OPERA 101 A Study Guide

Presented by Tri-Cities Opera

315 Clinton St, Binghamton, NY 13905

(607) 729-3444

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What is Opera?What is Opera?What is Opera?

Opera Defined

Table of Contents

Opera Defined 2

The Program 3

Meet the Performers 4

The Operas 6

A Guide to Voice Parts 29

Glossary 30

An opera’s a theater piece, like a play. But instead of speaking their lines, the characters sing them. Even Broad-way musicals in which the music never stops, such as Les Misérables, Evita, and Tommy, are actually operas.

Operas were invented to combine the best of all possible worlds – awesome singing, great-sounding orchestra, riv-eting drama, stunning dance, spectacular sets, lavish cos-tumes, fancy lighting, and special effects. By uniting these arts, the founders of opera managed to create an art form more powerful than any other.

For each selection on our program, this study guide in-cludes a summary of the opera’s plot, as well as a transla-tion of the lyrics. We’ve also included some term defini-tions and lots of interesting facts that will help you enjoy opera to the fullest.

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The Program Performed by

Stacey Geyer, soprano

Tascha Anderson, mezzo-soprano

Jordan Schreiner, tenor

Scott Purcell, baritone

John Cockerill, piano

Title Composer

La Traviata: “Libiamo ne' lieti calici” …………………………………………….. Giuseppe Verdi

Rigoletto: “La donna è mobile” ……………………………………………………………………. Verdi

Lakmé: “Sous le dôme épais” …………………………………………………………….. Léo Delibes

Rigoletto: “Bella figlia dell'amore” ……………………………………………………………….. Verdi

Don Giovanni: “Là ci darem la mano” ………………………… Wolfgang Amadeus Mozart

Il Barbiere di Siviglia: “Una voce poco fa” …………………………………. Gioachino Rossini

Il Barbiere di Siviglia: “Largo al factotum” …………………………………………………. Rossini

Carmen: “L’amour est un oiseau rebelle” (Habanera) …………………….. Georges Bizet

The Pirates of Penzance: The Major-General’s Song …………………. Gilbert & Sullivan

Arabella: “Die Wiener Herrn” ………………………………………………………. Richard Strauss

Hänsel und Gretel: “Hurr, Hopp, Hopp, Hopp” ………………… Engelbert Humperdinck

Candide: “Make Our Garden Grow” ……………………………………….. Leonard Bernstein

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Meet the Performers Stacey Geyer (Soprano)

HOMETOWN: Halifax, PA EDUCATION: MM Binghamton University; BM Susquehanna University TRI-CITIES OPERA: Gretel in Hansel & Gretel, Musetta in La bohème, Young Alyce in Glory Denied UPCOMING: Sharon in Master Class, Micaëla in The Tragedy of Carmen OTHER APPEARANCES: Suor Angelica in Suor Angelica, Adele in Die Fledermaus (Susquehanna University)

Tascha Anderson (Mezzo-Soprano)

HOMETOWN: Helena, MT EDUCATION: MM Boston Conservatory; BA Pepperdine University TRI-CITIES OPERA: Older Alyce in Glory Denied UPCOMING: Carmen in The Tragedy of Carmen OTHER APPEARANCES: Rosina in Il barbiere di Siviglia, Pamela Yusupov in Roscoe, Stepmother in Into the Woods (Seagle Music Colony)

Jordan Schreiner (Tenor)

HOMETOWN: Owego, NY EDUCATION: MM Binghamton University; BM Mansfield University TRI-CITIES OPERA: Tobias in Sweeney Todd, Witch in Hansel & Gretel, Rodolfo in La bohème UPCOMING: Tony in Master Class, Don Jose in The Tragedy of Carmen OTHER APPEARANCES: Frederick in The Pirates of Penzance (Adirondack Lakes Summer Theater Festival); Gastone in La traviata (CoOPERAtive); Martin in The Tender Land (Mansfield)

Scott Purcell (Baritone)

HOMETOWN: Westville, NJ EDUCATION: BM, MM Westminster Choir College TRI-CITIES OPERA: Figaro in The Barber of Seville, Marcello in La bohème, Old Jim in Glory Denied UPCOMING: Escamillo in The Tragedy of Carmen OTHER APPEARANCES: Roscoe in Roscoe (Seagle Music Colony); Ford in Falstaff (Westminster Choir College); Belcore in The Elixir of Love (CoOPERAtive)

John Cockerill (Pianist)

HOMETOWN: Chicago, IL EDUCATION: BM University of Nebraska-Lincoln; MM University of Colorado-Boulder UPCOMING: Manny in Master Class; The Tragedy of Carmen OTHER APPEARANCES: As One (Chicago Fringe Opera) The Barber of Seville, Turandot, Maria de Buenos Aires (Des Moines Metro Opera); Little Women, La bohème, Hansel & Gretel, Side by Side by Sondheim (University of Colorado-Boulder)

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c.800-100 B.C. The Greeks develop dramatic versions of their religious tales, which include singing and chanting.

800 A.D. Charlemagne is crowned King. Monks begin using primitive versions of opera to illustrate Biblical sto-ries.

1066 The Normans conquer England.

1215 King John I of England signs the Magna Carta.

c.1400 The Italian Renaissance begins.

1533 The first Italian madrigals appear.

1567 Claudio Monteverdi is born in Cremona, Italy.

1590 The Florentine Camerata, the group responsible for the birth of Italian opera, begins performing at the house of noble patrons.

1601 Shakespeare writes Hamlet.

1607 Monteverdi writes The Tale of Orpheus.

1628 Monteverdi writes Mercury and Mars for the wedding of the Grand Duke of Parma.

1637 In Venice, Andromeda becomes the first opera to be performed in public.

1642 Monteverdi writes The Coronation of Poppea, one of the first operas about real historical figures.

c.1650 The Baroque era begins, characterized by florid ornamentation and the stylized expression of emo-tion.

1687 Jean Baptiste Lully (b.1632), inventor of the comédie-ballet, plunges his conducting staff into his foot during a performance in honor of Louis XIV’s recovery from an illness. The wound becomes gangre-nous, and Lully dies soon after.

1689 Henry Purcell (1659-1695) writes his English opera Dido and Aeneas.

1724 Handel writes one of his most famous operas, Julius Caesar.

c.1750 The Classical period begins, typified by balance, symmetry, and restraint in music.

1756 Wolfgang Amadeus Mozart is born in Salzburg, Austria.

1759 Handel dies in London.

1762 Christoph Willibald von Gluck (1714-1787) writes his Italian opera Orpheus and Eurydice.

1770 Ludwig van Beethoven is born in Bonn, Germany.

1775 The American Revolution begins.

1782 Mozart writes his come escape Singspiel, The Abduction from the Seraglio.

1786 Mozart writes The Marriage of Figaro.

1787 Mozart writes Don Giovanni.

Opera Timeline: Ancient to Early Classical

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Title translation: Don Juan. Music by: Wolfgang Amadeus Mozart. Libretto: In Italian by Lorenzo da Ponte. First

performed: Prague (now in the Czech Republic), 1787.

Don Giovanni

Plot

17th-century Seville. The libertine Don Giovanni, aided by

his servant Leporello, tries to woo Donna Anna but is dis-

turbed by her father, the Commendatore, whom he kills in a

duel. Anna and her fiancé Don Ottavio swear vengeance.

Giovanni’s attempts to attract the peasant girl Zerlina, en-

gaged to Masetto, are foiled by Donna Elvira, whom

Giovanni has courted and abandoned. All turn against

Giovanni at a party at his villa, but he escapes and finds him-

self in a churchyard where the statue of the Commendatore

speaks. Lightheartedly, Giovanni invites the statue to supper.

The statue arrives and drags the unrepentant Giovanni down

to hell.

Astonishing Trivia:

Surveying the cast lists (and the titles) of many operas, you’re probably thinking that Italians in 1787 were pretty hard up for baby names – every guy is named Don, and every woman is Donna. Actually, Don and Donna are Italian for “Mr.” and “Miss,” or “Sir” and “Madam,” or “Lord” and Lady” – yes, the world’s greatest lover’s actual name is Mr. Juan.

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Là ci darem la mano

Don Giovanni has just met Zerlina and her betrothed, Masetto. In an attempt to dis-tract Masetto and have him removed from the scene, Giovanni offers to host a wed-ding celebration for the couple at his castle. When Masetto has left, Giovanni tries to get Zerlina to accompany him back to his estate. GIOVANNI That little house is mine: alone we will be, and there, my jewel, we will get married. There we will hold hands, There you’ll tell me “yes.” Look, it’s not far, let’s leave here, my beloved. ZERLINA (to herself) I’d like to and I wouldn’t like to… My heart trembles a bit… It’s true, I’d be happy: But he could just be tricking me.

GIOVANNI Come, my lovely delight! ZERLINA (to herself) I feel sorry for Masetto. GIOVANNI I will change your fate. ZERLINA (to herself) Soon I won’t be able to resist. GIOVANNI & ZERLINA Let’s go, my beloved, to soothe the pangs of an innocent love.

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1789 The French Revolution begins. George Washington becomes the first President of the United States.

1790 Mozart writes Così fan tutte .

1791 Mozart dies at age 35 in Vienna, less than a year after writing his Singspiel The Magic Flute.

1804 Napoleon crowns himself Emperor of France.

1805 The first version of Beethoven’s Fidelio (originally called Leonore) is produced in Vienna.

1813 Giuseppe Verdi is born in Le Roncole, near Busseto, Italy. Richard Wagner is born in Leipzig Germany.

1814 The third and final version of Beethoven’s opera Fidelio premieres in Vienna.

1816 Gioachino Rossini (1792-1868) writes his comic masterpiece, The Barber of Seville.

1817 Rossini writes La Cenerentola (Cinderella).

1821 Carl Maria von Weber (born 1786) writes Der Freischütz (The Free-Shooter), a ground-breaking opera with stunning atmospheric effects.

c.1825 The Romantic style begins to take hold in opera and classical music, marked by an increase in the un-abashed expression of emotion.

1826 Weber dies in London while on tour to conduct his opera Oberon.

1827 Beethoven dies in Vienna.

1829 Rossini writes his last opera, William Tell — even though he still has 40 more years to live.

1832 Gaetano Donizetti (1797-1848) writes The Elixir of Love.

1835 Bellini writes I Puritani (The Puritans). Donizetti writes Lucia di Lammermoor.

1836 Giacomo Meyerbeer (1791-1848) writes The Huguenots. Mikhail Glinka (1804-1857) writes A Life for the Tsar.

1838 Music is taught in an American public school for the first time, in Boston. Georges Bizet is born.

1842 Richard Wagner writes his first successful opera, Rienzi. Verdi writes his first successful opera, Nabucco. Mikhail Glinka writes Ruslan and Lyudmila. The New York Philharmonic is founded. The Vi-enna Philharmonic is founded. This is a really good year.

1843 Donizetti writes Don Pasquale. Wagner’s The Flying Dutchman becomes his second great success.

1850 Wagner completes Lohengrin.

1851 Verdi writes Rigoletto. Herman Melville writes Moby Dick.

1853 Verdi writes Il Trovatore (The Troubadour) and La Traviata (The Fallen Woman).

Opera Timeline: Late Classical to Romantic

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Title translation: Il Barbiere di Siviglia. Music by: Gioachino Rossini. Libretto: In Italian by Cesare Sterbini. First

performed: Rome, Italy, 1816.

The Barber of Seville

Plot

18th-century Seville. Rosina is kept under lock and key by

her crusty old guardian Bartolo, who intends to marry her

with the aid of the unscrupulous priest Don Basilio, Rosina’s

music teacher. Count Almaviva, disguised as Lindoro, a stu-

dent, woos her with the aid of the cunning local barber and

general busybody, Figaro. Almaviva gains entry to the house,

first as a drunken officer and secondly as a priest, managing

to cause total confusion each time, but also to speak to Rosi-

na. Figaro and Almaviva plan Rosina’s escape and after vari-

ous confusions and misunderstandings, the lovers are unit-

ed.

Astonishing Trivia:

Rossini didn’t bother writing an overture for this opera; instead, he just tacked on the same overture he had used for two previous, unsuccess-ful shows: Aureliano in Palmira and Elizabeth, Queen of England.

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Largo al factotum

FIGARO

Make way for the factotum of the city!

Rushing to my shop now that it’s dawn.

Ah, what a good life, how pleasant it is

For a barber of quality!

Ah, bravo Figaro!

Bravo, bravissimo, bravo!

I’m the luckiest it’s true!

Ready for anything,

Night and day,

Always around and on the go.

For a barber, a better lot

A more nobler life cannot be found.

Everything is ready here,

At my command:

Razors and combs

Lancets and scissors.

And there are “extras,”

Then, for the business

With women… and with gentlemen...

Everyone asks for me, everyone wants

me,

Women, young people, old people, the

golden haired;

What about the wig… A quick shave...

Some leeches for bleeding…

Quick, the love note…

What about the wig, a quick shave,

Hurry — the note, alas!

Figaro! Figaro! Figaro! etc.

Heavens, what mayhem!

Heavens, what a crowd!

One at a time, for pity’s sake!

Figaro! Here I am.

O me, Figaro! Her I am.

Figaro here, Figaro there,

Figaro up, Figaro down,

Quick, very quick, I’m like lightning;

I’m the city’s factotum.

Ah, bravo Figaro!

Bravo, bravissimo, bravo!

Most fortunate indeed!

This aria is sung at Figaro’s first entrance. The repeated "Figaro”s before the final patter section are an icon in popular culture of operatic singing. The term "factotum" refers to a general servant and comes from Latin where it literally means "do everything.”

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Una voce poco fa

After having read the letter from Lindoro (Count Almaviva), Rosina is filled with joy. She sings of her love for him. ROSINA A voice has just Echoed here in my heart My heart’s already wounded And it’s Lindoro who pierced it. Yes, Lindoro will be mine I’ve sworn it, I will win. My tutor will refuse, I’ll sharpen my wits. At last he’ll calm down And I’ll remain content… Yes, Lindoro will be mine I’ve sworn it, I will win. I am gentle, I’m resepectful, I‘m obedient, sweet, loving I let myself be ruled, I let myself be guided. But if they find my weak spot I’ll be a viper, And I’ll set off a hundred traps before giving in.

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Music by: Giuseppe Verdi. Libretto: In Italian by Francesco Maria Piave. First performed: Venice, Italy, 1851.

Rigoletto

Plot

16th-century Manchua. The hunchbacked court jester Rigoletto laughs at

the grief and rage of the aged Count Monterone, whose daughter has

been seduced by the libertine Duke, and Monterone lays a father’s curse

on him. The courtiers, who hate Rigoletto, discover that he has a young

girl hidden away. Unaware that she is his adored daughter Gilda, whom

he has raised in convent-like seclusion, they assume her to be his mistress

and abduct her for the Duke’s enjoyment, even tricking Rigoletto into

helping them. Meanwhile, the Duke is already aware of Gilda: he visits

her disguised as a poor student and she falls in love with him. The courti-

ers show no pity towards Rigoletto even when they discover who Gilda is,

and he vows vengeance on the Duke for having dishonored her. He hires

the assassin Sparafucile to kill the Duke, who is lured to a lonely inn by

Sparafucile’s sister Maddalena. Despite her dishonor, Gilda still loves the

Duke and when she realizes what is to happen she maneuvers herself into

taking his place, and is fatally stabbed. Rigoletto gloats over the sack de-

livered to him, containing what he believes to be the Duke’s body, only to

find it is that of the dying Gilda. As she expires, Rigoletto recalls Monte-

rone’s curse and collapses in anguish.

Astonishing Trivia:

Rigoletto was originally based on a Victor Hugo play about treachery in the court of the French King François I. But Italy, under Austria’s rule, was in considerable political turmoil; Verdi and Piave ran into trouble with the Italian censors, who felt that the people didn’t need a play about a mali-cious, philandering king. So Verdi and his librettist changed the setting of the opera to Mantua, which was governed by a small-time nobleman.

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La donna è mobile

The Duke, disguised as a soldier, sings that all women are fickle and that they will betray anyone who falls in love with them. DUKE Woman is fickle, like a feather in the wind, She changes her words and her thoughts. Always a lovable, lovely face, Weeping or laughing, she’s always lying. She changes her words and her thoughts, And her thoughts, and her thoughts. He who believes in her And recklessly entrusts his heart to her Is always miserable! Yet, one who never toasts love on that bosom Never feels entirely happy! Woman is fickle, like a feather in the wind, She changes her words and her thoughts, And her thoughts, and her thoughts!

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Bella figlia dell’amore

DUKE Beautiful daughter of love, I’m a slave to your charms; With one word alone you can console my sufferings. Come and feel my heart’s quick beating… MADDALENA Ha! Ha! I laugh heartily, for these tales cost little. GILDA Ah! To speak of love that way… MADDALENA I can appreciate, believe me, how much your game is worth. GILDA …I also hear the villain speak to me like that of love! RIGOLETTO (to Gilda) Be quiet, it’s no use crying. GILDA My unhappy betrayed heart, do not burst with anguish. Ah, no!

MADDALENA I’m used to similar joking, handsome sir. I laugh heartily, my handsome sir. RIGOLETTO Now you’re sure that he was lying. Hush and let me take care of hastening the revenge, Which will be swift and deadly. I know how I will strike him down. Hush...

One of the greatest ensembles in all opera, Verdi himself admitted that he never ex-pected to surpass it. The Duke woos Maddalena inside her brother, Sparafucile’s inn, while concealed in the darkness outside, Rigoletto comforts the anguished Gilda with promises of retribution.

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Title translation: The Fallen Woman. Music by: Giuseppe Verdi. Libretto: In Italian by Francesco Piave. First

performed: Venice, Italy, 1853.

La Traviata

Plot

Paris, mid-19th century. The beautiful but consumptive demi-monde,

Violetta Valéry, gives a lavish party at which Alfredo Germont, a young man

of good birth, is present. After the guests have departed Alfredo, who has

long loved Violetta from a distance, reveals his feelings and urges her to give

up her brittle and shallow life and come to him. Realizing this is her first and

last chance of true love, Violetta brushes aside her misgivings and she and

Alfredo go to live an idyllic life in the country, where Violetta’s health seems

to improve. Her happiness is shattered when, during Alfredo’s absence on

an errand, his father, Giorgio, arrives to see her. Germont tells her that her

liaison with his son is bringing dishonor to his family and threatening his

daughter’s marriage prospects, and begs her to give him up. Under the

weight of his arguments, the distraught and grief-stricken Violetta complies,

and leaves without explanation. In the company of her former protector,

Baron Douphol, to whom she has returned, Violetta attends a party given by

Flora Bervoix where she encounters Alfredo. In his bitterness, he publicly

insults her and she collapses. Violetta is now gravely ill and Germont, suffer-

ing remorse for the pain he has caused her, tells Alfredo the truth about her

departure and gives his blessing to their relationship. Alfredo rushes to

Violetta but, after a joyous embrace, she dies in her lover’s arms.

Astonishing Trivia:

As with many now-classic operas, La Traviata was a dismal failure on opening night. The audience was confused by the cos-tumes, which were mod-ern-day clothing rather than the period garb fea-tured in most operas. The leading tenor lost his voice, and the soprano —meant to play a young girl dying of tuberculosis — was scorned for being too old and overweight. A year later, the opera was produced again in the same city — this time to thunderous applause.

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Libiamo ne’ lieti calici

ALFREDO Let’s drink from the happy goblets that beauty embellishes; And let the fleeting hour intoxicate it-self with pleasure. Let’s drink to the sweet trembling that love arouses, (Indicating Violetta) Since that eye goes all-powerful to the heart. Let’s drink, love, love among the gob-lets shall have warmer kisses. ALL Ah, let’s drink, love among the goblets shall have warmer kisses. VIOLETTA Among you I will share my joyful time; All that isn’t pleasure in the world is folly. Let’s enjoy ourselves, fleeting and quick is the joy of love; It’s a flower that is born and dies, nor any longer can it be enjoyed… Let’s enjoy ourselves… feverish, en-chanting words invite us.

ALL Ah, let’s enjoy ourselves, song and cup embellish the night and laughter; May the new day find us in this para-dise. VIOLETTA (to Alfredo) Life is pleasure… ALFREDO (to Violetta) When one hasn’t loved yet…. VIOLETTA (to Alfredo) Don’t speak of it to one who doesn’t know it. ALFREDO That is my destiny… ALL Let’s enjoy ourselves, song and cup em-bellish the night and laughter; May the new day find us in this para-dise.

This is one of the best-known opera melodies and a popular performance choice for many great tenors. At a late-night party at Violetta’s, Alfredo is convinced by his friends to show off his voice. He sings a brindisi, a lively song that encourages the drinking of wine or other alcoholic beverages.

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1858 Jacques Offenbach (1819-1880) writes his comic opera Orpheus in the Underworld, a parody of previ-ous operatic versions of the Orpheus legend. Hector Berlioz writes Les Troyens (The Trojans). Verdi writes Un Ballo in Maschera (A Masked Ball). Giacomo Puccini is born in Lucca, Italy. Another really good year.

1859 Charles Gounod (1818-1893) writes Faust. Wagner writes Tristan and Isolde.

1861 The American Civil War begins. Wagner’s opera Tannhäuser receives its disastrous premiere in Paris.

1866 Bedřich Smetana writes The Bartered Bride.

1867 Wagner finishes Die Meistersinger von Nürnberg (The Master-Singers of Nuremberg). Verdi writes Don Carlo. Gounod writes Roméo et Juliette.

1869 Verdi revises La Forza del Destino (The Force of Destiny), first written in 1862.

1871 Verdi’s opera Aïda receives its world premiere in Cairo.

1874 Modest Mussorgsky (1839-1881) writes Boris Godunov. Johann Strauss, Jr. (1825-1899) writes Die Fledermaus (The Bat).

1875 Bizet writes Carmen and dies believing that it is a failure.

1876 The first complete performance of Wagner’s Ring cycle takes place in a theater built according to Wagner’s exact specifications in Bayreuth, Germany.

1877 Thomas Edison invents the phonograph.

1879 Peter Ilych Tchaikovsky (1840-1893) writes Eugene Onegin, based on a tale by Pushkin. Gilbert & Sul-livan write The Pirates of Penzance.

1881 Offenbach’s only serious opera, The Tales of Hoffmann, premieres posthumously.

1882 Wagner's “Stage-Consecrating Festival Drama,” Parsifal, is performed for the first time at Bayreuth.

1883 The Metropolitan Opera House opens in New York with a performance of Gounod’s Faust. Leo De-libes (1836-1891) writes Lakmé. Wagner dies.

1887 Verdi writes his last dramatic opera, Otello.

1890 Pietro Mascagni (1863-1945) writes his most famous opera, Cavalleria Rusticana (Rustic Chivalry). Tchaikovsky writes The Queen of Spades.

1892 Ruggiero Leoncavallo (1858-1919) writes his most famous opera, I Pagliacci (The Clowns). Massenet’s opera Werther premieres in Vienna.

1893 Engelbert Humperdinck (1854-1921) writes Hansel and Gretel. Puccini composes his first great suc-cess, Manon Lescaut. Verdi writes his last opera (and his only comedic work), Falstaff.

Opera Timeline: Late Romantic

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Music by: Georges Bizet. Libretto: In French by Henri Meilhac and Ludovic Halévy. First performed: Paris,

France, 1875.

Carmen

Plot

Carmen, a tempestuous, wayward and beautiful gypsy girl, desired by all the

men, works in a Seville cigarette factory. Arrested after a fight with one of

her colleagues, she is assigned to the custody of Don José, a corporal in the

local barracks whose betrothed, Micaëla, has just arrived from their country

village to look for him. Thoroughly bewitched by Carmen, he allows her to

escape and is himself placed under arrest. Meanwhile, at the tavern of Lillas

Pastia, the glamorous toreador, Escamillo, arrives with his entourage and

sets his sights on Carmen. Although tempted by him, she decides to wait for

José. He arrives at the tavern on his release and becomes involved in a fight

with his superior officer, Zuniga. Although reluctant to do so, he is prepared

to desert the army and join Carmen and a band of her smuggler companions

in the mountains. The fickle gypsy grows bored with José and, when

Escamillo seeks her out, she agrees to attend his forthcoming bullfight in

Seville. When Micaëla appears, pleading with José to return home with her,

Carmen urges him to go. Ignoring the gypsy’s change of heart and spurning

Micaëla, the unhappy José follows Carmen to Seville and acosts her outside

the bull ring, begging her to start a new life with him. She refuses and, at the

very moment the crowd erupts in excitement over Escamillo’s triumph, José,

crazed with grief and jealousy, stabs Carmen to death.

Astonishing Trivia:

Carmen’s premiere was one of the most famous flops of all time — not because the audience threw tomatoes or any-thing; it was just your run-of-the-mill failure. Bizet considered this show to be his masterpiece and died three months later in abject depression. Ironically, Carmen went on to become one of the most loved, most per-formed operas in the world.

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Habanera

The “habanera” rhythm started in Havana, Cuba influenced by the music of the Afri-can slaves brought over from the West African coast by the Spanish Conquistadores who settled the Caribbean. The Habanera is a slow, sensuous rhythm. After appear-ing out of the cigarette factory, Carmen seductively sings about love and its unpre-dictable actions. CARMEN Love is a wild bird That nothing can tame, And it is truly in vain to call it If it wants to refuse. Nothing will work, threats or pleading, Some men talk well, some keep silent; But I prefer the man who says little. Love is the child of a bohemian’s existence, It has never know about laws; If you do not love me, I love you; If I love you, watch out for yourself. The bird that you thought to surprise Flapped its wings and flew away… Love is far away, you can wait for it; You don’t wait any longer, it is there. All around you, quickly, quickly, It comes, it goes away, then it comes back… You think that you have it, it avoids you, You think to avoid it, it holds you.

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Music by: Arthur Sullivan. Libretto: In English by W.S. Gilbert. First performed: London, England, 1880.

The Pirates of Penzance

Plot

19th-century Cornwall. Because of an error by his nurse Ruth,

Frederic has been apprenticed to the Pirate King and is out of his

indentures having reached his 21st birthday. He falls in love with

Mabel, daughter of Maj-Gen Stanley, and decides that for the

sake of society his former associates must be exterminated. As

the police expedition against the pirates is about to set out, the

Pirate King informs Frederic that he was born in leap year on

29th February and that his contract states that he is apprenticed

until his 21st birthday, not his 21st year.

He feels honor-bound to rejoin the pirates. The pirates defeat

the policemen, but submit when called upon to do so in Queen

Victoria’s name. Ruth reveals that the pirates are all noblemen

who have ‘gone wrong’ and the snobbish Gen Stanley orders

them to be released and to resume their former positions. The

pirates marry his daughters and Mabel and Frederic are united.

Astonishing Trivia:

Gilbert and Sullivan wrote 14 side-splittingly funny and highly success-ful operettas together. Through it all, they hated each other’s guts, fought incessantly, and split up a couple of times. Sullivan was intensely frustrated that the world was ignor-ing his serious music. Gil-bert had his own frustra-tions — first, by the fact that Sullivan was con-stantly in acute agony from ulcers and unable to work for weeks at a time, and second, be-cause Sullivan was knighted by the Queen, before he (Gilbert) was.

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The Major-General’s Song

This is a patter song, music in which an enormous number of words are fitted into the shortest possible period of time. It is sung by Major General Stanley at his first entrance, towards the end of Act I. The song satirizes the idea of the "modern" edu-cated British Army officer of the latter 19th century. It is one of the most difficult patter songs to perform, due to the fast pace and tongue-twisting nature of the lyr-ics. MAJOR-GENERAL I am the very model of a modern Major-General I've information vegetable, animal, and mineral I know the kings of England, and I quote the fights historical From Marathon to Waterloo, in order categorical I'm very well acquainted, too, with matters mathematical I understand equations, both the simple and quadratical About binomial theorem I am teeming with a lot o' news With many cheerful facts about the square of the hypotenuse I'm very good at integral and differential calculus I know the scientific names of beings animalculous In short, in matters vegetable, animal, and mineral I am the very model of a modern Major-General I know our mythic history, King Arthur's and Sir Caradoc I answer hard acrostics, I've a pretty taste for paradox I quote in elegiacs all the crimes of Heliogabalus In conics I can floor peculiarities parabolous I can tell undoubted Raphaels from Gerard Dows and Zoffanies I know the croaking chorus from The Frogs of Aristophanes! Then I can hum a fugue of which I've heard the music's din afore And whistle all the airs from that infernal nonsense Pinafore Then I can write a washing bill in Babylonic cuneiform And tell you ev'ry detail of Caractacus's uniform In short, in matters vegetable, animal, and mineral I am the very model of a modern Major-General

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In fact, when I know what is meant by "mamelon" and "ravelin" When I can tell at sight a Mauser rifle from a Javelin When such affairs as sorties and surprises I'm more wary at And when I know precisely what is meant by "commissariat" When I have learnt what progress has been made in modern gunnery When I know more of tactics than a novice in a nunnery In short, when I've a smattering of elemental strategy You'll say a better Major-General has never sat a gee For my military knowledge, though I'm plucky and adventury Has only been brought down to the beginning of the century But still, in matters vegetable, animal, and mineral I am the very model of a modern Major-General

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Music by: Léo Delibes. Libretto: In French by Edmond Gondinet and Philippe Gille. First performed: Paris,

France, 1883.

Lakmé

Plot

Mid-19th-century India. Gérald, a British officer, loves and is

loved by Lakmé, daughter of the Brahmin priest, Nilakantha.

Swearing to take revenge on the violator of his temple,

Nilakantha forces Lakmé to sing at the bazaar so as to identify

him and, when Gérald appears, Lakmé faints, thus giving him

away. Nilakantha stabs Gérald but Lakmé nurses him back to

health at a secret hideout in the forest where he is eventually

found by his brother officer, Frédéric, who persuades him to re-

turn to his duty as a soldier. When Lakmé returns, she senses the

change in her lover and kills herself by eating the poisonous

datura leaf.

Astonishing Trivia:

In recent years, the Flow-er Duet in Act 1 has be-come familiar more widely because of its use in advertisements, in par-ticular a British Airways commercial, as well as in films.

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Sous le dôme épais (Flower Duet)

The duet takes place between Lakmé, the daughter of a Brahmin priest, and her servant Mallika, as they go to gather flowers by a river. LAKMÉ & MALLIKA Under the thick dome Where the white jasmine blends with the rose, Over the banks in bloom, Laughing in the cool morning, Come, let us go down together. Let us gently glide along, Following the fleeting current Of its charming waves. In the quivering waves, With an unhurried hand, Come, let us reach the bank Where the spring sleeps, Where the bird sings. LAKMÉ But I do not know what fear suddenly takes hold of me, As my father goes alone to their accursed city; I tremble with fear! MALLIKA So that the god Ganeça may protect him, let us go to that pond where snow-winged swans frolic happily, let us go gather the blue lotus.

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Music by: Engelbert Humperdinck. Libretto: In German by Adelheid Wette. First performed: Weimar,

Germany, 1893.

Hansel & Gretel

Plot

Harz Mountains. Gertrude scolds her children Hänsel and Gretel

for playing instead of doing the household chores and sends

them off to the woods to pick strawberries. When their father,

Peter, comes home, he is alarmed for the children’s safety: a

Witch lives in the woods who bakes children in her oven. The

children have lost their way in the wood and the Sandman sends

them sleep and 14 angels to guard them. Roused by the Dew

Fairy, they find a house made of sweets surrounded by ginger-

bread children. Starting to eat, they are captured by the Witch.

However, the children outwit the Witch, push her into the oven

and break her spell. Gretel releases the gingerbread children and

when their parents, who have been searching for them, arrive,

all join in a hymn of thanks.

Astonishing Trivia:

The idea for this Märchenoper (fairy-tale opera) was proposed to Humperdinck by his sis-ter, Adelheid Wette, who approached him about writing music for songs that she had written for her children for Christ-mas based on Hansel and Gretel. After several revi-sions, the musical sketch-es and songs were turned into a full-scale opera. It has been associated with Christmas since its earli-est performances and to-day it is still most often performed at Christmas time.

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Hexenlied (Hurr, Hopp, Hopp, Hopp!)

The Witch has found Hänsel and Gretel near her house and jumps around while casting a spell upon them to imprison them. She then tells them of her life as a witch. WITCH So hop, hop, hop! Galop, lop, lop! My broomstick nag, Come, do not lag! At dawn of day I ride away, Am here and there And ev’rywhere! At midnight hour, When none can know, To join the witches’ Dance I go! And three and four, Are witches’ lore, And five and six, Are witches’ tricks, And nine is one, And ten is none, And seven is nil, Or what she will! And thus they ride till dawn of day! Prr! broomstick, hi!

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1894 Nicolas II, the last Tsar of Russia, is crowned in Moscow.

1896 Puccini writes La Bohème. Umberto Giordano (1867-1948) writes Andrea Chénier.

1900 Puccini writes his first opera about the Orient, Madame Butterfly; Tosca premieres in Rome.

1901 Verdi dies in Milan. Antonín Dvořák (1841-1904) writes Rusalka.

1904 Jenůfa by Leoš Janáček (1854-1928) premieres in Prague.

1905 Richard Strauss (1864-1949) writes his first scandalous opera, Salome.

1907 Rimsky-Korsakov writes The Golden Cockerel. Music is broadcast over the radio for the first time.

1909 Strauss writes his second scandalous opera, Elektra.

1910 Puccini writes his Italian opera about the American frontier, The Girl of the Golden West.

1911 Scott Joplin (1868-1917) writes a ragtime-folk opera called Treemonisha. Béla Bartók (1881-1945) writes Bluebeard’s Castle. Strauss writes Der Rosenkavalier (The Knight of the Rose).

1914 World War I begins.

1918 World War I ends. Puccini writes Gianni Schicchi and Il Tabarro (The Cloak).

1924 Puccini writes most of his second opera about the Orient, Turandot, before dying. George Gershwin (1898-1937) writes Rhapsody in Blue.

1925 Alban Berg (1885-1935) writes his first atonal opera, Wozzeck.

1926 Puccini’s Turandot, completed by a friend of the composer, premieres in Milan.

1933 Strauss writes Arabella.

1935 Alban Berg writes Lulu and dies the same year. Gershwin writes his jazzy opera, Porgy and Bess.

1940 A performance at the Metropolitan Opera is broadcast on the radio for the first time.

1945 World War II ends. Benjamin Britten (1913-1977) writes Peter Grimes.

1951 Gian Carlo Menotti (1911-2007) writes the first made-for-television opera Amahl and the Night Visitors. Britten writes Billy Budd.

1956 Francis Poulenc (1899-1963) writes Dialogues of the Carmelites. Leonard Bernstein (1918-1990) writes Candide.

1958 Samuel Barber’s (1910-1981) opera Vanessa wins the Pulitzer Prize for music.

1960 Britten writes A Midsummer Night’s Dream.

1969 Man walks on the moon for the first time.

1975 Philip Glass (born in 1937) writes Einstein on the Beach.

1987 John Adams (born in 1947) writes Nixon in China.

1991 The opera The Ghosts of Versailles, by John Corigliano (born in 1938), premieres at the Metropolitan Opera in New York.

Opera Timeline: 20th Century

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Music by: Richard Strauss. Libretto: In German by Hugo von Hofmannsthal. First performed: Dresden,

Germany, 1933.

Arabella

Plot

Vienna, 1860. Pressed by his creditors, Count Waldner needs to

arrange a financially satisfactory marriage for his elder daughter

Arabella and has sent her picture to a rich but elderly friend. It

is, however, the friend’s son, Mandryka, who arrives, wanting to

marry Arabella. The two meet at a ball and fall in love. Arabella

parts from her other suitors, particularly the officer Matteo, who

is desolated. Arabella’s sister Zdenka, brought up as a boy as an

economy measure, is secretly in love with Matteo. She promises

him a meeting with Arabella, and gives him a letter and a key.

Mandryka overhears and, thinking himself betrayed, flirts with

the regimental mascot Fiakermilli. Confusion reigns until Zdenka

explains that the key was to her own room, whereupon Matteo

transfers his affections to her, while Arabella and Mandryka are

engaged.

Astonishing Trivia:

This was Strauss’ sixth and final collaboration with the distinguished playwright-poet Hofmannsthal. After many composer-demanded revisions, Strauss wired the li-brettist from Garmisch to Vienna, congratulating him on an excellent final version. But von Hof-mannsthal never saw the telegram. It lay on his desk on the morning of the funeral of his son. As the poet bent over to reach for his hat, he suffered a stroke and died within a few hours.

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Die Wiener Herrn

The Fiakermilli was the name given to a pretty young girl who traditionally attended the annual ball of the Viennese cab drivers (Fiaker) as their mascot. In this brilliant coloratura aria, she flirts with the men of which she sings. THE FIAKERMILLI The Viennese gentlemen know All about astronomy, They could be from an observatory, Yet they know not how! They discover a new star And quickly the Viennese gentlemen Make her the queen Of their heaven! Their voices all ring out as one: “You shall be the queen of this ball!”

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Music by: Leonard Bernstein. Libretto: In English by Lillian Hellman, Richard Wilbur, Dorothy Parker and John

Latouche; revised in 1973 by Hugh Wheeler and Stephen Sondheim. First performed: New York, 1956.

Candide

Plot

Dr. Pangloss has taught Candide and Cunegonde that this is “the

best of all possible worlds,” in which belief they go on their trav-

els — and experience exile, war, ravishment, the Inquisition and

frequent betrayals. In the end, they realize that they must come

to terms with reality and “make their garden grow.”

Astonishing Trivia:

Candide was originally conceived by Lillian Hellman as a play with incidental music in the style of her previous work, The Lark. Bernstein was so excited about this idea that he convinced Hellman to do it as a "comic operetta;" she then wrote the origi-nal libretto. Since 1974, however, the show has been generally per-formed with a book by Hugh Wheeler that is more faithful to the novel by Voltaire, on which the work is based.

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Make Our Garden Grow

CANDIDE You've been a fool and so have I, But come and be my wife, And let us try before we die To make some sense of life. We're neither pure nor wise nor good; We'll do the best we know; We'll build our house, and chop our wood, And make our garden grow. CUNEGONDE I thought the world was sugar-cake, For so our master said; But now I'll teach my hands to bake Our loaf of daily bread. CANDIDE & CUNEGONDE We're neither pure nor wise nor good; We'll do the best we know; We'll build our house, and chop our wood, And make our garden grow. ALL Let dreamers dream what worlds they please; Those Edens can't be found. The sweetest flowers, the fairest trees Are grown in solid ground. We're neither pure nor wise nor good; We'll do the best we know; We'll build our house, and chop our wood, And make our garden grow.

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A Guide to Voice Parts

SOPRANO

Sopranos have the highest voices, and usually play the heroines of an opera. This means they often sing many arias, and fall in love and/or die more often than other female voice types.

MEZZO-SOPRANO, or MEZZO

This is the middle female voice, and has a darker, warmer sound than the soprano. Mezzos often play mothers and villainesses, although sometimes they are cast as seductive heroines. Mezzos also play young men on occasion, aptly called “pants roles” or “trouser roles.”

CONTRALTO, or ALTO

Contralto, or alto, is the lowest female voice. Contralto is a rare voice type. Altos usually por-tray older females, witches and old gypsies.

COUNTERTENOR

Also often known as alto, this is the highest male voice, and another vocal rarity. Counterten-ors sing in a similar range as a contralto. Countertenor roles are most common in baroque opera, but some contemporary composers also write parts for countertenors.

TENOR

If there are no countertenors on stage, then the highest male voice in opera is the tenor. Ten-ors are usually the heroes who “get the girl” or die horribly in the attempt.

BARITONE

The middle male voice. In comic opera, the baritone is often a schemer, but in tragic opera, he is more likely to play the villain.

BASS

The lowest male voice. Low voices usually suggest age and wisdom in serious opera, and bass-es usually play kings, fathers, and grandfathers. In comic opera, basses often portray old char-acters that are foolish or laughable.

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Glossary

aria Italian for “air” — a main song; a big number for solo voice in an opera.

arietta Literally, a little aria. Ariettas are generally short and light-hearted.

arioso A song that falls halfway between an aria and recitative. It has a melody like an aria, but it advances the action of the plot like recitative.

Baroque The period of music history from the mid-1600s to the mid-1700s; char-acterized by emotional, flowery music within strict forms.

bass-baritone The he-man of the opera world, combining the ringing quality of the baritone with the depths of the bass. Bass-baritone roles avoid the ex-tremes of either range, singing in the most beautiful central part.

basso buffo (“BAHSS-so BOO-fo”) Italian for “buffoon bass.” A stock character (often a servant), always sung by a bass. His arias usually contain quick repeat-ed notes way down low.

bel canto (“bell CAHN-toe”) Italian for “beautiful singing.” A style of opera — and opera performance — in which the splendor of the human voice re-ceives the most importance , more than the words or even the story.

cabaletta In bel canto operas, a fast aria (or the second part of an aria), allowing the singer to display vocal pyrotechnics. It usually has a high note just before the end that the singer sustains, driving the audience into fits of ecstasy.

cadenza A moment near the end of an aria for the singer alone (without the or-chestra) — a stretch of difficult, fast, high notes, designed for showing off.

castrato A castrated male of centuries past, prized for his high, powerful singing voice. (The plural is castrati.)

cavatina In bell canto operas, a slow, expressive, melodic aria (or first part of an aria), allowing the singer to show off their beautiful voice.

chorus (also coro, Chor, choeur) A group of singers onstage, playing a happy band of villagers, for example, or a bevy of victorious warriors. Also, a big number during which the chorus gets to sing.

claque A group of people hired by composers of Italian opera to cheer their works — or to boo the works of their rivals.

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Classical The period of music history from the mid-1700s to the early 1800s; mu-sic of this time is sparer and more controlled than music of the Baroque period.

color A word used to describe a voice’s sound characteristics. Opera voices come in two basic colors: lyric (sweet) and dramatic (very strong).

coloratura soprano The tweety-bird of the musical aviary. This voice type is light, pure, flutelike, and capable of great agility way up high.

conductor The director of a musical performance for any sizable body of perform-ers.

diva Literally, “goddess” — a female opera star. Sometimes refers to a fussy, demanding opera star.

dramatic voice A voice with a steely edge that helps it cut through a large orchestra more easily than a sweet (lyric) voice could.

duet (also known as duo or duetto) An aria built for two. Two characters ex-press their feelings, to each other or to the audience (or both).

Fach (“FAHkh”) German for “compartment.” A voice category (such as sopra-no, alto, tenor, or bass).

falsetto The high part of a man’s voice, way up high above the “voice-cracking” part, where it sounds like a woman’s voice.

finale The last song of an act, often involving a large group of singers.

French grand opera A style of opera, invented by Giacomo Meyerbeer, in which the sets are lavish and realistic, the machinery is breathtaking, and the musical forc-es (choirs and orchestra) are designed to blow the audience away.

German dramatic The horn-and-helmet lady, the heavy hitter of the opera world. Her soprano voice must be able to cut through a huge orchestra; therefore, it must

be both metallic in color and immensely powerful. Required in operas by Wagner.

Heldentenor (“HELL-din tay-NOR”) German for “heroic tenor.” The male lead of any Wagner opera, a tenor with an extraordinarily strong singing voice, ca-pable of trumpeting above an orchestra.

intermezzo A piece of music played between the acts of an opera.

intermission Twenty-five minutes of high society in between the acts of an opera.

Leitmotif (“LIGHT-mo-teef”) A musical theme assigned to a main character or idea of an opera; invented by Richard Wagner.

libretto (“lee-BRET-toe”) Italian for “little book”; the script of an opera. The per-son who writes it is called a librettist.

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lyric voice A voice type that sounds sweeter and softer than its dramatic counter-part.

maestro Literally “master”; used as a courtesy title for the conductor, whether a man or woman.

opera buffa (“BOOF-a”) Literally, “buffoon opera.” Funny opera, especially of the 18th century. The plural is opere buffe.

opera seria (“SAY-ree-ya”) Formal, serious opera, especially from the 18th century.

operetta A light-hearted opera with spoken dialogue; a musical.

oratorio A musical piece for solo singers, chorus, and orchestra, usually with words from the Bible.

orchestra pit The hollowed-out area beneath the stage, and slightly in front of it, where the orchestra players sit.

overture A piece written to introduce an opera (sometimes called a prelude or an introduction).

prima donna (“PREE-mah DOAN-na”) Italian for “first lady.” The singer who plays the heroine, the main female character in an opera; or anyone who be-lieves the world revolves around her.

quartet (also quartetto, quartett, quarttuor) A piece of music for four singers.

quintet (also quintetto, quintet, quintette) A piece of music for five singers.

recitative (“ress-it-uh-TEEV”) Speech-singing, in which the singer semi-chants the words, imitating the free rhythms of speech.

Renaissance French for “rebirth.” The period of musical history from the 1500s to the mid-1600s.

Romantic A period of music, art, and literature (mostly the 1800s and early 1900s) characterized by the unabashed expression of emotion.

Singspiel German for “sing-play.” A German opera with spoken dialogue (instead of recitative) between arias.

soubrette A special category of soprano, accustomed to playing cutesy-pie or streetwise servant-girl roles.

spinto Literally, “pushed.” A voice with a strong dramatic edge.

spinto soprano A soprano with a spinto voice. She plays the long-suffering, victimized characters in opera — the grand roles, the meat of the operatic reper-toire.

Stehplatz (“SHTAY-plahts”) A “standing room only” area in a German or Austrian opera house.

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surtitles (also supertitles) Slides projected on the wall above the stage with translations of the lines in a foreign-language opera.

trill The quick alternation of two adjacent notes.

trio A piece of music within an opera, for three characters to sing together.

trouser role A male role played by a woman.

verismo Literally, “truth-ism.” A realistic, “documentary” style of opera (and filmmaking) that depicts the gritty, seamy underbelly of life.