Opera...From A Sistah's Point Of View Discussion Guide by Classical Music Indy

The Opera…From a Sistah’s Point of View curriculum discussion guide was developed by Terry Taylor and published by Classical Music Indy. This guide was made possible by generous support from the Pettengill Family.

GRADES 9-12 CURRICULUM DISCUSSION GUIDE

of the Build Your Own Opera Plot FACT

° What is the name of Ms. Brown’s initiative to help others learn about opera. (Opera...from a Sistah’s Point of View).

° Where did Ms. Brown make a famous debut? (New York Metropolitan Opera)

• Prompt students with questions, if needed, to facilitate discussion:

° Where was Ms. Brown born? (Indianapolis, Indiana)

° What impressed you most about Ms. Brown presentation?

• Ask students to share what they remember about the opera art form.

• Expand on their comments so they will understand the following: Opera (the Italian word for work) is an art form that tells a story through orchestral music and singing. The story of an opera comes from a dramatic text, called a libretto, usually composed of three acts. Operas are most commonly performed in opera houses or theatres, and are elaborately staged with scenery, costumes, and movement. Operas include solos, vocal ensembles, and choral singers on stage, and a group of instrumentalists who perform offstage in an orchestra pit. All the performers are directed by a musical conductor. Opera is an important art form today and in music history. Many famous composers enjoyed writing operas in addition to their other music, including George Frideric Handel (16851759), Wolfgang Amadeus Mozart (1756-1791), and George Gershwin (18981937). Operas make up some of the world’s most famous classical music and continue to be the genre of choice for some of today’s celebrated composers.

• Tell students that we are going to explore how opera plots are structured.

• Distribute a Build Your Own Opera Plot Fact Sheet to each student.

• Go over the Terms to Know definitions. Ask students to apply these terms to popular movies, ensuring that they understand the purpose of each act. A SISTAH’S copy SHEET copies SHEET SHEET third SHEET SHEET.

• Continue the discussion until students have shared their views and opinions.

° What is Ms. Brown’s voice classification? (dramatic soprano)

of the ACT 1 WORD

• Invite students to share their impressions of Angela Brown’s visit.

for one

of the class. Repeat for the ACT 2 and ACT 3 WORD

and the ACT 1 STORY

and STORY

BUILD YOUR OWN OPERA PLOT FACT SHEET ACT 3 POINT OF VIEW ACT 1 ACT 2 An event that brings the characters into conflict. point; they against BUILD YOUR OWN OPERA PLOT FACT SHEET TERMS TO KNOW Exposition: parts story together LEARN MORE • Classical Music Indy • Angela Brown • Morning Brown, Inc.

POINT OF VIEW LESSON 1: BUILD YOUR OWN OPERA PLOT 1. GUIDE A DISCUSSION ABOUT ANGELA BROWN’S VISIT. 2. REVIEW INFORMATION ABOUT THE OPERA ART FORM. 3. READ AND REVIEW THE BUILD YOUR OWN OPERA PLOT FACT SHEET. MATERIALS NEEDED • Build Your Own Opera Plot Fact Sheet • Build Your Own Opera Plot ACTIVITY SHEET Opera Mad Lib STORY SHEET for Acts 1, 2, and 3 • Opera Mad Lib WORD SHEET for Acts 1, 2, and 3 • Pencil for each student PREPARATION • Make a

OPERA...FROM

for each student. • Make enough

• Discuss each section of the Fact Sheet. Ask students to think of movies, such as Star Wars, that have used similar plot forms.

• Distribute an Opera Mad Lib WORD SHEET to each student. Students in the Act 1 Group each receive the Act 1 sheets, Act 2 Group students receive the Act 2 sheets, and Act 3 Group students each receive the Act 3 sheets.

• Have students use their creative imaginations to fill the blanks in the WORD SHEET as instructed.

• Encourage students to read their stories aloud to the class.

• Tell students they are each going to have a part in creating an opera plot.

4. LEAD THE OPERA MAD LIBS ACTIVITY BUILD YOUR OWN OPERA PLOT ACTIVITY SHEET, OPERA MAD LIB WORD SHEET, AND STORY SHEET, ACT 1, 2, AND 3

the brave general, journey to meet with loyal Along way, general stops prepare is sign that the meeting will be success.” general, song actually signal Before the general react, grizzled joins “I part-time wearing robe. protector truth justice.” general BUILD YOUR OWN OPERA PLOT ACTIVITY SHEET OPERA MAD LIB STORY SHEET: ACT 1 country Name of king general Name of Kind of toy BUILD YOUR OWN OPERA PLOT ACTIVITY SHEET OPERA MAD LIB WORD SHEET: ACT hunting hanging only who knew of mission. One both of them fail!” Suddenly, you things they appear.” through the the clearing the King’s allies, they Instead, steps greed against useless mission. The King is plotting with enemies defeat kingdom. But the odds against us.” With the of her robe, disappears. general drops despair. BUILD YOUR OWN OPERA PLOT ACTIVITY SHEET OPERA MAD LIB STORY SHEET: ACT 2 BUILD YOUR OWN OPERA PLOT ACTIVITY SHEET OPERA MAD LIB WORD SHEET: ACT Name of general color girl sports equipment whirlpool swirls in front of them. in the misty wearing his orders!” The allies turn their boats around and sail toward the castle. general through by forward, but suddenly turn and The wizard and the king’s step “Quickly!” exiled, and the traitorous King is imprisoned. The wizard turns toward the says, you just play BUILD YOUR OWN OPERA PLOT ACTIVITY SHEET OPERA MAD LIB STORY SHEET: ACT 3

• Divide students into three groups: ° Act 1 Group ° Act 2 Group ° Act 3 Group

Name of king general Kind of reptile

• Use teachable moments to discuss how the stories of each act fulfilled its function in the overall plot.

• When students have completed filling in the blanks on the WORD SHEET, distribute the Act 1, Act 2, and Act 3 Mad Lib STORY SHEET to each respective group. Have students transfer the words to the correct blanks in the STORY SHEET using their answers from the WORD SHEET.

BUILD YOUR OWN OPERA PLOT ACTIVITY SHEET OPERA MAD LIB WORD SHEET: ACT

Act 2 is usually action packed, and advances the plot:

• Some characters die or undergo a major change that resolves the conflict.

• A sense of balance returns at the end.

• The setting, showing where the story takes place.

ACT 1 ACT 2

• The hero comes their lowest point; it seems like they will be unable to win against the odds. Operas are usually divided into three acts, although some operas can have just one act, or even up to five acts. These acts allow the viewer to understand everything that’s happening within that section. Each act tells an important part of the plot.

BUILD

Exposition: The part of a story where the main parts are introduced

• An event that brings the characters into conflict.

Protagonist: The main character or hero Antagonist: A character who competes or struggles against the protagonist

TERMS TO KNOW

Plot: The main events of an opera presented in an order that connects the story together

• The hero struggles because of things that can’t be controlled, because of the antagonist, or due to a lack of skills or information.

Together, the acts bring the opera to its end in a satisfying way. YOUR OWN OPERA PLOT SHEET

ACT 3

• The hero tries to resolve the conflict caused by an important, dramatic event.

FACT

Act 3 usually shows the high point when the conflict is resolved in a dramatic way:

• The main characters, what they are like, their goals, and how they relate to one another.

• The hero finds what is needed to resolve the conflict.

OPERA...FROM A SISTAH’S POINT OF VIEW

Act 1 always includes the exposition, which introduces the following:

OPERA...FROM A SISTAH’S

“Ah, ha!” thinks the general. “This _______________song is a sign that the meeting will be a success.” Unknown to the general, the song is actually a signal to launch an ambush! Suddenly, a beautiful woman steps out from the trees. “My name is _______________. Stop, or I will attack you with my ___________________.”

The year is 1828, and is on the brink of war. The king, _______________, and his trusted niece, _______________, decide to send the brave general, _______________, on a journey to meet with some loyal allies. Along the way, the general stops to rest and prepare his favorite food, _______________. As he is eating, he hears a singing _________________________.

Before the general can react, a grizzled man joins _______________. “I am _______________, inventor of the _______________, and part-time assassin. I have been sent to spoil the king’s plan.” The general freezes, realizing that his life is in danger. Suddenly, from the shadows, a tall wizard appears, wearing a robe. “I am _______________, protector of truth and justice.” Startled, the attackers and the general all flee in different directions. name of country name of general kind of foodname of a song descriptive word name of woman name of man kind of toy a color name of wizard kind of sports equipment name of woman kind of bird name of king name of girl

OPERA MAD LIB STORY SHEET: ACT 1

BUILD YOUR OWN OPERA PLOT ACTIVITY SHEET

VIEW

OPERA MAD LIB WORD SHEET: ACT 1

Fill in each line with a word. When you are finished, use those words to fill in your Mad Lib Opera Act plots.

Name of of of of Kind of Kind of of Name of Kind of sports Name of Kind of of YOUR OWN OPERA PLOT ACTIVITY SHEET

country Name

equipment

a song Descriptive word

food

man

toy A color Name

wizard BUILD

general

king Name

woman

bird Name

girl Name

Suddenly, a appears in the ______________. “Be careful who you trust,” it shrieked, “because things are not as they appear.” It flapped its wings and flew away. The General makes his way through the trees to the clearing to meet the King’s allies, but they are not there. Instead, _______________, steps out of the shadows. “My uncle, blinded by greed and power, has turned against you,” she declares. “Our allies have been sent down the River on a useless mission. The King is plotting with our enemies to defeat our kingdom. “What must I do?” asks the General. “Confront your assassins.” she answers. Battle them with your ____________________. “I will try to find our allies and convince them to return to the kingdom. But the odds are against us.” With the sweep of her robe, she disappears. The general drops to his knees in despair. name of general kind of bird a color descriptive word made upkindnameofcloth or fabric kind of sports equipment kind of tree name of girl room of a house animal furniture

A SISTAH’S POINT OF VIEW

finds shelter in a small hunting cabin. The stuffed head of a is hanging on the wall over the _______________. The general stares at the head, and mutters, “The king and his niece are the only ones who knew of my mission. One or both of them want me to fail!”

OPERA...FROM

BUILD YOUR OWN OPERA PLOT ACTIVITY SHEET MAD LIB STORY SHEET: ACT 2

OPERA

OPERA MAD LIB WORD SHEET: ACT 2

Name of general Kind of animal Kind of furniture Kind of bird Room of a house A color Kind of tree

BUILD YOUR OWN OPERA PLOT ACTIVITY SHEET

Fill in each line with a word. When you are finished, use those words to fill in your Mad Lib Opera Act plots.

OPERA...FROM A SISTAH’S POINT OF VIEW

The King’s allies paddle down the River. Suddenly, a whirlpool swirls in front of them. appears in the misty vortex, wearing a robe. “Your _________________mission is a diversion,” he says. “King is a traitor. You must return to Castle and help General _______________. Follow his orders!” The allies turn their boats around and sail toward the castle. Meanwhile, the general sneaks through the forest, by a ______________, toward the castle. A man and woman, both assassins, confront him. The General grabs his to fight. The assassins step forward, but suddenly turn and run away. The wizard and the king’s niece step out from the ______________trees. “Quickly!” shouts the wizard, “To the castle!” There, they join the allies. Even in the middle of they defeat the king. The enemies and assassins are exiled, and the traitorous King is imprisoned. The wizard turns toward the victors and says, “You will not see me, but if you need me, just play the and I will hear and always come to your aid. made up name name of king kind of reptile type of weather name of tree kind of musical instrument kind of sports equipment name of castle name of general name of wizard a color descriptive word

OPERA MAD LIB STORY SHEET: ACT 3

BUILD YOUR OWN OPERA PLOT ACTIVITY SHEET

Fill in each line with a word. When you are finished, use those words to fill in your Mad Lib Opera Act plots.

OPERA MAD LIB WORD SHEET: ACT 3

Made up name Name of wizard A color Descriptive word Name of king Name of castle Name of general Kind of reptile Kind of sports equipment Kind of tree Type of weather Kind of musical instrument BUILD YOUR OWN OPERA PLOT ACTIVITY SHEET

• Discuss each section of the Fact Sheet. Ask students to think of movies, such as Star Wars, that have used leitmotifs

• Allow time as teachable moments arise to discuss the characteristics of the themes or leitmotifs, and memories or associations of the movies, operas, or characters represented.

Page 1

HERE COMES MY THEME SONG ACTIVITY SHEET 5 HERE COMES MY THEME SONG ACTIVITY SHEET 6 HERE COMES MY THEME SONG ACTIVITY SHEET 8 HERE COMES MY THEME SONG ACTIVITY SHEET 7

• Distribute a Here Comes My Theme Song Fact Sheet to each student.

• Here Comes My Theme Song ACTIVITY SHEETS 1-8

• Tell students that we are going to learn about opera leitmotifs.

• Copy the Here Comes My Theme Song ACTIVITY SHEETS 1-8. Cut along the dashed lines to make 16 individual Game Cards. Display the Here Come My Theme Song Hyperlinks Sheet PDF on an internet device. Cut apart the song strips on the Here Comes My Theme Song Cut-apart Sheet, and place the individual strips in a container.

HERE COMES MY THEME SONG

OPERA...FROM A SISTAH’S POINT OF VIEW

° Have students listen as the leitmotif or theme song is played and place a token on the corresponding space on their game card.

LEARN MORE • Classical Music Indy • Angela Brown • Morning Brown, Inc.

2. PLAY THE HERE COMES MY THEME SONG BINGO-TYPE GAME. MATERIALS NEEDED

1. READ AND REVIEW THE HERE COMES MY THEME SONG FACT SHEET

° The student who gets four tokens in a row vertically, horizontally, or diagonally is the winner.

• Repeat the game as time allows so all theme songs and leitmotifs are played.

HERE COMES MY THEME SONG ACTIVITY SHEET 3 CARD 5: Here Comes My Theme Song CARD 6: Here Comes My Theme Song HERE COMES MY THEME SONG ACTIVITY SHEET 4 CARD 7: Here Comes My Theme Song CARD 8: Here Comes My Theme Song

° Tell students that you will call out the title then play a recording of a theme song or leitmotif. Draw a song strip from the container, announce the title, and click on the corresponding title on the Hyperlinks PDF on the internet device.

HERE COMES MY THEME SONG ACTIVITY SHEET 2 CARD 3 Here Comes My Theme Song CARD 4: Here Comes My Theme Song

• Here Comes My Theme Song Cut-apart Sheet (part of this lesson plan) Here Comes My Theme Song Hyperlinks Sheet (part of this lesson plan)

HERE COMES MY THEME SONG ACTIVITY SHEET CARD Here Comes My Theme Song CARD 2: Here Comes My Theme Song

•

LESSON 2:

•

• Here Comes My Theme Song Fact Sheet

HERE COMES MY THEME SONG FACT SHEET WHY LEITMOTIFS?USE MEET LEITMOTIF!THEHOWARELEITMOTIFSMADE? WHAT IS LEITMOTIF?A happened HERE COMES MY THEME SONG FACT SHEET

PREPARATION • Make a copy of the Here Comes My Them Song FACT SHEET for each student.

HERE COMES MY THEME SONG ACTIVITY SHEETS 1-8

• Distribute tokens and an individual Game Card to each student. If there are more than 16 students, invite students to play in teams.

• Explain that this game will be played like Bingo.

• 16 tokens (such as pennies or plastic disks) for each student

STAR WARS MAIN THEME (0:00-0:16)

SIEGFRIED’S THEME (0:00-0:30

MURDER THEME (0:28-1:00)

O PATRIA MIA (1:45-2:16)

SCARPIA’S THEME (0:04-0:13)

TOSCA’S THEME (0:06-0:28)

HEDWIG’S THEME (0:00-0:09)

DARTH VADER’S THEME (0:08-0:20)

BRÜNHILDE’S THEME (2:11-2:27)

YOU’VE GOT A FRIEND IN ME (0:07-0:18)

WE DON’T TALK ABOUT BRUNO (0:00-0:10)

LET IT GO (0:10-0:20)

HERE COMES MY THEME SONG HYPERLINKS SHEET, SOUND RECORDINGS FOR BINGO GAME

REMEMBER ME (0:25-0:35)

INTO THE UNKNOWN (0:14-0:27)

SUMMERTIME (0:27-0:48)

Page 3 Opera...From a Sistah’s Point of View © 2022 Morning Brown, Inc. All rights reserved. BRÜNHILDE’S THEME (2:11-2:27) DARTH VADER’S THEME (0:08-0:20) HEDWIG’S THEME (0:00-0:09) INTO THE UNKNOWN (0:14-0:27) LET IT GO (0:10-0:20) MURDER THEME (0:28-1:00) O PATRIA MIA (1:45-2:16) REMEMBER ME (0:25-0:35) SCARPIA’S THEME (0:04-0:13) SIEGFRIED’S THEME (0:00-0:30) STAR WARS MAIN THEME (0:00-0:16) SUMMERTIME (0:27-0:48) TOSCA’S THEME (0:06-0:28) WE DON’T TALK ABOUT BRUNO (0:00-0:10) YOU’VE GOT A FRIEND IN ME (0:07-0:18) HERE COMES MY THEME SONG CUT-APART SHEET

The audience will often hear a character’s leitmotif, for example, when the character appears on stage. Leitmotifs also occur in movies and video games.

MEET LEITMOTIF!THEHOWARELEITMOTIFSMADE?

WHY LEITMOTIFS?USEOPERA...FROMASISTAH’SPOINTOFVIEW

WHAT IS LEITMOTIF?A

The melodies and rhythms are almost always short and singable. When the leitmotif is heard again, the listener can make a connection between what has happened earlier in the story, and what is happening at the moment. Operas contain leitmotifs In operas, a musical leitmotif is connected with a certain character, place, or action within the opera.

Leitmotifs are made up of short phrases of music that can be easily heard and understood. A leitmotif may be a melody, a rhythm, a group of chords, or a combination of these.

A leitmotif (sounds like “lite·mow·teef”) is a short musical theme that happens over and over in a musical composition. The word leitmotif comes from combining the German word “leiten” (to lead) and “motiv” (motive). So leitmotif means “leading motive.”

Leitmotifs help listeners connect and keep up with the pace of an opera or movie. They help the audience feel the emotions that match up with the scenes of the story. For example, when you hear Darth Vader’s theme in Star Wars, you know that the villains are taking action, and that you should feel tense about.

HERE COMES MY THEME SONG SHEET

FACT

HERE COMES MY THEME SONG ACTIVITY SHEET 1 Opera From a Sistah’s Point of View © 2022 Morning Brown, Inc. All rights reserved. CARD 1: Here Comes My Theme Song CARD 2: Here Comes My Theme Song & b b 4 4 œ œ œ œ œ œ œ œ ˙ & b b œ œ œ œ œ bœ œ œ ˙n Darth Vadar Theme & b b 4 4 œ œ œ œ œ œ œ œ ˙ & b b œ œ œ œ œ bœ œ œ ˙n Darth Vadar Theme & b b b 4 4 Œ œ œ œ œ œ œ j œ nœ j œ j œ œ j œ & b b b j œ ‰ œ œ œ œ œ œ j œ œ œ “We Don’t Talk About Bruno” & b b b 4 4 Œ œ œ œ œ œ œ j œ nœ j œ j œ œ j œ & b b b j œ ‰ œ œ œ œ œ œ j œ œ œ “We Don’t Talk About Bruno” & # # 4 4 œ œ w & # # J œ ‰ œ œ œ œ œ ˙ ˙ “Summertime” & # # 4 4 œ œ w & # # J œ ‰ œ œ œ œ œ ˙ ˙ “Summertime” & ? b b b b 2 3 2 3 ˙ ˙ ˙ ˙ ˙ ˙b w w w ˙ ˙ ˙b b Ï tutta forza ˙ ˙ ˙nn # ˙n ˙ ˙ ˙ ˙ ˙ ˙n # ˙n ˙ ˙ ˙ ˙ ˙ ˙n nn œ œ œ Œ Ó Ï œ œ œ nœ#nn œŒ œ #nnœ ∑ ^ ^ v v ^ v U ^ U U Scarpia Theme & ? b b b b 2 3 2 3 Ó ˙ ˙ ˙ ˙ ˙ ˙b w w w ˙ ˙ ˙b b Ï tutta forza ˙ ˙ ˙nn # ˙n ˙ ˙ ˙ ˙ ˙ ˙n # ˙n ˙ ˙ ˙ ˙ ˙ ˙n nn œ œ œ Œ Ï œ œ œ nœ#nn œŒ œ ^#nnœ ^ v v ^ v U ^ U U Scarpia Theme & 4 4 œ œ œ 3 ˙ ˙ œ œ œ ˙ œ 3 & œ œ œ ˙ œ 3 œ œ œ ˙ 3 Star Wars Theme & 4 4 œ œ œ 3 ˙ ˙ œ œ œ ˙ œ 3 & œ œ œ ˙ œ 3 œ œ œ ˙ 3 Star Wars Theme & # # 4 4 4 2 4 4 œ œ œ œ ˙ Œ œ œ & # # œ œ œ œ œ œ œ œ œ ˙ Remember Me & # # 4 4 4 2 4 4 œ œ œ œ ˙ Œ œ œ & # # œ œ œ œ œ œ œ œ œ ˙ Remember Me & b b b b 4 4 œ ˙ œ œ π œ œ œ J œ & b b b b œ œ ˙ œ œ œ œ Tosca’s Theme & b b b b 4 4 œ œ ˙ œ œ π œ œ œ J œ & b b b b œ œ ˙ œ œ œ œ Tosca’s Theme & # # # 4 4 ‰ œ j œ j œ œ œ œ œ ∏ œ œ œ œ #œ œ œ œ œ & # # # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Murder Theme & # # # 4 4 ‰ œ j œ j œ œ œ œ œ œ ∏ œ œ œ œ #œ œ œ œ œ & # # # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Murder Theme & b b b 8 6 j œ œ œ j œ œ œ j œ ˙ œ œ j œ & b b b œ œ j œ œ œ œ œ ˙ Siegfried’s Theme & b b b 8 6 j œ œ œ j œ œ œ j œ ˙. œ œ j œ & b b b œ œ j œ œ œ œ œ ˙ Siegfried’s Theme & b 4 4 ˙ œ œ œ œ œ œ œ œ œ œ œ > > & b œ Œ Œ ‰ œr œ Œ O Patria Mia & b 4 4 ˙ œ œ œ œ œ œ œ œ œ œ œ > > & b œ Œ Ó ∑ Œ ‰ œr œ Œ O Patria Mia & b b b 4 4 œ œ œ œ œ œ J œ p œ ˙ œ œ œ 3 ? ? b b b œ œ œ œ œ œ J œ J œ œ J œ œ œ œ nœ œ 3 Brünnhilde’s Theme & b b b 4 4 œ œ œ œ œ œ J œ p œ ˙ œ œ œ 3 ? ? b b b œ œ œ œ œ œ J œ J œ œ J œ œ œ œ nœ œ 3 Brünnhilde’s Theme & # # 4 4 j œ œ j œ œ œ œ & # # ∑ ‰ J œ œ œ œ œ œ “You’ve Got a Friend in Me” & # # 4 4 j œ œ j œ œ œ œ & # # ‰ J œ œ œ œ œ œ “You’ve Got a Friend in Me” & # 8 3 J œ œ œ œ œ J œ œ œ & # œ œ œ #œ J nœ œ œ Headwig’s Theme & # 8 3 J œ œ œ œ œ J œ œ œ & # œ. œ œ #œ J nœ œ œ Headwig’s Theme & b b b 8 12 Œ bœ J œ œ œ J œ ˙ Ó & b b b Œ bœ J œ œ œ J œ ˙ Ó “Into the Unknown” & b b b 8 12 Œ bœ J œ œ œ J œ ˙ . & b b b ∑ Œ bœ J œ œ œ J œ ˙ “Into the Unknown” & b b 4 4 j œ œ œ œ œ œ œ œ œ œ œ œ œ & b b j œ œ. œ œ œ œ ˙ “Let It Go” & b b 4 4 j œ œ œ œ œ œ œ œ œ œ œ œ œ & b b j œ œ œ œ œ œ ˙ “Let It Go”

HERE COMES MY THEME SONG ACTIVITY SHEET 2 Opera From a Sistah’s Point of View © 2022 Morning Brown, Inc. All rights reserved. CARD 3: Here Comes My Theme Song CARD 4: Here Comes My Theme Song & b b 4 4 œ œ œ œ œ œ œ œ ˙ & b b œ œ œ œ œ bœ œ œ ˙n Darth Vadar Theme & b b 4 4 œ œ œ œ œ œ œ œ ˙ & b b œ œ œ œ œ bœ œ œ ˙n Darth Vadar Theme & b b b 4 4 Œ œ œ œ œ œ œ j œ nœ j œ j œ œ j œ & b b b j œ ‰ œ œ œ œ œ œ j œ œ œ “We Don’t Talk About Bruno” & b b b 4 4 Œ œ œ œ œ œ œ j œ nœ j œ j œ œ j œ & b b b j œ ‰ œ œ œ œ œ œ j œ œ œ “We Don’t Talk About Bruno” & # # 4 4 Ó œ œ w & # # J œ ‰ œ œ œ œ œ ˙ ˙ “Summertime” & # # 4 4 Ó œ œ w & # # J œ ‰ œ œ œ œ œ ˙ ˙ “Summertime” & ? b b b b 2 3 2 3 ∑ ˙ ˙ ˙ ˙ ˙ ˙b w w w ˙ ˙ ˙b b Ï tutta forza Ó ˙ ˙ ˙nn # ˙n ˙ ˙ ˙ ˙ ˙ ˙n # ˙n ˙ ˙ ˙ ˙ ˙ ˙n nn œ œ œ Œ Ï œ œ œ nœ#nn Œ Ó œÓ œ ^#nnœ ^ v v ^ v U ^ U U Scarpia Theme & ? b b b b 2 3 2 3 ˙ ˙ ˙ ˙ ˙ ˙b w w w ˙ ˙ ˙b b Ï tutta forza ˙ ˙ ˙nn # ˙n ˙ ˙ ˙ ˙ ˙ ˙n # ˙n ˙ ˙ ˙ ˙ ˙ ˙n nn œ œ œ Œ Ï œ œ œ nœ#nn œŒ œ #nnœ ∑ ^ ^ v v ^ v U ^ U U Scarpia Theme & 4 4 œ œ œ 3 ˙ ˙ œ œ œ ˙ œ 3 & œ œ œ ˙ œ 3 œ œ œ ˙ 3 Star Wars Theme & 4 4 œ œ œ 3 ˙ ˙ œ œ œ ˙ œ 3 & œ œ œ ˙ œ 3 œ œ œ ˙ 3 Star Wars Theme & # # 4 4 4 2 4 4 œ œ œ œ ˙ Œ œ œ & # # œ œ œ œ œ œ œ œ œ ˙ Ó Remember Me & # # 4 4 4 2 4 4 œ œ œ œ ˙ Œ œ œ & # # œ œ œ œ œ œ œ œ œ ˙ Remember Me & b b b b 4 4 œ œ ˙ œ œ π œ œ œ. J œ & b b b b œ œ ˙ œ œ œ œ Tosca’s Theme & b b b b 4 4 œ œ ˙ œ œ π œ œ œ J œ & b b b b œ ˙ œ œ œ œ Tosca’s Theme & # # # 4 4 ‰ œ j œ j œ œ œ œ œ œ ∏ œ œ œ œ #œ œ œ œ œ & # # # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Murder Theme & # # # 4 4 ‰ œ j œ j œ œ œ œ œ œ ∏ œ œ œ œ #œ œ œ œ œ & # # # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Murder Theme & b b b 8 6 j œ œ œ j œ œ œ j œ ˙ œ œ j œ & b b b œ œ j œ œ œ œ œ ˙ Siegfried’s Theme & b b b 8 6 j œ œ œ j œ œ œ j œ ˙ œ œ j œ & b b b œ œ j œ œ œ œ œ ˙ Siegfried’s Theme & b 4 4 ˙ œ œ œ œ œ œ œ œ œ . œ œ . > > & b œ Œ ∑ Œ ‰ œr œ Œ O Patria Mia & b 4 4 ˙ œ. œ œ. œ œ. œ œ œ œ œ œ > > & b œ Œ ∑ Œ ‰ œr œ Œ O Patria Mia & b b b 4 4 œ. œ œ œ œ œ J œ p œ ˙ œ œ œ 3 ? ? b b b œ œ œ œ œ œ J œ J œ œ J œ œ œ œ nœ œ 3 Brünnhilde’s Theme & b b b 4 4 œ œ œ œ œ œ J œ p œ ˙ œ œ œ 3 ? ? b b b œ œ œ œ œ œ J œ J œ œ J œ œ œ œ nœ œ 3 Brünnhilde’s Theme & # # 4 4 ∑ j œ œ j œ œ œ œ & # # ∑ ‰ J œ œ œ œ œ œ “You’ve Got a Friend in Me” & # # 4 4 ∑ j œ œ j œ œ œ œ & # # ‰ J œ œ œ œ œ œ “You’ve Got a Friend in Me” & # 8 3 J œ œ. œ œ œ J œ œ œ & # œ œ œ #œ J nœ œ œ Headwig’s Theme & # 8 3 J œ œ. œ œ œ J œ œ œ & # œ œ œ #œ J nœ œ œ Headwig’s Theme & b b b 8 12 Œ bœ J œ œ œ J œ ˙ & b b b ∑ Œ bœ J œ œ œ J œ ˙ “Into the Unknown” & b b b 8 12 Œ bœ J œ œ œ J œ ˙ Ó & b b b Œ bœ J œ œ œ J œ ˙ “Into the Unknown” & b b 4 4 j œ œ œ œ œ œ œ œ œ œ œ œ œ & b b j œ œ œ œ œ œ ˙ “Let It Go” & b b 4 4 j œ œ œ œ œ œ œ œ œ œ œ œ œ & b b j œ œ. œ œ œ œ ˙ “Let It Go”

HERE COMES MY THEME SONG ACTIVITY SHEET 3 Opera From a Sistah’s Point of View © 2022 Morning Brown, Inc. All rights reserved. & b b 4 4 œ œ œ œ œ œ œ œ ˙ & b b œ œ œ œ œ bœ œ œ ˙n Darth Vadar Theme & b b 4 4 œ œ œ œ œ œ œ œ ˙ & b b œ œ œ œ œ bœ œ œ ˙n Darth Vadar Theme & b b b 4 4 Œ œ œ œ œ œ œ j œ nœ j œ j œ œ j œ & b b b j œ ‰ œ œ œ œ œ œ j œ œ. œ “We Don’t Talk About Bruno” & b b b 4 4 Œ œ œ œ œ œ œ j œ nœ j œ j œ œ j œ & b b b j œ ‰ œ œ œ œ œ œ j œ œ œ “We Don’t Talk About Bruno” & # # 4 4 œ œ w & # # J œ ‰ œ œ œ œ œ ˙ ˙ “Summertime” & # # 4 4 Ó œ œ w & # # J œ ‰ œ œ œ œ œ ˙ ˙ “Summertime” & ? b b b b 2 3 2 3 ˙ ˙ ˙ ˙ ˙ ˙b w w w ˙ ˙ ˙b b Ï tutta forza ˙ ˙ ˙nn # ˙n ˙ ˙ ˙ ˙ ˙ ˙n # ˙n ˙ ˙ ˙ ˙ ˙ ˙n nn œ œ œ Œ Ó Ï œ œ œ nœ#nn œŒ œ #nnœ ∑ ^ ^ v v ^ v U ^ U U Scarpia Theme & ? b b b b 2 3 2 3 ∑ ˙ ˙ ˙ ˙ ˙ ˙b w w w ˙ ˙ ˙b b Ï tutta forza ˙ ˙ ˙nn # ˙n ˙ ˙ ˙ ˙ ˙ ˙n # ˙n ˙ ˙ ˙ ˙ ˙ ˙n nn œ œ œ Œ Ï œ œ œ nœ#nn œŒ œ ^#nnœ ^ v v ^ v U ^ U U Scarpia Theme & 4 4 œ œ œ 3 ˙ ˙ œ œ œ ˙ œ 3 & œ œ œ ˙ œ 3 œ œ œ ˙ 3 Star Wars Theme & 4 4 œ œ œ 3 ˙ ˙ œ œ œ ˙ œ 3 & œ œ œ ˙ œ 3 œ œ œ ˙ 3 Star Wars Theme & # # 4 4 4 2 4 4 œ œ œ œ ˙ Œ œ œ & # # œ œ œ œ œ œ œ œ œ ˙ Ó Remember Me & # # 4 4 4 2 4 4 œ œ œ œ ˙ Œ œ œ & # # œ œ œ œ œ œ œ œ œ ˙ Ó Remember Me & b b b b 4 4 œ œ ˙ œ œ π œ œ œ J œ & b b b b œ œ ˙ œ œ œ œ Tosca’s Theme & b b b b 4 4 œ œ ˙ œ œ π œ œ œ J œ & b b b b œ œ ˙ œ œ œ œ Tosca’s Theme & # # # 4 4 ‰ œ j œ j œ œ œ œ œ œ ∏ œ œ œ œ #œ œ œ œ œ & # # # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Murder Theme & # # # 4 4 ‰ œ j œ j œ œ œ œ œ œ ∏ œ œ œ œ #œ œ œ œ œ & # # # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Murder Theme & b b b 8 6 j œ œ œ j œ œ œ j œ ˙ œ œ j œ & b b b œ œ j œ œ œ œ œ ˙ Siegfried’s Theme & b b b 8 6 j œ œ œ j œ œ œ j œ ˙ œ œ j œ & b b b œ œ j œ œ œ œ œ ˙ Siegfried’s Theme & b 4 4 .˙ œ œ œ œ œ œ œ œ œ œ œ > > & b œ Œ ∑ Œ ‰ œr œ Œ O Patria Mia & b 4 4 ˙ œ œ œ œ œ œ œ œ œ œ œ > > & b œ Œ Ó ∑ Œ ‰ œr œ Œ O Patria Mia & b b b 4 4 œ œ œ œ œ œ J œ p œ ˙ œ œ œ 3 ? ? b b b œ œ œ œ œ œ J œ J œ œ J œ œ œ œ nœ œ 3 Brünnhilde’s Theme & b b b 4 4 œ œ œ œ œ œ J œ p œ ˙ œ œ œ 3 ? ? b b b œ œ œ œ œ œ J œ J œ œ J œ œ œ œ nœ œ 3 Brünnhilde’s Theme & # # 4 4 ∑ j œ œ j œ œ œ œ & # # ∑ ‰ J œ œ œ œ œ œ “You’ve Got a Friend in Me” & # # 4 4 ∑ j œ œ j œ œ œ œ & # # ‰ J œ œ œ œ œ œ “You’ve Got a Friend in Me” & # 8 3 J œ œ œ œ œ J œ œ œ & # œ œ œ #œ J nœ œ œ Headwig’s Theme & # 8 3 J œ œ œ œ œ J œ œ œ & # œ œ œ #œ J nœ œ œ Headwig’s Theme & b b b 8 12 Œ . bœ J œ œ œ J œ ˙ . & b b b ∑ Œ bœ J œ œ œ J œ .˙ “Into the Unknown” & b b b 8 12 Œ bœ J œ œ œ J œ ˙ & b b b ∑ Œ bœ J œ œ œ J œ ˙ “Into the Unknown” & b b 4 4 j œ œ œ œ œ œ œ œ œ œ œ œ œ & b b j œ œ œ œ œ œ ˙ “Let It Go” & b b 4 4 j œ œ œ œ œ œ œ œ œ œ œ œ œ & b b j œ œ œ œ œ œ ˙ “Let It Go” CARD 5: Here Comes My Theme Song CARD 6: Here Comes My Theme Song

HERE COMES MY THEME SONG ACTIVITY SHEET 4 Opera From a Sistah’s Point of View © 2022 Morning Brown, Inc. All rights reserved. & b b 4 4 œ œ œ œ œ œ œ œ ˙ & b b œ œ œ œ œ bœ œ œ ˙n Darth Vadar Theme & b b 4 4 œ œ œ œ œ œ œ œ ˙ & b b œ œ œ œ œ bœ œ œ ˙n Darth Vadar Theme & b b b 4 4 Œ œ œ œ œ œ œ j œ nœ j œ j œ œ j œ & b b b j œ ‰ œ œ œ œ œ œ j œ œ œ “We Don’t Talk About Bruno” & b b b 4 4 Œ œ œ œ œ œ œ j œ nœ j œ j œ œ j œ & b b b j œ ‰ œ œ œ œ œ œ j œ œ œ “We Don’t Talk About Bruno” & # # 4 4 œ œ w & # # J œ ‰ œ œ œ œ œ ˙ ˙ “Summertime” & # # 4 4 œ œ w & # # J œ ‰ œ œ œ œ œ ˙ ˙ “Summertime” & ? b b b b 2 3 2 3 ˙ ˙ ˙ ˙ ˙ ˙b w w w ˙ ˙ ˙b b Ï tutta forza ˙ ˙ ˙nn # ˙n ˙ ˙ ˙ ˙ ˙ ˙n # ˙n ˙ ˙ ˙ ˙ ˙ ˙n nn œ œ œ Œ Ó Ï œ œ œ nœ#nn œŒ œ #nnœ ∑ ^ ^ v v ^ v U ^ U U Scarpia Theme & ? b b b b 2 3 2 3 ˙ ˙ ˙ ˙ ˙ ˙b w w w ˙ ˙ ˙b b Ï tutta forza ˙ ˙ ˙nn # ˙n ˙ ˙ ˙ ˙ ˙ ˙n # ˙n ˙ ˙ ˙ ˙ ˙ ˙n nn œ œ œ Œ Ó Ï œ œ œ nœ#nn œŒ œ #nnœ ∑ ^ ^ v v ^ v U ^ U U Scarpia Theme & 4 4 œ œ œ 3 ˙ ˙ œ œ œ ˙ œ 3 & œ œ œ ˙ œ 3 œ œ œ ˙ 3 Star Wars Theme & 4 4 œ œ œ 3 ˙ ˙ œ œ œ ˙ œ 3 & œ œ œ ˙ œ 3 œ œ œ ˙ 3 Star Wars Theme & # # 4 4 4 2 4 4 œ œ œ œ ˙ Œ œ œ & # # œ œ œ œ œ œ œ œ œ ˙ Remember Me & # # 4 4 4 2 4 4 œ œ œ œ ˙ Œ œ œ & # # œ œ œ œ œ œ œ œ œ ˙ Remember Me & b b b b 4 4 œ œ ˙ œ œ π œ œ œ J œ & b b b b œ œ ˙ œ œ œ œ Tosca’s Theme & b b b b 4 4 œ œ ˙ œ œ π œ œ œ J œ & b b b b œ œ ˙ œ œ œ œ Tosca’s Theme & # # # 4 4 ‰ œ j œ j œ œ œ œ œ œ ∏ œ œ œ œ #œ œ œ œ œ & # # # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Murder Theme & # # # 4 4 ‰ œ j œ j œ œ œ œ œ œ ∏ œ œ œ œ #œ œ œ œ œ & # # # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Murder Theme & b b b 8 6 j œ œ œ j œ œ œ j œ ˙ œ œ j œ & b b b œ œ j œ œ œ œ œ ˙ Siegfried’s Theme & b b b 8 6 j œ œ œ j œ œ œ j œ ˙ œ œ j œ & b b b œ. œ j œ œ. œ œ œ ˙ Siegfried’s Theme & b 4 4 ˙ œ. œ œ. œ œ. œ œ œ œ œ œ > > & b œ Œ ∑ Œ ‰ œr œ Œ O Patria Mia & b 4 4 ˙ œ œ œ œ œ œ œ œ œ œ œ > > & b œ Œ Ó ∑ Œ ‰ œr œ Œ O Patria Mia & b b b 4 4 œ œ œ œ œ œ J œ p œ ˙ œ œ œ 3 ? ? b b b œ. œ œ œ œ œ J œ J œ œ J œ œ œ œ nœ œ 3 Brünnhilde’s Theme & b b b 4 4 œ œ œ œ œ œ J œ p œ ˙ œ œ œ 3 ? ? b b b œ œ œ œ œ œ J œ J œ œ J œ œ œ œ nœ œ 3 Brünnhilde’s Theme & # # 4 4 ∑ j œ œ j œ œ œ œ & # # ∑ ‰ J œ œ œ œ œ œ “You’ve Got a Friend in Me” & # # 4 4 ∑ j œ œ j œ œ œ œ & # # ∑ ‰ J œ œ œ œ œ œ “You’ve Got a Friend in Me” & # 8 3 J œ œ œ œ œ J œ œ œ & # œ œ œ #œ J nœ œ œ Headwig’s Theme & # 8 3 J œ œ œ œ œ J œ œ œ & # œ œ œ #œ J nœ œ œ Headwig’s Theme & b b b 8 12 Œ bœ J œ œ œ J œ ˙ Ó & b b b Œ bœ J œ œ œ J œ ˙ Ó “Into the Unknown” & b b b 8 12 Œ . bœ J œ œ œ J œ ˙ . & b b b ∑ Œ bœ J œ œ œ J œ .˙ “Into the Unknown” & b b 4 4 j œ œ œ œ œ œ œ œ œ œ œ œ œ & b b j œ œ œ œ œ œ ˙ Ó “Let It Go” & b b 4 4 j œ œ œ œ œ œ œ œ œ œ œ œ œ & b b j œ œ œ œ œ œ ˙ “Let It Go” CARD 7: Here Comes My Theme Song CARD 8: Here Comes My Theme Song

HERE COMES MY THEME SONG ACTIVITY SHEET 5 Opera From a Sistah’s Point of View © 2022 Morning Brown, Inc. All rights reserved. & b b 4 4 œ œ œ œ œ œ œ œ ˙ & b b œ œ œ œ œ bœ œ œ ˙n Darth Vadar Theme & b b 4 4 œ œ œ œ œ œ œ œ ˙ & b b œ œ œ œ œ bœ œ œ ˙n Darth Vadar Theme & b b b 4 4 Œ œ œ œ œ œ œ j œ nœ j œ j œ œ j œ & b b b j œ ‰ œ œ œ œ œ œ j œ œ œ “We Don’t Talk About Bruno” & b b b 4 4 Œ œ œ œ œ œ œ j œ nœ j œ j œ œ j œ & b b b j œ ‰ œ œ œ œ œ œ j œ œ. œ “We Don’t Talk About Bruno” & # # 4 4 œ œ w & # # J œ ‰ œ œ œ œ œ ˙ ˙ “Summertime” & # # 4 4 Ó œ œ w & # # J œ ‰ œ œ œ œ œ ˙ ˙ “Summertime” & ? b b b b 2 3 2 3 ˙ ˙ ˙ ˙ ˙ ˙b w w w ˙ ˙ ˙b b Ï tutta forza ˙ ˙ ˙nn # ˙n ˙ ˙ ˙ ˙ ˙ ˙n # ˙n ˙ ˙ ˙ ˙ ˙ ˙n nn œ œ œ Œ Ó Ï œ œ œ nœ#nn œŒ œ #nnœ ∑ ^ ^ v v ^ v U ^ U U Scarpia Theme & ? b b b b 2 3 2 3 Ó ˙ ˙ ˙ ˙ ˙ ˙b w w w ˙ ˙ ˙b b Ï tutta forza ˙ ˙ ˙nn # ˙n ˙ ˙ ˙ ˙ ˙ ˙n # ˙n ˙ ˙ ˙ ˙ ˙ ˙n nn œ œ œ Œ Ï œ œ œ nœ#nn œŒ œ ^#nnœ ^ v v ^ v U ^ U U Scarpia Theme & 4 4 œ œ œ 3 ˙ ˙ œ œ œ ˙ œ 3 & œ œ œ ˙ œ 3 œ œ œ ˙ 3 Star Wars Theme & 4 4 œ œ œ 3 ˙ ˙ œ œ œ ˙ œ 3 & œ œ œ ˙ œ 3 œ œ œ ˙ 3 Star Wars Theme & # # 4 4 4 2 4 4 œ œ œ œ ˙ Œ œ œ & # # œ œ œ œ œ œ œ œ œ ˙ Ó Remember Me & # # 4 4 4 2 4 4 œ œ œ œ ˙ Œ œ œ & # # œ œ œ œ œ œ œ œ. œ ˙ Remember Me & b b b b 4 4 œ œ ˙ œ œ π œ œ œ J œ & b b b b œ œ ˙ œ œ œ œ Tosca’s Theme & b b b b 4 4 œ œ ˙ œ œ π œ œ œ J œ & b b b b œ œ ˙ œ œ œ œ Tosca’s Theme & # # # 4 4 ‰ œ j œ j œ œ œ œ œ œ ∏ œ œ œ œ #œ œ œ œ œ & # # # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Murder Theme & # # # 4 4 ‰ œ j œ j œ œ œ œ œ œ ∏ œ œ œ œ #œ œ œ œ œ & # # # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Murder Theme & b b b 8 6 j œ œ œ j œ œ œ j œ ˙. œ œ j œ & b b b œ œ j œ œ œ œ œ ˙. Siegfried’s Theme & b b b 8 6 j œ œ œ j œ œ œ j œ ˙. œ œ j œ & b b b œ œ j œ œ œ œ œ ˙ Siegfried’s Theme & b 4 4 ˙ œ œ œ œ œ œ œ œ œ œ œ > > & b œ Œ Ó Œ ‰ œr œ Œ O patria Mia & b 4 4 ˙ œ œ œ œ œ œ œ œ œ œ œ > > & b œ Œ ∑ Œ ‰ œr œ Œ O patria Mia & b b b 4 4 œ. œ œ œ œ œ J œ p œ ˙ œ œ œ 3 ? ? b b b œ œ œ œ œ œ J œ J œ œ J œ œ œ œ nœ œ 3 Brünnhilde’s Theme & b b b 4 4 œ œ œ œ œ œ J œ p œ ˙ œ œ œ 3 ? ? b b b œ œ œ œ œ œ J œ J œ œ J œ œ œ œ nœ œ 3 Brünnhilde’s Theme & # # 4 4 j œ œ j œ œ œ œ & # # ∑ ‰ J œ œ œ œ œ œ “You’ve Got a Friend in Me” & # # 4 4 ∑ j œ œ j œ œ œ œ & # # ∑ ‰ J œ œ œ œ œ œ “You’ve Got a Friend in Me” & # 8 3 J œ œ œ œ œ J œ œ. œ & # œ œ œ #œ J nœ œ. œ Headwig’s Theme & # 8 3 J œ œ œ œ œ J œ œ œ & # œ œ œ #œ J nœ œ œ Headwig’s Theme & b b b 8 12 Œ bœ J œ œ œ J œ ˙ & b b b ∑ Œ bœ J œ œ œ J œ ˙ “Into the Unknown” & b b b 8 12 Œ bœ J œ œ œ J œ ˙ Ó & b b b Œ bœ J œ œ œ J œ ˙ “Into the Unknown” & b b 4 4 j œ œ œ œ œ œ œ œ œ œ œ œ œ & b b j œ œ œ œ œ œ ˙ “Let It Go” & b b 4 4 j œ œ œ œ œ œ œ œ œ œ œ œ œ & b b j œ œ œ œ œ œ ˙ “Let It Go” CARD 9: Here Comes My Theme Song CARD 10: Here Comes My Theme Song

HERE COMES MY THEME SONG ACTIVITY SHEET 6 Opera From a Sistah’s Point of View © 2022 Morning Brown, Inc. All rights reserved. & b b 4 4 œ œ œ œ œ œ œ œ ˙ & b b œ œ œ œ œ bœ œ œ ˙n Darth Vadar Theme & b b 4 4 œ œ œ œ œ œ œ œ ˙ & b b œ œ œ œ œ bœ œ œ ˙n Darth Vadar Theme & b b b 4 4 Œ œ œ œ œ œ œ j œ nœ j œ j œ œ j œ & b b b j œ ‰ œ œ œ œ œ œ j œ œ œ “We Don’t Talk About Bruno” & b b b 4 4 Œ œ œ œ œ œ œ j œ nœ j œ j œ œ j œ & b b b j œ ‰ œ œ œ œ œ œ j œ œ œ “We Don’t Talk About Bruno” & # # 4 4 œ œ w & # # J œ ‰ œ œ œ œ œ ˙ ˙ “Summertime” & # # 4 4 Ó œ œ w & # # J œ ‰ œ œ œ œ œ ˙ ˙ “Summertime” & ? b b b b 2 3 2 3 ˙ ˙ ˙ ˙ ˙ ˙b w w w ˙ ˙ ˙b b Ï tutta forza ˙ ˙ ˙nn # ˙n ˙ ˙ ˙ ˙ ˙ ˙n # ˙n ˙ ˙ ˙ ˙ ˙ ˙n nn œ œ œ Œ Ï œ œ œ nœ#nn œŒ œ ^#nnœ ^ v v ^ v U ^ U U Scarpia Theme & ? b b b b 2 3 2 3 Ó ˙ ˙ ˙ ˙ ˙ ˙b w w w ˙ ˙ ˙b b Ï tutta forza ˙ ˙ ˙nn # ˙n ˙ ˙ ˙ ˙ ˙ ˙n # ˙n ˙ ˙ ˙ ˙ ˙ ˙n nn œ œ œ Œ Ï œ œ œ nœ#nn œŒ œ ^#nnœ ^ v v ^ v U ^ U U Scarpia Theme & 4 4 œ œ œ 3 ˙ ˙ œ œ œ ˙ œ 3 & œ œ œ ˙ œ 3 œ œ œ ˙ 3 Star Wars Theme & 4 4 œ œ œ 3 ˙ ˙ œ œ œ ˙ œ 3 & œ œ œ ˙ œ 3 œ œ œ ˙ 3 Star Wars Theme & # # 4 4 4 2 4 4 œ œ œ œ ˙ Œ œ œ & # # œ œ œ œ œ œ œ œ œ ˙ Remember Me & # # 4 4 4 2 4 4 œ œ œ œ ˙ Œ œ œ & # # œ œ œ œ œ œ œ œ œ ˙ Remember Me & b b b b 4 4 œ ˙ œ œ π œ œ œ J œ & b b b b œ œ ˙ œ œ œ œ Tosca’s Theme & b b b b 4 4 œ œ ˙ œ œ π œ œ œ. J œ & b b b b œ œ ˙ œ œ œ œ Tosca’s Theme & # # # 4 4 ‰ œ j œ j œ œ œ œ œ ∏ œ œ œ œ #œ œ œ œ œ & # # # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Murder Theme & # # # 4 4 ‰ œ j œ j œ œ œ œ œ œ ∏ œ œ œ œ #œ œ œ œ œ & # # # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Murder Theme & b b b 8 6 j œ œ œ j œ œ œ j œ ˙. œ œ j œ & b b b œ œ j œ œ œ œ œ ˙ Siegfried’s Theme & b b b 8 6 j œ œ œ j œ œ œ j œ ˙ œ œ j œ & b b b œ œ j œ œ œ œ œ ˙ Siegfried’s Theme & b 4 4 ˙ œ œ œ œ œ œ œ œ œ œ œ > > & b œ Œ Ó Œ ‰ œr œ Œ O patria Mia & b 4 4 .˙ œ œ œ œ œ œ œ œ œ œ œ > > & b œ Œ ∑ Œ ‰ œr œ Œ O Patria Mia & b b b 4 4 œ œ œ œ œ œ J œ p œ ˙ œ œ œ 3 ? ? b b b œ œ œ œ œ œ J œ J œ œ J œ œ œ œ nœ œ 3 Brünnhilde’s Theme & b b b 4 4 œ œ œ œ œ œ J œ p œ ˙ œ œ œ 3 ? ? b b b œ œ œ œ œ œ J œ J œ œ J œ œ œ œ nœ œ 3 Brünnhilde’s Theme & # # 4 4 ∑ j œ œ j œ œ œ œ & # # ‰ J œ œ œ œ œ œ “You’ve Got a Friend in Me” & # # 4 4 ∑ j œ œ j œ œ œ œ & # # ∑ ‰ J œ œ œ œ œ œ “You’ve Got a Friend in Me” & # 8 3 J œ œ œ œ œ J œ œ œ & # œ œ œ #œ J nœ œ œ Headwig’s Theme & # 8 3 J œ œ œ œ œ J œ œ œ & # œ. œ œ #œ J nœ œ œ Headwig’s Theme & b b b 8 12 Œ bœ J œ œ œ J œ .˙ & b b b ∑ Œ bœ J œ œ. œ J œ ˙ Ó “Into the Unknown” & b b b 8 12 Œ bœ J œ œ œ J œ ˙ Ó & b b b Œ bœ J œ œ œ J œ ˙ “Into the Unknown” & b b 4 4 j œ œ œ œ œ œ œ œ œ œ œ œ œ & b b j œ œ œ œ œ œ ˙ “Let It Go” & b b 4 4 j œ œ œ œ œ œ œ œ œ œ œ œ œ & b b j œ œ œ œ œ œ ˙ “Let It Go” CARD 11: Here Comes My Theme Song CARD 12: Here Comes My Theme Song

HERE COMES MY THEME SONG ACTIVITY SHEET 7 Opera From a Sistah’s Point of View © 2022 Morning Brown, Inc. All rights reserved. & b b 4 4 œ œ œ œ œ œ œ œ ˙ & b b œ œ œ œ œ bœ œ œ ˙n Darth Vadar Theme & b b 4 4 œ œ œ œ œ œ œ œ ˙ & b b œ œ œ œ œ bœ œ œ ˙n Darth Vadar Theme & b b b 4 4 Œ œ œ œ œ œ œ j œ nœ j œ j œ œ j œ & b b b j œ ‰ œ œ œ œ œ œ j œ œ œ “We Don’t Talk About Bruno” & b b b 4 4 Œ œ œ œ œ œ œ j œ nœ j œ j œ œ j œ & b b b j œ ‰ œ œ œ œ œ œ j œ œ œ “We Don’t Talk About Bruno” & # # 4 4 œ œ w & # # J œ ‰ œ œ œ œ œ ˙ ˙ “Summertime” & # # 4 4 œ œ w & # # J œ ‰ œ. œ œ. œ œ ˙ ˙ “Summertime” & ? b b b b 2 3 2 3 ˙ ˙ ˙ ˙ ˙ ˙b w w w ˙ ˙ ˙b b Ï tutta forza ˙ ˙ ˙nn # ˙n ˙ ˙ ˙ ˙ ˙ ˙n # ˙n ˙ ˙ ˙ ˙ ˙ ˙n nn œ œ œ Œ Ï œ œ œ nœ#nn œŒ œ ^#nnœ ^ v v ^ v U ^ U U Scarpia Theme & ? b b b b 2 3 2 3 ˙ ˙ ˙ ˙ ˙ ˙b w w w ˙ ˙ ˙b b Ï tutta forza ˙ ˙ ˙nn # ˙n ˙ ˙ ˙ ˙ ˙ ˙n # ˙n ˙ ˙ ˙ ˙ ˙ ˙n nn œ œ œ Œ Ó Ï œ œ œ nœ#nn œŒ œ #nnœ ∑ ^ ^ v v ^ v U ^ U U Scarpia Theme & 4 4 œ œ œ 3 ˙ ˙ œ œ œ ˙ œ 3 & œ œ œ ˙ œ 3 œ œ œ ˙ 3 Star Wars Theme & 4 4 œ œ œ 3 ˙ ˙ œ œ œ ˙ œ 3 & œ œ œ ˙ œ 3 œ œ œ ˙ 3 Star Wars Theme & # # 4 4 4 2 4 4 œ œ œ œ ˙ Œ œ œ & # # œ œ œ œ œ œ œ œ œ ˙ Remember Me & # # 4 4 4 2 4 4 œ œ œ œ ˙ Œ œ œ & # # œ œ œ œ œ œ œ œ œ ˙ Ó Remember Me & b b b b 4 4 œ œ ˙ œ œ π œ œ œ J œ & b b b b œ œ ˙ œ œ œ œ Tosca’s Theme & b b b b 4 4 œ œ ˙ œ œ π œ œ œ J œ & b b b b œ œ ˙ œ œ œ œ Tosca’s Theme & # # # 4 4 ‰ œ j œ j œ œ œ œ œ œ ∏ œ œ œ œ #œ œ œ œ œ & # # # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Murder Theme & # # # 4 4 ‰ œ j œ j œ œ œ œ œ œ ∏ œ œ œ œ #œ œ œ œ œ & # # # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Murder Theme & b b b 8 6 j œ œ œ j œ œ œ j œ ˙. œ œ j œ & b b b œ œ j œ œ œ œ œ ˙. Siegfried’s Theme & b b b 8 6 j œ œ œ j œ œ œ j œ ˙ œ œ j œ & b b b œ. œ j œ œ. œ œ œ ˙ Siegfried’s Theme & b 4 4 ˙ œ œ œ œ œ œ œ œ œ œ œ > > & b œ Œ Ó Œ ‰ œr œ Œ O patria Mia & b 4 4 ˙ œ. œ œ. œ œ. œ œ œ œ œ œ > > & b œ Œ ∑ Œ ‰ œr œ Œ O patria Mia & b b b 4 4 œ. œ œ œ œ œ J œ p œ ˙ œ œ œ 3 ? ? b b b œ œ œ œ œ œ J œ J œ œ J œ œ œ œ nœ œ 3 Brünnhilde’s Theme & b b b 4 4 œ œ œ œ œ œ J œ p œ ˙ œ œ œ 3 ? ? b b b œ œ œ œ œ œ J œ J œ œ J œ œ œ œ nœ œ 3 Brünnhilde’s Theme & # # 4 4 j œ œ j œ œ œ œ & # # ∑ ‰ J œ œ œ œ œ œ “You’ve Got a Friend in Me” & # # 4 4 ∑ j œ œ j œ œ œ œ & # # ‰ J œ œ œ œ œ œ “You’ve Got a Friend in Me” & # 8 3 J œ œ œ œ œ J œ œ œ. & # œ œ œ #œ J nœ œ œ Headwig’s Theme & # 8 3 J œ œ œ œ œ J œ œ œ & # œ œ œ #œ J nœ œ œ Headwig’s Theme & b b b 8 12 Œ bœ J œ œ œ J œ ˙ & b b b Œ bœ J œ œ œ J œ ˙ Ó “Into the Unknown” & b b b 8 12 Œ bœ J œ œ œ J œ .˙ & b b b ∑ Œ bœ J œ œ. œ J œ ˙ Ó “Into the Unknown” & b b 4 4 j œ œ œ œ œ œ œ œ œ œ œ œ œ & b b j œ œ œ œ œ œ ˙ Ó “Let It Go” & b b 4 4 j œ œ œ œ œ œ œ œ œ œ œ œ œ & b b j œ œ œ œ œ œ ˙ 15 “Let It Go” CARD 13: Here Comes My Theme Song CARD 14: Here Comes My Theme Song

HERE COMES MY THEME SONG ACTIVITY SHEET 8 Opera From a Sistah’s Point of View © 2022 Morning Brown, Inc. All rights reserved. & b b 4 4 œ œ œ œ œ œ œ œ ˙ & b b œ œ œ œ œ bœ œ œ ˙n Darth Vadar Theme & b b 4 4 œ œ œ œ œ œ œ œ ˙ & b b œ œ œ œ œ bœ œ œ ˙n Darth Vadar Theme & b b b 4 4 Œ œ œ œ œ œ œ j œ nœ j œ j œ œ j œ & b b b j œ ‰ œ œ œ œ œ œ j œ œ œ “We Don’t Talk About Bruno” & b b b 4 4 Œ œ œ œ œ œ œ j œ nœ j œ j œ œ j œ & b b b j œ ‰ œ œ œ œ œ œ j œ œ œ “We Don’t Talk About Bruno” & # # 4 4 œ œ w & # # J œ ‰ œ œ œ œ œ ˙ ˙ “Summertime” & # # 4 4 Ó œ œ w & # # J œ ‰ œ œ œ œ œ ˙ ˙ “Summertime” & ? b b b b 2 3 2 3 ˙ ˙ ˙ ˙ ˙ ˙b w w w ˙ ˙ ˙b b Ï tutta forza ˙ ˙ ˙nn # ˙n ˙ ˙ ˙ ˙ ˙ ˙n # ˙n ˙ ˙ ˙ ˙ ˙ ˙n nn œ œ œ Œ Ï œ œ œ nœ#nn œŒ œ #nnœ ∑ ^ ^ v v ^ v U ^ U U Scarpia Theme & ? b b b b 2 3 2 3 ˙ ˙ ˙ ˙ ˙ ˙b w w w ˙ ˙ ˙b b Ï tutta forza ˙ ˙ ˙nn # ˙n ˙ ˙ ˙ ˙ ˙ ˙n # ˙n ˙ ˙ ˙ ˙ ˙ ˙n nn œ œ œ Œ Ó Ï œ œ œ nœ#nn œŒ œ #nnœ ∑ ^ ^ v v ^ v U ^ U U Scarpia Theme & 4 4 œ œ œ 3 ˙ ˙ œ œ œ ˙ œ 3 & œ œ œ ˙ œ 3 œ œ œ ˙ 3 Star Wars Theme & 4 4 œ œ œ 3 ˙ ˙ œ œ œ ˙ œ 3 & œ œ œ ˙ œ 3 œ œ œ ˙ 3 5 Star Wars Theme & # # 4 4 4 2 4 4 œ œ œ œ ˙ Œ œ œ & # # œ œ œ œ œ œ œ œ œ ˙ Remember Me & # # 4 4 4 2 4 4 œ œ œ œ ˙ Œ œ œ & # # œ œ œ œ œ œ œ œ œ ˙ Remember Me & b b b b 4 4 œ œ ˙ œ œ π œ œ œ. J œ & b b b b œ œ ˙ œ œ œ œ 8 Tosca’s Theme & b b b b 4 4 œ œ ˙ œ œ π œ œ œ J œ & b b b b œ œ ˙ œ œ œ œ Tosca’s Theme & # # # 4 4 ‰ œ j œ j œ œ œ œ œ œ ∏ œ œ œ œ #œ œ œ œ œ & # # # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Murder Theme & # # # 4 4 ‰ œ j œ j œ œ œ œ œ œ ∏ œ œ œ œ #œ œ œ œ œ & # # # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Murder Theme & b b b 8 6 j œ œ œ j œ œ œ j œ ˙ œ œ j œ & b b b œ œ j œ œ œ œ œ ˙ Siegfried’s Theme & b b b 8 6 j œ œ œ j œ œ œ j œ ˙ œ œ j œ & b b b œ œ j œ œ œ œ œ ˙ Siegfried’s Theme & b 4 4 ˙ œ œ œ œ œ œ œ œ œ œ . œ > > & b œ Œ Œ ‰ . œr œ Œ O patria Mia & b 4 4 ˙ œ œ œ œ œ œ œ œ œ œ . œ > > & b œ Œ Œ ‰ . œr œ Œ O patria Mia & b b b 4 4 œ œ œ œ œ œ J œ p œ ˙ œ œ œ 3 ? ? b b b œ œ œ œ œ œ J œ J œ œ J œ œ œ œ nœ œ 3 Brünnhilde’s Theme & b b b 4 4 œ. œ œ œ œ œ J œ p œ ˙ œ œ œ 3 ? ? b b b œ œ œ œ œ œ J œ J œ œ J œ œ œ œ nœ œ 3 Brünnhilde’s Theme & # # 4 4 ∑ j œ œ j œ œ œ œ & # # ‰ J œ œ œ œ œ œ “You’ve Got a Friend in Me” & # # 4 4 ∑ j œ œ j œ œ œ œ & # # ∑ ‰ J œ œ œ œ œ œ “You’ve Got a Friend in Me” & # 8 3 J œ œ œ œ œ J œ œ œ & # œ œ œ #œ J nœ œ œ Headwig’s Theme & # 8 3 J œ œ œ œ œ J œ œ œ. & # œ œ œ #œ J nœ œ œ Headwig’s Theme & b b b 8 12 Œ bœ J œ œ œ J œ ˙ Ó & b b b Œ . bœ J œ œ œ J œ ˙ . “Into the Unknown” & b b b 8 12 Œ bœ J œ œ œ J œ ˙ & b b b ∑ Œ bœ J œ œ œ J œ ˙ “Into the Unknown” & b b 4 4 j œ œ œ œ œ œ œ œ œ œ œ œ œ & b b j œ œ œ œ œ œ ˙ Ó 15 “Let It Go” & b b 4 4 j œ œ œ œ œ œ œ œ œ œ œ œ œ & b b j œ œ œ œ œ œ ˙ Ó “Let It Go” CARD 15: Here Comes My Theme Song CARD 16: Here Comes My Theme Song

• Discuss the “Did You Know...” segment with students.

• Tell students that we are going to learn about opera production.

° COSTUME DESIGNERS (several per segment) - Students who create items to represent costumes.

MATERIALS NEEDED

LEARN MORE • Classical Music Indy • Angela Brown • Morning Brown, Inc.

° SOLO SINGERS (one or two students per segment) - “Singers” who will lip sync and/or express the emotional content of an aria.

LESSON 3:

• Distribute a Opera Lip Sync Fact Sheet to each student.

• Explain that these segments will be scaled creatively for a classroom activity experience to express the emotions of the singers. For example, characters should have accents to suggest costumes rather than full costumes. The Queen of the Night might simply wear a crown made of construction paper. Backgrounds may be represented drawings on poster board and newsprint. Props, such as the dagger held by the Queen of the Night, could be represented by a ruler.

• Materials for students to produce opera lip sync segments, such as markers, poster board, newsprint, construction paper, tape, scarves, hats, tissue paper, streamers, etc.

• Discuss each section of the Fact Sheet. Ask students to think about which of the various jobs most appeal to them.

OPERA LIP SYNC

• Review the positions needed to produce the lip sync segments.

2. ENLIST STUDENTS TO PRODUCE THE THREE OPERA LIP SYNC SEGMENTS.

• Equipment to show online video segments.

1. READ AND REVIEW THE LIP SYNC FACT SHEET

° TECHNICAL DIRECTORS (several per segment) - Students who work with lighting, sound, and who will make video and audio recordings of the lip sync performances.

OPERA

PREPARATION

• Enlist students who will fulfill each of the lip sync production segments. As much as possible, allow students to choose their desired position.

° SET DESIGNERS (several per segment) - Students who create items to represent the stage background, design, and props.

° DIRECTORS (one per segment) - Student who will direct the stage movements.

• Opera Lip Sync Activity Pages 1-6

OPERA...FROM A SISTAH’S POINT OF VIEW

• Opera Lip Sync Fact Sheet

• Make a copy of the Opera Lip Sync ACTIVITY SHEETS 1-6 in quantities for students in each production to have a copy of the Information Sheet and Emotion Inventory Sheet for their assigned opera segment.

• Make a copy of the Opera Lip Sync FACT SHEET for each student.

•

3. EXPLORE THE THREE OPERA SEGMENTS TO BE PRODUCED. OPERA LIP SYNC FACT SHEET

° The Magic Flute: Opera Lip Sync Activity Sheets 1 and 2. Carmen: Opera Lip Sync Activity Sheets 3 and 4. The Barber of Seville: Opera Lip Sync Activity Sheets 5 and 6. Ask students to read the background information and lyrics for their assigned opera segment. Ask students to complete the Emotion Inventory Sheets for their assigned segment.

OPERA...FROM SISTAH’S represent townspeople, COSTUME TECHNICALDESIGNERDIRECTOR DIRECTORSETDESIGNER designer OPERA LIP SYNC FACT SHEET

DID YOU KNOW... powerful king, joining Sarastro’s brotherhood. The vengeful places daughter’s Sarastro, German lyrics: through pain death, longer daughter. “QUEEN OF THE NIGHT” ARIA). OPERA LIP ACTIVITYSYNCSHEET 1 THE MAGIC FLUTE INFORMATION Wolfgang OPERA LIP ACTIVITYSYNCSHEET 2 THE MAGIC FLUTE EMOTION INVENTORY might feeling, Empathy Judgment Lonely OPERA...FROM SISTAH’S by opera’s fait, prière. English translation: prefer. SEGMENT: 0:00-1:30 OPERA LIP ACTIVITYSYNCSHEET 3 CARMEN INFORMATION OPERA...FROM SISTAH’S OPERA LIP ACTIVITYSYNCSHEET 4 CARMON EMOTION INVENTORY Belonging Happy Surprised why might feeling support, help city’s handyman. piacere qualità! qualità! pleasure “LARGO AL FACTOTUM” (FACTOTUM” REFERS “GENERAL SERVANT,” OPERA LIP ACTIVITYSYNCSHEET 5 THE BARBER OF SEVILLE INFORMATION OPERA LIP ACTIVITYSYNCSHEET 6 THE BARBER OF SEVILLE EMOTION INVENTORY Belonging Happy Surprised Vulnerability performer, Page 2 Opera...From a Sistah’s Point of View © 2022 Morning Brown, Inc. All rights reserved.

• Provide creative materials needed. • Have each group present their opera segment.

• Guide non-performing groups to become an appreciative, supportive audience. • Watch the video recording of each performance. Allow students an opportunity to explain their creative choices and the underlying emotions they were expressing. CREATIVE TIME FOR EACH SEGMENT. HAVE PRODUCTION GROUPS PRESENT EACH SEGMENT. WATCH AND EVALUATE PERFORMANCES.

•

• Allow students time to work together to produce each segment.

• Watch videos of the three opera segments with student: The Magic Flute: 0:00-1:20 Carmen: 0:00-1:30 The Barber of Seville: 0:00-1:30 Divide students into three production groups, one for each opera lip sync segment to be produced. As much as possible, allow students to choose their desired opera segment to produce. Distribute Opera Lip Sync Activity Sheets to each production group.

STUDENTS TO PRODUCE

4. GUIDE

OPERA...FROM A SISTAH’S POINT OF VIEW

The set designer works with the production team to create the scenery, background, and furnishings used on the stage. An opera production can be years in the making before an audience sees the onstage performance. A team of people representing many skills plans and works together to present an opera. Read about some of those behind-the-scenes and on-stage people. LIP SYNC SHEET

DID YOU KNOW...

TECHNICAL DIRECTOR

THE CHORUS: Most operas have a group of singers who may represent townspeople, members of an army, etc.

• Opera singers can project their voices over a full orchestra because they sing at a different sound frequency.

• Very often in opera the heroine is a soprano and the hero is a tenor. Basses may often have the part of a powerful king, or he may be the bad guy.

SET DESIGNER

• The most performed opera in the world is believed to be La Traviata by Verdi, with 4190 performances.

• Opera music has been used in many popular movies and commercials. For example, Rossini’s The Barber of Seville (Il barbiere di Siviglia) has been featured in Babe: The Pig in the City, Deep Impact, Jumanji, Space Jam, Under the Tuscan Sun, and in a Nike commercial starring Charles Barkley.

THE ORCHESTRA: This group of musicians play in the pit below the stage.

DANCERS: Operas sometime include one or two, or even a whole group of dancers.

OPERA

THE CONDUCTOR: This person keeps the singers and the orchestra together, and makes many more musical decisions.

SOLO SINGERS: These are the star singers who bring the characters to life!

The costume designer works with a team of people, including wig and makeup artists, to bring costumes to life. Many operas have more than 100 costumes.

DIRECTOR The director is in charge of all stage action. This includes how everyone moves on the stage. The director provides a vision for the production, help singers develop their characters, and works with choreographers.

FACT

The technical director oversees everything regarding lighting, set, props, sound, and special effects.

PERFORMERS

COSTUME DESIGNER

• The term “opera” comes from the Latin opus, or “work”.

1 THE MAGIC FLUTE INFORMATION Wolfgang

THE

German

OPERA...FROM A SISTAH’S POINT OF VIEW

THE CONTEXT: The Queen’s power is being threatened by the sorcerer Sarastro. The Queen discovers that her daughter, Pamina, is thinking about joining Sarastro’s brotherhood. The Queen flies into a fit of vengeful rage. She places a knife in her daughter’s hand and tells her to kill Sarastro, or she will be cursed and disowned. lyrics: Der hölle rache kocht in meinem herzen, Tod und verzweiflung flammet um mich her! Fühlt nicht durch dich Todesschmerzen,Sarastro So bist du meine nimmermehr.tochter English translation: “Hell’s vengeance boils in my heart, Death and despair blaze about me! If Sarastro does not through you Feel the pain of death, Then you will no longer be my daughter. THE OPERA: THE MAGIC FLUTE THE COMPOSER: WOLFGANG AMADEUS MOZART (THIS(“THE“DER(1756-1791)THEARIA:HÖLLERACHE”REVENGEOFHELL”)SEGMENT:0:00-1:20ARIAISALSOKNOWNAS “QUEEN OF THE NIGHT” ARIA).

Opera...From

Here is a list of some core emotions. Place a “Q” next to the emotions that the Queen might be feeling, and a “P” next to the feelings Pamina might be feeling during this aria.

As behind-the-scenes/technical support, how would you help communicate these emotions?

THE MAGIC FLUTE EMOTION INVENTORY

As a performer, how would you express those emotions?

Disgust Embarrassment Empathy Excited Fear Frustrated Gratitude Grief Guilt Happy Humiliation Hurt

OPERA...FROM A SISTAH’S POINT OF VIEW OPERA LIP SYNC ACTIVITY SHEET 2

Anxious Belonging Blame Curious Disappointed

Describe why the Queen of the Night might be feeling some of the emotions you linked to her.

Jealous Joy Judgment Lonely Love Overwhelmed Regret Sad Shame Surprised Vulnerability Worried

Describe why the Queen of the Night’s daughter, Pamina, might be feeling some of the emotions you linked to her.

OPERA LIP SYNC ACTIVITY SHEET 3 CARMEN INFORMATION

OPERA...FROM A SISTAH’S POINT OF VIEW

THE CONTEXT: The Habanera, or “L’amour est un oiseau rebelle” is sung by Carmen in the opera’s first act. Carmen and the other women workers exit the cigarette factory and gather in the town square. Groups of soldiers in the square begin flirting with the women, including Carmen. They ask her when she will love them, and she replies with this aria.

French lyrics: L’amour est un oiseau rebelle Que nul ne peut apprivoiser, Et c’est bien in vain qu’on l’appelle S’il lui convient de refuser. Rien n’y fait, menace ou prière. L’un parle bien, l’autre se tait. Et c’est l’autre que je préfère. Il n’a rien dit mais il me plait. L’amour! L’amour! L’amour! L’amour! L’amour est enfant de Bohême, Il n’a jamais, jamais connu de loi. Si tu ne m’aimes pas, je t’aime. Si je t’aime, prends garde à toi ! Si tu ne m’aimes pas, Si tu ne m’aimes pas, je t’aime. Mais, si je t’aime. Si je t’aime, prends garde à toi! English translation: Love is a rebellious bird that nobody can tame, and you call him quite in vain if it suits him not to come. Nothing helps, neither threat nor prayer. One man talks well, the other’s mum; it’s the other one that I prefer. He’s silent but I like his looks. Love! Love! Love! Love! Love is Bohemia’s child, it has never known any law; love me not, then I love you; if I love you, you’d best beware. THECARMENOPERA: THE GEORGESCOMPOSER:BIZET(1838-1875)THEARIA: “L’AMOUR EST UN OISEAU REBELLE” (“LOVE IS A REBELLIOUS BIRD”) SEGMENT: 0:00-1:30 (THIS ARIA IS ALSO KNOWN AS “THE HABANERA”) Georges Bizet Opera From a Sistah’s Point of View © 2022 Morning Brown, Inc. All rights reserved.

Describe why the soldiers might be feeling some of the emotions you linked to them.

Here is a list of some core emotions. Place a “C” next to the emotions that Carmen might be feeling, and a “S” next to the feelings the soldiers might be feeling during this aria. Anxious Belonging Blame Curious Disappointed Disgust Embarrassment Empathy Excited Fear Frustrated Gratitude Grief Guilt Happy Humiliation Hurt

As behind-the-scenes/technical support, how would you help communicate these emotions?

Jealous Joy Judgment Lonely Love Overwhelmed Regret Sad Shame Surprised Vulnerability Worried

OPERA...FROM A SISTAH’S POINT OF VIEW OPERA LIP SYNC ACTIVITY SHEET 4 CARMON EMOTION INVENTORY

Describe why Carmen might be feeling some of the emotions you linked to her.

As a performer, how would you express those emotions?

OPERA...FROM A SISTAH’S POINT OF VIEW

THE CONTEXT: In the first act, the audience meets Figaro, the flamboyant factotum (general servant), who introduces himself as the city’s best handyman. Figaro is quite confident of his abilities as he describes his popularity and boasts about his many skills. He sees himself as a superior jack of all trades. He expresses his love of life, saying a more noble life cannot be found. Italian lyrics: Largo al factotum della città. Presto a bottega che l’alba è già. Ah, che bel vivere, che bel piacere per un barbiere di qualità! di qualità! Ah, bravo Figaro! Bravo, bravissimo! Fortunatissimo per verità! Pronto a far tutto, la notte e il giorno sempre d’intorno in giro sta. Miglior cuccagna per un barbiere, vita più nobile, no, non si da. English translation: Make way for the factotum of the city, Hurrying to his shop for it’s already dawn. Ah, what a fine life, what fine pleasure For a barber of quality! Ah, bravo Figaro! Bravo, bravissimo! Most fortunate indeed! Night and day, Always on the move. A cushier fate for a barber, a more noble life, is not to be had.

THE OPERA: THE BARBER OF SEVILLE THE COMPOSER: GIOACHINO ANTONIO ROSSINI (FACTOTUM”(“MAKE“LARGO(1792-1868)THEARIA:ALFACTOTUM”WAYFORTHEFACTOTUM”)SEGMENT:0:00-1:30REFERSTOA“GENERALSERVANT,”FROMTHELATIN,MEANING“DOEVERYTHING.”) OPERA LIP SYNC ACTIVITY SHEET 5 THE BARBER OF SEVILLE INFORMATION Gioachino Antonio Rossini Opera...From a Sistah’s Point of View © 2022 Morning Brown, Inc. All rights reserved.

As behind-the-scenes/technical support, how would you help communicate these emotions?

Place

OPERA LIP SYNC ACTIVITY SHEET 6 THE BARBER OF SEVILLE EMOTION INVENTORY

Describe why Figaro might be feeling some of the emotions you linked to him. As a performer, how would you express those emotions?

OPERA...FROM A SISTAH’S POINT OF VIEW

Here is a list of some core emotions. a “F” next to the emotions that Figaro might be feeling. Belonging

Blame Curious Disappointed Disgust Embarrassment Empathy Excited Fear Frustrated Gratitude Grief Guilt Happy Humiliation Hurt Jealous Joy Judgment Lonely Love Overwhelmed Regret Sad Shame Surprised Vulnerability Worried ____Confident

Anxious