Sounds of Learning Student Guide: Mozart's THE MAGIC FLUTE

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OPERA PHILADELPHIA presents

MOZART

THE MAGIC FLUTE

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FINAL DRESS REHEARSAL

S E P T E M B E R 13 , 2 017 | 6 : 0 0 P. M .

ACADEMY OF MUSIC

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W E H O P E T H AT YO U Accept the Challenge... ...to open this book and begin to explore the universal themes that you will find in opera with your teachers, classmates, and parents. This challenge is like an exploration in which you examine different issues that people have faced for centuries. It is like taking an adventure through time and space.

This book is a guide that will connect you to an art form, opera, that may take you outside of your realm of experiences. The stories and problems in operas have always been part of the human condition. In an opera the story will be presented in a way that will be different from the way you are used to experiencing a story. Through the music and the libretto, we hope you will be able to connect with the plot, the storyline or themes that may have been written in the 18th, 19th, or 20th century but are still relevant today. During your time of study and preparation with these materials, there is the expectation that you will be able to connect something from your exploration of opera to your own personal stories.

Accepting this challenge also provides an opportunity for you to apply what you know to present day situations and draw conclusions about the effectiveness of the story presentation.

As you work your way through this book, we hope you will be prepared to experience the opera with a new set of lenses that will afford you the opportunity to analyze, synthesize, and evaluate what you have learned or experienced during the challenge. Hopefully, you will take advantage of the opportunity to reflect on your experiences on our Sounds of Learning™ blog.

Through your reflections you will share with others your insights about your journey. Your reflections will also help us modify and adjust our program materials for future audiences and students.

We hope you will accept this challenge, and join other students who are taking the journey to make connections between the past and the present in order to impact the future!

I accept the challenge

G O A L S A N D O B J E C T I V E S of Sounds of Learning ™ D ress Rehearsal P rog ram Connect with the plot or themes

Connect something from your exploration of opera to your own personal stories

Draw conclusions about the effectiveness of the story presentation

Experience the opera with an open mind

Analyze, synthesize, and evaluate what you have learned or experienced during the challenge

Use the Sounds of Learning™ blog to reflect on your experience and provide insights about your journey

Best Practices in Arts Education is sponsored by Pennsylvania Alliance for Arts Education, Pennsylvania Council on the Arts and the Pennsylvania Department of Education

TA B L E O F Contents GET TING READY FOR THE OPERA Defining Opera Throughout History 2 Philadelphia’s Academy of Music 4 The Language of Opera 5 Operatic Voice Types 6 So You Want to Sing Like an Opera Singer?

8 Opera Etiquette 9

R E L AT I N G O P E R A T O H I ST O R Y The Man Behind the Music: W.A. Mozart 10 The Man Behind the Text: Emanuel Schikaneder 11 The Mozarts During the Age of Enlightenment 12 Freemasonry, the Founding Fathers, and The Magic Flute 14 When in the World?: Events During Mozart's Life 15

L I B R E T T O

& P R O D U C T I O N I N F O R M AT I O N

The Magic Flute: Cast and Creative Team 16 A Magical Storybook 18 The Magic Flute: Synopsis 20 The Story of The Magic Flute 22

CLASSROOM ACTIVITIES Plot the Action of The Magic Flute 35 Making a Synopsis 36 Act The Story Using Tableaus 37 Crossword Puzzle: Musical Terms 38 Writing a Review of the Opera 40

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DEFINING OPERA Throughout Histor y written by Steven Humes From day one, opera has tried to move its audience's. Composers and librettists have worked tirelessly to elevate stories which when told using all of the arts - music, dance, theatre, costumes, visual art, and more - can lead to an experience that is nothing less than life-changing.

The oldest opera for which music survives is Claudio Monteverdi’s L'Orfeo, written in 1607. During the Baroque period from 16001750, Italian aristocracy wanted to recreate the great classical dramas from ancient Greece and Rome. Such stories provided the ruling elite with a strong connection to the supernatural. When asked to write an opera for Grand Duke Vincenzo Gonzaga of Mantua, Monteverdi thought that Orpheus, the Greek god of music, would be of great interest to his audience. Monteverdi's opera brought to life Orpheus' dramatic journey to the underworld in an effort to save his love, Euridice. The premiere of L'Orfeo was a great success and Monteverdi emerged as someone who could use music to not only propel a narrative but also deeply affect an audience.

While Monteverdi got his start composing opera for the ruling elite, he helped bring opera to the public. Opera’s emotional stories created a frenzy in Venice, Italy towards the middle of the 17th century. No fewer than nine public opera houses opened during this period as the public wanted more opera that reflected their interests. Monteverdi's The Coronation of Poppea (1642) is a great example of this change. Poppea tells the story of one of Rome's most evil rulers, Emperor Nero, and his love affair with Poppea. Monteverdi’s opera premiered in Venice, and Poppea’s The Marriage of Figaro

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Wolfgang Amadeus Mozart

1786

Figaro (Brandon Cedel) and Susanna ( Ying Fang) embrace during the f inal scene of The Marriage of Figaro Photo: Kelly & Massa Photography

sensational and bawdy story perfectly matched Venetian interests while creating a gripping and emotional drama.

The eighteenth century, known as the Age of Enlightenment, was the next great period of change in Europe. People were talking about new forms of government and organization in society, especially the ever-developing middle class. As society changed, so did opera. Composers felt the need to move away from the complexity of the Baroque stlye and wanted to instead write music that was simpler and more focused on pure, raw emotion. Christoph Willibald Gluck was one of the first to achieve this with his opera Orfeo and Euridice (1762). Gluck's music was free and evoked the unaffected expression of human feelings. While Gluck's opera told the same story as Monteverdi's L'Orfeo, his music brought new life to the narrative and was of greater appeal to the audience of his time.

The later part of the eighteenth century marked a period of great revolt. In 1776, Don Carlo

Giuseppe Verdi

1867

the American Revolution changed the world. A few years later, the French had their own revolution (1789) and the first modern democracies were born. Reflecting this new way of thinking, audiences wanted to see characters like themselves on stage.

Wolfgang Amadeus Mozart’s The Marriage of Figaro (1786) did just this. It told a story about aristocratic class struggle that had both servants and nobility in leading roles.

With the characters of Figaro and Susanna, Mozart gave opera relatable human beings.

Mozart's operas embody the tenets of the Enlightenment such as equality, freedom, and the importance of the lower classes.

Morris Robinson as the Grand Inquisitor and Eric Owens as King Phillip in Verdi's Don Carlo.

Photo: Kelly & Massa Photography

In the 1800s, Italian opera developed further with the bel canto movement, which means “beautiful singing.” Opera continued to be about real stories and achieving honesty in expression. The most famous bel canto composers were Gioachino Rossini (1792– 1868), Gaetano Donizetti (1797–1848), and Vincenzo Bellini (1801–1835). The success of these composers can be measured in their ability to withstand the test of time. Rossini’s popular comedies, The Barber of Seville (1816) and Cinderella (1817), are still some of the most popular operas performed today.

By the middle of the 19th century, the Romantic Movement led many composers to champion their own national identities.

Composers and librettists created operas for the audiences they knew best. German operas like Carl Maria von Weber's Der Freischütz (1821), Russian operas like Mikhail Glinka's A Life for Tsar (1836), and French operas like Giacomo Meyerbeer's Les Huguenots (1836) were performed frequently in their native countries.

In Germany, Richard Wagner brought the Romantic period to its peak by exploiting the grand potential of opera. How could all of the elements - orchestra, set, chorus, soloists, and more - be elevated to transform a story and deeply effect an audience? In The Ring of Nibelung (1876), a series of four opera's taking over 15 hours to perform, Wagner created one of operas greatest masterpieces.

Opera in the 20th century emerged as a period of great experimentation. Composers like Giacomo Puccini (La bohéme, 1896), Richard Strauss (Salome, 1905) and Benjamin Britten (Peter Grimes, 1945) continued to evolve their national styles.

Others, horrified by the destruction of World War I (1914-1918) and other aspects of modern life, created music that was new and drastically inharmonious. Meanwhile, American opera had a huge hit with George and Ira Gershwin's Porgy and Bess (1935) which included the musical style of jazz and blues.

Today, opera continues to grow and expand.

Opera Philadelphia helps to shape the future of opera by producing important new works like Daniel Schnyder and Birdgette A. Wimberly's 2015 opera, Charlie Parker's YARDBIRD, about the tortured jazz saxophonist. In April 2016, the opera was the first to ever be performed at the famous Apollo Theater in Harlem.

Porgy and Bess

Charlie Parker's YARDBIRD

1935

2015

George and Ira Gershwin

Daniel Schnyder

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P H I L A D E L P H I A’S AC A D E M Y O F M U S I C A place for you

Photo: George Widman

Opera Philadelphia's home, the Academy of Music, opened in 1857. Opera is only one type of performance shown in the Academy.

There are also ballets, concerts, and galas.

The building is a historical monument and the oldest grand opera house in America still used for its original purpose. The Academy of Music is sometimes called the "The Grand Old Lady of Locust Street."

The opera house was initially built with a plain white exterior as the architects wanted the beauty to be on the interior, as it was at the famous opera house, La Scala, in Italy.

Later, the exterior was revised to look as it does today. Unlike other performance houses, the Academy of Music's seating was a 'U' shape. This was for the audience to have the best view from every angle possible. The first opera presented in the brand new opera house was Giuseppe Verdi’s Il trovatore on February 25, 1857.

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The basement of the Academy of Music has a history, too. It was used as a dining hall because of its beautiful interior decoration. During World War II the hall was transformed into the Stage Door Canteen, serving refreshments and featuring

appearances by entertainers performing at the Academy of Music, such as Abbott and Costello, Duke Ellington, and Frank Sinatra.

Today, The Academy of Music continues to entertain people through concerts, operas, ballets, and more. The wondrous hall dedicated to the arts has blossomed into the perfect place for a performance of any kind.

Academy of Music Facts:

• The auditorium seats 2,509; 14

columns support the Academy’s tiers • The red and gold pattern on the Academy’s stage curtain simulates a pineapple, a Victorian-era symbol for “welcome.”

• The first-ever indoor football game was held on the Academy’s Parquet level on March 7, 1889 between the University of Pennsylvania and Riverton Club of Princeton.

• 1,600 people attended the first-ever public motion picture screening on February 5, 1870.

Adapted f rom String Theory School ’s Sounds of Learning™ iBook

THE LANGUAGE OF Opera AC T ARIA BALLET BLOCKING CHORUS CONDUC TOR DUET LIBRET TO ORCH ES T R A OV ERT U R E PROGR A M R E C I TAT I V E REHEARSAL SCENE

main sections of a play or opera a solo song sung in an opera

dance set to music action on stage

usic composed for a group of singers; the name of a group of m singers in an opera

person who rehearses and leads the orchestra a song performed by two singers

the text or words in an opera, an opera’s script

a group of musicians who play together on various musical instruments

a piece of instrumental music played at the beginning of an opera

booklet that contains information about the opera, composer, performers, the opera company, and includes advertisements

words that are sung in the rhythm of natural speech

time when singers/actors practice with or without the orchestra; time when musicians practice together with the conductor segments of action within the acts of an opera

Lawrence Brownlee, tenor, performs the title role in Charlie Parker's YARDBIRD. After its World Premiere with Opera Philadelphia, the opera traveled to Harlem and graced the stage of the historic Apollo Theater. It has since been performed at Madison Opera, Lyric Opera of Chicago and Hackney Empire in London.

Photo: Sof ia Negron

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O P E R AT I C Vo i c e Ty p e s Have you ever wondered why every person's voice sounds slightly different from each other?

The human voice is a fascinating and complex instrument with many factors that go into why each person sounds different. The length and strength of the vocal chords, how thick the vocal chords are, the shape of the nasal passages, mouth, and throat all help to determine whether your voice will be high or low, bright or warm.

In opera we've classified the voice into seven main categories of voice types (from highest to lowest): soprano, mezzo-soprano, contralto, countertenor, tenor, baritone, and bass. Today, we still use these voice classifications. It is important to know that a person can only know their true voice type when they become an adult. The following people have distinguished themselves as past and present leaders of their voice type. Choose one opera singer to research and report back with your friends. Use the QR Codes to learn more about the quality of each voice.

S O P R A N O the highest female voice, with a traditional range of A below middle C to the C two octaves above that. The soprano usually plays the heroine of the story and is often the center of the romantic storyline.

Angela Brown soprano

Ying Fang soprano

M E Z Z O - S O P R A N O is slightly lower than soprano, with a range usually G below middle C to the Bb two octaves above. They are often supporting roles of motherly types or villains.

They also will often sing the trouser roles— portraying boys or young men.

Stephanie Blythe mezzo-soprano

Denyce Graves mezzo-soprano

C O N T R A L T O the lowest female voice, with a range of the F below middle C to the second G above middle C. It is a rare voice type, so the roles can often be sung by mezzo-sopranos.

It is the darkest in timbre and is reserved for specialty roles, such as grandmothers, noble witches, and goddesses.

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Marian Anderson contralto

Meredith Arwady contralto

David Daniels countertenor

John Holiday countertenor

C O U N T E R T E N O R the highest male voice, with a range that is similar to the contralto: A below middle C to the F an octave and a half above middle C. Frequently these men achieve their high range through bridging their chest voice with their head voice (falsetto). While this voicetype was less popular from 1800-1940, composers today utilize countertenors more often.

T E N O R is considered the highest “natural” male voice, with a range of C below middle C to the C above middle C. Beginning in the Classical era, the tenor has been assigned the role of the hero or the love interest of the story.

Lawrence Brownlee tenor

Jarrett Ott baritone

Juan Pons baritone

Ramón Vargas tenor

B A R I T O N E the most common male voice type, with a range midway between tenor and bass, from A an octave below middle C to the G above middle C. The baritone is often the comical leader, but can also be the villain who stands in the way of the soprano and tenor’s love.

B A S S the lowest and darkest of the male voices, with a range of E almost two octaves below middle C to the F above middle C. Basses can portray characters who convey wisdom or nobility, but also comedic characters.

Samuel Ramey bass

Morris Robinson bass

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S O Y O U WA N T T O S I N G Like an Opera Singer?

Soprano Christine Goerke leads Opera Philadelphia Emerging Artist Thomas Shivone in a master class at the Perelman Theater. Photo: Kelly & Massa Photography

Singing on the opera stage is very hard work!

Singers are like athletes, constantly training to perfect their voices. They ask their voices and bodies to do what most of us without training can’t do: sing incredibly intricate and difficult music and project their voices to be heard over a 60-piece orchestra without microphones or amplification.

Singing begins with the human voice, a very versatile instrument. It can produce sounds that present a wide range of frequencies that we call pitches.

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Our voices are able to change in volume as a result of the air we exhale from our lungs and control with our diaphragm, a muscle right behind our stomach that separates the chest cavity from the abdomen. When we inhale deeply, the diaphragm lowers and the ribs and stomach expand as the lungs fill with air. Then the diaphragm guides the air out when it contracts, causing our vocal folds to vibrate. Vocal folds are fibrous bands that are stretched along the two sides of our larynx, or our sound instrument, just below the

‘Adam’s apple.’ When we hum, talk, or sing, air passes through the larynx causing the vocal folds to vibrate, creating a sound that is then shaped by the other parts of our bodies including the mouth, tongue, teeth, and lips. To sing different pitches and volumes, singers must control the flow of air, through the vocal folds in our larynx. They practice vocal exercises daily so that they can quickly adjust to the demands of the music without thinking about it.

To see the vocal folds in action, visit tinyurl.com/cords-in-action To see how the diaphragm works, visit tinyurl.com/diaphragmatic-demo

OPERA Etiquette AT T E N DI NG T H E OPE R A

There’s nothing as exciting as seeing a performance in Philadelphia’s beautiful Academy of Music. If this is your first time at the opera, there are a few things for which you should prepare: You are attending the opera’s final dress rehearsal, the last chance for performers to run through the show before opening night.

The goal is to treat this rehearsal exactly like a performance and perform the opera straight through without a pause.

You may notice several computer monitors and large tables spread out over the seats in the center of the first f loor of the auditorium.

Seated in this area is the production team: Director, Assistant Director, Costume Designer, Lighting Designer, Set Designer, and others. They’ll take notes and communicate via headsets with the many people backstage who help make all of the operatic magic happen: Stage Managers, Master Carpenter, Lighting Technicians, Stagehands, and others. They’ll be able to give notes so that changes can be instantly made.

Should things go awry, they may stop and repeat a section to make sure that it is perfect.

OPER A E T IQU E T T E 101

Opera singers are unique because they are trained not to use microphones when singing.

As a result, it is important to remain quiet, listen carefully, and not interfere with the music and the story being told. With this in mind, remember that at the heart of opera is a story rooted in deep emotion. So, when the time is right, don't be afraid to laugh or extend your appreciation through applause!

Performers need to know how their work is being appreciated.

In addition to showing respect to the people

around you, it is important to appreciate the physical theater. Many opera houses or theaters are designated today as historic monuments.

So that we can continue to use these cherished spaces, we must remember to leave them the way they were found. This means keeping our feet on the f loor as opposed to on the back of the seat in front of you. In addition, any food or beverage must remain outside of the theater.

Finally, you may be asking yourself what to wear to an opera. This answer can vary from person to person. Ultimately, you should not feel as if they will be turned away because of their attire. However, opera is a classic tradition, so don't hesitate to show off your best new tie or your favorite dress. The way you dress and carry yourself can only add to the opera experience.

Please Do… •A pplaud after the arias; you can shout “Bravo!” for men and “Brava!” for the women.

• Use the bathrooms before the rehearsal begins or at intermission.

• Be careful in the auditorium! Theaters can sometimes be old and difficult to navigate.

• Turn off your cell phones and all electronic devices.

• Obey all directions given by theater ushers and staff.

Please Don' t...

• No food, gum, nor beverages are permitted inside the theater.

• P hotographs or video footage may not be taken during the performance.

• No talking or whispering during the performance.

For a fun video of what’s expected at the opera, visit: tinyurl.com/OperaEtiquette.

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THE MAN BEHIND THE MUSIC Wo l f g a n g A m a d e u s M o z a r t concertmaster. There, Mozart produced numerous works, including his Coronation Mass (1779) and Idomeneo (1779), a serious Italian opera that would become his first operatic success. Mozart’s continued success caused him to resent his job as a court organist. He no longer wanted to write music that was required by the elite. He wanted to have more control of his life. In 1781, Mozart once again left his post at Salzburg.

Born on January 27, 1756 in Salzburg, Austria, Wolfgang Amadeus Mozart was destined for musical greatness. At the age of three, Mozart was able to pick out tunes on the piano. By five, he was composing music of his own. Mozart’s father, Leopold, recognized his son’s talents and felt that they needed to be shared. Leopold soon decided to leave his position as concertmaster in Salzburg and take his family on a concert tour of Western Europe. On this tour, Mozart amazed court patrons with performances at major musical centers in Europe such as Munich, Paris, and London. People were amazed by Mozart’s great talent.

He successfully composed his first orchestral symphony at age 8 and his first opera, La finta semplice, by the age of 12. These achievements helped gain him the position of honorary Konzertmeister (or Music Director) at the prestigious Salzburg court in 1769.

In 1777, Mozart left Salzburg in hopes of finding an even better job. He traveled throughout Germany but was unsuccessful in finding a position he liked. The next year, Mozart continued to Paris, where he composed his Symphony No. 31, known today as the Paris Symphony.

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Having still not found a permanent new position, Mozart decided to return to Salzburg, a place where he knew he would be welcomed back as court organist and

1782 was a year of fresh beginnings for Mozart. It was in that year when he married Constanze Weber and completed the comic opera The Abduction from the Seraglio. This period of time was very productive for Mozart as he met Italian librettist, Lorenzo da Ponte.

Their partnership produced three of the most popular and best-loved operas of Mozart’s career, the first of which, The Marriage of Figaro, premiered in Vienna in 1786. Don Giovanni and Così fan tutte followed soon after in 1787 and 1790.

Despite these successes, Mozart and his wife lived well beyond their means and were in constant debt. In 1787, Mozart was appointed to the post of Chamber Music Director for Emperor Joseph II in Vienna; however, the salary did little to lessen any financial hardships. In 1791, Mozart was commissioned to compose a score to Emanuel Schikaneder’s The Magic Flute, which was inspired by the group they were both members of, the Freemasons. The opera premiered in Vienna to large success. Also in 1791 was the premiere of La clemenza di Tito, which would become the last of Mozart’s 20 operas.

In December 5, 1791, Mozart became quite ill and he died at the age of 35. Despite his unquestionable reputation as the greatest musical mind of his time, Mozart was buried with little ceremony in an unmarked grave in Vienna, as was legally required for all those without noble or aristocratic birth.

THE MAN BEHIND THE TEXT Emanuel Schikaneder Johann Josef (Emanuel) Schikaneder is best known today as the librettist of Mozart's The Magic Flute. However, Schikaneder was also one of the most important theater directors, actors, singers, producers, and dramatists of his time.

Schikaneder was born on September 1, 1751 in Straubing, Austria. He first earned a living as a street musician. Then, in 1773, he found a job as an actor in Augsburg. This inspired him to begin writing and producing plays of his own. Schikaneder was a member of several acting troupes in southern Germany. He was considered the most famous Hamlet and King Lear of his day, and became a court favorite of Austrian emperor Joseph II. Schikaneder went on to manage the Kartnertor Theater in Vienna, where his first production was Mozart’s opera The Abduction from the Seraglio. His direction was highly praised for its attention to detail and spectacular grandeur.

In 1789, Schikaneder became manager of the newly-built Theater auf der Wieden. There, he began producing stage shows known as "magic operas" due to their razzle-dazzle special effects and multiple scene changes.

Only a few of the members of his theater company were decent singers, and fewer had true operatic voices. Schikaneder, however, was more than a decent singer. His claim to fame today is as "creator" of the role Papageno, in Mozart's The Magic Flute. The opera eventually made its premiere at Wieden on September 30, 1791.

Altogether, Schikaneder wrote more than fifty plays and opera librettos. He was highly skilled at creating strong dramatic situations, yet he depended heavily on the Viennese comic tradition in which an act does not end with a major finale.

Emanuel Schikaneder played the comic role of Papageno in the f irst The Magic Flute.

Having been granted a license to build his own theater, he opened the new Theater an der Wien in June 1801. It was lavishly equipped and one of the largest theaters of its age. It opened with an opera (libretto by Schikaneder) based on the life and legend of Alexander the Great.

Throughout the rest of his life, Schikaneder continued to supply various composers with librettos for operas. In his final years, Shickaneder saw both his fortune and mental health declined. Upon his death on September 21, 1812, he was living in both poverty and a state of insanity.

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THE MOZARTS DURING The Age of Enlightenment Wolfgang Amadeus Mozart was born into a family deeply involved with music and philosophical scholarship.

His father, Leopold realized the musical Leopold Mozart genius of his son, and 1719-1787 felt that Wolfgang's musical brilliance had to be balanced with a strong education. He ensured his son's studies included languages, the classics, and sciences. The Mozart family boasted the possession of a collection of microscopes which young Mozart used in his scientific studies. Wolfgang had a classical education in grammar and rhetoric and was constantly implored by his father to read good books that would stretch his mind.

Leopold was not a wealthy man and he felt that fate had entrusted him to protect and cultivate his son's intelligence. To do this, he took young Wolfgang on many trips. The young boy's musical talents were displayed to Europe's royalty in the hopes of attracting a benefactor who would financially ensure that his son had every opportunity to develop his talents.

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During the family's travels, Wolfgang was exposed to the music and the masters of his era. In London, he was introduced to composer J.C. Bach Franz Joseph Haydn and Franz Joseph 1732-1809 Haydn. Haydn was so awed by Mozart that he turned to Wolfgang's father and said, "Before God, your son is the most gifted composer living." Wolfgang studied the musical style of these men and drew inspiration from their wisdom.

During a family visit to Paris, Wolfgang played for Baron Melchior Grimm who was in the inner circle of the philosophers and Enlightenment thinkers. Grimm was fascinated by Wolfgang's musical gifts and understood his father's reasons for touring with the young boy. As a result, Grimm allowed Leopold to receive a paper he edited known as the Correspondance littĂŠraire.

Grimm's offer was amazing because the paper was published only for the German-born heads of state to keep them abreast of the philosophical debates occurring at the time.

On the subscription list was Catherine the Great of Russia, Leopold II who succeeded his brother Joseph II on the Viennese throne at the end of Wolfgang's life, the Queen of Sweden, and many Catherine the Great princes of the smaller 1729-1796 German states.

The fact that Leopold was among those who received this paper indicated the high esteem he received from those who understood his dedication to his son's education. Having been exposed throughout his life to Enlightenment ideas, Wolfgang believed that a man's respect was equated with the value placed on his work.

Wolfgang did not consider himself any man's servant. He was an educated Austrian artist who was due respect and honor. Mozart's other enlightened political beliefs were expressed in many of his operas. In The Marriage of Figaro (1785), the peasants had full run of a nobleman's palace. This comedy was a parody of the fact that the aristocrats did not rule, but responded to the pressures placed upon their lives by the demands of the lower classes.

In Mozart's Don Giovanni (1787), he highlighted the punishment that awaited those in the aristocracy who abused their social position and did injury to women and the lower classes. Mozart believed that seduction and rape damaged the social order and undermined the Enlightenment's goals of individual freedom, legal equality, and toleration.

During the end of the opera's first act, the cast sings an enlightened and revolutionary "Viva la libertĂ " ("Long live liberty").

Giovanni then breaks the rules of society and tries to dance a lower class piece of music with Zerlina in an attempt to seduce her.

After this, he is unmasked as the villain. This behavior reflected the Enlightenment idea that men should not act out of passion.

Political change in France in the form of the revolution (1789) brought, by way of the Viennese press, the Enlightenment ideals of liberty and equality for all into Vienna. The Storming of the Bastille in Paris caught the attention of many people in Vienna, especially Viennese intellectuals.

Mozart’s belief in the Enlightenment's ideals continued to be reflected and even promoted in his works, which echoed the era's culture.

Correspondingly, those same ideals and shifting emotional and political thinking overtook Europe.

Mozart's last opera, The Magic Flute, would show how he believed men and women could attain enlightened relationships. This opera highlighted his understanding of how social enlightenment could be achieved. In The Magic Flute, men and women are forced by trials to advance to wisdom. The social structures are clear and the goals are easily understood. This opera reflected Mozart's hope that the Enlightenment could free men from the restricting class barriers of the era.

secular discipline. He believed the Masonic way of life could assist mankind in reaching an enlightened state because it taught about the brotherhood of all men. He was an active member in this movement as was, George Washington, Thomas Jefferson, and many of our country's founding fathers.

The relationships of the members as equals enabled them to see each other as brothers and, as a result, attain the enlightenment’s goal of human fraternity, However, because Europe was still divided by religious boundaries, the idea of having people join a social organization which allowed members to be from George Washington various churches and classes was disturbing 1732-1799 to some rulers.

In Austria, Queen Maria Theresa was against the Freemasonry movement because the Roman Catholic Church had condemned it. However, her Catholic son, Joseph II, was a Freemason and, as emperor, he refused to impose the Church's ban. This led some to see a comparison between Queen Maria Theresa and the opera's Queen of the Night with her son as the enlightened hero, Tamino.

The same people saw Ignaz von Born, the noble head of the Masonic movement in Vienna, as the opera's Priest of the Sun, Sarastro.

During his life, Mozart integrated his education in the Enlightenment with his artistic creations. His contributions to opera have made a lasting impact upon this field of art. It is hard to know how much of an impact his political beliefs had upon society.

However, understanding them enables us to further appreciate his work as an opera composer of the Enlightenment era.

Mozart believed that the structure of the Masonic Order was a good example of 13

F R E E M A S O N R Y, T H E F O U N D I N G F A T H E R S , & The Magic Flute signers, most of the Revolution’s generals and, with exception to John Adams and John Quincy Adams, all of our Presidents through Andrew Jackson, were Masons.

Freemasonry is an ancient secret order devoted to the moral development of individuals who enter it. It is based on Jewish and Christian traditions and its symbols come from the building, destruction, and rebuilding of the Temple of Jerusalem. Historians can’t agree on the date or location of the start of modern Freemasonry. Some scholars think it grew out of medieval stonemason guilds in the 1200s. Others think the first important modern Freemasonry event was the formation of the first Grand Lodge in London, England in 1717.

Freemasonry is not a religion but works hand-in-hand with religion and helps faithful people become better members of their churches. Yet, at various times in the past, Freemasons have been persecuted by formal religions. By the 18th century, especially in Catholic countries like Italy and Austria, Freemasonry and the church were on a collision course.

Some ideas of Freemasonry were taken up by the political leaders. “Liberty – Equality – Fraternity," the rallying cry of the French Revolution, came from Freemasonry.

Freemasonry played an important part in the founding of the United States of America.

Most of the Declaration of Independence’s 14

Both Mozart and his librettist, the famous actor Emanuel Schikaneder, were Masons, and had Masonic rules in mind while writing The Magic Flute. One very important Masonic rule was that all men were equal when they gathered in the lodge no matter what they did for a living or their social status. Mozart and Schikaneder drew from other sources as well, like exotic fantasies that were popular at the time and were part of popular theatrical pieces for the people.

Mozart hated the patronage system, under which musicians worked for a powerful nobleman. Mozart knew this firsthand as he worked under the aristocracy for most of his career. When the aristocratic rulers who hired him said “Jump,” Mozart could usually only ask “How high?” Prior to the early 19th century, musicians were craftsmen, or servants, much like a cook or a tailor. The Magic Flute was Mozart’s first opera to be written for a popular theatre and not under the patronage of the royalty or nobility. Sadly, it was his last opera, for he died a few months after its completion. It is fitting, therefore, that the themes in The Magic Flute reflect Mozart’s visions for a society in which all persons are created equal, and truth and goodness always triumph over deception and evil.

WHEN IN THE WORLD? Events during Mozart's Life Listed below are some historic and cultural events that took place during Mozart's life. Events in boldface type are things that happened to Mozart; an asterisk (*) indicates events of local interest.

What might it have been like to be alive at this time?

1756

Mozart is born on January 27 in Salzburg, Austria, son of Leopold and Maria Anna Pertle.

1760

Industrial Revolution began in England. The country changed from agriculture to manufacturing.

1764

Mozart wrote his first symphony at age eight.

1771

Mozart and his father traveled to Italy after a five month stay in Salzburg.

1773

Boston Tea Party; 342 chests of tea go into Boston Harbor on December 16.

1775

American Revolution began at Lexington and Concord in Massachusetts and lasted until 1783.

1777

* The first United States flag on record was made in Philadelphia by Elizabeth (Betsy) Ross.

1779

Mozart traveled to Paris with his mother, who fell ill and died.

1782

The Abduction from the Seraglio premiered in Vienna. Mozart married Constanze Weber.

1784

Became a member of the Freemasons, a society of liberal intellectuals concerned with the philosophical ideals of the Enlightenment including nature, reason, and brotherhood.

1759

George Washington married Martha Custis and they honeymooned at their home, which was known as "The White House."

1761

Mozart’s first known public appearance was at Salzburg University in September.

1769

Mozart’s first opera, La f inta semplice, premiered at the archbishop’s palace in Salzburg.

1772

During a period of 10 months, Mozart wrote 8 symphonies, 4 divertimentos and sacred works, and received a salary as Konzertmeister.

1774

* First Continental Congress convened in Philadelphia on September 5.

1776

* Thomas Jefferson composed the Declaration of Independence from Britain

1781

1783

The first American Thanksgiving Day was celebrated.

Mozart became court organist in Salzburg which included playing in the cathedral, at court, and in chapel. The opera seria Idomeneo premiered in Munich. Mozart then moves to Vienna.

The Supreme Court of Massachusetts abolished slavery in that state.

1786

On May 1, The Marriage of Figaro premiered in Vienna with great success.

1788

* United States Constitution was ratified in Philadelphia.

1790

Così fan tutte, commissioned by Joseph II, premiered.

1787

His father died on May 28. Mozart wrote Don Giovanni which premiered in Prague.

1789

* First United States Congress met in Philadelphia.

* America’s oldest law school, The Law School of the University of Pennsylvania, was founded. * First session of the United States Supreme Court was held in Philadelphia.

1791

Mozart began writing a Requiem Mass. La clemenza di Tito premiered in Prague. On September 30, The Magic Flute debuted in Vienna. After a brief illness, Mozart died on December 5 at the age of 35. He was quietly buried in an unmarked mass pauper’s grave.

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THE MAGIC FLUTE C a s t a n d C r e a t i v e Te a m Final Dress Rehearsal – Wednesday, September 13, 2017, 6:00 p.m. at the Academy of Music. Music by Wolfgang Amadeus Mozart. Libretto by Emanuel Schikaneder. Performed in Germam with English supertitles.

Ben Bliss* tenor

TA M I NO

Rachel Sterrenberg soprano

PA M I N A

PA PAG E N O

QUEEN OF THE NIGHT

S A R A S T RO/SPE A K ER

MONOS TATOS

Olga Pudova* soprano

FIRST L A DY

Ashley Milanese soprano

PA PAG E N A

Ashley Robillard* soprano

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Peixin Chen* bass

SECOND L A DY

Siena Miller* soprano

FIRST A R MOR ED M A N

Roy Hage tenor

Jarrett Ott baritone

Brenton Ryan* tenor

THIR D L A DY

Anastasiia Sidorova mezzo-soprano

SECOND A R MOR ED M A N

Marcus DeLoach baritone

Conceived by the company 1927, this production of The Magic Flute premiered at the Komische Oper Berlin in Germany. It has since traveled to Minnesota Opera, LA Opera, and other companies around the world.

Photo: Robert Millard / LA Opera

C O - D I R E C T O R Barrie Kosky*

C O - D I R E C T O R Suzanne Andrade*

C O N D U C T O R David Charles Abell*

C O N C E P T 1927 (Suzanne Andrade and Paul Barrit) P R O D U C T I O N

and Barrie Kosky*

Suzanne Andrade and Barrie Kosky*

S T A G E D I R E C T O R Tobias Ribitzki*

ASSOCIATE DIRECTOR Daniel Ellis* S T A G E & C O S T U M E D E S I G N

Esther Bialas*

A N I M A T I O N Paul Barritt*

C H O R U S M A S T E R Elizabeth Braden

*Opera Philadelphia debut

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A M AG I C A L STO RY B O O K

Bar rie Kosky, Suzanne A ndrade, and Paul Bar ritt on flying elephants, the w orld of silent f ilm, and the eter nal search f or lo ve from Interview by Ulrich Lenz, Komische Oper Berlin HOW DID YOU COME UP WITH THE IDEA OF STAGING THE MAGIC FLUTE WITH 1927?

Barrie Kosky (stage director; Intendent of the Komische Oper Berlin): The Magic Flute is the most frequently performed German-language opera, one of the top ten operas in the world.

Everyone knows the story; everybody knows the music; everyone knows the characters. On top of that, it is an “ageless” opera, meaning that an eight-year-old can enjoy it as much as an octogenarian can. So you start out with some pressure when you undertake a staging of this opera. I think the challenge is to embrace the heterogeneous nature of this opera. Any attempt to interpret the piece in only one way is bound to fail. You almost have to celebrate the contradictions and inconsistencies of the plot and the characters, as well as the mix of fantasy, surrealism, magic and deeply touching human emotions.

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About six years ago I attended a performance of Between the Devil and the Deep Blue Sea, the first show created by the British theater company known as 1927. From the moment

the show started, there was this fascinating mix of live performance with animation, creating its own aesthetic world. Within minutes, this strange mixture of silent film and music hall had convinced me that these people had to do The Magic Flute with me in Berlin! It seemed to me quite an advantage that Paul and Suzanne would be venturing into opera for the first time, because they were completely free of any preconceptions about it, unlike me.

The result was a unique Magic Flute. Although Suzanne and Paul were working in Berlin for the first time, they had a natural feel for the city’s artistic ambiance, especially the Berlin of the 1920s, when it was such an important creative center for painting, cabaret, silent film and animated film. Suzanne, Paul and I share a love for revue, vaudeville, music hall and similar forms of theater, and, of course, for silent film. So our Papageno is suggestive of Buster Keaton, Monostatos is a bit Nosferatu, and Pamina perhaps a bit reminiscent of Louise Brooks. But it’s more than an homage to silent film—there are far too many influences from other areas. But the world of silent film gives us a certain vocabulary that we can then use in any way that we like.

IS YOUR LOVE OF SILENT FILM THE MOTIVATION BEHIND THE NAME 1927?

Suzanne Andrade (stage director/writer/ performer; co-creator of 1927): 1927 was the year of the first sound film, The Jazz Singer with Al Jolson, an absolute sensation at the time. Curiously, however, no one believed at that time that the talkies would prevail over silent films. We found this aspect especially exciting. We work with a mixture of live performance and animation, which makes it a completely new art form in many ways. Many others have used film in theater, but 1927 integrates film in a very new way. We don’t do a theater piece with added movies. Nor do we make a movie and then combine it with acting elements. Everything goes hand in hand.

Our shows evoke the world of dreams and nightmares, with aesthetics that hearken back to the world of silent film.

Paul Barritt (filmmaker; co-creator of 1927): And yet it would be wrong to see in our work only the influence of the 1920s and silent film.

We take our visual inspiration from many eras, from the copper engravings of the 18th century as well as in comics of today. There is no preconceived aesthetic setting in our mind when we work on a show. The important thing is that the image fits. A good example is Papageno’s aria “Ein Mädchen oder Weibchen” [a girl or a little wife]. In the libretto, he is served a glass of wine in the dialogue before his aria. We let him have a drink, but it isn’t wine. It’s a pink cocktail from a giant cocktail glass, and Suzanne had the idea that he would start to see pink elephants flying around him. Of course, the most famous of all flying elephants was Dumbo—from the 1940s— but the actual year isn’t important as long as everything comes together visually.

Barrie Kosky: This is also helped by 1927’s very special feeling for rhythm. The rhythm of the music and the text has an enormous influence on the animation. As we worked together on The Magic Flute, the timing always came from the music, even—especially—in the dialogues, which we condensed and transformed into silent film intertitles with piano accompaniment.

However, we use an 18th-century fortepiano, and the accompanying music is by Mozart, from his two fantasias for piano, K. 475 in C minor and K. 397 in D minor. This not only gives the whole piece a consistent style, but also a consistent rhythm. It’s a silent film by Wolfgang Amadeus Mozart, so to speak!

WHAT IS THE MAGIC FLUTE REALLY ABOUT? Paul Barritt: It’s a love story, told as a fairy tale.

Suzanne Andrade: The love story between Tamino and Pamina. Throughout the entire piece, the two try to find each other—but everyone else separates them and pulls them away from each other. Only at the very end do they come together.

Suzanne Andrade: Our Magic Flute is a journey through different worlds of fantasy. But as in all of our shows, there is a connecting style that ensures that the whole thing doesn’t fall apart aesthetically.

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THE MAGIC FLUTE Synopsis

Photo: Robert Millard / LA Opera

ACT I In a dark forest, far away …

As he flees from a dangerous giant serpent, Tamino is rescued at the last second by the three ladies who serve the Queen of the Night. When he regains consciousness, the first thing Tamino sees is Papageno, and he believes him to be his rescuer.

Papageno, a bird catcher in search of love, does nothing to dispel the misunderstanding. The three ladies return and punish Papageno for his lies by rendering him mute. They show Tamino a picture of Pamina, the daughter of the Queen of the Night. Tamino instantly falls in love with Pamina.

Shortly thereafter, the Queen of the Night herself appears and tells Tamino of her daughter’s kidnapping at the hands of Sarastro, the High Priest of the temple. Tamino responds with great enthusiasm to her command that he free Pamina. The three ladies give Papageno back his voice and instruct him to accompany Tamino. As a protection against danger, they give Tamino the gift of a magic flute, while Papageno receives magic bells. The three ladies declare that three boys will show Tamino and Papageno the way to Sarastro.

Pamina is being importuned by Sarastro’s slave Monostatos. Papageno, who has become separated from Tamino on the way to Sarastro, is as scared by the strange appearance of Monostatos as the slave is by Papageno’s. Alone with Pamina, Papageno announces that her rescuer Tamino will soon arrive. Papageno himself is sad that his search for love has thus far proved fruitless. Pamina comforts him.

The three boys have led Tamino to the gates of Sarastro’s domain. Although he is initially refused entry, Tamino begins to doubt the statements made by the Queen of the Night regarding Sarastro. He begins to play on his magic flute, enchanting nature with his music.

20

Papageno meanwhile flees with Pamina, but they are caught by Monostatos and his helpers.

Papageno’s magic bells put their pursuers out of action. Sarastro and his retinue then enter upon the scene. Monostatos leads in Tamino. The long yearned-for encounter between Tamino and Pamina is all too brief. Sarastro orders that they must first face a series of trials.

ACT II The trial of silence Tamino and Papageno must practice being silent. Because of the appearance of the ladies and their warnings, their ordeal is a truly testing one. Tamino remains resolute, while Papageno immediately begins to chatter.

Meanwhile, Monostatos again tries to get close to the sleeping Pamina. The Queen of the Night appears and orders her daughter to kill Sarastro. Pamina remains behind, despairing. Sarastro seeks to console Pamina by foreswearing any thoughts of revenge.

The trial of temptation ...

Tamino and Papageno must resist any temptation: no conversation, no women, no food!

As well as the magic flute and magic bells, the three boys also bring Tamino and Papageno food, which Tamino once again steadfastly resists. Even Pamina fails to draw a single word from Tamino’s lips, which she interprets as a rejection. She laments the cooling of Tamino’s love for her.

Before the last trial, Pamina and Tamino are brought together one last time to say farewell to one another. Papageno is not permitted to take part in any further trials. He now wishes only for a glass of wine—and he dreams of his great love.

For her part, Pamina believes that she has lost Tamino forever. In her despair, she seeks to end her own life, but is prevented from doing so by the three boys, who assure her that Tamino still loves her. Gladdened and relieved, Pamina accepts their invitation to see Tamino again.

Reunited at last, Tamino and Pamina undergo the final trial together.

The trial of f ire and water The music of the magic flute and their love for one another allow Tamino and Pamina to conquer their own fear and overcome the dangers of fire and water.

Papageno is meanwhile still unsuccessful in his search for his great love. Despairing, he now also seeks to end his life, but is also prevented from doing so by the three boys. Papageno’s dream finally comes true: together with his Papagena, he dreams of being blessed with many children.

Meanwhile … …the Queen of the Night, the three ladies and the turncoat Monostatos arm themselves for an attack against Sarastro and his retinue. However, the attack is repelled.

Tamino and Pamina have reached the end of their trials, and can finally be together.

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T H E STO RY O F T H E M AG I C F LU T E Retold by Dr. Dan Darigan

ACT I “Help me! Help me! I'm sure to die!” cries Prince Tamino as an enormous snake opens its terrible jaw, “Merciful gods, save me!”

But before he can say another word, he faints from fright and falls unconscious to the ground.

At that very moment, Three Ladies surround him and, spitting silver arrows from their mouths, they shout, “Die, monster! Die!” The huge serpent plummets to the earth lying lifeless at their feet.

Gathering round the unconscious Tamino, the First Lady murmurs, “What a charming young man, so gentle and handsome!”

The Second Lady, hovers over him looking even closer, “Yes, such a handsome youth I've never seen before!”

“Indeed,” whispers the Third Lady, “He's as pretty as a picture!”

Together they agree, “If ever we gave our heart to love, it would be to this young man!

But we should hurry to our Queen to tell her the news. It may be that this handsome man could give her peace.”

Soon Tamino regains consciousness and groggily asks, “Where am I?” Looking around, he mutters, “Am I alive or is it my imagination?” Standing shakily, he notices the huge serpent lying dead at his feet.

“Who has saved me?”

22

In the distance, Tamino hears the reedy sound of panpipes and soon a strange man in an ill-fitting yellow, three-piece suit and small bowler hat on his head appears. He begins to sing this simple, happy tune, as if to himself…

PA PAG E N O

bit.ly/dervogelfanger

Der Vogelfanger bin ich ja The Bird Catcher, That’s Me The birdcatcher am I - and always merry, tra la la! As the birdcatcher I am known by old and young throughout the land. I know how to set decoys and whistle just like my prey! So merry and carefree can I be, knowing all the birds belong to me.

The birdcatcher am I - and always merry, tra la la! As the birdcatcher I am known by old and young throughout the land. I wish I had a trap for girls, I'd catch them by the dozen then. I'd keep them in a cage at home, and all the girls would be mine alone.

If all the girls were mine alone, some I'd trade for high-grade sugar, then to the one I liked the best I'd give all the sugar she wanted. And if she then kissed me tenderly, she'd be my wife and I her husband. She would sleep beside me and I would rock her like a child.

When he’s finished, Tamino and Papageno notice one another and jump back in fright.

“Who are you?” asks Papageno nervously.

lady, the Queen of the Night, sends you this image of her daughter, Pamina.” They hand him a small, painted portrait and Tamino's heart immediately begins to grow.

“Prince Tamino,” he says bowing at the waist in a friendly gesture. “And who are you?”

TA M I N O

“Well...” urges Tamino “I’m Papageno,” he admits. “I’m the bird catcher for the star-blazing queen.”

Curiously, Tamino asks, “The star-blazing queen? She must be the Queen of the Night about whom my father so often spoke! No mortal has ever seen her.”

bit.ly/diesbildnis

Dies Bildnis ist bezaubernd schön This Portrait is Bewitchingly Fair

He continues,“You must be my rescuer who fought this venomous viper. How in heaven did you fight this monster?”

This portrait is bewitching, no eye has ever seen its like before. I feel as if this angelic picture were filling my heart with a new emotion.

Papageno pauses and then, in agreement, feigns his heroics. He begins to chop and kick as if he is a karate champion.

This something I cannot name, but I feel it burning here. Can this sensation be love?

BIFF! HI-YA! THWACK! The Three Ladies quickly surround Papageno and, when he is finished with his routine, caution him, “Papageno? We must punish you for telling lies to strangers!”

One Lady places a veil over his head covering his entire face. She removes the veil revealing a large lock on the mouth of Papageno rendering him unable to speak.

The Ladies turn to Tamino saying, “In truth, we rescued you, Tamino! But don’t tremble.

Joy and delight await you! Our sovereign

Yes, yes! This can only be love. Oh, if only I might find her! If only she stood before me! I would - would - warmly chastely - what would I do? I would in ecstasy, press her to my ardent heart, and she would be mine forever!

It is clear that Tamino is instantly in love with Pamina. But at that moment and without warning, lightning begins to bolt from the sky, thunder rolls across the plains, and Tamino turns away in fear crying, “Heavens, what is that?”

The Queen of the Night, an enormous, menacing looking black spider, holds up her arm and speaks.

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QUEEN OF THE NIGHT

bit.ly/ozittre

O zittre nicht, mein lieber Sohn!

Oh tremble not, beloved son!

Oh tremble not, beloved son, you are guiltless, wise, and good. A youth such as you can best console this over-burdened maternal heart. I am condemned to grief, for my daughter has been taken from me. With her, all my happiness was lost; a villain abducted her. I can see her trembling with fearful agitation, shaking with fear, feebly struggling. I saw her taken from me.

"Ah, help me!" was all she could say but her appeals were in vain, for my aid was not strong enough. You shall go to set her free, you shall be my daughter's saviour. And if you succeed, she shall be your forever.

The Queen of the Night swiftly disappears and Tamino, left alone, vows, “Oh, Gods!

Strengthen my arms! Bolster my courage!

Help me find Pamina!”

The Three Ladies appear again and say, “The Queen has shown mercy on you Papageno.

She ends her punishment through us.”

Sighing happily, Papageno says, “Now I can chatter once more!”

They warn him, “Yes, you can chatter, but never lie again!”

“Never more will I lie,” Papageno assures them. “No, no, never…ever!”

They respond, “This lock was a warning 24

to you! If only every liar received such a lock over his mouth, then hate, slander, and bitterness would change to love and brotherhood.”

To Tamino, they say, “Take this gift, sent to you by our lady. This magic flute will protect you in the greatest of misfortunes!” He takes the instrument and blows a few notes on it.

The Three Ladies continue, “With this flute you have great power. You can change the passions of men, the mourner will become merry, the old bachelor will fall in love. This flute is worth more than gold or crowns. By using it, human happiness and well-being will be increased.”

Having heard enough of all this, Papageno boldly approaches the Three Ladies and states, “Now, fair ladies, it is time for me to leave!” and he turns to go.

“Papageno” they quickly declare, “you may leave some other time, but for now, the Queen commands you to accompany the prince to Sarastro’s fortress."

“No! I thank you very much!” he says, frightened, his knees shaking in fear. “I’ve heard that he is like a wild tiger; surely Sarastro would have me plucked, roasted, and thrown out for the dogs to eat!”

“The Prince will protect you,” they say. “Trust in him. Trust him. In return you shall receive a reward.”

Papageno runs and tries to hide, crying, “To the devil with this Prince! My life is precious and I won’t allow it to be stolen away!”

They hand him a chest of bells and say, “Here, take this treasure. It is just for you.”

“Ah,” he cries. “What can it be? Will I be able to play them?” he asks.

“Oh yes, of course!” the Three Ladies reassure him. “The silver bells and the magic flute

The evil Monostatos intimidates Pamina and demands that she love him.

Photo: Robert Millard / LA Opera

are yours for protection.” They continue, The Three Ladies continue, “Three boys will appear to you and will be your guides. Follow their advice and you will be safe.”

They leave saying, “Farewell! We go now, until we meet again.”

Not long after, Pamina is standing at the top of a flight of stairs that are in front of the lavish gardens in Sarastro’s fortress. At the bottom of the stairs is a dark figure of a mean man holding three ferocious dogs at bay who are snarling and nipping at her.

This is the Moor whose name is Monostatos.

He slyly beckons to her, “My fine little dove, will you come inside with me?”

“This is outrageous!” she cries out. “Never!”

“Then your life is lost!” he snarls as harshly as his rabid dogs.

“Death does not make me tremble!” Pamina wails. “I only feel sorrow for my dear mother…she will die of grief !”

“My hate will destroy you! Chain her up!” he says to his henchmen. Monostatos vows, “Now, I’ll be alone with you!”

Just then, Papageno, who has since wandered from Tamino on their journey, stumbles in.

“Where am I? Where can this be? Wait!” he resolves, “There are people here. Courage, be with me. I must go in!”

He enters and, though seeing Pamina chained to the wall, looks beyond her to see Monostatos. Startled by the appearance of one another, the two jump back screaming, “Ahh!” Together, they shout, “You must be the devil!”

Then, becoming fearful, they continue, “Have pity on me! Spare me! Oh, oh!”

Gaining his composure, the Moor explains, “I am Monostatos, Sarastro’s servant, and just so you know, Pamina will be mine!”

Pamina, plaintively cries out, “Mother?

Mother?” She turns and sees Papageno right next to her. Surprised, she asks, “Who are you?”

25

“No!” he sighs, “not even a girlfriend. I’d love to have a bit of company and enjoy myself once in a while.”

“Don’t worry, my friend,” she says, “heaven will provide for you and send you a girlfriend sooner than you expect. Love can sweeten every trouble. Nothing is more noble than a happy couple.”

Papageno sulks about not having found his Papagena.

Pamina encourages him to be patient.

Photo: Robert Millard / LA Opera

“Papageno is my name,” he explains. “I am a messenger from your mother, the Queen. She has sent me, along with a prince, to rescue you. He has seen your portrait and fallen in love.”

Pamina gasps, “Love? He loves me?”

“I shall take you to him,” pledges Papageno.

“But what if you’re part of a trap set by the evil villain, Sarastro?” she inquires. “Are you one of his nasty spirits?”

“Me?” ponders the bird catcher, laughing.

“Me? A malicious spirit?”

“Forgive me,” admits Pamina. “I can see you are kind-hearted.”

“I am,” he admits. “But, what’s the use of being kind-hearted when Papageno has no Papagena?” The saddened bird catcher begins to cry.

“You poor man,” she extolls. “Haven’t you found a wife yet?”

26

In a moonlit meadow outside Sarastro’s temple, Tamino notices a hot air balloon descending to the ground. The Three Boys pop up and say, “This path will lead you to your goal, Tamino. You must strive to be a man. Listen to our advice and be steadfast, patient, and, above all, keep silent!”

Tamino asks of the boys, “Tell me, will I be able to save Pamina?”

“We are not free to make that known,” they reply. “Just be steadfast, patient, and keep silent,” they repeat.

Tamino reacts, “Though I don’t know what will happen to me in this domain of the gods, I will listen to these boys. These three gates and the many pillars in front of me, however, show that skill, labor, and the arts exist here. It would seem that in this place work is very important and laziness is rejected. I will boldly enter that gate, for my purpose is noble and pure.” He straightens himself and warns, “Tremble, you cowardly villain! I have come to save Pamina!”

He walks up, knocks on the door, and it slowly opens. An old priest appears and asks, “Bold stranger, where do you wish to go?

What do you seek in this holy place?”

“That which is within the realm of love and virtue,” Tamino announces boldly.

“Love and virtue are truly important. But how will you find these things? You are not led by love and virtue. You are inflamed with anger, death, and revenge!” the knowing Priest answers.

“You are right, I do seek revenge against the villain, Sarastro!”

The priest calmly replies, “You will surely not find a villain amongst us.”

“Does he rule here?” Tamino asks.

“Oh, yes!" the priest admits proudly, "Sarastro rules here.”

Tamino counters, “But here in the Temple of Wisdom?”

“Indeed,” returns the Priest.

Tamino continues, “I shall hate him forever!

He is inhuman and a tyrant!”

“What is your proof ?” asks the Priest.

“It is proven by an unhappy woman, stricken by sorrow and pain,” says Tamino.

“That woman has deceived you,” the Priest says. “She gossips. Do you only believe wagging tongues? If Sarastro could reveal to you the reasons for his actions…” “...His purpose is all too clear,” argues the Prince. “Did he not ruthlessly tear Pamina from her mother’s arms?”

“What you say is true, young man,” quoth the Priest.

“I only want to know where she is and if she is safe,” he admits.

The priest refuses to tell him anything other than, “Only when you are allowed inside the shrine will you know.”

Tamino stares at him in disbelief feeling the Priest may be deceiving him. Understanding, the Priest says, “You will know as soon as friendship’s hand leads you inside the shrine.”

The priest disappears and Tamino is left alone out in a meadow, standing before a full moon. “How powerful is your magical music, little flute?” he wonders to himself. “Will you help me find Pamina?”

As he ponders his own question and plays, he hears Papageno’s woody panpipes in the distance. “Ha!” cries Tamino. “That’s Papageno’s call. Perhaps he already has seen Pamina and maybe they’re hurrying here.

Maybe the sound of his pipes will lead me to her!”

Tamino hurries away and, from the other direction, Papageno and Pamina approach, “Swift feet, keep your courage,” they say.

“Save us from our enemy’s anger. If only Tamino would find us, otherwise we will surely be captured.”

They hear a reply that can only be Tamino arriving. “What joy,” Papageno chirps. “Our friend Tamino has heard us.”

Pamina joyfully retorts, “Yes, let’s hurry on!”

Their joy is cut short, for just then, the mean Moor, Monostatos, returns with his angry dogs to surround them. He harangues them, “Ha! Hurry on? I’ve captured you! Bring the daggers and ropes,” he shouts to his henchmen.

“We’re done for!” they shout.

But Papageno remembers his bells and sings, “Nothing ventured, nothing gained!” He begins playing and continues, “Oh, my pretty little chest, let your bells ring and ring until their ears are singing.” Monostatos and his dogs are suddenly enchanted by his music and they dance around with glee until they hurry off.

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Sarastro (center) confronts Monostatos (right) and punishes him and his henchman for their wickedness towards Pamina.

Photo: Robert Millard / LA Opera

Pamina and Papageno muse, “If every man had bells like these, his enemies would easily disappear. He would live in perfect harmony of friendship. Without sympathy, there can be no joy on earth.”

Suddenly, from inside the nearby temple, a choir chants, “Long live Sarastro…Sarastro, all hail!”

They look at each other and Papageno cries, “What can this mean? I’m frightened!”

“Now we’re finished!” moans Pamina. “This announces the wicked Sarastro’s arrival!”

“Oh!” shudders Papageno. “If I was a mouse, I’d hide myself away. If I was a snail, I’d creep inside my shell house. What do we say to save ourselves?”

“We tell the truth,” Pamina steadfastly replies, “even if that is a crime!”

The choir inside the temple begins singing again and Pamina is escorted inside. They intone, “Long live the wise Sarastro and shall he have a long and happy life! It is to him 28

that we devote ourselves!”

Pamina stands before Sarastro and begins, “My lord, I am the trespasser. I wanted to escape your power, it is true. But the guilt is not all mine. The wicked Moor demanded my love and so I ran away.”

Sarastro replied, “Be of good cheer, my child, I know your heart already and I can see that you love another very deeply. I will not force you to love any other but I cannot give you your freedom.”

Pamina implores, “But my duty as daughter calls me. My mother….” “...Your mother,” Sarastro interjects, “is within my power.”

Just then, Tamino enters and both he and Pamina realize that this is the first time they’ve physically seen one another. As they move toward one another, Monostatos hollers, “Get away from each other!”

He turns to Sarastro and says, “I am at your feet begging you. Punish this man! He wants

to steal Pamina away from you. Only I could see that!”

“Oh no!” shouts the bird catcher. “No! That would be too much to take!”

“And you think I should reward you?” asked Sarastro.

“Papageno,” warns Tamino, “you’ve got to be quiet. Don’t break your vow of silence by talking to these women.”

Monostatos bows, “My lord, just your good graces makes me rich.”

“Then it is a reward you shall have,” returned Sarastro. “Your reward will be seventy-seven strokes with a stick to the bottom of your bare feet.”

Monostatos is dragged away and cries out about his sudden change in fortune.

Sarastro then orders, “Take both of these strangers, Tamino and Papageno, into the temple. Cover their heads so they can be purified. It is time to test the true nature of our guests. Let the trials begin."

ACT II Tamino, Pamina, and Papageno prepare for Sarastro’s trials. If they succeed, knowledge and beauty will be their reward. But if they fail, they will pay with their lives. Sarastro wishes them well and asks the gods Isis and Osiris to reward their courage by taking them to the heaven.

Suddenly, the Three Ladies appear and, as intruders, declare, “The Queen is near and has secretly entered the temple. Remember, you have sworn to do your duty to her!”

To Tamino, they give warning, “Tamino, much is whispered about the wicked ways of these priests! It is also said that whoever joins them will go to hell!”

The voices from within intone, “Our sacred temple has been invaded by these women!

They must go!” With that, the sky is rent with flame and the Three Ladies vanish.

Papageno is now alone crying, “Oh, woe is me!”

“Papageno,” the priests say, “be a man! A pretty wife awaits you if you withstand our trials.”

They turn to Tamino and say, “Your steadfast behavior has passed the test.”

But the Prince wonders to himself, “Will Pamina be my reward?”

Meanwhile, Papageno is standing alone in the temple. “Tamino!” he shouts. “Tamino?”

Tamino appears but a voice from within orders, “Silence Strangers! Your first trial is the trial of silence. Be silent or die! And be on your guard for women’s tricks!”

The Three Ladies again show up. “What is this?” they utter to them in surprise. “Why are you in this horrible place? Tamino, you’ll never be able to escape! Papageno, your life is lost!”

Meanwhile, in another part of the temple, Pamina is lying in bed, asleep, face down on her pillow. The mean Monostatos slips in beside her and thinks, “Everyone feels the joys of love, the hugging and kissing, cooing and nuzzling, but I am not allowed to love? I have a heart! I am made of flesh and blood!

To be without a wife would truly be like living in hell.”

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The Queen of the Night orders Pamina to heed her command and kill her father, Sarastro.

Photo: Robert Millard / LA Opera

Pamina rolls over on her back but Monostatos continues thinking, “Since I am alive, I want love, too. This woman has taken my fancy. She is beautiful and I must kiss her!” As he leans toward her lovely face, huge hands appear from above and pull him away leaving Pamina awake and wondering just what happened.

“Mother,” she cries out. “Mother?” Confused from her dreams, all she can think of are the words:

"KILL SARASTRO!" All of a sudden, her mother, the vengeful Queen of the Night, appears and cries out.

Der Hölle Rache kocht in meinem Herzen Oh tremble not, beloved son!

QUEEN OF THE NIGHT bit.ly/derholle

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Hell's vengeance seethes in my heart; the f lames of death and despair engulf me! If Sarastro dies not by your hand, you will be my daughter no more. Forever repudiated, forever abandoned, forever destroyed be all the ties of nature if Sarastro's blood is not shed by your hand! Hear, hear, hear me, ye gods of vengeance...hear! - a mother's vow!

Pamina crumples to the ground, bathed in bloody, red light. “Commit murder? Oh Gods!” she cries. “I cannot!”

Sarastro then appears and tells her, “Worry not. Within these sacred walls, we know no revenge. Love always comes to our aid.

Always a friend’s hand will guide the way.

We love each other and forgive our enemies.

Those who cannot be pleased by such love cannot rightly be called man or woman.

Meanwhile, in another part of the temple, Tamino and Papageno are still alone. Not being able to chatter like a magpie is driving the bird catcher crazy. “Psst,” he hisses.

PA M I N A

bit.ly/ichfuhls

Ach, ich fühl's Ah, I feel Ah, I feel that the joy of love has gone for evermore!

Never will happiness return to my heart!

See, Tamino, see these tears that f low, beloved, for you alone.

If you do not feel love's yearning I must see peace in the grave!

“Shh!” admonishes Tamino.

Papageno sighs, “Oh, this is a fine sort of life!

No talking! No women! No food….”

Just then, The Three Boys appear. “Welcome, a second time,” they croon. “Sarastro sends you your flute and bells that were taken from you. Also, here is food, so eat and drink with pleasure. The third time we meet,” they say encouragingly, “joy will be your reward.”

Pamina enters and seeing her beloved, she tries to interrupt his thoughts, “Tamino?”

Honoring his vow of silence, he says nothing.

“Tamino!” she repeats. Still he ignores her.

“Explain your silence to me. Don’t you love me anymore?” she asks.

“This is worse than suffering. Worse than death!” she cries, falling to the floor. “Such despair to have lost love’s happiness.”

From within the priests chant, “Tamino, take heart! Soon this dark night will end. Soon, you will know true love.”

Sarastro appears and tells them, “Tamino, you have been brave and patient but your most difficult and dangerous trial is yet to come. If you love Pamina, it is time to say your final farewell. The hour has come for you to part.”

Pamina cries, “A last farewell?”

Sarastro assures them, “You will meet again in bliss!”

Sad, but hopeful, they all leave and Papageno strides in, “Tamino?” he calls out. “Tamino!”

And with that, the lights all go out. “Don’t leave me alone in the dark.”

A booming voice calls out, “Papageno, if you cannot be silent and resist temptation, show strength and bravery, you will never find enlightenment.”

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“I don’t want enlightenment,” he retorts. “I’m a simple man. I prefer wine to wisdom!”

“You have no other desire in this world?” the voice asks.

“Not as yet.”

“Very well,” says the voice. “You will be served.” An enormous glass of wine appears and he drinks it down completely. “Ah, how I’d love to have a lovely, little wife!” he dreams.

PA PAG E N O

bit.ly/einmadchen

Ein Mädchen oder Weibchen A sweet heart or a wife A sweet heart or a wife is what Papageno wants!

Oh, a soft little dove would be bliss!

Then food and drink would be pleasant, and I could match wits with a prince, enjoy life as much as a sage and think myself in Heaven!

A sweet heart or a wife is what Papageno wants!

Ah, can I not please even one of all the charming girls in the world?

One must come to my aid, or else I shall surely die of grief.

A sweet heart or a wife is what Papageno wants!

If none will offer to love me, the f lames of desire will consume me; but if I am kissed by a woman I shall be happy once more.

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The Three Boys appear announcing that it is a sunny morning and that peace and happiness will soon to be at hand. Yet one Boy notices the sad Pamina standing at the edge of a high cliff. She is near madness with grief and wanting to kill herself for what she thinks is Tamino’s silence, a sure sign of his lack of love for her.

The Boys tell her that Tamino’s heart is dedicated to her and that they will take her to him to show her the truth. Pamina magically sprouts lovely, red wings and they take off, flying, while they tell her that when two hearts burn with love as theirs do, they will never be parted by human weakness or by their enemies. They assure her that the gods themselves will protect them.

When Tamino and Pamina are once again reunited, he says, “I’m happy that my love will now be able to join me in our trials even if death be our final outcome.”

“Yes, my love, I will be at your side. Play your magic flute to protect us.”

First the two are tested by fire. They are met by a monster who spits heated flames at them but the flute protects them. It shields them from the blasts, then it put out the fire altogether. Tamino says, “We have passed through glowing fire and bravely overcome danger.”

Pamina replies, “May your music protect us in the water just as it did with the fire.”

With the flute playing, they are thrown into the depths of the sea and anchored to its floor deep below the waves. Once more, the flute protects them and the chains that hold them to the bottom dissolve and they float back to the top accompanied by seven friendly mermaids. “We have been victorious and overcome danger. Let us go to the temple!” they rejoice together.

Papageno drinks wine and sings about what life would be like with a wife or even just a sweetheart.

Photo: Robert Millard / LA Opera

Meanwhile, Papageno remains behind and calls out joyfully for his Papagena who has still not appeared. He has tasted wonderful wine and he has seen her beauty. Now, his heart burns with love for her. Still she does not appear. In despair, he cries out, “It is all so useless! I am weary of my life and ending it will put an end to love.”

He looks off in the distance and sees a tree with a rope hanging from its top branch and decides it is time to end his miserable life without a mate. "But…” he says, not quite sure he wants to kill himself, “...if someone were to take pity and stop me before I hang myself, I could let it go this time…”

There is silence and nobody hears him.

“Papageno,” he says to himself, “step lively and end your weary life!”

Reconsidering, he decides to give it another chance. “Okay, I’ll count to three. One!…

Two!…Three!…." Still nobody responds.

“Well, then it is settled,” he says sadly, “Since no one holds me back, it is goodbye!”

Just then, as they did with Pamina, the Three Boys swoop in and holler, “Stop Papageno.

Be wise, you only live once!”

“That’s easy for you to say, but if your heart burns as hot as mine you would want a sweetheart, too!”

Together, they implore him, “Then play on your bells, they will bring your little wife to you!”

“What a fool,” he remarks, “I forgot the magic bells!” He plays their tune once more and this time Papagena appears before him for good. Overjoyed, the two happily vow to love one another forever with hopes that they will have many children.

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The Queen of the Night, the Three Ladies, and Monostatos are struck down by the great power of Sarastro.

Photo: Robert Millard / LA Opera

On the outskirts of the temple, the Queen of the Night, the Three Ladies, and now Monostatos are getting ready to invade and defeat Sarastro once and for all. The Moor asks for reassurance from the Queen, “Will you keep your word and grant your daughter, Pamina, to be my wife?”

“I shall keep my word!” she says solemnly.

“But wait,” cautions Monostatos. “I hear thunder and waterfalls!”

“Yes,” the Ladies and the Queen agree. “The sound is frightening, like the distant echo of thunder!”

Monostatos tells them, “At least we are in the temple.”

They all agree, “There we will attack them and blot out the fanatics with glowing fire and our mighty swords!”

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All of a sudden thunder, lightning, and fire surround the five of them and they cry out in fear, “Our power is shattered! We are plunged into eternal night! Ah!” All five then vanish, never to be seen again.

Witnessing the great demise of his enemies, Sarastro and his domain rejoice. Peace has finally been restored. In front of the temple, everyone turns to celebrate in the union of two new happy couples. Tamino and Pamina, Papageno and Papagena, warmly embrace.

Sarastro's voice proclaims, “The sun’s rays drive out the night and destroy any power those deceivers had.”

Behind him, all sing, “Hail to you, our newest members! You have penetrated the night.

Strength has triumphed, and rewarded us all with beauty and wisdom forever!”

THE END

P LOT I N T H E AC T I O N of The Magic Flute Use the following graphic organizer to track the story of The Magic Flute. You may find this to be more difficult than you thought. Can you remember all of the plot twists?

CLIMAX

LI

L FA NG T AC

RI

SI

N

G

AC

T

N

IO

N

IO

CONFLICT

RESOLUTION SETTING

CHARACTERS

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MAKE A Synopsis A synopsis is a concise summary or brief statement of events. In writing a synopsis, the main points or ideas are written and the supporting details are left out. To do this successfully, we must judge which facts and details are the most important.

Often you are asked after a day of school, “How was your day?” or “What did you learn today?”

You know how to answer these questions because you know what the important things you did were.

1. B efore or after you see the opera, in a small group, examine the main characters of The Magic Flute. How did the actions of the characters move the plot forward? What were the most important things that happened?

2. M ake a word bank of the main characters. List important adjectives that describe their character traits. Then list the verbs or action words which highlight their actions.

CH A R AC T ER S

DESCR IP TI V E A DJECTIV ES

AC T IONS

Now write a brief account of Act I of the opera. See which member of your group wrote the most comprehensive synopsis.

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Use additional paper if needed.

AC T I N G T H E STO RY U s i n g Ta b l e a u s After reading The Magic Flute, choose one of your favorite scenes and act it out with a few of your classmates.

W H AT I S A TA BL E AU ?

In a tableau, participants make still images with their bodies to represent a scene.

A tableau can be used to quickly establish a scene that involves a large number of characters.

A DDITIONA L IDE A S

The tableau doesn’t just have to be a mute frozen image. Students can be told in advance that they will be taped during the presentation, and that they will need to provide a clue as to who or what they represent in the tableau. Alternately, the teacher or a student could act as a reporter and conduct short interviews with individuals acting in the tableau. The teacher might choose to facilitate a discussion with the audience by highlighting certain tableau details through questioning.

For example, you could ask, “Why might this character be smiling?” or “What do you think this character is thinking?”

The cast of The Barber of Seville strikes a pose in this example of a tableau. Photo: Kelly & Massa Photography, 2014

HOW DO YOU M A K E A TA BL E AU ?

To begin, give each group an excerpt from the synopsis (like one scene), and ask the groups to create a frozen image that somehow captures the essence of what is going on in the scene. Students must then collaborate to decide how to represent the scene in the form of a tableau. No matter what they do, students should carefully craft their gestures, facial expressions, and physical poses.

Give groups enough time to plan and rehearse and, when they are ready, have students present their scenes while the rest of the class discusses what they think is going on in the tableau. Additionally, one of the members of the group can read the scene while the other members act it out in tableau.

Finally, have the class discuss the choices that went into making that particular tableau.

Tableaux can also be a series of frozen images that, together, tell a story with a beginning, middle, and end. Or, the tableau might be more effective with the music from the opera playing. Groups also might want to use slow motion to transition from one tableau to the next.

After the students create the tableau, encourage them to describe how they think music could enhance the scene that they created. Then ask students to use sounds to describe the music and back up their ideas with evidence.

For a more detailed lesson plan from Opera America, visit tinyurl.com/OATableaus.

For a video to reference of how to create a tableau using an opera scene, visit tinyurl.com/OperaTableaus.

Sources cited: learning.blogs.nytimes.com/2012/08/07/scenes-in-tableaudrama-strategies-to-use-with-any-days-times-part-2/?_r=0 dramaresource.com/tableaux/

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CROSSWORD PUZZLE M u s i c a l Te r m s

1

2 5

3

4

6 7 9

8

11

10

12

13 14 15

16

17

18 19

20

21

22 23

24

25

26 27 28

29 30

31

32

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ACROSS: 2. The line that divides one measure from another 7.

8.

DOWN: 1. A direction term meaning getting slower

3.

A group of notes played at the same time 4. in harmony A note that is neither sharp nor f lat

11. In slow time and dignified style

14. A musical composition for one or more solo instruments and an orchestra

5.

17. Softly

6.

15. Very softly

18. One of the seperatre sections into which a long piece of music is divided 20. The lowest male singing voice 24. Very fast

26. Fast and lively

28. An interval equal to two semitones 29. The basic pulse of a piece of music 30. Loudly

31. The basic note of a main scale used in a piece of music

32. A series of notes arranged in descending or ascending order or pitch.

WORD BANK Allegro Alto Andante Bar Baritone Bass Beat Chord Concerto Flat Forte Fortissimo Key Largo Major Minor

Movement Natural Octave Opus Pianissimo Piano Presto Rallentando Scale Semitone Sharp Soprano Sonata Symphony Tenor Tone

9.

Moderately slow time

Names of scales which begin with the foundation tone (do) followed by a whole tone for the second note, followed by a whole tone for the third. Music written in these scales often have a strong, cheerful sound.

The range of a female voice between mezzo-soprano and contralto

Very loud

A half-step lower than the corresponding note or key of natural pitch

10. A long elaborate musical composition for a full orchestra, usually in several parts

12. A note that sounds twice as high in pitch as another and has the same letter name 13. The highest woman's or boy's singing voice

16. Name of the scales with the third tone a half-step above the second tone. Music based on these scales seem sad and melancholic.

19. A musical composition numbered as one of a composer's works, usually in order of publication 21. Any note semitone higher than the corresponding note or key of natural pitch

22. The range of the male voice between a tenor and bass 23. A male singing voice

25. A musical composition for one instrument or two, usually with three or four movements 27. A half tone, an interval midway between two whole tones

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WRITING A REVIEW of the Opera A review is an opinionated piece of writing. It is an opportunity for someone to communicate their “likes and dislikes� about a particular event. A good theater review takes into consideration all of things that happened on stage. Before writing a review, it is good to organize your thoughts. Use the following template to create a review of The Magic Flute.

JOIN OUR BLOG! - When you finish writing your review, consider submitting it online!

Opera Philadelphia would love to hear your thoughts about the production. Just remember to include your name, school, and grade. Visit: operaphillysol.blogspot.com.

PL O T & CH A R AC T ER S

Did the performance tell the story dramatically, and were you engaged in the plot?

Summarize the main characters and conflict briefly in this opening paragraph.

M USIC & VOICES

Did the music carry the characters and action forward? Were there particular voices, arias or duets that added to your involvement in the conflict?

S TAGI NG

How did the sets, costumes, and staging enhance or undermine the plot?

SET TING

Make note of the time and location where the opera takes place. Is it the same setting the composer imagined, or has it been updated? If it has been updated, does the change add to the power of the piece, or is it a distraction?

Y O U R O P I N I O N (After the performance) Would you recommend the performance to your friends or family? Explain why or why not.

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THE SCHOOL DISTRICT OF PHILADELPHIA SCHOOL REFORM COMMISSION Marjorie Neff, Chair

William J. Green, member Farah Jimenez, member

Dr. Christopher McGinley, member Estelle B. Richman, member

William R. Hite, Jr., Ed.D Superintendent of Schools

Sounds of Learning™ was established by a

generous grant from The Annenberg Foundation.

Dedicated funding for the Sounds of Learning™ program has been provided by:

THE WILLIAM PENN FOUNDATION WALLY LOEB Wells Fargo Hamilton Family Foundation Universal Health Services Deluxe Corporation Foundation

OPERA PHILADELPHIA David B. Devan General Director & President

Corrado Rovaris Jack Mulroney Music Director

Michael Bolton Vice President, Community Initiatives

Eugene Garfield Foundation The Hirsig Family Fund of the Philadelphia Foundation

Written and produced by: Opera Philadelphia Community Programs Department © 2017 1420 Locust Street, Suite 210 Philadelphia, PA, 19102 Tel: 215.893.5925 Fax: 215.893.7801 Michael Bolton Vice President, Community Initiatives bolton@operaphila.org Steven Humes Education Manager humes@operaphila.org Veronica Chapman-Smith Community Initiatives Assistant chapman-smith@operaphila.org Katie Kelley Graphic Designer dune@operaphila.org

Morgan Stanley Foundation Special thanks to: Victory Foundation The McLean Contributionship Louis N. Cassett Foundation

Frank Machos Director of Music Education, School District of Philadelphia The Office of Strategic Partnerships School District of Philadelphia Dr. Dan Darigan Curriculum Consultant

Opera Philadelphia is supported by major grants from The William Penn Foundation, the Wyncote Foundation, and The Pew Charitable Trusts.

Additional support is provided by the Independence Foundation and the Horace W. Goldsmith Foundation.

Opera Philadelphia receives state arts funding support through a grant from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania. Support provided in part by the Philadelphia Cultural Fund.

Dr. Bettie Joyner Kleckley Dr. Nanci Ritter Program Evaluators Maureen Lynch Operations Manager, Academy of Music Frank Flood Assistant Operations Manager, Academy of Music Cornell Wood Head Usher, Academy of Music Academy of Music Ushers

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