teacher’s guide€¦ · 1 • opera for the young™, rusalka,rusalka,

1 • OPERA FOR THE YOUNG™, Rusalka, Teacher’s Guide, ©2017

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TEACHER’S GUIDEAbout Opera for the Young Page 3STUDENT PREPARATION CHECKLIST *Required Page 4Important Performance Information Page 5About Opera and Operetta Page 6Learn More About Opera: Suggested Reading Page 6Detailed Plot Synopsis with CD Track Numbers Page 7How Rusalka Came To Be Written Page 8Adaptors’ Creative Statement 0Glossary of Opera Terms Page 12Voice Types and Definitions Page 14Suggested Activities Page 14Discussion and Research Topics Page 15Post-Performance Discussion and Evaluation Page 17Gymnasium Set-Up Page 18Invitation Page 19Sample Press Release Page 20Poster Page 21National Standards for Music Education & OFTY Page 22Character Drawings for Activities Page 25Word Search Solution Page 31CHORUS MUSIC (English) Page 33CHORUS MUSIC (Spanish)** Page 45

*Spanish chorus music NOT required, but included as an option for teachers.

Note to Music Teacher: Please copy and distribute any of these materials to students and teachers, as needed.

Adaptation with libretto by Diane Garton Edie and music adapted by Jeffrey Sykes

Original opera by Antonín Dvořákand Jaroslav Kvapil


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Rusalka: A Mermaid’s TaleAn Opera for the Young® Production

Opera by Antonín DvořákLibretto by Jaroslav Kvapil

Score adapted and arranged by Jeffrey SykesOriginal libretto by Diane Garton Edie

Copyright ©2002, 2010, 2017 Opera for the Young, Inc.

Opera for the Young is able to offer programming to schools at less than 45% of the actual cost because of the generosity and loyalty of those contributors who are investing in music in the schools. The following contributors have recently provided gifts of at least $500. We thank them. William and Joyce Wartmann Fund for Opera for the Young, Mead Witter Foundation, National Endowment for the Arts, American Girl Fund For Children, component fund of the Madison Community Foundation, The Pleasant T. Rowland Great Performance Fund for Theater, component fund of the Madison Community Foundation, Dane Arts, Johnson Bank, Thompson Investment Management, Twin Cities Opera Guild, Adobe, MGE, Community Foundation for the Fox Valley Region, Madison Arts Commission, Madison Children’s Museum, Microsoft, Betty Nemec, Oshkosh Area Community Foundation, Pleasant T. Rowland Foundation, Supporters of Opera Singers, W. Stuart & Elizabeth Sykes, American Family Insurance, Charles & Mary Anderson, The Beloit Foundation, The Kohler Foundation, Electronic Theatre Controls (ETC), First Business Bank, W. Jerome Frautschi, Deirdre Garton, Green Bay Packers Foundation, Mary & Carl Gulbrandsen, Overture Center for the Arts Community Access Program, Joan Pulver, Jason & Ana Stephens, Studio Jewelers, Ltd., Wisconsin Arts Board, John & Kathryn Curtis Revocable Trust, Diane Garton Edie & Dave Edie, Mark Koehn & Dan Plummer, Chun Lin, Barbara Merz, Victoria Vollrath Foundation, Ellen B. White, Martha & Chuck Casey, David & Wendy Coe, Carl de Boor, Seth Dailey & Iris Kurman, Eric & Jane Englund, Barbara & Dan Garton, Susan Goeres, Terry Haller, Georgia Shambes, Janette Smart, Tom & Eileen Sutula, Dan & Selma Van Eyck

OPERA FOR THE YOUNG

6441 Enterprise Lane, Suite #207Madison, WI 53719-1163

Phone: 608-277-9560 Fax: 608-277-9570

Email: [email protected]

Opera for the Young is a non-profit organization committed to keeping school

fees affordable. Your tax-deductible contribution makes all the difference.

Thanks for your support!

Opera for the Young’s Rusalka Teaching MaterialsCopyright ©2017 Opera for the Young, Inc.

Contributors to Rusalka Teaching MaterialsDiane Garton Edie, Jeffrey Sykes, Saira Frank

AcknowledgementsMike Ross and the Madison Youth Choirs

THIRD-PARTY WEBSITES - THE FINE PRINTOpera for the Young provides as a convenience to you, links to websites and content operated by other entities and persons, but makes no representations whatsoever about any other websites which you may access through our materials. Any link to a non-Opera for the Young website does not mean that Opera for the Young endorses or accepts any responsibility for the content, or the use of such website.

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mailto:[email protected]

www.OFtY.org


3ABOUT OPERA FOR THE YOUNG

Opera for the Young (OFTY) brings live, professional opera to elementary school audiences. Students appear onstage in chorus and cameo roles, performing for their peers right alongside OFTY’s professional artists. OFTY provides each school with an extensive packet of teaching materials: a TEACHER’S GUIDE; a full LIBRETTO; a STUDENT PREPARATION HANDBOOK, EVALUATIONS, CAST RECORDING and a TUTORIAL CD. All productions are fully staged, sung in English and adapted especially for kids. A lively question-and-answer session follows every show. OFTY also holds an annual design contest.

OFTY audiences become acquainted with the original scores of master composers set in contexts interesting and relevant to kids' 21st century lives. Our Barber of Seville

is updated to the 1950s; The Elixir of Love is set in the old west. OFTY’s repertoire also includes Massenet’s Cinderella; Humperdinck’s Hansel and Gretel; Gilbert and Sullivan’s The Pirates of Penzance; Dvorak’s Rusalka, A Mermaid’s Tale (set on a Caribbean Reef); Mozart’s The Magic Flute (set in outer space); and a work based on the masterpieces of Offenbach, Gluck and Monteverdi entitled Orpheus Returns. The 2014-2015 season celebrated the company’s 45th anniversary with a new adaptation - Grétry’s Beauty and the Beast, set on an exotic island in the Indian Ocean.

The mission of Opera for the Young is to ignite enthusiasm for opera. The artistic vision in pursuit of that mission:

1.) Engage and educate children about opera with professional, affordable school-based performances;2.) Involve students in all aspects - from design to performance; 3.) Provide professional opportunities for emerging artists;4.) Create new operatic works expressly intended for young audiences;5.) Broaden access to opera for the entire community.

Opera for the Young serves Wisconsin, Illinois, eastern Minnesota, Michigan, and Indiana, presenting about 200 in-school performances annually and reaching over 80,000 children every school year.

The following elements distinguish Opera for the Young’s programming:

• The program is “hands-on” and interactive. • Students don’t have to travel anywhere beyond their own school gyms. • Opera itself is the “one-stop-shopping” of the performing arts, incorporating the best of music, dance, theater and design. • OFTY specifically crafts its product to engage children. It is professional work of the highest quality - just for them.• OFTY fills the gap in arts education and enhances other areas of study. A teacher from Green Bay, Wisconsin recently wrote, “As a music educator at an at-risk school, I must tell you that we regularly budget for OFTY. Because of the literature-based component of the operas you present, [the OFTY experience] goes a long way to assist in the acquisition of literacy skills while also integrating many other disciplines….You provide an outstanding opportunity for children to engage themselves with an often misunderstood art form in a highly professional format. Thanks for your continued expertise.”

Learn more about Opera for the Young

at www.OFTY.org or search for us on

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O P E R AFOR THE YOUNG

www.OFtY.org


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Shawn Weber McMahon Crestwood Elementary | Madison, WI 608-204-1148 (school) | 608-692-9501 (cell)[email protected]

Mary RasmussenChávez Elementary (retired) | Madison, WI608-438-1477 (cell) [email protected]

TWO VETERAN MUSIC TEACHERS WHO HOST OFTY ANNUALLY ARE HAPPY TO ANSWER QUESTIONS ABOUT PREPARING YOUR STUDENTS FOR YOUR OFTY VISIT. PLEASE FEEL FREE TO CONTACT THEM:

SAFETY NOTE:

FOR THE SAFETY OF THE CHILDREN AND

THE CAST, DO NOT SEND MORE THAN 16 CHORUS MEMBERS FOR THE CAST

TO WORK WITH ONSTAGE.

STUDENT CHORUS PREPARATION CHECKLIST

Select a maximum of 16 students (total) to play the onstage chorus, the CREATURES OF THE CORAL REEF (in Act 2, the FOREIGN DIGNITARIES). Encourage students to perform with gusto – musical accuracy is admirable, but experiencing the joy of performance is the ultimate goal!From among the 16 choristers, choose 2 students to play the SPINY URCHINS. These are speaking roles and can be played by girls, boys, or both. These students will also sing with the chorus as CREATURES OF THE CORAL REEF and FOREIGN DIGNITARIES. If you want more children to be directly involved in the show, please create an offstage chorus on risers (or standing) at the side. These students participate in all of the songs, lines, and gestures of the ONSTAGE CHORUS and should arrive with them for rehearsal.Using the Tutorial CD (https://goo.gl/7chpPC)*, this Guide (includes Chorus Music starting on page 32), the Student Handbook, and the Libretto, prepare your choruses, both onstage and offstage if you would like, by teaching them the designated music and lines. We heartily recommend teaching some of the music to the entire student body so they can join in singing with the onstage chorus. *Students and their families can access the tracks online, password-free! (https://goo.gl/VvB829)Discuss the story, characters, musical terms and operatic art form with students, preparing them for what they can expect to see and hear. OFTY encourages classroom teachers to participate in student prep. Materials and information from this Teacher’s Guide may be shared with all classroom and specialty teachers.Play the Cast Recording of OFTY’s adaptation of Rusalka (https://goo.gl/WYDCYs)* in class to introduce students to music they’ll hear in performance. Encourage students to interact with artists during the question-and-answer session immediately following the show by asking questions regarding singing, playing piano, careers in music, the costumes and sets, etc.

**All schools should incorporate the following activities.**Additional activity suggestions are available on page 14 of this guide.

NOTE to calm nerves: an OFTY cast member always cues and/or leads kids in entrances, exits, actions, songs, and lines during the performance.

*Tutorial CD and Cast Recording links may change - contact [email protected] for most recent information



https://goo.gl/7chpPC

https://goo.gl/VvB829

https://goo.gl/WYDCYs



5IMPORTANT PERFORMANCE INFORMATION

Important timing issues ^^=60-75 minutes before show **=45 minutes before show

• OFTY artists will arrive at your school 60-75 minutes prior to the scheduled performance time. ^^ We need the performance space (gym) to be cleared and empty for our set-up and rehearsal with the student chorus. Please re-route other activities ordinarily scheduled in the gym for that time period.

• Artists will meet with student participants ** 45 minutes before the show. Make certain the kids are prepared and on time for this. The pianist will rehearse with them musically and the singers will go over simple stage movement and lines. Encourage students to listen carefully to instructions and be ready to work quickly. They should not feel pressured to be perfect; it is the fun of both the process of preparation and the product of performance that should stay with everyone! OFTY’s artists will work hard to help students do their best and feel proud of their efforts.

• OFTY brings basic costume pieces for each onstage student participant (tunics with CREATURES OF THE CORAL REEF illustrations and sashes for FOREIGN DIGNITARIES). You may wish to give your performers a more unified look by suggesting they wear similar outfits underneath, e.g., all one color or any solid color. Kids shouldn’t worry about this, though.

• If there is an offstage chorus, they can be encouraged to dress like sea creatures.

• We strongly recommend teaching some of the chorus material (including full chorus lines - not lines of SPINY URCHINS) to the entire student body - we particularly recommend “Ah, What A Lovely Night”. Children in the audience can easily sing from where they are seated while watching the performance. It is often the case that – when the actual show is unfolding –audience members are too transfixed (or, self-conscious) to sing. But they’ll still get more out of the experience if they know the music!

• Please share the synopsis and other appropriate activities with the classroom teachers – it aids everyone’s understanding and enjoyment to be prepared. Many teachers take advantage of this opportunity to do some pre-or post-performance activity.

• Please provide a microphone if you have one available – it would be helpful to the OFTY cast during the intro and Q & A session after the performance.

• By far, our main and favorite venue is the school gym (please see page 18 for possible gym arrangements.) Occasionally, we perform in a church basement, an actual auditorium with stage, or a multi-purpose room. If you have more than one space available, here are a few things to consider:

• Potential for fun interaction between audience and performers – being on same level promotes this impact! Small stages in gyms do not work for safety reasons, among others. Auditorium stages are great in some ways (acoustics and sight lines), but we lose the interactive potential. We do need a central aisle for performers to move up down; please provide traffic cones for cast to use.

• Acoustics – sometimes gyms are quite ‘boomy’ and lyrics might get lost, but with typical operatic repetition of words and vivid characterizations, the meaning shouldn’t be lost. Also, your students will have become acquainted with the show through listening to the CD. In addition, if you could turn off anything noisy (e.g. fans), that helps.

• Audience comfort and sight lines – if the gym IS your space, maybe the older kids could bring in chairs and the younger ones could sit on mats or cushions. If you happen to have bleachers, older kids and adults could sit there with the littlest ones on the floor while the opera is staged in the middle of the gym (facing bleachers).


6ABOUT OPERA AND OPERETTA

The performing arts are essentially forms of story-telling. Ballet tells its stories through dance, mime through gesture, theatre through the spoken word, and so on. Musical theatre – a genre which includes opera, operetta, and the American musical – uses various combinations of spoken and sung text in conjunction with other disciplines: dance, design (costumes and scenery), literature and poetry (for the text). In this respect, opera can be considered among the most complex and “complete” of all art forms.

Opera was initially developed in the early 17th century in Italy. Hoping to approximate the theatre of ancient Greece as they imagined it to have been, creators of the earliest operas used sung speech as a heightened mode of verbal and emotional communication. Though it began as a court entertainment for the aristocracy, opera had become a popular entertainment by the 19th century, not unlike the Broadway musical of the 20th century. In fact, the European opera tradition was influential in the development of the American musical.

Performing opera requires a highly developed vocal technique. From era to era, different aspects of the singer’s art have been given precedence as composers have made various demands of singers. For example, agility and sheer beauty of sound were considered essential in the days of Handel, Mozart, and Rossini, while the increasingly large orchestras used by such composers as Verdi, Wagner, and Richard Strauss demanded singing of greater power. Since opera is traditionally performed without electronic amplification (i.e., microphones), singers are required to project their voices over orchestras (ranging from a few to over 100 musicians) in auditoriums seating up to 4,000 people.

Opera is often completely sung, with no spoken dialogue. It can be comic or tragic, with happy or sad endings. A lighter form of opera is the operetta (literally “little opera”). It grew out of simpler forms of comic entertainment. Though there is no hard-and-fast distinction between opera and operetta, generally an operetta has less profound stories, lighter music, comic or ridiculous situations that are treated seriously, a romantic love story, a happy ending, wit, social satire, and spoken dialogue. Well-known creators of operetta include Jacques Offenbach, “waltz king” Johann Strauss, Jr., and Gilbert and Sullivan.

Through its programs, Opera for the Young aims to introduce students to the art forms of opera and operetta, to perform a variety of works ranging from standard repertory to contemporary scores, to overcome negative connotations often associated with opera, and to present opera as an entertaining variation of the oldest form of communal entertainment – story telling.

LEARN MORE ABOUT OPERA: SUGGESTED READINGThere is a wealth of opera-related materials for young people available through the internet, as well as at your local library or bookstore. Here are some suggested books:

• Gabriella’s Song by Candace Fleming and Giselle Potter • Pet of the Met by Lydia Freeman• Bantam of the Opera by Mary Jane Auch• Opera Cat by Tess Weaver and Andrea Wesson• Encore, Opera Cat! by Tess Weaver and Andrea Wesson• The Great Poochini by Gary Clement• The Dog Who Sang at the Opera by Marshall Izen• The Love for Three Oranges by Sergei Prokofiev• The Boy and the Spell by Maurice Ravel


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ACT I - The Seashore / Coral Reef Every moon-lit evening, a handsome Prince goes to the seashore to catch a glimpse of Rusalka, a little mermaid. One day, the Prince is entangled by a huge

mass of kelp and Rusalka saves his life (#2). The Creatures of the Coral Reef observe the rescue and report to Rusalka’s father, the Sea King (#3 and #4). The Spiny Urchins tell the King what to do! (#5)

Rusalka comes to the Sea King to ask for his help: she wants to turn into a human being so she can join the Prince on land (#5 and #6). Although the King warns Rusalka about the dangers of falling in love with a human, she persists. Finally, he tells her that Jezibaba, an underwater witch, can provide her with a magic potion. Rusalka goes to Jezibaba (#7 and #8). This magical and mean sea sorceress makes the mermaid promise that, if life on land doesn’t go well, Rusalka will return to serve her as a kelp slave (#9). Rusalka agrees and Jezibaba gives her the potion. The witch mentions that there is a curse that goes with the transformation spell: the Prince will not be able to hear a word she says on land! The Prince arrives again at the seashore (#10) and finds the silent Rusalka stepping out of the water. The Prince

is overjoyed to find this beautiful, mysterious woman who seems so familiar; she is his dream come true (#11). Despite Rusalka’s inability to explain anything, the Prince invites her to go with him to his castle.

ACT II – The Prince’s Palace / The Seashore / Coral ReefBoth the Sea King and Jezibaba have come up onto land disguised as a Prime Minister and a Foreign Princess (#12) and are at the castle as the Prince’s

party in honor of Rusalka begins. The Foreign Dignitaries discuss the uncomfortable situation with the Prime Minister (#13). The Foreign Princess proceeds to cause big trouble for Rusalka (#14 and #15). She flirts with the Prince and keeps emphasizing how difficult life must be with a silent girlfriend. Finally, during a dance with the dignitaries, the Foreign Princess moves in on the Prince and Rusalka runs off, heartbroken (#16). The Sea King begs her to return back home (#17)Rusalka knows she must return to the sea (#18). The Prince follows her to the water’s edge, confused by his feelings but clearly drawn by his love for this silent girl (#19). Rusalka has begun turning into a kelp maiden and the Prince is repulsed by her appearance.

Rusalka, underwater once again, begs Jezibaba for mercy (#20). The Creatures of the Coral Reef join in and convince the witch to let Rusalka have a final chance to find happiness (#21). Jezibaba finally agrees but warns that the Prince must see the beauty beneath Rusalka’s ugly kelp exterior, and then give up his life on land (#22). The Prince comes down to the ocean and sees Rusalka entangled in kelp. He frees her and she emerges as a beautiful mermaid, inviting him to join her under the sea, which he does. The Sea King and his subjects celebrate with the couple (#23)!

DETAILED PLOT SYNOPSIS(Includes Cast Recording CD Track Numbers)


8HOW RUSALKA CAME TO BE WRITTEN

Few composers are famous for both their instrumental compositions and their vocal music. Donizetti, Bellini, Rossini, Verdi, and Wagner, for example, are known almost exclusively for their operas, whereas Schumann, Mendelssohn, Chopin, and Brahms are known primarily for their instrumental music. Only a handful of composers have been equally successful in both realms: Monteverdi, Handel, Bach, Mozart, and Schubert are the few that come to mind. The great Czech composer Antonín Dvořák (1841-1904) is known today chiefly for his symphonic and instrumental chamber music. However, he was passionately interested in musical drama, and in the course of thirty-three years he composed eleven operas. His operatic output is unjustly neglected today.

Dvořák came from a poor rural background and grew up hearing Czech folk dances and local songs played at village festivals. He studied music with the village schoolmaster, played violin in a band with his father, and later studied at a famous organ school in Prague. After that, he was principal violist in the orchestra of the Provisional Theatre in Prague, performing under the famous Czech composer Bedrich Smetana. He also taught music and played organ at a church in Prague, making a modest living, raising a family, and breeding pigeons. Through all of this, Dvořák dreamed of becoming a full-time professional composer. The state offered subsidies to artists for the creation of new works. Dvořák applied for this subsidy, his application was accepted, and he was able to devote himself to composition for five years. During this time he wrote dozens of compositions of all types, many of which he later destroyed.

However, these compositions drew much attention to Dvořák. It so happened that a member of the subsidy committee named Johannes Brahms examined Dvořák’s compositions. Brahms was overwhelmed by Dvořák’s great talent, so he decided to do what he could to help the younger composer. Brahms recommended that his publisher Fritz Simrock in Berlin publish some of Dvořák’s works, including the Moravian Duets and Slavonic Dances. The success of these publications was enormous, and Dvořák became a celebrated artist almost overnight.

Like his forerunner Smetana, Dvořák drew his musical inspiration from the folk traditions of Bohemia, Moravia, Slovakia, Poland and Russia. He mined Slavic music for archaic harmonic modes, strange modulations, and a new wealth of rhythms and melodic turnarounds, which were all novel and attractive. Many of Dvořák’s works display this national influence in unmistakable fashion.

In 1892, Dvořák was invited to America to teach young composers at the National Conservatory in New York. Upon his arrival, he became greatly interested in Afro-American spirituals and the music of Native Americans, and he then composed a number of important works influenced by these traditional styles. Two of these works, his Symphony from the New World and his American Quartet for strings, are among his most famous and popular compositions. He was the first important composer to make use of Native American music as inspiration for classical music.

Despite a lifelong involvement in the theater, Dvořák’s operatic output has traditionally been regarded as marginal to his career. He himself stated in an interview in 1904, “Over the past five years I have written nothing but operas. I want to devote all my powers… to the creation of opera. I am regarded as a symphonist, yet I proved many years ago that my main leaning is toward dramatic creation.” He wrote eleven operas, more than half on folk subjects: Alfred (1870); The King and the Charcoal Burner (1874); The Stubborn Lovers (1874); Vanda (1875); The Cunning Peasant (1877); Dimitrij (1882); Josef Kajetan Tyl (1882); Jacobin (1888); Kate and the Devil (1899); Rusalka (1900); and Armida (1903). Despite their glorious music, of Dvořák’s operas only Rusalka has achieved any popularity outside of the Czech Republic.

The original libretto of Rusalka was written by Jaroslav Kvapil (1868-1950), the Director of Drama at the Prague National Theater. Kvapil was strongly influenced by Hans Christian Andersen’s fairy tale “The Little Mermaid”,


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Friedrich de la Motte-Fouqué’s Undine, and Gerhart Hauptmann’s The Sunken Bell. Motifs from all of these stories appear in Kvapil’s libretto, but they are mixed in with strong elements of Czech folklore. According to that folklore, a “rusalka” is a water spirit or water nymph. They are the souls of young women or girls who died an unnatural or violent death. If the girl was murdered in or close to a lake, she would became a rusalka and inhabit that particular lake. Rusalki appear as beautiful young women who try to lure men into the water, where they will drown them. Rusalki can also be found on nights when there is a new moon, dancing on meadows or open places in the woods. With their shrill laughter they are capable of killing humans. A rusalka’s fate can be undone by avenging her death. In creating his heroine, Kvapil “softened” many aspects of this rather grisly folklore. By combining elements of the mermaid stories together with this “softened” folklore, Kvapil created characters of great imagination that both partake of tradition and evoke feelings of human sympathy.

The story of Rusalka was bound to appeal to Dvořák, steeped as he was in his native folk music traditions. In 1895, Dvořák had composed some symphonic poems based on Czech folk ballads, including The Water Goblin, The Noon Witch, The Golden Spinning Wheel, and The Wild Dove. In these works, Dvořák created dramatic impact through evocative sonorities and imaginative scoring. These compositional story-telling skills were to be put to their best use in the composition of Rusalka.

Dvořák completed the opera in just seven months. Most of it was composed at his summer home, now known as the “Villa Rusalka.” In the surrounding woods, there is a swampy, overgrown pond known as the “Rusalka Lake,” said to have inspired the composer as he was writing. That Dvořák was inspired by Kvapil’s libretto cannot be doubted: his music displays subtle orchestration, rhythm, and harmony; a wide range of color; and passion virtually unmatched in all of opera. Clearly moved by Rusalka’s love for the Prince, Dvořák created some of his most heartfelt and magical music. When the opera was premiered on March 31, 1901, Dvořák’s music went straight to the hearts of his audience. To this day it remains, alongside The Bartered Bride, the best loved of all Czech operas, and alongside Hansel and Gretel, the best loved of all fairy-tale operas.

- Dr. Jeffrey Sykes

Dvorak’s summer residence at Vysoká u Příbrami, now known as “Villa Rusalka.”

“Rusalka Lake” at Dvorak’s summer residence at Vysoká u Příbrami.

HOW RUSALKA CAME TO BE WRITTEN continued


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Antonín Dvořák (1841-1904) is one of the world’s most famous composers of instrumental music, but he is virtually unknown outside of the Czech Republic as an operatic composer. Despite a lifelong involvement in the theater, his operatic output has traditionally been regarded as marginal to his career. And yet he himself regarded opera as central to his creative output. He stated in an interview in 1904, “I want to devote all my powers… to the creation of opera. I am regarded as a symphonist, yet I proved many years ago that my main leaning is toward dramatic creation.”

In creating Opera for the Young’s adaptation of Dvořák’s Rusalka, Diane Garton Edie and I agreed completely with Dvořák’s self-assessment. The passion, drama, thrill, and sheer beauty of Dvořák’s music won us over on first hearing the opera; and the story, closely related to Hans Christian Andersen’s “The Little Mermaid”, fit our needs well. We had never heard anything as fresh, powerful, and surprising as Rusalka. Other than the famous “Song to the Moon,” we were completely unfamiliar with this opera. We quickly committed ourselves to bringing this glorious work to our younger and older audiences.

Opera for the Young has traditionally presented lighter, comic repertoire. The Elixir of Love, The Barber of Seville, and The Magic Flute are OFTY mainstays; and despite its Wagnerian construction, Hansel and Gretel is essentially a light-hearted folk opera and fits right in with Opera for the Young’s traditions. Such repertoire is more immediately accessible to young audiences, both in terms of music and plot, than the serious, dramatic repertoire produced in the big opera houses. Rusalka is quite a departure from our tradition. It is big, dramatic, operatic opera —an opera that, at first consideration, is more suitable to the grand opera houses than to OFTY’s scaled-down treatment. And yet in listening to this opera, Diane and I were struck by the immediacy of its music, characters, and plot. Dvořák’s music manages to be both grand and intimate at the same time. The characters, though larger than life, still manage to evoke our very real human sympathy. It is one of few “operatic” operas that can work in our treatment.

Educationally, Rusalka presented us with opportunities to introduce a different style of singing to children. Most OFTY productions focus on bel canto repertoire that requires a clear, light, lyrical sound. Rusalka requires more dramatic, recognizably “operatic” singing. It asks for a full, beautiful legato tone that is rich and warm in all registers. It features vocal and musical effects such as portamento, rubato, and vocal staccato. Vibrato is used extensively to heighten expressiveness and is largely unfamiliar to children. The children’s choruses provide unique but attainable challenges and learning opportunities including challenges of rhythm, tone, and articulation. Although it contains comic and popular elements, the story of Rusalka is essentially a serious story, and Dvořák’s music has an appropriate weight and depth. It is exciting, visceral music of a kind not heard everyday. We feel Rusalka is an important inclusion in our repertoire, because we hope to educate children about the full gamut of operatic style and possibility.

OPERA FOR THE YOUNG ADAPTORS’ CREATIVE STATEMENT

*Romantic Opera is a term used to describe operas written in the late 1800’s or early 1900’s, as music became more expressive and literal. Stage works were written with stories driven by realistic emotions and actions instead of form and composition models. A musical technique called “leitmotif”, a musical phrase used to describe a characters feelings or characteristics, was often used to show each roles feelings or individualism.


11OPERA FOR THE YOUNG ADAPTORS’ CREATIVE STATEMENT continued

There were many problems to solve in adapting Rusalka. The first and most difficult of these was the story. Rusalka, in its original form, is approximately three hours long and has a dark, disturbing ending: Dvořák’s heroine fails to win her prince and is condemned to spend eternity as a will-o’-the-wisp. The prince dies in Rusalka’s arms, having realized too late that she is his true love. This ending, furthermore, is clothed in music that is gloriously slow and soft, and the opera “sinks in the water,” as it were, along with Rusalka. We felt it would not be effective in a production for children. And yet we did not want our ending to be too pretty and pat—it would seem to rob the story of power and integrity. Thus we decided to end the opera by mirroring its opening scene. The Prince saves Rusalka from her fate as a kelp slave, just as she saved him from drowning at the beginning of the opera. Rusalka sacrificed her life underwater to be with the Prince; now he sacrifices his life on land to be with her. This “mirroring” allowed us to reprise the opening chorus of the show, one of its most exciting, energetic, and entertaining numbers. Once this decision was reached, the rest of the plot fell into place. The decision to set the story in the coral reef seemed a logical one. Dvořák’s original takes place in and near a wooded lake, but an ocean setting provided us with greater educational and design possibilities and still remained true to the spirit of the story. I have no doubt that Dvořák, with his great love of children, nature, and animals, would have delighted in the possibilities of this production.

One of the most difficult constraints we face in creating an adaptation is the size of the cast. OFTY productions are limited for a number of good reasons to four principal singers and a pianist. Rusalka has parts for eleven principal singers—Rusalka, the Prince, the Water-Gnome (the Sea King in our production), the Witch, the Foreign Princess, a Hunter, the Gamekeeper, the Turnspit, and the three Wood-Sprites—all of whom make significant musical and narrative contributions to the story. The Hunter we simply eliminated, not without regret. Elements from the original roles of the Gamekeeper, the Turnspit, and the Wood-Sprites were combined and substantially streamlined to form our student speaking roles and chorus. This left us with five characters essential to the story and four singers to create these roles. We solved this problem by having Jezibaba transform into the Foreign Princess in the second act. Dvořák’s opera contains very little ensemble singing, so we adapted a couple of choruses for our solo characters for the sake of musical variety. Through these means, we were able to preserve the variety of styles of music Dvořák presents in his score. Rusalka’s music is unabashedly beautiful and dramatic. The Prince sings music that is lyrical in nature. The Sea King and the Witch sing music that contains both comic and serious elements. The music of the Gamekeeper, Turnspit, and Wood-Sprites—all arranged for the children—is infused with Czech folk rhythms and is lighter in tone.

Rusalka, at its heart, is a story about the importance of communication, accepting differences, taking responsibility for our actions, and learning to forgive. All of its characters face difficult decisions and situations, and it is their struggles with those that form the spiritual core of this opera. Dvořák’s opera is based on a story about mythical creatures and kingdoms of long ago. And yet through this story he has created an opera that awakens our sympathy and is timeless in its message of understanding and forgiveness. We hope that our adaptation preserves the fundamental spirit of one of opera’s neglected masterpieces, and makes it accessible to audiences of all ages.

—Dr. Jeffrey Sykes


12

antiphonal

a cappella

Animé

aria

audition

ballet

blocking

bravo!

choreographer

chorus

coloratura

composer

director

duet

encore

ensemble

Entr’acte

falsetto

finale

galant

legato

leitmotif

Sung or played in alternating groups, creating a call-and-response effect

Italian for “in the manner of the chapel”, it means solo or group singing without instrumental sound

in music, a direction for performers to perform the indicated passage of a composition in an animated and excited manner.

a solo song in opera or operetta

in opera, this is when a singer or pianist tries out to be in the show.

a dance form featuring a staged presentation of group or solo dancing with music, costumes and scenery. In French Grand Opera, there are often 5 ballets.

the movement and positioning of actors or singers on the stage

literally “very good” (in Italian); a compliment shouted by the audience to the performers following an exceptional performance

the person who creates the dances

1.) an organized group of singers who sing together 2.) also a piece of music that a group of singers sing

ornate vocal writing which demonstrates a singer’s vocal agility

the person who writes the music

the person who blocks (plans and teaches movement) or stages the show

musical piece for two voices or instruments

to repeat a given piece of music by popular demand

literally “together”; a piece of music to be performed by multiple musicians; also refers to the group performing such a piece

a piece of music “between the acts” of an opera

a form of vocal production used by male singers to extend their range upwards beyond its natural range; Italian for “tiny false”

the final musical number in an opera, often involving multiple soloists and chorus

an 18th-century style of music characterized by homophony (a texture in which two or more parts move together in harmony) and elaborate ornamentation

to be played or sung smoothly without any noticeable interruption betweenthe notes. Legato is often indicated with a slur.

an idea made famous by Richard Wagner, a leitmotif is a short musical figure that returns throughout an opera, often connected with a specific character, place, or event

anˑtɪˑfoˑnal

a kapˑpɛlˑla

aˑniˑme

aˑriˑa

ɔˑdɪˑʃʌn

bæˑleɪ

blɑˑkɪŋ

braˑvo

kɔˑriˑɑˑgrəˑfɚ

kɔˑrəs

koˑloˑraˑtuˑra

kəmˑpoˑzɚ

dɚˑɛkˑtɚ

djuˑɛt

ɒnˑkɔr

ɒnˑsɒmˑbəl

ɒnˑtrækt

falˑsetːto

fiˑnaˑlɛ

gəˑlɑnt

leˑgaˑtɔ

laitˑmoˑtif

GLOSSARY OF OPERA TERMS


13GLOSSARY OF OPERA TERMS continued

libretto

melody

operetta

overture

portamento

props

quartet

recitative

rhythm

rubato

score

set

staccato

straight-tone

tempo

theme

trio

unison

vibrato

liˑbrɛtːtɔ

mɛˑloˑdi

ɑˑpɚˑrɛtːtɑ

oˑvɚˑʧur

pɔrˑtaˑmɛnˑtɔ

prɑps

kwarˑtɛt

rɛˑsiˑtaˑtiv

rɪˑðəm

ruˑbaˑto

skɔɚ

sɛt stakːkaˑtɔ

streit toʊn

tɛmːpɔ

θim

trio

juˈnɪˈsən

viˈbraˈto

literally “small book” (in Italian); the script, in poetry or prose, of an opera;the words the characters sing; in an operetta, some of these words are spoken

the tune

literally “little opera” (in Italian); usually a light comic opera, combining sung and spoken text

an orchestral prelude to the opera

gliding from one pitch to another, in Italian it literally means “to carry”

items other than costumes or scenery used as part of a operatic production, such as a magic wand, a mirror, or even drinking glass; (short for properties)

musical piece for four voices or instruments

a free-style declamation, a kind of “sung speech” used to provide exposition and often heard as an introduction to arias and ensembles

sounds and silences that form a pattern - A rhythm has a steady beat, but it may also have different kinds of beats. Some beats may be stronger, longer, shorter or softer than others. In a single piece of music, a composer can use many different rhythms.

intentionally and temporarily deviating from a strict tempo for expressive purposes

the book in which the composer writes the music

the scenery, representing a particular location (short for setting)

a manner of performance in which notes are separated from one another, in contrast to legato

sung without vibrato; most pop singing uses straight-tone

the speed at which a piece of music is performed

a central melody in a piece of music; in opera, a theme may be associated with a particular character, setting, object, or emotion; also called a leitmotif

musical piece for three voices or instruments

an identical note or series of notes performed by several voices/instruments at the same time, the notes can be performed in different octaves but are still considered unison

a rhythmic fluctuation of pitch on sustained tones used to heighten emotional qualities of the tone; most operatic singing uses vibrato

A NOTE ABOUT PRONUNCIATION: Using our best efforts and the International Phonetic Alphabet, we have attempted to provide guidelines for pronunciation of glossary words. Difficulties arose when suggesting English pronunciation to foreign words. The guide is meant to help, but if it doesn’t, just use your best effort in pronouncing words to your students. For a key to

pronunciation of the international phonetic alphabet, go to http://en.wikipedia.org/wiki/Wikipedia:IPA_for_English#Key.

http://en.wikipedia.org/wiki/Wikipedia:IPA_for_English#Key


14

Voice Types and DefinitionsSopranoRusalka

soˑpraˑnɔ Highest, most flexible female voice type

Note: Difference between voice types is a matter not just of range, but also of color, weight and timbre of the voice. For example, sopranos and mezzos share much of the same range, but the soprano voice is usually “lighter” and “brighter” than the typical mezzo. Of course, just as everyone’s speaking voice has its own distinctive qualities, so too does each singer have an individual sound quality; and this is part of the joy of listening to opera.

Mezzo-SopranoJezibaba

mɛdˑdzɔ soˑpraˑnɔ High, warm sounding female voice type

Contralto konˑtralˑtɔ Lowest and heaviest female voice type

Countertenor kaʊnˑər tɛnˑɚ Specialty male voice type that is the highest

TenorPrince

tɛnˑər Highest of the typical male voice type

Baritone bɛər´Iˑton Male voice lying in the medium range

BassSea King

beIs Lowest and heaviest male voice type

For a key to pronunciation of the international phonetic alphabet, go to http://en.wikipedia.org/wiki/Wikipedia:IPA_for_English#Key

SUGGESTED ACTIVITIES

Teachers are encouraged to review the activities suggested below and select any that look appropriate and fun either before, or, after the performance, as time permits. Please share any ideas with classroom teachers!

1. To build excitement for the upcoming show, participate in our Be A Designer contest: decorate the school hallways, classrooms and gym with artwork or crafts based on Rusalka and the Coral Reef, make signs, posters, window or wall murals, sock or popsicle stick puppets…the sky’s the limit!

2. Encourage audience members (grown-ups, too) to wear some type of sea creature/Caribbean costume the day of the show. This builds great excitement for the event.

3. Create your own show. Using the Cast Recording (https://goo.gl/WYDCYs) or Libretto, have students act out the Rusalka story. Play excerpts from Rusalka and help students identify music that goes with characters and parts of the story. Have students act out sections with the recording as a “sound track.” Or, make up your own show with a simple narrative and familiar songs. Encourage participation: acting, costumes, scenery, and promotion!

4. Review the Glossary of Opera Terms in this guide and the Glossary of Words from Rusalka in the Student Guide to acquaint students with the unfamiliar terms associated with opera and in the libretto.

5. Listen to an artist interview online (http://bit.ly/1qL73qo). Thanks to music teacher Megan Moran for sharing this recording by OFTY veteran singer, Jeni Houser and to the interviewer - Stella, 3rd Grade.

6. Check our examples from OFTY’s video playlist “Watch and Listen” (https://goo.gl/t3UECJ) which includes clips from OFTY’s The Magic Flute and Beauty and the Beast. Explain the heightened musical drama of opera communicates very recognizable emotions, e.g., suspense, danger, anger, love. Students may not understand every word, especially when characters sing high or when two or more characters sing at the same time, but encourage them to listen for the general idea and let the sound of the music communicate

http://en.wikipedia.org/wiki/Wikipedia

https://goo.gl/WYDCYs

https://goo.gl/t3UECJ


15

characters’ emotions. Tell students that repeated words in the libretto (included in these materials) serve an important purpose: words that might be missed the first time become clear and more significant when they are repeated.

7. H.C. Andersen’s “The Little Mermaid” in original form is long and complex, but is the source material for our opera (as well as Disney’s cartoon version). Other stories with potions include Harry Potter, Rip Van Winkle, Snow White, and Alice in Wonderland. In some cases, magic affects an object (wand, carpet, cloak, apple) but in each instance, people’s lives change. Read one of these and consider effects both good and bad. Create your own play or opera featuring magic. (Note: there is usually a “catch” or personal “price” of some sort)

8. Listen to other music by Dvorak: From the New World Symphony, American string quartet, Slavonic Dances, piano quintet, and symphonic poems. Any similarities to Rusalka?

9. Listen to music by other Czech and Slovak composers: Smetana (especially, The Bartered Bride), Novak, Suk, Martinu, and Janacek. Do you hear similarities?

10. Listen to music by composers that depicts mermaids and water nymphs – Undine (Reinecke), Ondine (Ravel), Sprite (Torke), Lorelei (Clara Schumann). Compare one of these treatments of water creatures with Dvorak’s Rusalka.

11. Listen to music by composers who portray water in their work. Listen to Handel’s Water Music, Mendelssohn’s Hebrides Overture, Debussy’s La Mer, Elgar’s Sea Pictures. What special aspect of water do they try to depict?

DISCUSSION AND RESEARCH TOPICS

1. Discuss how opera is like a musical or play: a theatrical event that tells a story through words and actions. Then discuss how opera is different from other forms of theatrical entertainment: the text is usually sung and the actors sometimes sing in a foreign language. Compare with ballet. Compare live performance with TV and film – focus on performer/audience chemistry and spontaneity. Explain “the show must go on!”

2. Discuss the qualities that make the operatic (or “classically-trained”) voice different from that of a rock, pop, or folk singer. Focus on such aspects as range (opera singers usually vocalize over more than two octaves, non-classical singers generally use little more than an octave); volume and accuracy (opera singers must be able to sing to an audience as large as 4,000 over a full orchestra without using a microphone while non-classical singers use amplification and/or electronic auto-tuning).

3. Discuss the rigors of a career as a professional musician, covering such topics as training, competition for jobs, and artistic discipline. This is a good subject for Q & A.

SUGGESTED ACTIVITIES CONTINUED


16DISCUSSION AND RESEARCH TOPICS CONTINUED

4. Explore the idea of “sacrifice,” or, giving up something valuable to you. Rusalka tries to join the prince on land so they can be happy together. She sacrifices her underwater life as a mermaid AND her ability to be heard by humans. When the Prince doesn’t understand Rusalka or her sacrifice, she returns to the sea. After realizing his mistake, the Prince sacrifices his life as a human to join the mermaid underwater. This story is a fairy tale, but contains the springboard for talking about giving up something for someone (or, something) you love. What type of sacrifices do parents make for their children? Friends for each other? Soldiers for country?

5. Rusalka’s father, the Sea King, tells her not to change into a human and warns her of danger and sadness. Rusalka doesn’t take his advice. What happens? Have you ever disobeyed your parent and regretted it? Are parents ever too protective?

6. In the original and this version of the story, supporting characters (not the principal performers) come to the heroine’s rescue. Who helps Rusalka in our opera? What is their method of help?

7. Prepare students to be good audience members. Talk about appropriate etiquette. It is important not to talk so as other audience members and performers aren’t disturbed. However, students may feel free to laugh when the action is funny and to applaud at the end of musical sections if they wish. And, don’t forget, singing along is encouraged with OFTY!

8. Good communication is the key to success. In Rusalka, the Prince and Rusalka experience many difficulties trying to communicate with each other. What are some of their barriers? Could they have overcome these problems more easily? How (and, when) can sign language, facial expressions, and body language help? What are barriers faced by new immigrants to the U.S.A.? By hearing impaired? Visually impaired? Learning and developmentally disabled?

9. “You can’t judge a book by its cover!” and “Actions speak louder than words!” There are many stories that contain these important messages – The Frog Prince, Beauty and the Beast, Snow White and Rose Red to name a few. How are they illustrated in Rusalka: A Mermaid’s Tale?

10. Study the marine life and ecology of a coral reef. Look for resources available in your school, e.g., illustrations of coral reef creatures featured in our opera: Sea Urchin, Starfish, Great White shark, Bottle nose Dolphin, Angel Fish, Puffer Fish, Clown Fish, Octopus, Moray Eel, Jelly Fish, Blue Tang, Sea Turtle, Sea anemone, Manta Ray, Red Rock Crab, Nautilus. Here are some good resources for more information:

• https://reefrelief.org/wp-content/uploads/2009/05/CoralReefGuide_final_august3smallpdf.com_.pdf

• https://reefrelief.org/wp-content/uploads/2015/01/coral-reef-teachers-guide-by-wendy-weir.pdf

• http://southeastfloridareefs.net/learning-center/lesson-plans-and-activities/k-5/

• http://coral.org/coral-reefs-101/coral-reef-ecology/

https://reefrelief.org/wp-content/uploads/2009/05/CoralReefGuide_final_august3smallpdf.com_.pdf%0D

https://reefrelief.org/wp-content/uploads/2015/01/coral-reef-teachers-guide-by-wendy-weir.pdf%0D

http://southeastfloridareefs.net/learning-center/lesson-plans-and-activities/k-5/

http://coral.org/coral-reefs-101/coral-reef-ecology/


17

11. Discuss different ways in which music plays a role in daily life - aiming at communicating - and influencing - emotions, i.e., movie soundtracks, religion, politics (movement songs, civil rights), nursery songs. Discuss how opera has been used in other media, e.g., film, t.v. commercials and cartoons. Why was it used for that purpose?

1. Play the Bugs Bunny Classic The Rabbit of Seville (http://dai.ly/x2o5y7d). Discuss what this association (cartoon and opera) might mean to people, e.g., operatic music is goofy / operatic music vividly depicts dramatic situations. Play Bugs’ other classic What’s Opera, Doc? (http://dai.ly/x1atzuy) which uses music from Wagner’s opera The Valkyrie and features Bugs decked out in a helmet with horns, a breastplate and a spear. Discuss how these images became associated with opera. Do ALL operas feature breastplates and horned helmets?

POST-PERFORMANCE DISCUSSION AND EVALUATION

1. OFTY strongly encourages all audience members to complete our Evaluation forms. Feedback from schools is vital to our grant-reporting and fundraising efforts. Hard copies can be made and distributed through-out the school, or follow the links below for online forms or visit OFTY’s website at https://goo.gl/WjPtqY.

• Kindergarten: https://goo.gl/forms/Q3V5WS1gZu3GHLsE2

• Grades 1 & 2: https://goo.gl/forms/zn7lYBnDIk5nmnlr1

• Grades 3 - 5: https://goo.gl/forms/Cc4APcHkCZCRlRor1

• Grades 6 - 12: https://goo.gl/forms/o7kPV6PMcoqhxYmp2

• Music Teachers: https://goo.gl/forms/vbUkCxcJqUcGVCRz1

• Non-Music Teacher / Staff: https://goo.gl/forms/e9LfiESqDgDOKRoF3

• Class Chats / Jóvenes: https://goo.gl/forms/GfarKMmsJZKSouP13

2. If opera is a new art form to your students, this first exposure might have been quite different from what they expected. How did their responses differ from their expectations? If some students have previous opera experience, how did they feel returning to the art form? Does the fact that (almost) everything is sung seem less strange on subsequent hearings? What difference does it make to story-telling?

DISCUSSION AND RESEARCH TOPICS CONTINUED

http://dai.ly/x2o5y7d

http://dai.ly/x1atzuy

https://goo.gl/WjPtqY

https://goo.gl/forms/Q3V5WS1gZu3GHLsE2

https://goo.gl/forms/zn7lYBnDIk5nmnlr1

https://goo.gl/forms/Cc4APcHkCZCRlRor1

https://goo.gl/forms/o7kPV6PMcoqhxYmp2

https://goo.gl/forms/vbUkCxcJqUcGVCRz1

https://goo.gl/forms/e9LfiESqDgDOKRoF3

https://goo.gl/forms/GfarKMmsJZKSouP13


18DAY OF SHOW GYMNASIUM SET-UP

GYM SET-UP Set-up A- BEST use of space Set-up B (This is the set-up preferred by OFTY!) (set-up if you want us to perform “wide”) Set-up C (We don’t prefer this set-up because the audience on the ends can’t see the action, can see backstage, and we can’t interact with them as well. Please only use this set-up if NOTHING else will work.)

SET

A I S L E

Piano

Kids seated on floor


Families & guests on chairs

= Teachers in chairs

SET

AISLE




Big kids on bleachers


SET



G U E S T S ON C H A I R S

AISLE

Piano

Piano


19

Date: Time:

Location:

Dear Parents and Grandparents!

You are cordially invited to join us for Opera for the Young’s production of Rusalka: A Mermaid’s Tale featuring our students as the Creatures of the Coral Reef!

Date: Time:

Location:

Dear Parents and Grandparents!

You are cordially invited to join us for Opera for the Young’s production of Rusalka: A Mermaid’s Tale featuring our students as the Creatures of the Coral Reef!


20

[name of your school][school address, phone, fax and email here]Contact: [contact person and title]

FOR IMMEDIATE RELEASE[today’s date]

[Your school ] STUDENTS TO PARTICIPATE IN PROFESSIONAL PRODUCTION OF “RUSALKA: A MERMAID’S TALE”

Opera for the Young is coming to [your city]. The company will present an adaptation of Dvořák’s Rusalka at [your school] on [date of performance(s)]. A chorus of students from [your school] will appear onstage, performing right alongside Opera for the Young’s professional artists.

About Opera for the Young. Opera for the Young brings live, professional opera to elementary school audiences. All productions are fully staged, sung in English and adapted especially for children. Students appear onstage in chorus and cameo roles; they also help design certain elements of the production’s sets and costumes. OFTY audiences become acquainted with the original scores of master composers, set in contexts relevant to kids' 21st century lives. (OFTY’s Barber of Seville is updated to the 1950s; Donizetti’s The Elixir of Love is set in the old west; Grétry’s Beauty and the Beast is set in the exotic Indian Ocean; Mozart’s The Magic Flute set in outer space. OFTY’s repertoire also includes Gilbert & Sullivan’s The Pirates of Penzance, Dvorak’s Rusalka, A Mermaid’s Tale, Humperdink’s Hansel and Gretel, Massenet’s Cinderella, and a work based on the masterpieces of Offenbach, Gluck and Monteverdi entitled, Orpheus Returns.) Opera for the Young annually presents 200 performances, reaching 75,000 children every school year throughout Wisconsin, northern Illinois, Indiana and eastern Minnesota.

About Rusalka: A Mermaid’s Tale. Dvořák’s ninth opera, Rusalka, is a highly dramatic setting of a familiar fairy tale for children, “The Little Mermaid”. OFTY artistic staff selected Rusalka to provide elementary students exposure to varied styles of opera; in this case, a through-composed work featuring the use of leitmotifs for specific ideas, characters, and environments. This masterwork is also considered by many to be the culmination of Dvořák’s varied dramatic composition techniques. OFTY moves the setting from forest glen to coral reef, where Rusalka yearns to become human because she’s in love with the Prince. Rusalka’s father, the Sea King, warns her about people, but the mermaid goes to the Sea Witch for a magic spell. Rusalka exchanges her fish tail for legs at a price: she won’t be understood by humans (except for the audience). This proves to be a challenging barrier for the Prince who, after bringing Rusalka to his castle, is pursued by a Foreign Princess (the Sea Witch in disguise). Complications abound, aided and untangled by Creatures of the Reef, portrayed by the elementary student chorus. Understanding and accepting difference is a powerful subject highlighted in this tale of magical romance, loss, and the redemptive power of love.

Rusalka will showcase elements that have come to define Opera for the Young: beautiful, challenging music; engaging, relevant stories; and myriad opportunities for student participation in both design and performance.

About OFTY’s professional artists. Every OFTY production features four professional singers and one pianist. Professional cast members are selected after competitive auditions held each spring in Chicago and Madison. All professional roles are triple cast. Recent cast members have included a Grammy award winner, Metropolitan Opera national audition winners, several Met regional winners, artists with doctorates, many with masters degrees, choristers from the Lyric Opera of Chicago and members of the Chicago Symphony Chorus. All are conservatory graduates and active performing artists.

Further information about Opera for the Young is available at www.operafortheyoung.org

[Add a paragraph here about the logistical details of your performance: whether the public is invited, time, location, name of your performance’s sponsor]

SAMPLE PRESS RELEASE

Note: If you would like us to send you this electronically, so you can just “cut and paste” please let us know by emailing [email protected] and put “electronic press release” in the subject line.

www.operafortheyoung.org



21

IN COOPERATION WITH

PLACE

DATE

TIME

FEATURING OUR OWNSTUDENT CHORUS FROM

Opera by Antonín Dvořák and Jaroslav Kvapil Libretto adapted by Diane Garton Edie

Music adapted by Jeffrey Sykes


22NATIONAL STANDARDS FOR MUSIC EDUCATION

An Opera for the Young experience is an opportunity for teachers to support student learning through content area standards such as district music standards or the National Core Arts Standards* ), social-emotional learning standards, and 21st century learning skills (such as creative thinking, critical thinking, collaboration, and communication). Learn more about these standards/skills by clicking above or following the links on page 24 of this guide.

These curricular materials are provided to music teachers to support the planning for this learning. Working with the OFTY teaching packet from preparation through show day and afterward is a great chance for students to enhance and demonstrate their learning through an authentic performance opportunity.

Opera for the Young works with school districts across the Midwest. We are aware that some districts are still using standards that were developed from the National Standards for Music from 1994 and others are in transition to the new National Core Arts Standards. Our materials will support standards across both alignments as both have similar philosophical goals, assessable outcomes, and opportunity-to-learn expectations. The National Standards Comparison Chart provides additional information about the alignment between these frameworks.We encourage music teachers to creatively utilize OFTY’s Teaching Materials with this in mind. Below we have listed specific points from these Standards and some thoughts about how the OFTY experience can address them.

1. Content Standard: Singing, alone and with others, a varied repertoire of music. Achievement Standard: Students will:

• Sing independently, on pitch and in rhythm, with appropriate timbre, diction, and posture, and maintain a steady tempo

• Sing expressively with appropriate dynamics, phrasing, and interpretation• Sing from memory a varied repertoire of songs representing genres and styles from diverse cultures• Sing in groups, blending vocal timbres, matching dynamic levels, and responding to the cues of a conductor

The OFTY Perspective: Using OFTY’s Materials, teach the chorus parts to the entire school. Encourage the children to sing with the dynamics, phrasing, and interpretation indicated in the score. Not only will this support curriculum objectives, it will help make the OFY experience more fun and valuable for the children. They will gain experience with a variety of genres and styles within Dvořák’s operatic traditions. Dvořák was particularly influenced by Czech folk music, and that influence can be felt in many parts of the opera.

5. Content Standard: Reading and notation. Achievement Standard: Students will:

• (Grades K-4) Read whole, half, quarter, eighth, and dotted notes and rests in 2/4, 3/4, and 4/4 meter signatures• (Grades 5-8) Read whole, half, quarter, eighth, and dotted notes and rests in 2/4, 3/4, 4/4, 6/8, 3/8, and alla

breve meter signatures• Identify symbols and traditional terms referring to dynamics, tempo, and articulation and interpret them

correctly when performing.

The OFTY Perspective: The music of Rusalka is rich and complex and thus provides many opportunities to work with these reading concepts. Make copies of the chorus parts from OFTY’s Teaching Materials for students. Refer to these when teaching the songs to the children. Ask questions about the notation, particularly rhythms and time signatures. Ask students to identify the intervals used. Explain the dynamic, tempo, and articulation marks used in each piece, and ask questions about how those markings should be interpreted.

*Go to page 24 for written out links to all underlined text in this section

http://nationalartsstandards.org/

http://www.isbe.net/Pages/Social-Emotional-Learning-Standards.aspx

http://www.isbe.net/Pages/Social-Emotional-Learning-Standards.aspx

http://www.p21.org/

https://nafme.org/wp-content/files/2014/06/Archived-1994-Music-Standards.pdf

http://nationalartsstandards.org/

http://www.nafme.org/wp-content/files/2014/11/StandardsComparison_REVISED2.pdf



23

6. Content Standard: Listening to, analyzing, and describing music.

Achievement Standard: Students will:• Identify phrases and sections of music that are the same, similar, and /or different• Identify simple music forms upon listening to a given example.• Demonstrate perceptual skills by listening to, answering questions about, and describing music of various

styles representing diverse cultures.• Use appropriate terminology in explaining music, music notation, music instruments and voices, and music

performances.• Identify the sounds of a variety of instruments and instruments from various cultures, as well as children’s

voices and male and female adult voices.

The OFTY Perspective: OFTY’s Teaching Materials include a CD cast recording of our adaptation of Rusalka: A Mermaid’s Tale. Using examples from this recording, teach the children about strophic, ABA, and rondo forms. A number of sections of the opera use a modified strophic form, a strophe of music directly followed by a modified repetition of the strophe. Identify those sections, the manner in which the strophes are modified (perhaps it gets higher or gets louder), and discuss how this creates musical excitement. Explain voice types and vocal ranges to the children, and use examples from the CD to demonstrate these points. Discuss how Dvořák uses music to present his characters’ emotions.

7. Content Standard: Evaluating music and music performances.

Achievement Standard: Students will:• Devise criteria for evaluation performances and compositions.• Explain, using appropriate music terminology, personal preferences for specific musical works and styles.• Evaluate the quality of their own and others’ performances and offer constructive suggestions for improvement.

The OFTY Perspective: OFTY’s Teaching Materials include age-appropriate evaluation forms for children to fill out after the performance. Before filling these out, hold a class discussion about criteria for evaluating performances and compositions. Encourage students to state their own opinions and preferences about the music they have heard and/or performed. Use the evaluation forms as the basis for writing a critical review of the opera and the performance. Find newspaper or online reviews of musical and/or theatrical performances in your area and discuss what criteria the critics are using. Are their comments helpful to the reader?

8. Content Standard: Understanding relationships between music, the other arts, and disciplines outside the arts. Achievement Standard: Students will:

• Identify similarities and differences in the meanings of common terms used in the various arts.• Identify ways in which the principles and subject matter of other disciplines taught in the school are

interrelated with those of music.

The OFTY Perspective: OFTY’s Teaching Materials include suggested activities, many of which relate to a number of subjects taught in school. Rusalka is an opera rich in relations and allusions to other disciplines, particularly science (the coral reef environment). We encourage you to share OFTY’s Teaching Materials with other teachers in your school so that they can plan subject-appropriate activities for their class. In particular, we encourage you to become involved with OFTY’s Be a Designer contest in which students design costumes, accessories, and/or school decorations relating to themes and settings in Rusalka: A Mermaid’s Tale.

NATIONAL STANDARDS FOR MUSIC EDUCATION (continued)


24

9. Content Standard: Understanding music in relation to history and culture.Achievement Standard: Students will:

• Demonstrate audience behavior appropriate for the context and style of music performed.

The OFTY Perspective: Have a discussion with students about appropriate audience behavior. Give examples of behavior that is appropriate and appreciated (for example, applause after an aria or laughter when something is funny) and behavior that is inappropriate and distracting (talking during the performance). OFTY artists discuss this with the audience briefly during the introduction to the show.

Based on National Standards for Arts Education. Copyright © 1994 by Music Educators National Conference (MENC). Used by permission. The complete National Arts Standards and additional materials relating to the Standards are available from MENC: The National Association for Music Education, 1806 Robert Fulton Drive, Reston, VA 20191; www.menc.org.

LINKS TO STANDARDS

National Core Arts Standards - http://nationalartsstandards.org/

Social-Emotional Learning Standards - https://www.isbe.net/Pages/Social-Emotional-Learning-Standards.aspx

21st Century Learning Skills - http://www.p21.org/

National Standards for Music from 1994 - http://www.nafme.org/my-classroom/standards/national-standards-archives/

National Standards Comparison Chart - http://www.nafme.org/wp-content/files/2014/11/StandardsComparison_REVISED2.pdf

There are many more ways that you will be able to use OFTY materials to meet your teaching requirements. If you have a great activity that you would like to

share, we would love to hear from you. Thanks!

NATIONAL STANDARDS FOR MUSIC EDUCATION (continued)

http://nationalartsstandards.org

https://www.isbe.net/Pages/Social-Emotional-Learning-Standards.aspx

http://www.p21.org

https://nafme.org/wp-content/files/2014/06/Archived-1994-Music-Standards.pdf




25THE PRINCE

Ready-to-color versions of these characters are

included in the Student Handbook!


26RUSALKA


27SEA KING AND SPINY URCHINS


28JEZIBABA


29

CREATURES OF THE CORAL REEF

SPINY URCHINS


30ADDITIONAL IMAGES

JEZIBABA CAPTURES PRINCE

RUSALKA AS KELP MAID

SPINY URCHINS WITH SEA KING


31RUSALKA WORD SEARCH SOLUTION

The Glossary of Words from Rusalka and the Word Search can be found in the STUDENT HANDBOOK.


32

Note to Music Teacher: The STUDENT HANDBOOK contains melody only parts of the chorus music.

Please copy and distribute any of these materials to students and teachers, as needed.

STUDENT CHORUS MUSIC (ENGLISH)Ho, Ho, Ho! Page 33Ooo Page 38Such A Rumpus Page 40Ah, What A Lovely Night Page 43

STUDENT CHORUS MUSIC (SPANISH)*Ho, Ho, Ho! Page 45Que Revuelo Page 50Ah, Noche Bella Page 53

*Spanish chorus music NOT required, but included as an option for teachers.

Adaptation with libretto by Diane Garton Edie and music adapted by Jeffrey Sykes

Original opera by Antonín Dvořákand Jaroslav Kvapil


33

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Allegro molto

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8 ∑8 œ ≈ œ Jœ ‰ œ œ œ œ œ œ œ œ

Jœœœ ‰ Œ

Jœ ‰ Jœ ‰ jœ ‰ jœ ‰Dear Ru sal ka,

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- - - -

Ho, Ho, Ho!

Engraving © 2016

SEA KING: You do?CREATURES: Yes!

Ho, Ho, Ho Piano Vocal Score - Page 1 of 5


34

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11

Jœ ‰ Jœ ‰ jœ ‰ jœ ‰she loves one a

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~ 2 ~Ho, Ho, Ho Piano Vocal Score - Page 2 of 5


35

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Grp. II

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~ 3 ~Ho, Ho, Ho Piano Vocal Score - Page 3 of 5


36Ho, Ho, Ho Piano Vocal Score - Page 4 of 5

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~ 4 ~SEA KING: You do?CREATURES: Yes!


37Ho, Ho, Ho Piano Vocal Score - Page 5 of 5

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46

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- - - -

Ooo Piano Vocal Score - Page 2 of 2


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Such a rumpusSuch A Rumpus Piano Vocal Score - Page 1 of 3


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Ah, What A Lovely Night Piano Vocal Score - Page 2 of 2


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SEA KING: ¿Es cierto?CREATURES: ¡Sí!

Ho, Ho, Ho Partitura para piano: Página 1 de 5


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~ 4 ~SEA KING: ¿Es cierto?CREATURES: ¡Sí!

Ho, Ho, Ho Partitura para piano: Página 4 de 5


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