LAKME – 2014 Opera Theatre Goes to School

List of Materials

• Biography of Leo Delibes

• Background of Lakme

• Lakme Synopsis and Character List

• British Colonial India in the 1880s

o Indian Culture: Religion, Family, Customs, Arts o Religions of India o Dance in India

• Clothing of India

• Spices & Food of India; Recipe

• Bibliography of Resources - Pikes Peak Library District; Web Sites

• Colorado Dept. of Education Academic Standards

• Suggested Ideas for Classroom Activities

• Activity Descriptions

• Opera Etiquette

• 2014 Teacher Program Evaluation

• 2014 Student Program Evaluation

• 2014 Student Passes Order Form

• CD of Opera Excerpts

Opera Theatre of the Rockies thanks the following generous sponsors for their support of the 2014 Opera Theatre Goes to School Program: Hester E. and Edwin W. Giddings Foundation, Pikes Peak Opera League, Dr. Susan Rae Jensen, MD, Colorado Creative Industries, Target Foundation

Leo Delibes 1836-1891: A French composer famous for his stage work, Delibes was the first composer to write symphonic music for the ballet. His compositions were elegant, graceful and at times, even exotic. He studied in Paris where he was exposed to opera. He became the Paris Opera’s accompanist in the 1860s and was also a chorus master there. He gained renown for his theater music, and earned a professorship in composition at the Paris Institute and Conservatory. First Delibes wrote lighter works such as operettas and farces and was often associated with Offenbach. He composed a Cantata and a Mass and became known for his church music. Then, he went on to write for the theater. He wrote dances and airs for a play by Victor Hugo, Le roi s’amuse, which Verdi turned into the opera, Rigoletto. Delibes collaborated with a number of ballet composers and was commissioned to write his most famous ballet, Coppelia which opened to wide acclaim in 1870. Several years later he produced another notable ballet, Sylvia. Some experts

believe that Delibes wrote the famous ballet in Gounod's Faust. He first developed his gifts for opera in the area of “opera comique” before he turned to more serious works. Lakme, written in 1883, is considered to be his greatest opera master piece. It is known for its beautifully melodic score, including the dazzling showpiece “Bell Song” and the familiar and hauntingly beautiful “Flower Duet.” Delibes is known for his fiendishly difficult coloratura arias for soprano. The lushness of the setting is reflected in the richness of the music. Set in British Colonial India, the opera is the story of two cultures that clash when a young Hindu priestess falls in love with a British Officer. During his entire career, Delibes was involved in music – engaged as a composer, instructor, accompanist, chorus master, organist and singer. He was widely regarded throughout Europe for his stage music, and is said to have greatly influenced other composers such as Tchaikovsky, Saint-Saens and Debussy. Leo Delibes died of natural causes in Paris at the age of 54 and is buried in the Montmartre Cemetery. ___________________________________________________________________________________ Overview of Lakme, by Leo Delibes

Lakme is an opera written in three acts with a libretto by Edmond Gondinet and Philippe Gille. The subject originally comes from the novel by Pierre Loti that takes place in Tahiti and was written for a particular young soprano, Marie Van Zandt. Instead, to propel his story, Delibes moves his location to India, using the conflict among the Colonial settlers and the Brahmin Hindus. Composed in 1881-82, the opera premiered at Paris’ Opera-Comique in 1883, to great audience approval. Lakme is a powerful love story that features a young Hindu priestess by that name. The work interweaves the societal discord that existed between the British and the people of India. Tensions heighten as we see the forbidden love grow between our star, Lakme and a British army officer, Gerald while they both are torn by their obligations and loyalties. The music is sensuous and the crowd scenes are rich with Hindu rituals and Indian themes. One hears exotic harmonies underlining the story line. Delibes handles the fall of our heroine much more poetically than in the original novel. The opera was a favorite in Paris during that period and was produced many times. What makes Lakme distinctive is how Delibes' music reflects the contrast between European and Eastern cultures. The opera's dances and ceremonial qualities also add to the work's color and inherent flavor of India. Because it is rarely performed (not having been staged in Colorado in almost 50 years), being able to attend a full production of Lakme for opera lovers is usually a once-in-a-lifetime opportunity.

SYNOPSIS of Lakme by Leo Delibe, written in 1881-82

ACT 1 The Hindus go to perform their rites in the sacred Brahmin temple, under the high priest, Nilakantha, Lakme’s father. He has been outraged that the British forces have not allowed him to practice his religion, so he meets up secretly with a group of followers to worship. Lakme stays behind with her servant, Mallika and they go down to the river to collect flowers, where they sing the famous “Flower Duet.” They remove their jewels to bathe and as they approach the water, they see two British officers, Frederic and Gerald on a picnic with two young women and their governess. The group approaches the flower garden and the girls see the beautiful jewelry laid out on the bench. They are so impressed, they ask for sketches to be drawn of the designs. Gerald agrees to stay and make the sketches. As the group walks on, Gerald diligently draws the pictures and sees Lakme and Mallika returning, so he hides. Mallika departs while Lakme stays behind. Lakme sees Gerald hiding, but is frightened, crying out for help. When they do meet face to face, there is an instant attraction. When the officers arrive, she sends them away, intrigued to find out more about the British stranger. Gerald, too, is captivated by Lakme’s beauty so he stays with her. Lakme and Gerald feel love at first sight but as Nilakantha returns to the temple grounds and finds out a British soldier has trespassed, he vows revenge for affronting Lakme’s honor.

ACT 2 As a ploy to expose the unknown trespasser, Nilakantha forces Lakme to sing the famous “Bell Song” at the crowded bazaar. Entranced by her voice, Gerald steps forward. At seeing him, Lakme faints, thus giving away his identity. Nilakantha stabs Gerald, wounding him slightly. In the madness of the bustling crowd, Nilakantha’s servant, Hadji helps Lakme and Gerald escape to their secret place in the forest where Lakme takes care of Gerald’s wound, nursing him back to health.

ACT 3 Hiding in a hut in the woods, you hear Lakme and Gerald singing in the distance. Gerald is afraid but Lakme is reassuring. She tells him of the sacred water of a magical spring, that when shared, grants them eternal love. Lakme feels such deep love for Gerald and says she wants to bring back a glass of the special water to affirm their vows. Gerald is torn between his deep love for Lakme and his duty to his country. As Lakme rushes off to the spring, fellow officer Frederic appears in their secret hiding place, reminding Gerald of his duties to his own regiment and then leaves. After Lakme returns, Gerald refuses to drink the magic water and she notices a change in him. She realizes then that she has lost him. She tears a leaf from a poisonous datura tree and bites into it, choosing to die with honor rather than live with dishonor. She tells Gerald what she has done and they drink the water together. Her father, Nilakantha finds their hut and enters as Lakme is dying. She tells her father that she and Gerald drank from the magical spring. In that instant, she dies.

* * *

CAST OF CHARACTERS, LAKME BY LEO DELIBES

Lakme, a Hindu Priestess Brittany Ann Renee Robinson

Nilakantha, a Brahmin Priest & Lakme’s Father Nicholas Shelton

Mallika, Lakme’s Servant Valerie Nicolosi

Gerald, a British Army Officer Drake Dantzler

Frederic, a Fellow British Soldier Brian Harris

Ellen, British Governor’s Daughter Solveig Olsen

Rose, Her Sister Sarah Stone

Miss Bentson, Their Chaperone Karin Wilcox

Hadji, Hindu Servant of Nilakantha Douglas Denning

A Fortune Teller Tenor II

A Chinese Merchant Lee Henry

A Gypsy Baritone

Dancer Bonmayuri Kalita

Dancers Arushi Raval, Tia Basak, Vanika Hans, Divyanka Gupta, Varsha Selvam

 BRITISH INDIA The Second Afghan War (1878-1881) established India's northern boundary. After the Third Burmese War, all of Burmabecame a province of India.

During the initial phase, the East India Company’s main interest was to generate internal revenue for promoting its trade. With the onset of the Industrial Revolution, the British interest underwent a change. It now became focused on markets. The economic policy discriminated against Indian handicraft industries and created conditions for the entry of industrial products from Britain.

Rise of Indian nationalism. The Indian intelligentsia highlighted the drain of wealth from India and the consequent poverty of the people. The critique of British colonial rule helped to hasten the rise of nationalism. The intelligentsia's admiration for liberal and democratic principles stressed by Western education was another factor that promoted nationalism.The rise of the Indian nationalist movement started in the early 1880's. The National Congress was founded in 1885.

INDIAN CULTURE

Religion -- India is the birthplace of Hinduism, Buddhism, Jainism and Sikhism, collectively known as Indian religions. India is one of the most religiously diverse nations in the world, with some of the most deeply religious societies and cultures. Religion still plays a central and definitive role in the life of many of its people.Family structure and marriage -- For generations, India has had a prevailing tradition of the joint family system. It is a system under which extended members of a family – parents, children, the children’s spouses and their offspring, etc. – live together. Usually, the oldest male member is the head in the joint Indian family system. He makes all important decisions and rules, and other family members abide by them. For centuries, arranged marriages have been the tradition in Indian society. The majority of Indians have their marriages planned by their parents and other respected family-members. In most marriages the bride's family provide a dowry to the bridegroom. Traditionally, the dowry was considered a woman's share of the family wealth, since a daughter had no legal claim on her natal family's real estate. Weddings are festive occasions in India with extensive decorations, colors, music, dance, costumes and rituals that depend on the religion of the bride and the groom, as well as their preferences.

Festivals -- With India's cultural diversity, the country has more festivals than there are days in a year. India, being a multi-cultural and multi-religious society, celebrates holidays and festivals of various religions. The three national holidays in India, the Independence Day, the Republic Day and the Gandhi Jayanti, are celebrated with zeal and enthusiasm across India.

Cuisine -- Indian food is as diverse as India. India is known for its love for food and spices. Though a significant portion of Indian food is vegetarian, many traditional Indian dishes also include chicken, goat, lamb, and fish

Painting, Sculpture and Architecture -- Temple paintings testify to a love of naturalism. Most early and medieval art in India is Hindu, Buddhist or Jain. well as temple carvings. Some huge shrines, were not constructed by using blocks but carved out of solid rock. The Taj Mahal in Agra is a prime example of Indo-Islamic architecture. One of the world's seven wonders.

Indian architecture encompasses a multitude of expressions over space and time, constantly absorbing new ideas. The result is an evolving range of architectural production that nonetheless retains a certain amount of continuity across history.

Sports and Martial arts Field hockey is the official national sport in India. Cricket is the most popular sport in India. Chess is commonly believed to have originated in northwestern India. Martial Arts ia one of the best known forms of ancient Indian martial arts is the Kalarippayattu from Kerala. This ancient fighting style originated in southern India in the 12th century BC. It focussed on mental, physical and spiritual training. Indian martial arts techniques have had a profound impact on other martial arts styles across Asia.

RELIGIONS OF INDIA

India is known as the land of spirituality and philosophy, was the birthplace of some religions, which even exist today in the world.

The most dominant religion in India today is Hinduism. About 80% of Indians are Hindus. Hinduism is a colorful religion with a vast gallery of Gods and Goddesses. Hinduism is one of the ancient religions in the world. It is supposed to have developed about 5000 years ago. Later on in ancient period other religions developed in India.

Around 500 BC two other religions developed in India, namely, Buddhism and Jainism. Today only about 0.5% of Indians are Jains and about 0.7% are Buddhist. In ancient times Jainism and specially Buddhism were very popular in India. Indians who accepted Buddhist philosophy spread it not only within the Indian sub-continent but also to kingdoms east and south of India.

These three ancient religions, Hinduism, Buddhism and Jainism, are seen as the molders of the India philosophy. In 'modern' period new religions were also established in India.

One comparatively new religion in India is Sikhism and it was established in the 15th century. About 2% of Indians are Sikhs. There were other attempts to create new religions in India but they did not always succeed. For example, a Moghul emperor, Akbar, who reigned between 1556 - 1605, tried to establish a new religion, Din- E- Elahi, but it did not survive. There are other religious philosophies whose believers see themselves as a separate religion, but they do not always get this recognition. For example Lingayat of south India see themselves as a different religion, while others see them as a sect of Hinduism. There are also some tribal communities who demand to be recognized as separate religion from Hinduism. In the 19th century some Hindu reformers tried to remodel Hinduism to adjust it to modern period.

Percentages: 82 % Hinduism, 12% Islam, 2.5 % Christianity, 2% Sikhism and .7% Buddhism.

India Dance Kali, Shiva, and Krishna are the three gods that are usually symbolized in Indian dancing. In addition, there are different types of Indian folk dances which include Bihu, Bhangra, Sambalpuri, Ghumura Dance, Garba, and Chhau. Unique types of dances are performed in local carnivals. The country houses various classical dance varieties and every one of them has origins in various regions of this diverse multicultural nation. The worldwide viewers have seen the staging of India dance through Hindi cinema or Hindi films. From time immemorial, prayers are offered to the deities through the spiritual dances and folk dances. Examples include Kirtaniya Dance, Ramlila Dance, Bhagata Dance, Naradi Dance and Kunjvasi Dance, Puja Art Dance and Vidapat Dance in this group. Least amount of musical instruments is used in these dance forms and the dancer presents the dance forms exclusive of playing the melody. The classical Indian dances embody the tradition and culture of a specific area or community of the country. The standards for being regarded a classical dance form are the technique's observances of the principles mentioned in ancheint texts describes the technique of performing arts in India, which is an extensive model which comprises both drama and dance.In India, classical dance essentially denotes the religious melodic theatre modes in Hindu culture. Its concept dates back to 400 BC. In India, there are classical grades to eight categories of dance: Kathakali, odissi, Kuchipud, Gaudiya Nrity, Bharatabatyam Mohihiyattam, Manipuri and Sattriya. A quite significant aspect of classical dance in India is the usage of hand motions by the performers as a short-hand symbol language to tell a tale and to show particular ideas like climate, articles, feelings, and nature. Various classical dances incorporate facial looks as an essential feature of the dance form.

CLOTHING OF INDIA

During the 17th and 18th centuries, India exported vast quantities of textiles throughout the world. The influence of India's textile export may be judged by the number of textile terms in use today which have Indian origins: chintz, calico, dungaree, gingham, khaki, madras, py jama, sash, seersucker, and shawl are just a few.. By far the most prized of Indian fabrics during this time period was Chintz, a cotton fabric usually having a large-scale, floral pattern applied by mordants (a resist dyeing method). For the finest chintz, the design was actually painted on the fabric, not printed. The colors were fast (they didn't fade or wash out). Chintz was used for both apparel fabrics and home furnishing fabrics (drapes & bedspreads) (Irwin and Brett, 1970). Kashmir Shawls In the mid-18th century a new accessory was introduced to the fashionable European woman's wardrobe which remained fashionable for almost a century. This was a shawl produced in Kashmir which is located in the northern part of India bordering the Himalayan Mountains. The shawls were originally brought to England by the East India Company, as well as by travelers bringing home gifts. The finest shawls were woven from the very fine and soft hair of a Kashmir mountain goat. (This is the fiber we know today as Cashmere.) The Kashmir shawls were handwoven entirely by men. One or two men would work 2-3 years to produce one shawl. Thismade the shawls very expensive (A Kashmir shawl at that time cost the equivalent of a mink coat today. Kashmir and paisley shawls can be identified by the use of a certain design motif which in India is called the boteh. After European textile manufacturers began imitating the shawls, the motif began to be called a paisley,. Banyans The phenomenon of the banyan, a gentleman's loose, long jacket or gown in the 1800's, illustrates combined Japanese and Indian influences. Trade with Japan was open from 1543 to 1640, and then closed until 1854. During the time that Japan was closed to trade, Japanese kimono made their way to Europe via Dutch traders who were the only ones to have access Japanese ports. Because of the rarity of kimono in the western world, it became a valued commodity. Demand quickly exceeded supply. The scarcity of the kimono enhanced its popularity and led the Dutch to manufacture banyans in India where they were highly involved in textile trade and export. The banyan was a loose, full kimono style in the early 18th century, but later evolved into a more fitted style with set-in sleeves, similar to a man's coat. It was known as an Indian gown, nightgown, morning gown, or dressing gown. First used as a type of robe, it was originally worn for leisure and in at-home situations; but came to be worn as a coat out-of-doors, in the street, or for business. Many gentlemen had their portraits made while wearing banyans. They were made from all types of fabrics in cotton, silk, or wool. For gentlemen, this was a long robe or gown which replaced the tight coat and waistcoat (vest) worn in public. Trade with Japan and India affected the demand for gowns made in the kimono style. The Dutch East India Company was the only trade group to have access to Japan durign this time period. The demand for these garments became so great that the Dutch eventually began manufacturing them in India through their locations there. The Indian Saree boasts of oldest existence in the sartorial world. It is more than 5000 years old!

Spices of IndiaAarti Sequeira won over a tough panel of judges to become our newest Food Network Star. Now she's cooking up delicious Indian-spiced food on her new show, Aarti Party. Check out other information on “The Food Network”

"Turmeric is one of the most essential Indian spices," Aarti says. "It comes from the turmeric root, which looks like a smaller, grubbier gingerroot. It has a bitter aroma in its raw, powdered form, but once you add it to oil, it releases this pungent perfume that you will recognize as distinctly Indian. It also adds a lot of bright golden color to your dishes. And it has great healing qualities: It's been used as an anti-inflammatory in India forever. Be careful though — it will stain!"

Paprika "In India, most cooks use ground red chiles (various varieties) both for their color and their heat," says Aarti. "Since some of those chiles are hard to come by here, I use paprika, primarily for the color it gives our food; then, if I want to add heat, I use cayenne pepper or serrano chiles."

Garam Masala Aarti says: "Pronounced 'GUH-rum ma-SAA-laa'. Masala means, more or less, spice mix — and don't confuse it with maRsala, which is a sweet fortified wine. Two different things entirely! Garam means "hot"; this particular blend of spices punches up whatever you have going on already. Every garam masala mix is different, and all Indian cooks have their own blend (my mum's is strictly cinnamon and cloves, nothing else). The kind you find at the supermarket has a lot of coriander and cumin in it, which I don't like, but it's great if you're just starting out or you're in a pinch. I make a version that uses cinnamon, cloves and cardamom."

Ground Cumin Seeds (or whole, which you can then grind yourself)"You probably already have some cumin in your pantry. I love the smoky, solid base that cumin adds to dishes," Aarti says. "I especially love using whole cumin seeds to start dishes off or to finish them off. They add a lovely pop of flavor."

Coriander Seeds Aarti says: "These are the seeds of the cilantro plant, but they don't taste anything like cilantro. They are more lemony in flavor and aroma — so don't try substituting fresh cilantro for either whole or ground coriander seeds. They taste oh so different! I usually buy the seeds, dry toast them in a pan, then grind them myself."

Super Swaps No time to make ghee, the clarified butter frequently used in Indian cuisine? Don't worry about swapping it for regular butter or oil. "We only used ghee for special occasions, so I use oil usually," says Aarti. "If it's for slathering on naan, then I use butter."

Speaking of naan, the delicious Indian flatbread, Aarti suggests subbing pita if you can't find it and don't have time to bake. "It's not the same by any means, but it's a good last-minute substitute," she says. "I'm still working on my perfect naan recipe."

Aarti’s Tandoori Chicken2 boneless, skinless chicken breasts 2 cups Aarti's Tandoori Marinade, recipe follows, divided1 tablespoon vegetable oil 1 teaspoon honey4 cups mixed salad greens Olive oil, to tasteLemon juice, to taste Kosher salt and freshly ground black pepper, to tasteAarti's Tandoori Marinade: 2 chiles de arbol3 tablespoons fenugreek seeds 1 tablespoon coriander seeds5 cloves Seeds from 4 green cardamom podsSeeds from 1 black cardamom pod 3 tablespoons paprika1 teaspoon ground cinnamon 8 cloves garlic1 (2-inch) piece fresh ginger, peeled 4 cups plain yogurt (recommended: full fat) 1/2 cup peanut oil Juice of 2 limesKosher salt and freshly ground black pepperDirections Toss the chicken breasts in 1 cup tandoori marinade. Cover and refrigerate for at least 2 hours, or up to overnight.In a saute pan, heat the vegetable oil, and cook the chicken for about 7 minutes per side, until cooked through. Alternately, you can also grill the chicken. Remove the chicken from the pan and pour the remaining 1 cup of marinade into the pan and bring to a gentle simmer. Stir in the honey and turn off the heat. Toss the salad greens with some olive oil, a squirt of lemon juice and salt, and pepper, to taste. Serve each chicken breast over a bed of greens and top with the heated tandoori sauce.Marinade: Put the chiles, fenugreek seeds, coriander seeds, cloves, seeds from cardamom pods (Cook's Note: Crush the pods to open, remove the seeds and throw away the hulls.), paprika, and cinnamon in a saute pan over medium heat until fragrant and toasty, about 5 minutes. Stir to avoid burning. Pour the mixture into a coffee or spice grinder and grind to a fine powder. Throw the garlic and ginger into a food processor or blender and pulse until finely minced, then add the yogurt, oil, and lime juice. Process the mixture until as smooth as possible. Add the spice powder and process again. Season the mixture with salt, and pepper, to taste. Keep the marinade in the refrigerator until ready to use. If you are going to use the marinade immediately include the lime juice. If you are using the marinade at a later time, use lime zest instead so that the yogurt doesn't curdle.

PPLD BOOKS

Maharaja : the splendour of India's royal courts / edited by Anna Jackson & Amin Jaffer.

The art and architecture of India: Buddhist, Hindu, Jain/ Rowland, Benjamin

Cuisines of India : the art and tradition of regional Indian cooking / Smita Chandra

Ritual art of India / Ajit Mookerjee.

Daughters of India : art and identity / Stephen P. Huyler.

The majesty of Mughal decoration : the art and architecture of Islamic India / George Michell

A visit to India / Peter & Connie Roop.

The cooking of India / Matthew Locricchio

Sephardic cooking : 600 recipes created in exotic Sephardic kitchens from Morocco to India / Copeland Marks.

Cuisines of India : the art and tradition of regional Indian cooking / Smita Chandra

Madhur Jaffrey's step-by-step cooking : over 150 dishes from India and the Far East, including Thailand , Vietnam, Indonesia, and Malaysia. A taste of India / Madhur Jaffrey

Savoring the spice coast of India : fresh flavors from Kerala / MayaKaimal

My Bombay kitchen : traditional and modern Parsi home cooking / Niloufer Ichaporia King Eating India : an odyssey into the food and culture of the land of spices / Chitrita Banerji.

 Sarangi [sound recording] : the music of India / Ustad Sultan Khan.by  Sultan Khan. Music in India : the classical traditions / Bonnie C. WadeRaga unveiled [videorecording] : India's voice, the history and essence of North Indian Classical music

Ideas for 2014 Classroom Activities - “LAKME” Language Arts

- Prepare opera vocabulary list for students as quiz - Have students develop resource list/bibliography of opera books, web sites - Study Gondinet and Gille plays as libretto sources. - Create opera word search, crossword puzzle - Prepare French party invitation; French & Indian menu

English/Literature - Compare original setting of plays to Delibes’ setting of Lakme - Write opera review of first performance vs. subsequent successful opening - Write storyline with different endings - Write newspaper articles that would appear in 1880s Paris - Write essay about what makes the Lakme story contemporary

History/Geography

- Create a chart of class society in 1880 Paris, 1880 Bombay - Describe changes in European history during Delibes’ lifetime (1836-91) - Summarize American history at that same time - Create a timeline for 1881-1882 era in which Lakme is written - Create old European map: show composer’s birthplace, opera’s setting

o Include borders for countries, empires during that era - Describe some Indian customs, hand gestures, differences between Eastern

and Western/European cultures Music/Art

- Describe how the music reflects the setting, drama of the opera’s story - Create Indian costume sketches for lead characters - Design set drawings for the opera; draw scenes of Lakme (Hindu temple,

river bank, bazaar) - Discuss the arts in Paris during the late 1800s - Design a poster for Lakme - Incorporate background of Indian dance into class lessons

Math/Science

- What were the major industries in France, India in the late 1800s - Who were the workers; describe the working class, the average wage - Describe the overall economy in Paris during the era - What was the price of food during those times; cost of transportation - Describe major scientific discoveries both in France and in the U.S.

Counseling

- Describe impact of the opera’s family structure, interpersonal relationships - Consider how characters meet challenges of differences in class society - Discuss elements of main characters’ sense of loyalty, morality - How do they cope with inner conflict of conscience, love vs. duty

2014 Activity Descriptions for Teachers/Students - Lakme Character Map: Takes one large piece of butcher paper or poster board for entire class or you can have several in one classroom, with students working in groups. Use a thick black marker and draw a big circle. Around the outside of the circle, place evenly the character names: Lakme, Nilkantha, Mallika, Gerald, Frederic, Ellen, Rose, Miss Bentson and Hadji. Based on the opera’s plot, in order of appearance, place evenly a mark on the circle’s perimeter by each character’s name, for each major action point detailed in the story. Draw a straight line between the characters based on their interpersonal relationships and plot points. For example, we know that after Lakme’s father, Nilkantha goes with a group of followers to worship in a Brahmin temple, Lakme and her servant, Mallika go down to the river to collect flowers. So, a line is drawn between Nilakantha and Lakme and Lakme and Mallika. And so on, as the story progresses. Next, we see Gerald and Frederic, so a line is drawn to connect them. To summarize, lines are drawn between characters to indicate a relationship and also to indicate a plot point that occurs between them. You will see all the lines beginning to “form” connecting the characters based on their relationships and the plot, but also will notice how much and often they intersect. As the lines are drawn and the action develops, the storyline itself becomes clearer. You can also make up a 3x5 card for each line drawn describing in one sentence what the plot point or the relationship is between two characters, leaving the name or title BLANK on the card for the students to fill in, for example. This is another way to enjoy this activity. Or, you can have the students make up the cards as they go. You may organize the students into 3-4 groups, all having the same large “globe” character map activity to complete. You may also have the class research the plot first and then share the synopsis together. Then, in their groups, they can work to identify where the lines go and what they represent. The exercise helps to “map” the opera’s plot and connect the characters and also builds friendly competition among the students in the class. This activity can be implemented as a “contest” showing the most lines drawn. Character Relationships Chart: Take a sheet of paper and put Lakme across the top. Draw an “organizational” type chart including all the opera’s characters on it. Draw lines connecting one character to another, indicating interpersonal relationships. You can also use a family tree type of a drawing. Character Profiles: Write a paragraph that profiles everything you know about each character. Include some kind of picture or drawing of what you think the character looks like in costume. Tape one profile on the back of each student (you may use several copies for each lead character). Through an exercise of having students walk around the classroom asking “yes” or “no” questions only, they must identify who they are and form a group of the same character. Once each character is identified, the group representing that character discusses in detail: traits, qualities about the person revealed through the opera’s storyline and produce a one page profile that contains more details than the initial paragraph.

Poster Contest: Make an opera poster in your classroom to promote Lakme. Display them at your school or use them as a backdrop for your in-school preview performance with the lead singers. You can make this activity into a contest to select and display 1-2 special posters from your classroom at your school in a prominent location during the week of the February 24 before the Lakme performance. Ideas for posters might represent life in 1880s Paris or a key scene in India depicted in the opera, that reflects the action of the characters. Other Art Activities: Have the students use magazine cut-outs to create a collage of life in Paris in the late 1800s. You can assign areas of interest such as fashion, food, industry, economics, transportation, housing, architecture, music and the arts. Or, the students can draw these historical overviews or create dimensional effects. The students may also sketch costumes and create set designs for the entire opera to better learn the plot. Students can design fabric and learn Indian customs reflected in traditional dress. They also may want to choreograph a classical Indian dance as seen in the opera. English students can assist by writing an entire opera “plot book” as a study guide. Game: Time Line Middle or High School Level: Divide the class in 6 groups and assign them each one category such as Music, Art, Dance, Literature, Science, History, Culture, Architecture, Clothing etc. Have each group choose a team leader and have the group research the time period of 1850-1950 France and India. Have them choose 2-3 historical events or trends in that category of that time period. These can be an important style in music, an industrial breakthrough, a famous political happening etc. Each group needs to create 3 - 5x7” cards (or use 8.5 x 11 cardstock) with that event name clearly marked on one side and the date written on the back. The goal is to create a timeline during the century showing life in Europe and what was newsworthy at the time. A card needs to be put up for Delibes’ opera Lakme. The team leader from each group will go up to the timeline (a long piece of big paper taped on the wall across the room marked with 5 year intervals is best) and tape up one card from his/her group at the correct mark/date with the event name facing out. He or she can announce the event to the class with a couple of sentences of explanation. The other 2 remaining cards per group are placed in a basket and all mixed up. You can color code the cards per group category if you wish. If you think the students will turn over the cards as they place them on the timeline and look at the date – then cover the dates. One by one, each remaining student chooses a card from the basket and tries to place it correctly by date on the timeline. After all the cards are placed up on the paper you ask the class as a group to comment on the card placement. This will encourage discussion about the chronology of events in Europe during that era. Have them agree as a group with the final card placement for the timeline. Then you, or the students, can go one by one down the line and check the dates on the back to see how accurate they are. (Activity taken from the popular card game called Timeline)

A Note About

Good Audiences • Arrive at least 15 mins. before the start of the performance

• Respect the theatre and other audience members

• Turn off your cell phones – no beeping, tweeting, texting please

• Put your phone away for the entire performance to enjoy the adventure

• Respect the artist’s performance on stage – they do this for you

• Laughter and applause are encouraged

• But please, no talking during the performance

• Leave your drink, food, candy, gum outside the Hall

• Only use restrooms during intermission

• Shout Bravo! ( for the men) Brava! (for the women) Bravi tutti! (for

the whole cast) at the end of the performance – the performers love it!

• Enjoy yourselves!!!! WE COULDN’T DO WITHOUT YOU, OUR AUDIENCE! YOU ARE EXTREMELY IMPORTANT TO US!

OPERA THEATRE GOES TO SCHOOL 2014 TEACHER EVALUATION – Lakme

TODAY'S DATE________________ NAME OF SCHOOL___________________________________ DISTRICT ________ PLEASE DESCRIBE BRIEFLY YOUR IMPRESSIONS OF YOUR Opera Theatre Goes to School EXPERIENCE: _________________________________________________________________________________________________________ _________________________________________________________________________________________________________ _________________________________________________________________________________________________________ _________________________________________________________________________________________________________ _________________________________________________________________________________________________________ EVALUATION OF CLASS CONTENT (Jan. 27): _______________________________________________________________ _________________________________________________________________________________________________________ _________________________________________________________________________________________________________ WERE YOU ABLE TO INTEGRATE OPERA INTO YOUR CLASSROOM IN SOME WAY? PLEASE BE SPECIFIC AND DESCRIBE WHAT YOU DID, WHEN YOU DID IT, HOW YOU DID IT: _________________________________________________________________________________________________________ _________________________________________________________________________________________________________ _________________________________________________________________________________________________________ _________________________________________________________________________________________________________ ESTIMATE NUMBER OF HOURS SPENT ON OPERA LESSONS: ___________________ WHAT WERE YOUR FAVORITE ACTIVITIES THAT WORKED WELL: ______________________________________ _________________________________________________________________________________________________________ _________________________________________________________________________________________________________ STUDENT'S REACTION TO THIS CLASSROOM EXPERIENCE: ______________________________________________ _________________________________________________________________________________________________________ _________________________________________________________________________________________________________ LIVE IN-SCHOOL PERFORMANCES – LENGTH/CONTENT/STUDENT IMPRESSIONS – YOUR IMPRESSIONS? _________________________________________________________________________________________________________ _________________________________________________________________________________________________________ _________________________________________________________________________________________________________ _________________________________________________________________________________________________________

Page 2 – Opera Theatre Teacher Evaluation DESCRIBE YOUR IMPRESSIONS OF THE LIVE OPERA EXPERIENCE AT ARMSTRONG THEATER – PLEASE INCLUDE STUDENT FEEDBACK: _________________________________________________________________________ _________________________________________________________________________________________________________ _________________________________________________________________________________________________________ _________________________________________________________________________________________________________ WOULD YOU RECOMMEND THE CLASS TO OTHERS? ____________________________________________________ CAN YOU RECOMMEND WAYS TO PROMOTE THE CLASS TO MORE TEACHERS? _________________________ ________________________________________________________________________________________________________ OTHER SUGGESTIONS?__________________________________________________________________________________ _________________________________________________________________________________________________________ _________________________________________________________________________________________________________ _________________________________________________________________________________________________________ _________________________________________________________________________________________________________ _________________________________________________________________________________________________________ _________________________________________________________________________________________________________ Signature: _________________________________________________________ Date: ________________________________ Please return to: Opera Theatre of the Rockies P.O. Box 8110 Colorado Springs, CO 80933-8110 719-570-1950

• PLEASE SEND THIS IN - ALONG WITH YOUR STUDENT PASS LIST, IN ORDER TO RECEIVE YOUR CLASS CREDIT, NO LATER THAN MONDAY, MARCH 17, 2014

Lakme – 2014 Student Survey

Date: _______________ Name: _________________________________ School: ________________________________ Grade: _________________________________ Teacher: _______________________________ Have you ever seen an opera before? Yes: __________ No: ___________ Did you enjoy the opera? Yes: _________ No: ___________ What did you like best about it? __________________________________ Would you like to attend another opera? Yes: __________ No: __________ Would you recommend the opera to your classmates next year? Yes: ________ N: _________ What character did you like best? ___________________ Why? __________________________________________ Did you receive information about the opera in your classroom? Yes: ______ No: ________ Was it helpful in understanding the opera? Write a few words about that. ____________________________________________________________ Have you been to the Pikes Peak Center before? Yes: ______ No: ______ What did you think of the experience? _____________________________ Other: _______________________________________________________

Opera Theatre of the Rockies Goes to School Wednesday, Feb. 26, 2014 * 6:45 pm * Armstrong Theater, Colorado College

NE Corner of cascade Ave & Cache La Poudre Leo Delibes’ Lakme

Student/Teacher/Chaperone - Opera Pass Form (each pass is $5)

No. of PASSES ___________ TEACHER ____________________________ SCHOOL______________________ * One Teacher’s Opera Pass is included in Class Fee. Each teacher must bring at least 10 students to the performance. Other teachers, chaperones must also buy a pass to attend. Indicate other teachers, chaperones at bottom of list. STUDENT NAME $ COLLECTED ___________________________________________ _________________ ___________________________________________ _________________ ___________________________________________ _________________ ___________________________________________ _________________ ___________________________________________ _________________ ___________________________________________ _________________ ___________________________________________ _________________ ___________________________________________ _________________ ___________________________________________ _________________ ___________________________________________ _________________ ___________________________________________ __________________ ___________________________________________ __________________ ___________________________________________ __________________ ___________________________________________ __________________ ___________________________________________ __________________ ___________________________________________ __________________ ___________________________________________ __________________ ___________________________________________ __________________ ___________________________________________ __________________ ___________________________________________ __________________ ___________________________________________ __________________ ___________________________________________ ___________________ Teacher's Signature Date Total $ collected Opera Theatre of the Rockies Fed. Tax # 84-1476734 P.O. Box 8110 (719) 570-1950 Colorado Springs, CO 80933-8110 Martile@operarockies.org **This opera pass form must be stamped the night of the performance and then sent in with the Teacher Evaluation by March 17, 2014

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