhile, Goldie has chased the

butterfly through the woods and is now lost and alone. The smell of soup leads her to the house

of the Three Bears. She wonders if she will find a grown-up inside to help her find her way

home. Goldie enters the Bears’ home. She takes Webster, her pet tarantula off of her backpack

and places her in the bread basket so she can have something to eat. Goldie tries one bowl of

soup, but it is too hot. She takes a sip from Peek’s bowl with the added cream, but it is too cold.

She tries the last bowl and it is just right! She eats it all up. Then Goldie hears the Bears coming

home. She runs out of the house, forgetting Webster in the bread basket.

Momma, Papa, and Peek see that someone has eaten their soup. Peek wants to solve the mystery

and earn his Junior Smokey merit badge. Papa finds Webster in the bread basket which scares

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Momma and Peek. Papa tries to throw Webster in the backyard, but she ends up hooked onto his

back. The Three Bears run around trying to get rid of the spider. Momma and Papa run off,

leaving Peek alone in the woods.

Scene 4: The Lost Woods

Goldie and Peek are wandering around the woods, lost and alone until they see each other. Peek

tells Goldie that he is looking for a soup robber. Goldie explains that she is lost. Peek tells Goldie

to ask a grown-up like a police officer, teacher, or parent. They decide to be friends and ask Papa

Bear to help Goldie B. Locks get home. They also promise to always tell the truth to one another.

Papa and Momma are back at home. Papa is making Momma Bear a new chair. He glues on the

final arm of the chair and waits for it to dry. Peek and Goldie enter the Bears’ yard. Peek goes to

get his Momma and Papa while Goldie thinks about whether or not she should tell them that she

ate the soup. Momma and Papa agree to help Goldie find her way home. Goldie agrees to help

the Bears find the soup robber.

As the group looks for the soup robber, Goldie breaks away from the group to look for Webster,

the tarantula. She sees Webster in a tree and climbs up the chair Papa made for Momma Bear.

Suddenly the new chair breaks! Now, she is lost, a soup robber, and a chair breaker!

The Three Bears are coming back so Goldie hides behind one of the beds. Papa Bear wants to

show Momma her new chair. When he pulls off the sheet he finds that the chair is broken. The

Bears think a ghost must have done all of these terrible things. Goldie hides from the Bears under

a sheet. The Bears decide to find a new home. Then suddenly Goldie stands up still wearing the

bed sheet and scares The Three Bears.

Goldie reveals her true identity and admits the truth about all that happened. Goldie learns that it

is important to always tell the truth and that best friends always forgive each other’s mistakes.

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Goldie B. Locks and the Three Singing Bears

An operatic version of the story of Goldilocks and the Three Bears Words and Story Adaptation by John Davies

Scene 1: The Street

Momma, Papa, and Peek (most commonly known as Baby Bear, but in this opera is known as

Piccolo or Peek) are street performers. They are singing in the street when the owner of the Great

Baraboo Circus places a dollar in Peek’s hat. A note is pinned on the dollar, inviting the Three

Bears to perform in his circus. The Three Bears accept the invitation and look forward to the

benefits of settling down; such as having their own home, planting a garden, and Peek joining the

Junior Smokey Scout Troop.

Scene 2: Goldie’s Back Yard

Goldie B. Locks loves catching bugs. In fact, she is so excited about bugs that her Mom made a

pet tarantula out of her Dad’s old pajamas. Goldie named her Danielle Webster and takes

Webster with her wherever she goes. Goldie’s Granny is sick so Goldie’s Mom takes Granny

some stew. Goldie’s Mom tells Goldie to stay in her backyard, but Goldie does not listen and

follows a butterfly out of her yard.

Scene 3: The Bear’s New Home and Papa’s New Garden

Papa Bear is busily working in his garden when Peek comes to show off his new Junior Smokey

Scout uniform. Peek wants to earn his Junior Smokey Scout detective badge first, but Peek

thinks his new home is too boring to solve a mystery. Momma tells Papa and Peek that her

homemade soup is ready. Unfortunately, the soup is too hot to eat. Momma pours some cream

into Peek’s bowl to cool his soup more quickly. The Three Bears decide to take a walk while the

soup cools down. Momma is concerned about leaving their house unattended without any doors

or windows to lock but Papa reassures her that it will be okay. Meanwhile, Goldie has chased the

butterfly through the woods and is now lost and alone. The aroma of soup leads her to the house

of the Three Bears. She wonders if she will find a grown-up inside to help her find her way

home.

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Goldie enters the Bears’ home. She takes Webster (her pet tarantula) off of her backpack and

places her in the bread basket so she can have something to eat. Goldie takes a sip from one

bowl, but it is too hot. She takes a sip from Peek’s bowl with the added cream, but it is not hot

enough. She takes a sip from the last bowl and it is just right so she eats it all up. Then Goldie

hears the Bears returning home. She quickly runs out of the house, forgetting Webster in the

bread basket.

Momma, Papa, and Peek are surprised to find their soup gone! Peek can now try to solve the

mystery of the missing soup and earn his Junior Smokey detective merit badge. Papa finds

Webster in the bread basket which scares Momma and Peek. Papa tries to throw Webster in the

backyard, but she ends up hooked onto his back. The Three Bears run around trying to get rid of

the spider. Momma and Papa run off, leaving Peek alone in the woods.

Scene 4: The Lost Woods

Goldie and Peek are wandering around the woods, lost and alone until they cross paths. Peek

tells Goldie that he is solving a crime. Goldie explains that she is lost. Peek recommends asking

a grown-up like a police officer, teacher, or parent. They decide to be friends and to ask Papa

Bear to help Goldie B. Locks get home. They also promise to always tell the truth to one another.

Now that they are friends, Peek tells Goldie that a thief snuck into his house, ate his soup, and

turned itself into a pajama spider. Goldie realizes it is she who ate the Bears’ soup. She also

discovers Webster is not on her backpack. Goldie agrees to help Peek find the spider.

Meanwhile, Papa and Momma are back at home. Papa is making Momma Bear a new chair. He

glues on the final arm of the chair and waits for it to dry. Peek and Goldie enter the Bears’ yard.

Peek goes to get his Momma and Papa while Goldie debates whether or not she should confess

that she ate the soup. The Three Bears return to the yard. Momma and Papa agree to help Goldie

find her way home. They also elaborate on how the soup thief broke into their house and what

they will do once they catch the robber. Goldie agrees to help the Bears find the soup robber.

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As the search party marches away to find the soup robber, Goldie breaks away from the group in

search of Webster, the tarantula. Goldie worries about the consequences for her actions. She

decides to find Webster and go home. She sees Webster in a tree and climbs up the chair Papa

made for Momma Bear in order to reach higher. Suddenly the chair breaks! Now she is lost, a

soup robber, and a chair breaker!

The Three Bears are coming back so Goldie hides behind one of the beds. Papa Bear wants to

show Momma her new chair. When he pulls off the sheet he is alarmed to see the chair is broken.

The Bears think a ghost must have done all of these terrible things. Goldie hides from the Bears

under a sheet. The Bears decide to find a new home. Then suddenly Goldie stands up still

wearing the bed sheet and scares The Three Bears. The Three Bears are frightened! Goldie

reveals her true identity and admits the truth about all that happened. Goldie learns that it is

important to always tell the truth and that best friends always forgive each other’s mistakes.

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Background and Accomplishments Born in 1946, John Davies is not only an established performer and composer, he is also a father of six (yes, SIX) children! He lives in a little town in central New York called DeWitt, where he loves to walk, read, and write for fun. Mr. Davies’ attention turned seriously toward music at age 16. He spent that summer waiting tables in Lennox, MA (near Boston) during the famous music festival, Tanglewood. At 19, he saw his very first opera, Falstaff by Giuseppe Verdi, and began studying music formally at the Boston University School of Fine and Applied Arts. Mr. Davies has written, directed, and performed in countless operas. Having six children, John Davies always has a “test audience” on which to try out his operas. He composes at his dining room table so that he can get their input throughout the compositional process. The Florentine Opera Company has performed five of Mr. Davies’ children’s operas: Three Little Pigs, Little Red’s Most Unusual Day, Jack and the Beanstalk, Billy Goat’s Gruff, and Pinocchio. His operas are performed across the country and have become a staple of children’s operatic repertoire.

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Jacques Offenbach (1819-1880) Quick Stats Although Jacques Offenbach was born in Cologne, Germany, he is quoted as saying: “I am deeply saddened to have been born on the Rhine River… I am a Parisian through and through.” He was married in 1844 to an English woman and had 5 children. Throughout his life, he was a jokester and often got in trouble for his many pranks. Offenbach died in Paris in 1880. Musical Background Offenbach played violin and cello as a child and began writing songs as early as 8 years of age. At 14, he was accepted into the Paris Conservatory despite the rule against admitting foreigners. He quit after a year and took a job playing the cello in the orchestra at the famed Opéra-Comique. After little success as a composer, he opened his theatre in order to produce his own stage works. In the end, he wrote some 90 operettas. Offenbach is remembered for… Along with Viennese composer Franz von Suppé, Offenbach is credited as one of the first composers of operetta. Johann Strauss, Jr. (the Viennese Waltz King and composer of Die Fledermaus) and Arthur Sullivan (of the British duo Gilbert and Sullivan) owe much to Offenbach. He was a pioneer in a genre that did not exist before his time. His most famous work is Les Contes d’Hoffmann, or The Tales of Hoffmann. Unfortunately, he died 3 months before its premiere, never knowing its success. Others say… Offenbach was deemed “the Mozart of the Champs-Elysées” in the midst of his career. Friedrich Nietzsche wrote, “If by artistic genius we understand the most consummate freedom within the law, divine ease, and facility in overcoming the greatest difficulties, then Offenbach has more right to the title ‘genius’ than Wagner has.” Additionally, Viennese music critic Eduard Hanslick said in an Offenbach obituary that he “was always original. We recognize his music as Offenbach-ish after only two or three bars. He created a new style in which he reigned absolutely alone.”

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Wolfgang Amadeus Mozart (1756-1791) Quick Stats Wolfgang Amadeus Mozart was born in Salzburg, Austria into a musical family. His father was deputy Kappellmeister (“music master”) to the court orchestra of the Archbishop of Salzburg, as well as a composer and teacher. Mozart showed indications of prodigious abilities at a very young age. By the age of five, he could read and write music, and play the piano and violin extraordinarily well. Musical Background Much of his childhood and adolescence was taken up with tours. These included performances before many of the royal courts of Europe. At the age of 17, he accepted a post as a court musician in Salzburg; however, he was unhappy with his low pay and limited opportunities. Over the next eight years, he composed abundantly and frequently traveled in search of a better position. He finally ended up in Vienna from 1781 until the end of his life, which sadly ended at age 35. Musically, many of his best-known symphonic, concertante and operatic works, as well as his final, incomplete Requiem were produced in this period. Others say… Famed composer and conductor Leonard Bernstein said of this prolific musician: “Mozart combines serenity, melancholy, and tragic intensity into one great lyric improvisation. Over it all hovers the greater spirit that is Mozart's — the spirit of compassion, of universal love, even of suffering — a spirit that knows no age, that belongs to all ages.”

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Opera Etiquette (i.e. the proper way to behave) Here are rules for audience behavior during the opera: 1. Remain quiet – don’t do anything that will disturb or distract the performers or the audience. 2. Do not leave your seat during the performance. 3. No gum, candy, or drinks are allowed in the theater. 4. Applaud politely at the end of a scene or act. 5. Dress appropriately for a special occasion. Why we follow these etiquette rules: 1. Because the performers really can hear the whispers from on stage, and other people are trying to enjoy the performance. 2. Because it is dangerous to try to step over people in the dark, and because it’s disrespectful to the performers and the other audience members. 3. Gum, candy, and drinks make noise that will distract the performers and other audience members. It also could make a mess in the theater. 4. Shouting or whistling is not appropriate for an opera. 5. Because it is respectful to the performers and the theater to dress nicely. Suggestions for Question & Answer Session An integral part of our visit to your school is our attempt to involve students in the performance. There will be a short question and answer period immediately following the show. Teachers are requested to prompt students to think of questions to ask before the date they are scheduled to see the opera. Students should be prepared to ask in a voice loud enough to be heard by everyone. Listed below are some sample questions.

! What made you decide to become a singer? ! What do you do to warm up your voice and keep it in shape? ! How do you learn the opera? ! How much did you rehearse? ! What is your favorite type of music? ! Where did the set and props come from? ! Who made the costumes? ! How do you sing so loudly?

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Defining Opera Terms Make a “Memory” matching game from the words in the Music and Opera Glossary. Pair students off in groups of two and have them write a term on one card and its definition on the other. They should do this for each term in the glossary. They will then mix the cards up and place them all facedown in a square on the floor or a table. They will take turns flipping over two cards at a time, in hopes that they will turn over a term with its proper definition. If they make a match, they get another turn. If not, they turn both cards back over and it becomes the other person’s turn. The person to turn over the most pairs of cards wins. Reading Buddies Pair up each child with an older student in another class as a “big brother, little sister” reading program. Have the students read the traditional story of Goldilocks and the Three Bears together. Exploring Multiculturalism Because of their basic simplicity, many folktales make an excellent introduction to literature for young children. Students in the early elementary grades can discuss the appropriateness of the pictures in illustrated versions of the better-known tales, and should be exposed to the simpler folktales from a variety of cultures. Upper elementary students can survey the entire range of folktales, noticing the cultural variations in the treatment of common themes and the psychological implications of these tales. Art and Advertising Have your students create their own posters advertising the upcoming performance of Goldie B. Locks & the Three Singing Bears. Preconceptions about Opera Have your students write, draw, or act out what they think opera is, or what they might already know about opera. Try not to censor their responses – let them say it’s about fat ladies with Viking helmets. Then go back and discuss with them the differences between the stereotypes they might know and the reality of opera today.

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Things to Talk About Before the Opera 1. What is a fairy tale? How is a fairy tale different from “real life?” 2. Read the story of Goldilocks and the Three Bears. Ask the students to discuss the story and its characters. How would they tell the same story? 3. Discuss the differences between an opera and a play, a movie, a concert, or a music video; watching a live performance and watching a performance on television. 4. What part does an audience play in an opera? What are some of the characteristics of a good audience?

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“The way to read a fairy tale is to throw yourself in.” -W. H. Auden, English Poet (1907-1973)

“In a utilitarian age, of all other times, it is a matter of grave importance that fairy tales should be respected.” -Charles Dickens, British novelist (1812-1870)

“If you want your children to be intelligent, read them fairy tales. If you want them to be more intelligent, read them more fairy tales.” -Albert Einstein, German Scientist (1879-1955)

"When I examine myself and my methods of thought, I come to the conclusion that the gift of fantasy has meant more to me than any talent for abstract, positive thinking." -Albert Einstein, German Scientist (1879-1955)

“Deeper meaning resides in fairy tales told me in my childhood than in any truth that is taught in life.” -Johann Christoph Friederich v. Schiller, German poet (1759-1805)

“Fairy tales are more than true; not because they tell us that dragons exist, but because they tell us that dragons can be beaten.” -G. K. Chesterton, English writer (1874-1936)

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In the following sections of the guide, you will find numerous activity ideas for diverse curricula, as well as easy-to-copy worksheets for your students. The activities are divided by subject area, but many activities can be used in relation to several different subject areas – so don’t be afraid to glance through each section! Feel free to amend and duplicate the activities to meet your specific needs.

*Note: Included in the study guide are supplemental activities to promote motor and language arts skills, as well as creativity and critical thinking. These activities are typically best suited to the early elementary grades (Pre-K – Grade 2). Other activities and worksheets, such as those devoted to history, culture, and logic, encourage further critical thinking for older students.

Goldie B. Locks & the Three Singing Bears Costume and Set Design Packet

Music Suggested Activities Listen and Create! Theatre Suggested Activities Visual Arts Suggested Activities Create Your Own Scenic Design Color Your Own Characters Characters and Settings

Language Arts Suggested Activities Questions Worksheet Venn Diagram Once Upon a Time Dear Florentine Opera A “Tale” to Tell Viewing and Reviewing Critic’s Corner! Opera Crossword and Word Search Social Studies Suggested Activities Math, Science & Technology Suggested Activities Fun with Math & Logic Grades K-2, 3-5 Additional Information & Resources for Teachers

COSTUME AND SET DESIGN

GOLDIE B. LOCKS and the THREE SINGING BEARS

PRELIMINARY PROPS LIST & RESEARCH

Compiled by Steve Barnes. (262)321-9266. [email protected]

-Peek’s Hat (costume element)

-Dollar w/note pinned to it

-Panpipes (optional)

-Butterfly Net - http://www.hobbylinc.com/htm/tys/tys4041.htm?source=froogle&gclid=CKPs8cm

G7b4CFaFDMgod6UoAow

-Backpack (Costumes?)

-Glass Jar -attached to backpack with twine?

-Large Mason Jar

-Magnifying Glass

-w/Ribbon to Wear Around Neck

-http://www.indigo.com/magnifiers/hand_magnifiers/23110-10-handheld-

magnifier-4-inch-plastic-handle-metal-frame.html#.U5pQtygkS8B

-Large Book of Backyard Bugs -fits into backpack -Fuzzy Spider

-TUTORIAL: http://craft-with-confidence.blogspot.com/2010/09/spider-bug-buddy-

tutorial-bug-3-of-3.html -made of Llama Pajamas

https://www.etsy.com/listing/177114731/fabulous-llama-print-pure-

cotton-fabric?ref=market

-Has Velcro Arms

-Has Button Eyes

-Papa’s Garden Tools (not sure if needed)

-(3) Bowls of Varying Size

-something unbreakable. http://www.amazon.com/Now-Designs-Ecologie-Mixing-

Bowls/dp/B00AZVI0YW/ref=sr_1_19?s=home-garden&ie=UTF8&qid=1402327505&sr=1-

19&keywords=nesting+bowls

http://www.amazon.com/Now-Designs-Ecologie-Mixing-Bowls/dp/B00AZVI0YW/ref=sr_1_19?s=home-garden&ie=UTF8&qid=1402327505&sr=1-19&keywords=nesting+bowls



-(3) Soup Spoons

-(1) Wooden Mixing Spoon (mounts to Oak Tree wall)

-Soup Pot https://www.etsy.com/listing/150248593/vintage-kitchen-kobe-cookware-

quart?utm_source=google&utm_medium=product_listing_promoted&utm_campaign

=vintage_low&gclid=CITjkt_Z9b4CFVQiMgodzDUAWg

-Creamer

http://www.amazon.com/Norpro-Stainless-Steel-Creamer-5-

Ounce/dp/B000SSZ0P4/ref=sr_1_16?s=kitchen&ie=UTF8&qid=1402328224&sr=1-

16&keywords=creamer+cup

https://www.etsy.com/listing/150248593/vintage-kitchen-kobe-cookware-quart?utm_source=google&utm_medium=product_listing_promoted&utm_campaign=vintage_low&gclid=CITjkt_Z9b4CFVQiMgodzDUAWg



-Bread Basket -Distress with spray paint

http://www.webstaurantstore.com/12-x-9-x-3-polypropylene-wicker-oval-

basket/95841541.html

-Kitchen Towel -Wrap the bread with this

http://www.joann.com/home-decor-print-fabric-richloom-studio-marmande-

spring/12180857.html

http://www.joann.com/home-decor-print-fabric-richloom-studio-marmande-spring/12180857.html

http://www.joann.com/home-decor-print-fabric-richloom-studio-marmande-spring/12180857.html

-Bread

http://www.amazon.com/French-Loaf-Sesame-Seed-

Fake/dp/B000J56HSA/ref=sr_1_3?s=home-garden&ie=UTF8&qid=1402328394&sr=1-

3&keywords=fake+bread

-Broom

http://sanctuarie-

net.stores.yahoo.net/48adwibr.html?utm_source=googlepepla&utm_medium=adwo

rds&id=18283950120&gclid=CP_6wqjN7b4CFRQmMgodRFAA0A

-Flat Sheet -Covers the Chair

-Bed Sheet

http://www.amazon.com/French-Loaf-Sesame-Seed-Fake/dp/B000J56HSA/ref=sr_1_3?s=home-garden&ie=UTF8&qid=1402328394&sr=1-3&keywords=fake+bread



http://sanctuarie-net.stores.yahoo.net/48adwibr.html?utm_source=googlepepla&utm_medium=adwords&id=18283950120&gclid=CP_6wqjN7b4CFRQmMgodRFAA0A



-Goldie has it over her head, like a ghost

-Glue

-Framed Family Portrait -Hung on the Oak Tree Interior (see the drafting)

How do rhythm, dynamics, key, or tone affect the story the music is telling? Listen to original pieces of opera and draw conclusions as to what the pieces are about based upon composition alone. You don’t even need to know the translation! Have students list the differences between operatic music and other types of music they are familiar with, such as pop, rap, R&B, rock, country, jazz, or musical theatre. Discuss differences in vocal quality, vocal production, range of dynamics, dramatic intensity, instrumentation, etc. Discuss the favorite singers of your students. Do they sound like trained classical singers? What do they like about their music? Help your students to understand what makes up musical form. Music is built in phrases, much like sentences that we speak. Try the following steps to find the form of any song they might already know.

Listen to a familiar song and decide where commas and periods would go if the melody were written down like a sentence.

Figure out how many phrases or “sentences” are in the song. Do they sound like questions (open cadence) or answers (closed cadence)? Do any of the phrases sound like they start with the same musical idea?

Label each phrase with a shape: circle, square, etc. If one sounds like another, label them both with the same shape. Go back and change the shapes to letters: A, B, C, and so on.

Once all the phrases are labeled, the form of the song is spelled out: ABA, AABB, ABABA, etc.

Demonstrate the difference between beat and rhythm. Have the students find their pulse on their wrist or neck. Compare the human heartbeat to the “pulse” or “beat” of a song. You could also have them march around the room to the beat of a song so they feel the beat in their bodies. To demonstrate rhythm, have them speak the words to a familiar song or chant, and ask them to clap along with the words they are saying. Once the class can do each activity independently, divide them into two groups. Have one group march to the beat and the other speak and clap the rhythm of the song/chant.

Explore how a singer’s voice type affects his/her character’s personality. Using the sections of this guide devoted to specific voice types (lyric tenor, coloratura soprano, etc.) and genres of opera (opera buffa, opera seria, operetta, etc.) discuss with your students the roles typically played by each voice type in different genres. Once again, choose a popular movie or TV sitcom to use as an example, preferably one with an ensemble cast. Have the students determine into which opera genre the show or movie could be classified, and assign each character in the cast a voice type. (For example: The sitcom the Simpsons would be considered an opera buffa, with Homer being a baritone, Marge being a mezzo-soprano, Patty and Selma being contraltos, and so on.)

LISTEN AND CREATE!

Listen to opera and draw what you hear, feel, think, or see.

THEATRE

Have your students make up their own fairy tale. Select several students to tell their stories. Use vivid descriptions to make the characters real, funny, emotional, etc.

Divide students into small groups and read a fairy tale or use one of the students’ fairy tales, then act it out for the class.

Determine the viewpoint from which the story is told. Goldie B. Locks is told in a way that gives the audience an overall view of the events in the story instead of a single character’s perspective. Divide students into groups and have them write their own Goldie B. Locks story from the perspective of one specific character from the story. Allow students to read their stories to one another. List the differences between each version and discuss how a situation can seem different when looked at from someone else’s perspective.

Look at the importance of the setting. Sometimes a director may take artistic license and decide he/she wants the production of an opera to be set in a non-traditional time and place. For example, he/she might set Hansel and Gretel in a modern-day high school. The mom and dad would be the children’s favorite teachers, while the witch might be an evil substitute. Instead of a forest, Hansel and Gretel could wander through the basement of the school. There are endless options for the setting of Goldie B. Locks. Pick an unlikely time and place for the story like the Old West or the year 2100 on Mars! How would a time/location change affect the way the actors would portray their characters? Think about their speech patterns, the way they walk and carry themselves, their costumes, and their interactions with one another. Stage a scene with both traditional and non-traditional settings. Discuss the similarities and differences.

VISUAL ART

Create a favorite scene in the production three-dimensionally using a shoebox. Scenic Designers make such working models when designing a set for production.

Make a mask of Goldie B. Locks or one of the bears.

Sketch one of the costumes used in the production of Goldie B. Locks.

Make storyboards. Before building the scenery for an opera, the Production Designer draws out plans of the look of each major scene in the show. Have students pick out the most important moments in Goldie B. Locks and draw what they think each scene might look like.

Use the coloring sheet included in this packet for a drawing activity.

Have the students draw pictures of what they think a typical opera singer looks like. Go to a few of the singer websites in the “Operatic Singing” section and look at their photographs. Compare the students’ drawings with the real photos and discuss their reactions.

Read the synopsis for Goldie B. Locks and have students draw their own versions of what they think each of the characters could look like.

Design a poster to promote the opera. Create posters or programs for the production of Goldie B. Locks that might represent the “look” of the show. Display the posters around your classroom or school to let other students know about the upcoming production!

Make puppets!

Goldie B.Locks & the Three Singing Bears

CHARACTERS AND SETTINGS

Draw two characters from Goldie B. Locks & the Three Singing Bears Show what they are doing and be sure to show the setting for each of them.

Character: Setting:

Character: Setting:

LANGUAGE ARTS

! Assist students in writing a critical review of the performance of Goldie B. Locks & the Three Singing Bears. Students in grades K-2 can be guided using single words to describe their musical experience. This project will facilitate students’ listening, writing, communication, and aesthetic judgment skills.

! Watch opera on Looney Tunes! Search for the “Rabbit of Seville” and “What’s

Opera, Doc?” on YouTube. (The “Rabbit of Seville” is based on Rossini’s “Barber of Seville,” and “What’s Opera, Doc?” uses the music of Richard Wagner, specifically “The Ride of the Valkyries.”) Before watching, give students several questions with which to guide their viewing experience. (What kind of feelings does this give you about opera? How would the cartoon have been different if they had used pop music instead of opera? How do you think the director of the episode picked the music to go with certain parts of the story?) Have students write reactions to these two opera-infused cartoon episodes.

! Talk about the conflict. Stories generally have some conflict that needs to be

resolved. What is the conflict in this opera? How is it resolved?

! Fairy tales were often written to teach a lesson to young children. What is the lesson that John Davies wanted to teach? Is it different from the lesson in the original story by Robert Southey?

! Sequencing: Write the following sentences on strips of paper. Mix up their order

and distribute them to your students to put back in the correct order. ✏ The three bears build a house. ✏ Goldie is lost in the forest after leaving her backyard. ✏ Goldie eats the bears’ soup. ✏ Goldie and Peek become friends. ✏ Papa Bear’s new chair breaks. ✏ Goldie confesses that she was the soup robber. ✏ Goldie learned to always tell the truth.

! New Endings: Read the synopsis for the opera Goldie B. Locks. Write a new

ending for the story. Do the same with the original Robert Southey story. ! Revisit the characters. Imagine that five years have passed. What are all of the

characters doing now? How has their experience changed their views on life, family, strangers? Ask students to write an autobiography as if they were one of the characters. Don’t forget to assign some students the three bears and Goldie B. Locks!

Name _________________________________________Date ___________________________ Answer the /wh/ questions based on the text. Title: _____________________________________________________________________________________

Who?

Who are the characters in the story?

__________________________________ __________________________________

What? 1. 2. 3.

What happens in the story?

__________________________________ __________________________________ __________________________________ __________________________________

When?

When does the story happen? Time? Season?

__________________________________ __________________________________

Where?

Where does the story happen? What is the setting?

__________________________________ __________________________________

Why? (Author’s Purpose)

Why did the author write this story?

__________________________________ __________________________________ __________________________________

Goldie B.Locks & the Three Singing Bears

(the opera)

Goldilocks & the Three Bears(traditional story)

Both

Name: _________________________________________

Venn Diagram

Once Upon a Time…

Dear Florentine Opera,

A “Tall Tale” to Tell Students will write a sequel to Goldie B. Locks & the Three Singing Bears!

WHAT YOU NEED:

♦ The synopsis for Goldie B. Locks & the Three Singing Bears ♦ Any classic version of Goldilocks and the Three Bears ♦ Blank story maps for each student (found on the next page) ♦ Colored markers or crayons

WHAT TO DO:

1. Read with students different versions of Goldilocks. 2. Use the story maps for each student to write a draft of their sequel. 3. Allow students to read their drafts aloud to you or a writing partner.

Encourage them to ask questions such as, “Is my writing clear?” or “Is there anything I should add?”

4. Encourage students to draw illustrations and make a cover for their stories.

5. Advise students to read their stories to the rest of the class in a special Goldilocks story hour. If a kindergarten class is available, your students may enjoy reading their stories to the younger students.

STORY MAP

Main characters Setting

Problem of the story

A story event

A story event

How the problem is solved

The ending

VIEWING AND REVIEWING Objective: To help students become informed viewers and listeners. Activity 1: Discuss what it means to be an informed viewer or listener. (Someone who is able to form opinions about an opera, movie, play, orchestral or dance performance, etc., based on thoughtful consideration about what was seen and heard.) Ask your students to name two movies or television programs the have seen recently; one they liked and one they disliked. Can they describe why they liked one and not the other? Discuss the story, the characters and the production. Was the plot interesting? Why? Where did the major conflict occur? How did the dramatic conflict and resolution contribute to the success (or failure) of the plot? Did the theme come across clearly? Was it easy to identify with the characters? Why? What actions made the characters believable or unbelievable? Was the choice of the actors appropriate for the roles? How would different performers have changed the dramatic effect? Were the costumes, make-up and props effective? How did they contribute to the furthering of the theme and characters of the story? Identify other novels, plays, movies, operas, etc. with the same theme. If the students were going to produce their own version of the same story, what would they have done differently? Activity 2: After viewing the performance, have the students write their own reviews. Ask them to begin by stating their general reaction to the performance. What happened musically or dramatically to cause their reaction? Students should comment on the plot, characters and production elements (i.e. sets, costumes, lighting and make-up), as well as the musical values. Compare reviews. Discuss how the students’ perceptions differ.

CRITIC’S CORNER

Pretend you are an opera critic for a newspaper and write a review of Goldie B. Locks & the Three Singing Bears! Remember that it is a critic’s job to report both the positive and the negative aspects of a performance. Was the opera funny, sad, or scary? Was the opera too long, too short, or just the right length? What did you like about the Florentine Opera singers? Did it help you learn about opera? Were you left with any questions after the performance? What did you like about the performance and what do you wish could have been different? Would you recommend the show to other students? Ask your teacher to send us your review! Your opinion really matters to us!

REVIEW OF GOLDIE B. LOCKS & THE THREE SINGING BEARS

FOR IMMEDIATE RELEASE By: __________________________ School: _____________________________ Grade: ______

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

______________________________________________________________________________

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OPERA CROSSWORD

ACROSS DOWN 3. The main vocal line is the _________ 1. The clothing worn in an opera 4. A piece for four singers 2. The scenery and furniture on the stage 7. A large group of singers 3. A low female singer 8. A high male singer 5. A piece for two singers 9. The speed of the music 6. A production with acting and singing 10. A piece for a solo singer 7. The person who writes the music 12. A high female singer 11. When the singer speaks a simple melody

13. The words of an opera 1 2 3 4

5 6 7 8

9 10 11 12 13

KEY – OPERA CROSSWORD

ACROSS DOWN 3. The main vocal line is the _____ 1. The clothing worn in an opera 4. A piece for four singers 2. The scenery and furniture on the stage 7. A large group of singers 3. A low female singer 8. A high male singer 5. A piece for two singers 9. The speed of the music 6. A production with acting and singing 10. A piece for a solo singer 7. The person who writes the music 12. A high female singer 11. When the singer speaks a simple melody 13. The words of an opera

ACROSS DOWN 3. Melody 1. Costume 4. Quartet 2. Set 7. Chorus 3. Mezzo 8. Tenor 5. Duet 9. Tempo 6. Opera 10. Aria 7. Composer 12. Soprano 11. Recitative 13. Libretto

SOCIAL STUDIES

History

Read about composers Mozart (from Austria) and Offenbach (from France). Do some research with your students and try to determine what important world and US events happened while they lived. Discuss which events might have been most influential to both of the composers.

What was going on when the story for this opera was written? Robert Southey wrote Goldilocks and the Three Bears in 1837. Research what was happening in America that year. Who was the president? What kinds of entertainment were popular? How much did things like gas or milk cost? Did your school exist in 1837? What has changed about your town since that time?

Find out how Austria, France, and the United States fit into the history of the world. Which country has been established the longest? Have any of these countries ever been involved with any wars together?

Opera stars aren’t just known for their artistry. A few have made a real difference in the cultural and social landscape of the United States. In 1939, African American contralto Marian Anderson gave a historical concert on the steps of the Lincoln Memorial for an integrated audience of more than 75,000 people. (For more information, go to http://www.biography.com/people/marian-anderson-9184422 or http://www.pbs.org/wgbh/americanexperience/features/biography/eleanor-anderson/)

Geography

Most popular operas were written in Europe and take place all over the world. Have your students find the countries in which different operas were written and those in which they take place.

Find a map of Europe and use it to learn about the different paths that Mozart, Offenbach, and Robert Southey took in their lifetimes. Have any of your students been to these places?

Culture

The story of Goldilocks and the Three Bears was first heard by oral tradition. This tradition passes stories from one generation to another. Historically, messages or testimonies are verbally transmitted through folktales, sayings, ballads, songs, or chants. Begin a discussion to see if students can think of stories, songs, jokes, or sayings, which they didn’t learn from a book. Some suggestions:

♦ How many ghost stories do you know? ♦ How many knock-knock jokes can you tell? ♦ How many jump rope rhymes can you repeat? ♦ How many hand clapping games can you recite?

MATH, SCIENCE

& TECHNOLOGY

Math and music are very similar. Simple math connections can be made (e.g., 4 quarters = 1 whole dollar; 4 quarter notes = 1 whole note. ½ + ½ = 1; 1 half note + 1 half note = 1 whole note). Calculate the size of the set. As a class, measure the space where the performance of Goldie B. Locks will (or did) take place. Calculate the correct dimensions of the space and decide how big the set should be.

Talk about various scientific discoveries that had not been made when Mozart and Offenbach were writing their music. Did modern conveniences like the telephone, TV, or light bulb exist? How would opera production have been different if these things were available?

Take a tour of your school’s auditorium or a local performance space. Have students list all the scientific elements of performance spaces: pulley systems, lights, acoustics, etc.

Read the sections of this guide about “operatic voices” and “operatic singing.” Explore the parts of the body that are used for singing.

Learn more about the science of sound by visiting the following interactive website: http://www.exploratorium.edu/music/index.html

Let there be lighting! Lighting a stage effectively is not as simple as flipping a light switch. Read all about the science and history of stage lighting at http://www.mts.net/%7Ewilliam5/sld.htm

Pretend you are the General Director of an opera company. Create an Excel spreadsheet to calculate a budget for your company.

Name __________________________________________Date ________________________

Addition and subtraction problem types for grades K-2. Solve each number story from Goldie B. Locks and the Three Singing Bears. Show your work.

1. Goldie found 5 ants. Then she found 7 lady bugs. How many bugs did she find in all?

2. Goldie had 18 bugs. 9 bugs flew away. How many bugs does she have left?

3. Peek marched around the circus for 17 minutes on Monday. Then he marched for 11 minutes on Tuesday. How many minutes did he march in all?

4. Peek has 13 merit badges. Some are blue and 7 are yellow. How many are blue?

5. Mama Bear made 10 cups of soup. She gave 2 cups of soup to Papa Bear. How many cups of soup are left?

6. Mama Bear baked 3 loaves of bread and some biscuits. She baked 12 items in all. How many are biscuits?

7. Papa Bear planted some carrot seeds and 12 bean seeds. He planted 23 seeds in all. How many carrot seeds did he plant?

8. Papa Bear harvested 8 yellow peppers and 5 red peppers. How many more yellow peppers did he harvest than red?

9. Goldie found 6 bugs. Peek found 11 bugs. Who found more bugs? How many more?

10. Papa planted 15 pumpkin seeds. A squirrel ate 6 seeds so Papa planted 10 more seeds. How many pumpkin seeds are in the garden now?

Name __________________________________________Date ________________________

Multiplication and division problem types for grades 3-5. Solve each number story from Goldie B. Locks and the Three Singing Bears. Show your work.

1. Goldie found 12 spiders. If each spider has 8 legs, how many legs are there in all?

2. Goldie had 56 bugs. She wants to put the same amount of bugs into each jar. She has 8 jars. How many bugs should she put in each jar?

3. Peek marched around the circus for 15 minutes each day for a week. How many minutes did he march in all?

4. Mama Bear made 15 cups of soup. If she gave 3 cups of soup to each bear in the family, including herself, how many cups of soup are leftover?

5. Mama Bear ate some bread on Sunday and had 1/2 of the loaf left over. On Monday she ate 1/3 of what was left. How much bread did she eat on Monday?

6. Papa Bear planted 3/4 of a packet of carrot seeds and 7/8 of a packet of bean seeds. How many packets of seeds did he plant in all?

7. Papa Bear and Peek were served the same amount of soup. Papa Bear ate 4/5 of his soup and Peel at 2/3 of his soup. Who ate more soup?

8. Papa had 7 5/8 feet of fencing for his garden. He only used 4 1/8 feet for the fence. How much fencing is left over?

9. Papa planted 256 seeds in the garden. He arranged them so that each row has 8 seeds. How many rows are in his garden?

10. Mama Bear is buying different colored fabric to make costumes for the circus. She bought 50 yards of

green at $2.69 per yard, 100 yards of blue at $1.99 per yard, 10 yards of yellow at $2.09 yard, and 20 yards of red at $3.69 per yard. Which of the item cost the most?

Appendix

florentine operacompany

MEET THE 2014-2015 STUDIO ARTISTS

Aaron Short is excited to return for a second year as a Studio Artist with the Florentine. Mr. Short spent the summer of 2014 at The Santa Fe Opera as an Apprentice Artist, covering and singing the role of First Prisoner in Fidelio. He has also been a Young Artist with Chautauqua Opera, Wolf Trap Opera, Lyric Opera Studio Weimar, and Opera in the Ozarks. Aaron is a recent graduate of Manhattan

School of Music in New York City, where he sang Bégearss in The Ghosts of Versailles, Nicias in Thaïs, and Jimmy Mahoney in Aufstiegund Fall der Stadt Mahagonny, for which the New York Times praised him for his “simultaneously subtle and shattering performance.” Other opera credits include Edgardo in Lucia di Lammermoor, Don Ottavio in Don Giovanni, Des Grieux in Manon and the title roles in Faust and Albert Herring. He was the recipient of the Singer of the Year award at the NATS Regional Competition (2010), a two-time finalist at the Naftzger Young Artist Competition sponsored by the Wichita Symphony Orchestra, and was recently granted an Encouragement Award at the Milwaukee District Met Competition.

Pablo Siqueiros is pleased to be returning for his second year in the Florentine Opera Studio Artist program. In his past season with the Florentine he performed roles including Baron Douphol in La Traviata, Curio in Giulio Cesare in Egitto, Dr. Dulcamara and The Wolf in John Davies’ children’s opera, Pinocchio; and he appeared in La Bohème, Festa Fiorentina, and the @ The Center Series. Additionally, he was

a Young Artist with Opera Theater of Pittsburgh, where he performed the roles of Mr. Lindquist in A Little Night Music, Jean Paul in the world premiere of French Suite, and covered Schlemil in The Tales of Hoffman. In the summer of 2012, Mr. Siqueiros sang the title role in Don Giovanni with Bay View Music Festival. In 2011 he participated in the Los Angeles-based OperaWorks Advanced Artist Program under the direction of Ann Baltz. Mr. Siqueiros has received top awards from the Virginia Hawk Vocal Scholarship Competition, NATS San Diego Chapter Auditions, and SDSU Symphony Orchestra Soloist Competition. The San Diego native received his Bachelor of Music Degree from San Diego State University, where his passion for opera began. While at SDSU, he performed the roles of Bob in The Old Maid and the Thief and Ko-Ko in The Mikado. He also received his Master of Music degree from the Chicago College of Performing Arts at Roosevelt University, where he performed the roles of Interpreter/2nd Doctor in Daron Hagen’s Amelia, Silvester in Ned Rorem’s Three Sisters Who Are Not Sisters, and the Sprecher in Die Zauberflöte.

Pablo Siqueiros, baritoneSan Diego, CA

We hope you enjoy today’s performance by this season’s artists!

Julie Tabash is thrilled to be returning to the Florentine as a second year Studio Artist. Last season, she performed the roles of Annina in La Traviata, and Olympia/Old Blue Lady in John Davies’ children’s opera, Pinocchio, appeared in Festa Fiorentina, a concert featuring the Studio Artists, and @ The Center Series. This past summer, Julie was an Apprentice Artist at Central City Opera, where she performed the role of

Barbarina in Le nozze di Figaro, Sister Catherine in Dead Man Walking, and Liesl in The Sound of Music. Other recent roles include Despina in Così Fan Tutte, Anne Egerman in A Little Night Music, and solo performances for both musical theater reviews and concerts featuring the music of Verdi with the Pine Mountain Music Festival. Past roles include Rosasharn in the Chicago premiere of Ricky Ian Gordon’s The Grapes of Wrath, Maureen Reagan in the world stage premiere of the opera-oratorio Reagan’s Children, Miss Wordsworth in Albert Herring and Papagena in The Magic Flute. Prior to being a Studio Artist with the Florentine, Julie has been a Studio Artist at Opera Theatre and Music Festival of Lucca, Italy; a Studio Artist at Opera Theatre of the Rockies’ Vocal Arts Symposium; and an Advanced Artist at the Los Angeles-based OperaWorks. Recent non-operatic roles include soprano soloist in J.S. Bach’s Magnificat, and a series of concerts with Chicago-based ‘no tiny birds’ led by Mr. Alan Darling. She was a winner of Northwestern University’s Concerto and Aria Competition, the recipient of the Central City Opera 2014 Iris Henwood Richards Award, and was awarded three alumni scholarships from Opera Theatre of Saint Louis’ Artists-In-Training program.

Julie Tabash,soprano - St. Louis, MO

Our newest addition to the Florentine Opera Studio Artist program, Mezzo-soprano Lindsay Metzger, hails from the Chicagoland area. She most recently finished her second summer with Des Moines Metro Opera as an Apprentice Artist. She will perform the role of Giannetta in Florentine’s production of The Elixir of Love in 2015. Some of her recent roles include: Flora Bervoix cover in Verdi’s La Traviata, Béatrice in Berlioz’

Béatrice et Bénédict, Ariodante in Händel’s Ariodante, Cherubino in Mozart’s Le nozze di Figaro, and Beppe in Mascagni’s L’amico Fritz. With the Lyric Opera of Chicago’s outreach program, Opera in the Neighborhood, Lindsay performed the role of Angelina in Rossini’s La Cenerentola. A featured soloist in Chicago, Lindsay debuted with the Grant Park Symphony as the soprano soloist in Fauré’s Requiem. Lindsay was recently awarded the Paul Collins Fellowship from University of Wisconsin-Madison, the Virginia Cooper Meier Award from the Musician’s Club of Women, and an Encouragement Award from the Metropolitan Opera National Council Auditions.

Lindsay Metzger, mezzo-soprano - Chicago, IL

Aaron Short, tenorKansas City, MO

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Project Ideas for Continued Opera Education After the Florentine’s Performance

Encourage personal responses by suggesting students write thank-you notes to the

singers, draw pictures of what they saw, write reviews of the performance, etc.

If opera is a completely new art form for your students, this first exposure may have been quite different from what they expected. Discuss how their experience differed from their expectations.

If some students have previous experience with opera, talk about how they felt

returning to the art form and how seeing opera for a second (or third) time compared with the first.

Discuss how the main characters in Goldie B. Locks and the Three Singing Bears

change over the course of the action. What do they learn about themselves and each other? What do they learn about friendship and teamwork? What do they learn about making responsible choices?

Offer extra credit for students who undertake an opera-related project (e.g., writing

a review of the next opera televised on public television, clipping a magazine or newspaper article about a famous opera singer to share with the class, etc.).

Pick a well-known opera to study. (Bizet’s Carmen has a powerful story and many

famous melodies.) Over a period of time, read the story of the opera to your students, one “chapter” (act, scene, etc.) at a time. As you read through the story, play excerpts from a recording (available at your local public library or record store) for students and help them identify the music that goes with different characters and parts of the narrative. Have students act out parts of the story using the recorded music as a soundtrack. You can find narratives of famous operas on the following websites:

http://www.metoperafamily.org/metopera/history/stories/ http://www.authorama.com/opera-stories-from-wagner-1.html (This

website has Wagner’s complete Ring Cycle divided up into short chapters.)

The Metropolitan Opera has published a book entitled Sing Me a Story: The Metropolitan Opera’s Book of Opera Stories for Children. This book was written by Jane Rosenberg, with an introduction written by world-renowned tenor Luciano Pavarotti.

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Evidence of Learning The Florentine Opera believes by introducing students to opera through this opportunity, many will grow to appreciate the arts. After a first exposure to opera, many teachers frequently recognize improvement in a student’s attitude or growth in perspective, but unfortunately these things are nearly impossible to test for quantitative documentation.

Methods of Documenting Learning In order to track a student’s progress, one can use a simple method of tracking and documenting a student’s progress through a simple written survey before and after their opera unit. Here are some suggested questions to include on your survey: Before the unit begins…

List some adjectives you think describes opera. What might you see in an opera? Do you think you would enjoy watching an opera?

After completing the unit…

List some adjectives that describe the opera you saw. What is opera? Did you enjoy learning about opera? Would you like to see an opera again?

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NATIONAL AND STATE STANDARDS:

How does opera fit in?

National Standards for Music Education according to MENC: the National Association for Music Education

(http://musiced.nafme.org/resources/national-standards-for-music-education/)

1. Singing, alone and with others, a varied repertoire of music. 2. Performing on instruments, alone and with others, a varied repertoire of music. 3. Improvising melodies, variations, and accompaniments. 4. Composing and arranging music within specified guidelines. 5. Reading and notating music. 6. Listening to, analyzing, and describing music. 7. Evaluating music and music performances. 8. Understanding relationships between music, the other arts, and disciplines outside the arts. 9. Understanding music in relation to history and culture.

The Florentine Opera Company’s education programs provide educators, music and classroom alike, with opportunities for cross-curricular connection. The state and national standards for music education can be used as a framework for such co-curricular work. The first five standards can be described as performance-based, but are certainly not limited to music educators or the music classroom environment. Classroom teachers may encourage students to explore many avenues of creative writing and storytelling (such as those listed in the “Language Arts Activities” section) while also creating accompanying musical elements. These elements can be as simple as creating a soundscape with everyday objects to perform with the reading of a student’s work, or as complex as composing full songs to go with each student’s writing. Standards six and seven call upon the students’ critical thinking and observation skills. Again, one need not be an expert on music to appreciate and critique a musical performance. Critical listening is one of the most innate skills a child has, regardless of his or her age. Depending on the age level, teachers can tailor guiding questions to invoke extremely thoughtful responses. Elements such as mood, setting, and possible storyline require no musical study at all – merely a working imagination. Using the concept of a movie soundtrack as the basis for such exercises, teachers can help students to explore the “who/what/where/when/why/how” of any story, as told through its music. Reverse composition is a great way to begin with students of all ages – listen to a “soundtrack” and write a possible storyline to go with it. Standards eight and nine are the most versatile in terms of cross-curricular opportunities. Music itself is a cultural phenomenon. There is no music on earth that does not in some way reflect its composer, time period, geographical location, or culture. There is an abundance of information available, both online and in hard copy format, on the roots of any piece of music, as well as its genre, composer, targeted

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audience, effect on the world or culture at the time, and present-day reverberations. Get creative with your students! If you are studying explorers of Western Europe, do a class study on musical explorers from the 17th and 18th centuries. During a unit on the peoples and cultures of West Africa, discover the instruments and everyday uses of music in cultures from Ghana. The Florentine Opera believes that the possibilities are endless when it comes to connecting Music Education with the other content areas.

Wisconsin Academic Standards can be found at http://dpi.wi.gov/standards/

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OPERA-RELATED LITERATURE FOR CHILDREN AND EDUCATORS

Anderson, Marian. My Lord, What a Morning. New York: The Viking Press, 1956. Comstock, Ariane Csonka. The Young Person’s Guide to the Opera. Los Angeles: Monarch Media, Inc., 1997. Cross, Milton. The Complete Stories of the Great Opera. Garden City, NY: Doubleday, 1952. Geras, Adele. The Random House Book of Opera Stories. New York: Random House, 1997. Pavarotti, Luciano and William Wright. Pavarotti: My Own Story. Garden City, NY: Doubleday and Co., Inc., 1981. Pogue, David. Opera for Dummies. New York: Hungry Minds, 1997. Price, Leontyne. Aïda: A Picture Book. New York: Harcourt Brace & Company, 1990. Rosenberg, Jane. Sing Me a Story: The Metropolitan Opera’s Book of Opera Stories for Children. New York: Thomas & Hudson, 1989. Weaver, Tess and Andrea Wesson. Opera Cat. New York: Clarion Books, 2002.

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WEBSITES FOR MUSIC EDUCATORS

Opera Websites www.florentineopera.org ✦ Florentine Opera Company website www.operaam.org ✦ OPERA America Website.

Find research and countless other resources here. www.operainfo.org ✦ A project of the Metropolitan Opera Guild.

Synopses, composer bios, photographs, lesson plans, and more.

Arts in Education Websites www.aep-arts.org ✦ Arts Education Partnership Website.

Support for arts in the classroom. http://www.kennedy-center.org/education/ ✦ The John F. Kennedy Center for the

Performing Arts. www.aate.com/ ✦ American Alliance for Theatre and Education. www.americanartsalliance.org ✦ Founded in 1977.

Advocates for the performing arts. www.artsusa.org/ ✦ Americans for the Arts. www.nafme.org ✦ National Association for Music Education. www.exploratorium.edu/music/

Interactive website for music and science. www.juliantrubin.com/topicprojects/musicprojects.html

Music-centered science projects and experiments. Topics, Ideas, Experiments, Reference Resources and Sample Projects.

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# Goldie B. Locks Title Original Title Opera Composer

1

“Hello, Good Day” “C’est ub billet de logement...”

La fille du tambour-major

Offenbach

2

“I Will Plant My Garden” “Je sais qu’on n’trouv’rait pas en France...”

La boulangère a des écus

Offenbach

3

“Oh, Catching Bugs” “Der Vogelfanger bin ich ja,...”

Die Zauberflöte Mozart

4

“Broccoli, Potatoes” “Cinque...dieci...venti” Le nozze di Figaro

Mozart

5

“Oh, Momma’s Soup” “Le jeu, fievre brulante...”

Le financier et le savetier

Offenbach

6

“The Soup Smells Yummy”

“J’entends la retraite” La permission de dix heures

Offenbach

7

“I’m lost and All Alone” “Ce qu’j’ai, tu le demandes...”


Offenbach

8

“We’ve Walked around the Circus Tent”

“Sur cette place solitaire...”


Offenbach

9

“Some Robber Ate Our Mother’s Soup”

“Bravo ma belle demoiselle!”


Offenbach

10

“Hm! Hm! Hm! Hm!” “Hm! Hm! Hm! Hm!” Die Zauberflöte Mozart

11

“Oh, Where Have I Run” “Seit die Rosen neuer erbluhen...”

Bluebeard Offenbach

12

“We will be the Best of Friends”

“Il etait une grand’ princesse...”


Offenbach

13

“One More Piece” “Je dormais dedans ma chamber...”


Offenbach

14

“It’s a Very Tricky Mystery”

“Helas mon Dieu que vont-ils faire...”

Le pont des soupirs

Offenbach

15

“Hello, Webster?” “Papagena, Papagena...”

Die Zauberflöte Mozart

16

“This Place is Getting Really Spooky”

“Dans Venise la belle...”

Le pont des soupirs

Offenbach

17

“Ha, Ha, Ho, Ho” Infernal Galop Orphée aux enfers

Offenbach

18

“Every day in Every Way”

“Trop amoureux la cadence”


Offenbach

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Goldie B. Locks and the Three Singing Bears 2014/2015

Teacher Evaluation Form The Florentine Opera Company is dedicated to sharing opera with all audiences and has a particular interest in introducing students to this rich medium. Your comments will help us as we continue to develop our programs and educational materials. Thank you for taking a few minutes to share your feedback! School name: Performance Date: Your name: Position: Today’s Date: Tell us about your opera background (check one): Very knowledgeable: ___ Moderate: ___ This was my first experience: ___ How much classroom preparation time did you spend before the performance? Did you find the teaching materials helpful in planning lessons and activities? Please describe the activities that were planned around the program: Your recommendations for future teaching packets/materials:

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How do you feel this experience impacted the students? What was your favorite educational aspect of the performance? Do you have any suggestions for improvement? Would you recommend this program to other educators? Why or why not? Have you attended or seen any of the Florentine Opera Company’s other educational programs/productions? If so, which one(s)? Have you attended or seen any other arts groups’ educational programs/productions? If so, which one(s)? Additional comments: ________________________________________________________________________ May we call you to discuss the program and this evaluation further? Telephone number: Best time to call:

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Quick Teacher Evaluation Survey Please Rate from 5 (Excellent) to 1 (Poor)

1. How was the quality of Goldilocks and the Three Singing Bears Performance? 5 4 3 2 1

2. How was the quality of performers? 5 4 3 2 1 3. Did the study guide support Milwaukee Public Schools’ common core standards? 5 4 3 2 1 4. Was the performance material appropriate for the students? 5 4 3 2 1 5. How was the visual appeal of the performance i.e. costumes and set design? 5 4 3 2 1 6. Do you feel the performance and experience with Florentine Opera added to the

students overall appreciation to the arts? Yes No 7. How would you rate your students overall experience with Florentine Opera? 5 4 3 2 1 8. Are you planning to request a Florentine Opera education performance next year? Yes No

Please return this form to:

Florentine Opera Company/Attn: Sarah Lewis Martin 930 E. Burleigh St., Lower Level

Milwaukee, WI 53212

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FOR THE STUDENTS

NAME: ______________________ Grade: ___ SCHOOL: ______________________________ Was this your first opera? ________ How many operas have you seen? ________

What was your favorite part of Goldie B. Locks and the Three Singing Bears? ____________________________________________________________________________________________________________________________________________________________________________________________________ What would you change about the opera? ___________________________________________________________________________________________________________________________________________________ What did you learn about opera from the Florentine Opera? ____________________________________________________________________________________________________________________________________________________________________________________________________

Would you like to see another opera? ______ Explain why, or why not: ____________________________________________________________________________________________________________________________________________________________________________________________________

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FOR THE STUDENTS:

Circle the face that best describes how you feel:

1) I enjoyed learning about opera. ☺ " #

2) I enjoyed the show. ☺ " #

3) I would like to see another opera. ☺ " # Draw a picture of what you liked most about the opera:

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Goldie B. Locks & the Three Singing Bears

2014/2015

teacher resource guide teacher resource guide teacher

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