OSA's Carmen - Resource Guide

Georges Bizet Libretto by Henri Meilhac and Ludovic Halévy Based on the novella by Prosper Mériméee

CARMEN Presented by OPERA San Antonio October 27 & 29, 2016 H-E-B Performance Hall Tobin Center for the Performing Arts

Carmen │ October 2016 Resource Guide

About OPERA San Antonio How it began OPERA San Antonio was founded in 2010 by Mel Weingart, Chairman and President of the Tobin Theatre Arts Fund with Tobias Picker as Artistic Director. Marie Barret joined in 2012 as Director of Production, and Plato Karayanis joined as Interim General Director and CEO in April of 2013. The company’s first performance was in May, 2013, a gala called the Gala Concert of Stars. The gala featured Patricia Racette, Dolora Zajick, Jay Hunter Morris, Eric Owens, Lucas Meachem, Lisette Oropesa, Daniela Mack and Alek Shrader, in collaboration with the San Antonio Symphony under the direction of its music director, Sebastian Lang-Lessing. This was followed in January, 2014, by a collaborative costumed, semi-staged production of Rusalka with the San Antonio Symphony as part of their Dvořák Festival and starring Joyce El-Khoury, Brian Jagde, Alan Held, Christine Goerke and Kirstin Chávez.

A crucial element of founding leaders’ mission is that the opera company maintains a strict sense of fiscal responsibility. In keeping with that, the company immediately made a collaborative arrangement with the San Antonio Symphony which allows the symphony players to work more and provides the opera company with an orchestra and its Music Director for numerous productions in the Tobin Center and throughout the greater San Antonio community.

Our mission OPERA San Antonio is committed to producing opera of uncompromising artistic quality and enriching the community through its education and outreach programs.

Currently OPERA San Antonio’s third season in the Tobin Center for the Performing Arts features Carmen, and The Barber of Seville, both fully staged productions in the H-E-B Performance Hall.

On the horizon With a growing staff and another stunning season, OPERA San Antonio remains committed to its values and to fiscal responsibility. The company will continue to create and promote educational programs that encourage the community to venture out and experience the arts.

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Dear Friends, OPERA San Antonio is pleased to bring you a production of Carmen by Georges Bizet and to present this resource for you.

Carmen is an opera in four acts by Georges Bizet, with a French libretto by Henri Meilhac and Ludovic Halévy. The libretto is based in part on a novella of the same name by Prosper Mérimée. Students and others using this guide will learn how to apply creative skills to real life situations.

For years, reports of international studies have shown that children involved in the arts are able to apply themselves better, and they often achieve higher scores on standardized tests as well as ACT/SATs and college entrance exams. But studying music and the arts does far more than improve our critical thinking skills; music is everywhere in our lives – our cars, commercials and TV shows, and movies. Music permeates our everyday lives, and what better subject to become familiar with and understanding of than the very thing we spend a majority of our time listening to?

We understand that the content of this particular opera is not made with children in mind. Therefore, please consider the story, its ending, and whether or not some of the enclosed lessons are appropriate for your child(ren) or students. We are building this resource for approximately Jr. high school students or older, but as parents and educators, we encourage you to use your own discretion in how the guide is presented.

Thank you for supporting OPERA San Antonio, and thank you for your interest in our production of Carmen. We want to reach as many people as possible with the arts, and we look forward to working with you this season.

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Table of Contents Opera 101 .............................................................................................................................................................. 5 The Production Team............................................................................................................................................. 9 The Cast of Carmen .............................................................................................................................................. 11 About the Composer: Georges Bizet .................................................................................................................... 12 Timeline of Bizet's Life……………………………………………………….…………………………………..…………………………….14 The Life and Times of Bizet……………………………………………………………………………………………………………………16 About the Dramatist: Prosper Mérimée ............................................................................................................... 20 About the Librettists ............................................................................................................................................ 21 About: Carmen .................................................................................................................................................... 22 A Brief Synopsis ...................................................................................................................................... 23 Did you know? ........................................................................................................................................ 25 "Gypsies"- Then and Now……………...…...…………………………………………………………………………………………………………...26 Seville, Spain ........................................................................................................................................................ 28 Lessons and Activities .......................................................................................................................................... 31 Discussion Questions– After the show .................................................................................................... 32 Music Activity ......................................................................................................................................... 33 Creative Writing ...................................................................................................................................... 35 A Red Rose for Carmen…………………………………………………………………….…………………………………………………..35 Alcohol Inks Craft .................................................................................................................................... 36 Carmen Word Search…………………………………………………………………………………………………………………….……..39 Carmen Crossword……………………………………………………………………..………………………………………………………..40 Espinacas con Garbanzos………………………………………………………………………………..……………………………………41 Torrijas…………………………………………………………………………………………………………………………..……….…….…….43 Other Resources .................................................................................................................................................. 45 Educator/Parent Survey....................................................................................................................................... 46 Opera and the Texas Essential Knowledge and Skills for Fine Arts ....................................................................... 42

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Opera 101 What is an opera?

An opera is a drama set to music, with songs accompanied by orchestra. It’s basically like any other drama – a TV show, movie or play. Opera simply includes music and usually sung words, as opposed to spoken. What makes an opera truly unique is that it has everything: there are elements of visual arts, drama, dance, literature, writing, and of course – music. If you take a peek backstage, you’ll note that the people working there are not necessarily musicians; opera is an all-inclusive art form, and it requires people with knowledge of math, science and other technical skills to orchestrate the complete staging of an operatic work.

1. I won’t understand what’s going on Actually, those days are over. Back in the late 1900s, someone introduced us to supertitles1, meaning the words being sung are projected above the stage, so you won’t miss a beat!

2. I have to dress up In its early days, opera was just for the elite, and opera-goers really did need to dress up to attend an opera. Today there is no dress code, and opera is for everyone. People come to our performances dressed in everything from jeans to evening gowns. You should wear whatever is most comfortable for you!

3. Opera singers are fat The stereotype of a fat lady screaming at the top of her lungs in a horned helmet is a stereotype for opera all over the world. That image no longer defines opera singers.

(Sorry, Wagner2 fans). The trend is for opera singers to look the part of the person they are portraying – not just in size, but in their voice, stature and the way they are dressed.

1

A caption projected on a screen above the stage in an opera, translating the text being sung.

A late Romantic era composer known for his brilliant innovations in harmony and immensely large scale operas, operas from which the original “fat lady” was born 2

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Opera 101 cont.

Arias and Recitative Remember, most everything in opera is sung! However, there are some works which also have some spoken dialogue. The singing parts in opera are divided into two categories. The first, recitative, are sung words and phrases that are used to further the action of the story. These parts of the opera are meant to convey conversations, so the melody is often simple or fast to resemble speaking. The second type of singing is the aria, which is like a normal song, in that it has a more recognizable structure and melody. Arias, unlike recitative, are a stop in the action, where the character usually reflects upon what has happened. Arias are often solos, meaning they are sung by one person only. When two people are singing, it becomes a duet. When three people sing, it is a trio, and so on.

Attending the Opera 101 – Do’s and Don’ts DO turn off your cellphone, or other noise-making devices. You don’t want to interrupt the beautiful music on stage!

DON’T be late! People who are late are generally not allowed to be seated until an appropriate moment, which can often be until intermission. It is very important not to disturb the audience or the performers.

DO wear whatever you want! There is no dress code for the opera; so you can wear whatever is most comfortable for you.

DON’T talk or text during the show. You don’t want to disturb other people’s experience at the opera. You can wait for the intermission to tell your friends what you think of the story.

DO clap at the beginning, when the conductor comes on stage, at the end of an act, and after arias.

DON’T eat, drink, or chew gum during the show.

DO have fun! Enjoy the performance and listen carefully to the music. Going to the opera is an exciting experience. Pay attention so you don’t miss out!

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Voice Types Soprano The highest of the female voice types, the soprano has always had a place of prominence in the hierarchy of vocal music. In operatic drama, the soprano is almost always the heroine or protagonist of opera, since a high, bright sound can suggest youth, innocence and virtue.

Soprano Patricia Racette in our inaugural season © Karen Almond

Mezzo-Soprano A mezzo-soprano (or simply mezzo) has a voice lower than a soprano’s but higher than a contralto’s. Throughout history, the mezzo has been used to convey many different types of characters: everything from boys or young men (called “trouser” or “pants” roles), to mothers or mother-types, seductive heroines, and villainesses.

Contralto The lowest of the female voice types, it is rare to find contralto singers, and true contralto roles are few and far between. These roles are usually special character parts such as witches and gypsies.

Countertenor The countertenor is a natural tenor or baritone with an elevated range. With training and practice, this higher range (similar to that of a woman alto) becomes the natural voice.

Tenor Countertenor Onay Kägan Köse in our very first production, 2014 © Karen Almond

The highest of the male voices, the tenor has a range between baritone and mezzo and is frequently the hero or protagonist of the opera.

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Baritone The baritone is the most common male voice, lower in range than the tenor and with a darker tone. In comic opera, the baritone is often the ringleaders of hijinks, but in tragic opera he is often the villain.

Bass-Baritone A category used to describe voices with a range between that of the baritone and the bass. The tessitura (or lie) of these roles is higher than what a bass can comfortably sing with occasional moment of probing in the bass register and the need for a darkness of color that the bass brings to a role.

Bass Bass-Baritone, Wayne Tigges who performed This is the lower and darkest of the male voices. Low voices in our inaugural season often suggest age and wisdom or evil characters in serious opera, but in comic opera they are often used for old characters that are foolish or laughable.

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The Production Team It takes more than singers to put on an opera. While you may only see the performers in the spotlight, there are people behind the scenes that put together everything you see and all the things you do not.

On Stage ___________________________________________________________ Cast: all singers and actors who appear onstage.

Actors: performers who have dialogue but do not sing.

Principal: a singer who performs a large role in the opera.

Comprimario: a singer who specializes in the small character roles of opera, from the Italian meaning “next to the first�.

Supernumeraries (or Supers): actors who participate in the action but do not speak or sing.

Dancers: performers who dance or move to preset movement.

Chorus: group of singers who mostly sing together: sometimes this group contains actors and dancers, as well.

Backstage__________________________________________________________ The Artistic Director is the head of the opera and makes all the final decisions.

The Stage Director tells our singers how to move across the stage so that you are able to understand what is being sung, even if it is in a different language.

The Music Director instructs singers on singing and musical style and leads music rehearsals.

The Production Manager coordinates between the artistic and business aspects of production and ensures that everything happens on time.

The Technical Director coordinates the lighting, set, costumes and the crews that handle those things.

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The Stage Manager works backstage and tells the singers when to walk onto the stage and helps the stagehands know when to change the scenery.

The Set Designer plans or designs the sets and scenery and supervises set construction.

The Lighting Designer plans or designs the color, intensity and frequency of the light onstage.

The Wig and Make-Up Designer designs and oversees hairstyles, wigs & make-up.

The Costumer plans how each singer is dressed and makes sure that all of the costumes will help the singers accurately portray their characters in the opera’s setting.

The Properties (Props) Manager is in charge of finding objects for the singers to use while on stage that will correctly reflect the time period of the opera and give the actions on stage a more realistic feel.

The Choreographer invents dances and movements and teaches them to dancers and/or cast members.

The Crew or Stagehands assist in construction, installation and changes of the set, costumes, lights and props.

In the Pit___________________________________________________________ The Conductor tells the orchestra when to play and the singers when to sing. The conductor controls how fast or slow the music goes.

The Orchestra is the group of musicians who play the musical instruments.

The Audience (that’s you!) also has an important role to play. It would not be a real performance without you! Sometimes as an audience member, you too have to be creative. A setting might be suggested by a few panels or a background – so you can imagine the rest of it while the singers tell the story.

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The Cast of Carmen Carmen A gypsy girl .............................................................................. Mezzo-Soprano Don José, Corporal of Dragoons ........................................................... Tenor Escamillo, Toreador .............................................................................. Bass-Baritone Micaëla, A village maiden .................................................................... Soprano Zuniga, Lieutenant of Dragoons ........................................................... Bass Moralés, Corporal of Dragoons ............................................................ Baritone Frasquita, Companion of Carmen ........................................................ Soprano Mercédès, Companion of Carmen ....................................................... Mezzo-Soprano Lillas Pastia, an innkeeper .................................................................... spoken role Le Dancaïre, smuggler .......................................................................... Baritone Le Remendado, smuggler..................................................................... Tenor Guide .................................................................................................... spoken role

Children’s chorus Other gypsies

Meet Kirstin Chávez, our Carmen

Kirstin as Carmen in a recent production

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About the Composer: Georges Bizet Alternate title: Alexandre-César-Léopold Bizet Georges Bizet, (born October 25, 1838, Paris, France—died June 3, 1875, Bougival, France) French composer whose realistic approach influenced the verismo3 school of opera at the end of the 19th century.

Bizet was the son of Adolphe Bizet, a wigmaker and hairdresser who also started teaching music. George’s mother, Aimée, was an accomplished pianist who gave Puccini in 1908 music lessons to Bizet beginning at an early age. Bizet proved to be a natural talent in music, and before the age Georges Bizet in 1875 of 10, he was admitted to the Paris Conservatory of Music4. His teachers were Pierre Zimmermann5, Antoine François Marmontel6, François Benoist7, and Fromental Halévy8, whose daughter9 Bizet would end up marrying. Bizet was awarded prizes at the school, including the first prizes for organ and fugue in 1855, and he completed his first compositions there.

3

Paris Conservatory of Music circa 1900

Geneviève Halévy

3

Realism in the arts, especially late 19th century Italian opera; associated with composers Mascagni, Leoncavallo, Giordano, and Puccini 4 French college of music and dance founded in 1795; offers instruction in music, dance, and drama 5 French pianist, composer, and music teacher (1785-1853) 6 French teacher, pianist, and musicographer (1816-1898) 7 French organist, composer, and pedagogue (1794-1878) 8 French composer (1799-1862) 9 Geneviève Halévy, French salonnière and later, wife of Georges Bizet (1849-1926)

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In 1857, when he was seventeen, Bizet wrote his first symphony, the Symphony in C.10 The piece was discovered in the Paris Conservatory archives in 1933, and when it was first performed in 1935, it was labeled as a “junior masterwork” as well as a great addition to the early Romantic period11 repertoire. In 1857, Bizet won the Prix de Rome12 with his cantata Clovis et Clotilde13 by Amédée Burion.14 It is one of his most popular works today. The award gave Bizet a financial grant for five years. The first two were to be spent in Rome, one year was to be spent in Germany, and the final two in Paris. The terms of the award required Bizet to submit an original piece of work each year. Bizet seemed to have trouble as a composer, and he often began operatic projects but never completed them. Unlike others at the time, Bizet paid more attention to the meaning and emotional content of the words than to the rhythm and metrical patterns. His choice of subject matter and compositional style deeply influenced the development of verismo opera.

An album cover for Bizet’s Symphony in C

A Clovis et Clotilde album cover

Painting of Paris, 1857 (David Jacobson)

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10

Written for a standard orchestra (without trombones), the work closely follows the classical symphonic form in four movements. The first and last movement are in sonata form.

11 A term denoting an era of Western classical movement that began in the late 18th or early 19th century, related to the European artistic and literary movement.

12 French scholarship for arts students, initially for painters and sculptors, that was established in 1663.

13 Clovis was the first king of the Franks to unite all of the Frankish tribes under one ruler. He is also significant due to his conversion to Christianity in 496, with the persuasion of his wife, Clotilde.

14 French librettist

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Timeline of Bizet’s Life 1838

Georges Bizet born, Paris

1848

Accepted into the Paris Conservatoire of Music, where he was influenced by Gounod

1856

Writes one-act operetta, Le Docteur Miracle15

1857

Le Docteur Miracle wins first prize in a competition organized by Jaques Offenbach16; Bizet wins the Prix de Rome

1859

Writes Don Procopio17 while in Rome

1862

Work begins on Ivan IV18, but the opera is not staged

1863

Writes Les pȇcheurs de perles19, which premieres at the Théȃtre-Lyriques20 as commissioned by director Léon Carvalho21

1867

Writes La jolie fille de Perth22, which premieres at the Théȃtre-Lyriques

1869

Marries Geneviève Halévy, daughter of composer Fromental Halévy

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Georges Bizet © Photos.com/Thinkstock

An opérette in one act that is based on the play, Saint Patrick’s Day, premiered in 1857.

German-born French composer, cellist, and impresario of the romantic period. He is remembered for nearly 100 operettas of the 1850s-1870s. Many of his works continue to be staged.

17 Two-act opera with an Italian libretto completed in 1859 and first performed in 1906.

18 An opera in five acts based on Ivan “The Terrible” of Russia.

19 (The Pearl Fishers), an opera in three acts 20 One of the four opera companies performing in Paris during the middle of the 19th century, founded in 1847.

21 French impresario and stage director (1825-1897).

22 (The Fair Maid of Perth), an opera in four acts after the novel by Sir Walter Scott 15 16

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Timeline cont.

1870

Outbreak of Franco-Prussian war23, closing all Paris theatres; Bizet joins National Guard24

1871

Works begins on Djamileh25

1872

Premiere of Djamileh at the prestigious Opéra-Comique26, Paris, to little success

1873

Abandons work on an opera called Don Rodrigue27, due to a fire at the Paris Opéra28 and the theatre’s decision to stage a different work

1875

Premiere of Carmen, Paris, to shocked audiences and scathing critics; Bizet dies three months later, unaware that Carmen will go on to become one of the world’s most popular operas

Poster from the 1875 premiere of Carmen

6

French muzzle-loading artillery in position during the Franco-Prussia War

Paris Opera Comique circa 1820 (Courvoisier)

23

(1870-1871) Conflict between the Second French Empire of Napoleon the III and the German states of the North German Confederation led by the Kingdom of Prussia. It was caused by Prussian ambitions to extend German unification and French fears of the shift in the European balance of power that would result if Prussia succeeded.

24 French militia that existed from 1789-1872. It was separate from the French Army, and existed both for policing and as a military reserve.

25 An opéra comique in one act based on the oriental tale, Namouna, by Alfred de Musset 26 Genre of French opera that contains spoken dialogues and arias 27 (1873) An opera in five acts, it is incomplete 28 The primary opera company in France, founded in 1669 by Louis XIV as the Académie d’Opéra

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The Life and Times of Georges Bizet 1838

1840

1841 1844 1845

Georges Bizet is born in Paris, France, on Oct. 25.  Charles Dickens’29 Oliver Twist is published.  Samuel Morse30 demonstrates his electrical telegraph for Georges Bizet the first time.

Russian composer Pyotr Ilyich Tchaikovsky, British novelist Thomas Hardy, French painter Claude Monet and French sculptor Auguste Rodin are born.  The world’s first postage stamp is issued in Britain.  Victoria31 is crowned Queen of England.

The first university degrees are granted to women in the United States.

• Alexandre Dumas32 publishes The Three Musketeers.

“Carmen”33, the novella by Prosper Mérimée34, is first published in La Revue des Deux Mondes35, to universally disapproving reviews for its perceived immorality.

• Edgar Allen Poe’s36 The Raven is published in the New York Evening Mirror37.

Queen Victoria

Edgar Allan Poe

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English writer and social critic. He created some of the world’s best-known fictional characters and is regarded as the greatest novelist of the Victorian Era. (1812-1870) 30 American painter and inventor who contributed to the invention of a single-wire telegraph system based on European telegraphs and Morse code. (1791-1872) 31 Queen of the United Kingdom of Great Britain and Ireland from 20 th June, 1837 until her death in 1901.

32 One of the most widely read French writers (1802-1870) 33 The novella that Bizet’s Carmen is based off of; written and published in 1845.

34 The author of the novella “Carmen” (1803-1870) 35 A French language monthly literary and cultural affairs magazine that has been publishing in Paris since 1829.

29

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Life and Times cont.

1847

1848

1855

1857

Nine-year-old Bizet begins studying music at the Paris Conservatory of Music.

• Alexander Graham Bell38 is born in Edinburgh, Scotland.

• Johnny Appleseed (born John Chapman), who introduced apple trees to Indiana, Ohio, and Illinois, dies in Indiana.

Richard Wagner39 begins work on the libretto for the Ring Cycle.

• The first women’s rights convention is held in Seneca Falls, N.Y. • The first medical school40 for women is opened in Boston.

• Karl Marx41 publishes The Communist Manifesto.

• Charles Darwin42 and Alfred Russel Wallace43 publish their theory of evolution through natural selection.

Bizet completes his most famous symphony, Symphony in C. It is not performed until 1935.

• The Bunsen burner is invented by Robert Wilhelm Bunsen.

Bizet writes the cantata44 Herminie.

• Bizet wins the Prix de Rome for the one-act opera Le Docteur Miracle and goes to Italy for three years.

• Milton S. Hershey, founder of the Hershey Chocolate Company, is born.

Richard Wagner 36

Famous American writer, editor, and literary critic. Best known for his poetry and short stories. (1809-1849) A weekly newspaper published in New York City from 1844 to 1898.

38 Inventor of the telephone (1847-1922) 39 Famous German composer, theatre director, and conductor who is primarily known for his operas. He wrote both the libretto and the music for each of his operas. (1813-1883) 40 New England Female Medical College, originally Boston Female Medical College 41 Philosopher, economist, sociologist, journalist, and socialist. Wrote The Communist Manifesto. (1818-1883) 42 English naturalist and biologist, best known for his theory of evolution and natural selection. (1809-1882) 43 English naturalist, geographer, anthropologist, and biologist who worked with Darwin. (1823-1913) 44 A vocal composition with an instrumental accompaniment, typically in several movements, with a choir.

37

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1861

1863

1867

1868

Bizet’s mother dies.

• Bizet fathers a child with his mother’s nurse.

• Several southern states secede from the U.S. and form the Confederate States of America. Jefferson Davis45 is elected president.

Bizet composes Les pêcheurs de perles (The Pearl Fishers), which debuts at the Théâtre-Lyrique in Paris.

• The first segment of London’s Underground subway system46 begins operation.

• Union forces win the Battle of Gettysburg, which becomes the turning point in the American Civil War. Bizet premieres La jolie fille de Perth at the Théâtre-Lyrique in Paris.

• The U.S. purchases Alaska from the Russians for approximately two cents an acre.

Bizet suffers from attacks of quinsy (inflammation of the tonsils) and begins to re-examine his religious beliefs.

• Louisa May Alcott47 publishes Little Women.

• Tchaikovsky’s48 Symphony No. 1 in G minor receives its first performance.

• Wagner’s Die Meistersinger49 premieres at the Hoftheater50 in Munich.

Théâtre-Lyrique in Paris

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45

President of the Confederate States of America during the Civil War. (1808-1889) Public rapid transit system serving London and the home counties of Buckinghamshire, Essex, and Hertfordshire.

47 American novelist and poet (1832-1888) 48 Pyotr Ilyich Tchaikovsky- Russian composer of the late-Romantic period (1840-1893) 49 Music drama in three acts that is one of the longest operas commonly performed.

50 Opera house in Germany that was first commissioned in 1810 by King Maximilian I of Bavaria.

46

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1869

1870

1872 1875

Bizet marries Geneviève, daughter of his former teacher, Halévy. They have one son.

• Wagner’s Das Rheingold51, the first opera of his Ring Cycle, debuts in Munich.

• Leo Tolstoy52 publishes War and Peace.

• Mohandas (Mahatma) Ghandi53 is born in Gujarat, India.

Prosper Mérimée, author of the novella Carmen, dies in Cannes, France.

• France declares war on Prussia (Franco-Prussian War). Bizet enlists in the National Guard.

• Louis Pasteur54 and Robert Koch55 develop the theory that germs are responsible for disease.

Bizet begins to take an interest in Mérimée’s novella, Carmen.

• The Metropolitan Museum of Art56 opens in New York City.

Carmen premieres at the Opéra-Comique on March 3. The media criticizes Carmen as having an “obscene” libretto57 and obscure, colorless, undistinguished, and unromantic music.

• The reception of Carmen leaves Bizet acutely depressed. He suffers another attack of quinsy. Three months to the day after Carmen’s premiere, Bizet dies of heart failure. He is 36.

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Leo Tolstoy

The first of four music dramas that make up Wagner’s The Ring of the Nibelung.

Russian writer who is regarded as one of the greatest writers of all time. (1828-1910) 53 Leader of the Indian Independence movement in British-ruled India who promoted peace. (1869-1948) 54 French chemist and microbiologist (1822-1895) 55 German physician and microbiologist (1843-1910) 56 The largest art museum in the United States 57 The text of an opera or other long vocal work 51 52

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About the Dramatist: Prosper Mérimée

Prosper Mérimée was a French historian, archeologist, dramatist, and short-story writer. He is best known for his novella, “Carmen”, which became the basis of Bizet’s opera Carmen.

Mérimée was born in Paris in 1803. He studied law as well as Greek, Spanish, English, and Russian (he was the first interpreter Prosper Mérimée of much Russian literature in France). He loved mysticism, history, and historical fiction. Many of his stories are mysteries set in foreign places, with Spain and Russia being popular sources of inspiration.

In 1834, Mérimée became the inspector general of historical monuments. During this period of time he published numerous reports, some of which, have been published in his works. In 1841, Mérimée and his friend George Sand made a major contribution to the history of medieval art by discovering the tapestries of The Lady and the Unicorn58 during a stay at the Chateau de Boussac59 in the Limousin60 district of central France.

Mérimée met and befriended the Countess of Montijo61 in Spain in 1830, whom he credited as being his source for his “Carmen” story. He coached her daughter, Eugenie62, during her courtship with Napoleon III.63 When Eugenie became the Empress of France in 1853 he was made a senator.

Prosper Mérimée died in Cannes, France in 1870.

Mérimée’s own watercolor “Carmen”

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A series of six tapestries woven in Flanders from wool and silk, from designs drawn in Paris around 1500 14th century castle built by Jean de Brosse and partially destroyed during the French Revolution 60 A former administrative region of France 61 María Manuela Enriqueta Kirkpatrick (1794-1879) 62 Eugenie de Montijo, the last Empress consort of the French (1826-1920) 63 Louis-Napoleon Bonaparte, the only President of the French Second Republic and the Emperor of the Second French Empire (1808-1873) 59

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About the Librettists Ludovic Halévy

Ludovic Halévy

Ludovic Halévy was born in Paris in 1833, into a family of musicians and playwrights. His father Léon was a scholar and playwright and his paternal uncle, Jacques François Halévy, was a well-known composer. Halévy started working as a librettist in 1855, working with Offenbach. Afterwards, he wrote libretti with Hector Cremieux64 and Henri Meilhac for other operas and operettas. His collaboration with Meilhac was important because together they created the ideal libretti for Offenbach, and also wrote the libretto for Carmen.

Ludovic Halévy died in Paris in 1908.

Henri Meilhac

Henri Meilhac was born in Paris in 1831. In 1856 he made his debut as a comedy writer in a one-act musical comedy La Sarabande du cardinal65 and thereafter wrote exclusively for the theatre. He created at least 115 works of various genres, including musical comedies, five-act comedies, and opera libretti. Many of his works were Henri Meilhac written in collaboration with Ludovic Halévy, and their combined output greatly influenced the style of comic libretti of the 19th century.

Meilhac became very popular in England, thanks to Offenbach’s operas. He was elected a member of the Academie Francaise66 for his artistic talents in 1888, and he died in Paris in 1897.

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64

French librettist and playwright best known for his collaboration in Orpheus in the Underworld (1828-1892) A comedy in one act 66 French council for matters pertaining to the French language 65

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About: Carmen The opera, which Bizet based on the novella Carmen by Prosper Mérimée, is comprised of four acts. The libretto was written by Henri Meilhac and Ludovic Halévy. Carmen premiered at the Opéra-Comique in Paris on the 3rd of March, 1875. Its exotic themes and breaking of conventions shocked its first audiences, and as a result, the opera didn’t do as well as Bizet had hoped. It was deemed to be too Wagnerian and too risqué. Many were surprised that the heroine was so scandalous, and the realism67 of the opera’s characters and the true tragedy that Carmen portrayed was neither conventional for its time nor was it the usual content of the Opéra-Comique.

However, although Carmen was not initially successful, it did receive some recognition, including praise for presenting a drama with “real men and women”, rather than the usual “puppets” found at the opera hall.

Photo credit: Sherwin Sozon from LyricOpera Philippines

Unfortunately, Bizet’s work did not receive international success and acclaim until after his death in 1875. In order for the work to be performed at a grand-opera theater, sung dialogue had to be introduced and after his passing, Bizet’s colleague Ernest Guiraud68 amended the opera score and introduced recitative69 in place of the original dialogue.

This proved to be a big hit, and Carmen has since become one of the most popular and frequently performed operas in the world. Its vivid musical characterization, brilliant orchestration, and dramatic use of the Spanish color has left an impact on the operatic world- several of its arias are familiar to many who have never seen nor heard an opera. Later commentators have asserted that Carmen forms the bridge between the tradition of opera-comique and the realism (verismo) that characterized the late 19th century Italian opera.

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67

Representing the subject matter truthfully, without artificiality and avoiding artistic conventions as well as implausible and supernatural elements 68 French composer and music teacher born in New Orleans, Louisiana (1837-1892) 69 Musical declamation of the kind usual in the narrative and dialogue parts of opera, sung in the rhythm of ordinary speech with many words on the same note

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A Brief Synopsis (Wait – what’s a synopsis?)

A synopsis is provided in the program booklet for every performance. It is a brief summary of the opera and what it’s about. This will help if you’re attending an opera that is sung in a foreign language; if you have read the synopsis before you go to performance, you will know what is happening in the story – like reading the book before you see the movie, except with opera, the “movie” never disappoints!

Act 1

Townspeople and soldiers hang around a square by a cigarette factory in Seville, Spain around 1820. A young peasant girl named Micaëla asks the soldiers if they have seen her sweetheart, Don José. They tell her that he will return soon and try and convince her to stay with them, but Micaëla refuses. Don José returns with the other relief soldiers. The factory bells ring and a group of cigarette girls, including the gypsy Carmen, come outside of the factory where they work. Carmen charms all of the soldiers, except for Don José, who pretends not to notice her. Before leaving, she tosses a flower at him. Once alone, Don José picks up the flower and reflects on Carmen’s seduction. Micaëla then returns to give Don José news from his mother, who wishes for her son to marry Micaëla. Despite his attraction to Carmen, Don José declares fidelity to Micaëla. Noises are heard from the factory; Carmen has injured another woman, and the officer Zuniga orders Don José to take Carmen to jail.

Carmen, however, charms Don José into letting her escape.

Act 2

At Lillas Pastia’s inn, Carmen and her friends Frasquita and Mércèdes entertain Zuniga and other soldiers. A group arrives celebrating Escamillo, the famous bullfighter. Escamillo notices Carmen, but she remains indifferent to him. Zuniga tells Carmen that he plans to return to the inn later to visit her. When the crowd disperses, the smugglers Remendado and Dancaïre try and recruit Carmen, Frasquita, and Mércèdes, who agree to help them smuggle contraband. Don José

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arrives at the inn, and Carmen dances for him. A bugle signals Don José to return to his quarters, and Carmen tries to convince him to run away with her instead. Don José refuses until Zuniga returns seeking Carmen, putting Don José into a jealous rage. Don José defies Zuniga’s orders to leave and has no other option but to join Carmen and the smugglers.

Act 3

In the smuggler’s mountain hideout, Don José thinks about his mother, who still believes him to be an honest man. Carmen mocks him and tells him to leave, but Don José refuses. Frasquita and Mércèdes tell their fortunes with a deck of cards. When Carmen takes her turn, the cards foretell death for her and Don José. The gypsies leave to smuggle contraband with Don José left to guard the camp. Micaëla comes to the hideout in search of Don José and hides among the rocks. Escamillo arrives at the camp looking for Carmen and he and Don José begin to fight. The smugglers return in time to stop the fight from progressing, and Escamillo invites them all to his next bullfight. Micaëla has been discovered, and she implores Don José to return home to his mother, who is dying. Don José leaves with Micaëla, despite his jealousy.

Act 4

Escamillo and Carmen arrive together at the bullfight, and Frasquita and Mércèdes warn Carmen that Don José is there looking for her. Carmen is unafraid and waits for Don José to come to her. He approaches and begs for Carmen to leave with him, but she tells him that their affair is over and that she now loves Escamillo. Don José becomes more desperate and Carmen throws the ring he gave her at him. In a fit of rage, Don José murders Carmen, while the crowd inside the bullring cheers for Escamillo.

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The Music of Carmen Bizet brought the exoticism of the novella “Carmen” to the stage by invoking Gypsy and Spanish styles of music. The music of Carmen serves to communicate the essence of its characters, as well as to act as a catalyst in the change of the relationship between Don José and Carmen.

The “Habanera” in Act 1 is introduced with a 4-note tango rhythm that repeats four times. The main theme of the aria is a descending melody in the key of D Minor while the second half of the aria ascends in the parallel key of D Major. The melody is intended to showcase Carmen’s free spirit and sultry nature with its Spanish rhythms.

The “Seguidilla” is Carmen’s seduction and enticement of Don Jose in a successful attempt to get him to let her go. The melody is accompanied by light orchestration, which adds to Carmen’s façade of genuineness and sensitivity.

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Did you know?  June 12th is Red Rose Day  The “Habanera”70 from act 1 and the “Toreador Song”71 from act 2 are two of the most well-known operatic arias in the world Red Rose In Black And White Print by Jean Kieffer

 Bizet wrote fourteen other operas, however, many of them are rarely performed. The more well-known ones are The Pearl Fishers, Don Rodrigue, Djamileh, and The Fair Maid of Perth, though, none being as popular and successful as Carmen.  Bizet passed away exactly three months after Carmen debuted- and on his wedding anniversary. He was only 36 years old. Talk about bad luck!  Carmen and Don José never sing the same tune in the opera. Not until act 4 does Carmen sing a duet with someone who shares identical music, and it’s not with Don José; it’s with Escamillo, the matador.

Depiction of Carmen courtesy Opera Australia

 There is a musical adaptation of the opera called Carmen Jones72 which later became a movie. Otto Preminger73 brought it to the screen in the 50’s with Dorothy Dandridge74 as the leading lady and Harry Belafonte75 co-starring.12 The entrance aria of Carmen, “Love is a rebellious bird” Sung by the bullfighter Escamillo as he enters in act 2, “Your toast, I can return it to you” 72 1943 rendition of Carmen, updated to a World War II era African-American setting 73 Austrian American theatre and film director (1905-1986) 74 American film and theatre actress, singer and dancer (1922-1965) 75 American singer, songwriter, actor, and social activist (1927-present) 70 71

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“Gypsies” – Then and Now About 11 million people worldwide belong to the ethnic group known as the Roma or Romani 76 (more commonly called gypsies or travelers). The Roma people are thought to have originated in South Asia, specifically India, and migrated to Europe about 1,500 years ago. The Romani people include ethnic groups that are spread out all over the world. For instance, groups include the Romanichals of England, Beyash from Croatia, Romanlar from Turkey, and the Gitanos from Spain- where Carmen is set. The Romani people have faced discrimination because of their dark skin, different language, and unique way of life. They have been portrayed as cunning, mysterious outsiders who tell fortunes and steal before moving on to the next town. In order to survive, the Romani were constantly moving from place to place. They developed a reputation for a nomadic lifestyle and highly insulated culture. Because of their outsider status and traveling lifestyle, few Roma attended school, and literacy was not widespread. The Roma have an extensive history of trading, training, and caring for animals.

They have also worked as metal smiths, repaired utensils, and sold hand-made items. Many worked as traveling entertainers, using their extensive musical background, though only the women were fortune-tellers.77

Romani wagon in Germany, 1930’s 13

Two gypsies in Spain,

by Francisco Iturrino

Antique photo of Roma family

76

A nomadic ethic group living mostly in Europe and the Americas A stereotype that Romani people have psychic powers is still sometimes present, and some attribute the invention of the Tarot cards to them 77

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cont.

While there are still many traveling bands of gypsies today, most use cars or RVs to move from place to place rather than the horses and wagons of the past. As the times changed, so did the gypsies’ occupations. Horse traders became car dealers and repairmen, and coppersmiths now work in the scrap metal business. Today, most have settled down into permanent residences and are not readily distinguishable. Because of continued discrimination, many do not publicly acknowledge their roots and only reveal themselves to other Romani. However, there has been an outbreak of media attention recently on the modern day gypsy. Reality TV shows such as “My Big Fat American Gypsy Wedding”78 and “Gypsy Sisters”79 on TLC showcase some aspects of the gypsy culture and lifestyle. Gypsies have very strong ties to family and community. They typically do not desire for their children to learn foreign, non-gypsy ways. Historically, only friends or relatives watch gypsies’ children, and kids only attend public school until the age of 10 or 11. Most of the gypsies’ education comes from the home and community.

While there is not a physical country affiliated with the Roma people, the International Romani Union80 was officially established in 1977 and in 2000, the 5th World Romani Congress81 officially declared Romani a non-territorial nation.

Modern day Gypsies, by Iain McKell

Romani Flag

An example of gypsy culture portrayed in the media

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Reality television series that revolves around the marriage customs of U.S. Roma Reality television series that followed the daily life of Roma women in West Virginia 80 Organization active for the rights of the Romani people 81 A series of forums for discussion of issues relating to Roma people around the world 79

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Seville, Spain Research Seville, and answer the following questions:

In which hemisphere is Spain located? ______________________________

What climate type exists in Seville today? ________________________________ What is the current population of Spain? _______________________________

How long has Seville been a city in Spain? _______________________________ What kind of food is Seville known for? _______________________________

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About Seville Sevilla, or Seville, is the capital city of Andalusia82 and is one of the largest cities in Spain. It is located in the southeast region of Spain on the plain of the Guadalquivir River83, which crosses the city from north to south. In the past, the port of Seville84 played an important role in commerce between Spain and the Americas, and today it is one of the most active river ports of the Iberian Peninsula85. Seville is important in history as a major culture center, as a capital of Muslim Spain, and as a center for Spanish exploration of the New World. The city is known for its beautiful Alcazar castle86, built during the Moorish Almohad87 dynasty, and its 18th century Plaza de Tores de la Real Maestranza88 bullring. It is located in the very heart of Andalucian culture, the center of bullfighting89 and Flamenco music.90

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Alcazar of Seville Plaza de Tores de la Real Maestranza

Flamenco dancer in traditional dress

rocky, sun-baked region on Spain’s southern coast The fifth longest river in the Iberian peninsula and the second longest river in Spain 84 The only river port in Spain, located about 50 miles from the Atlantic Ocean 85 A mountainous region that’s most associated with Spain and Portugal 86 A royal palace originally developed by Moorish Muslim kings 87 A Berber, Muslim dynasty founded in the 12 th century, and conquered all northern Africa and Iberia. They were set on enforcing a strict and pious observance of Islam in their territories 88 Considered to be one of the finest in Spain, built between 1762 and 1881 89 Corrida de toros, three toreros each fight two out of a total of six fighting bulls 90 Spanish artform that includes singing, guitar playing, dancing, handclapping, and finger snapping. It was first recorded in the late 18th century and is associated with the Romani people of Spain 82 A 83

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About Seville cont.

The Tartessians91 were the original founders of Hispalis92 (Seville). The Romans later built Itálica93 next to the Hispalis settlement in 207 B.C. and both became the center of their Western Mediterranean dominions for seven centuries until the Roman Empire was defeated by Vandals94 and Visigoths95 at the beginning of the 10th century.

The Moors then occupied the Iberian Peninsula from 711 AD to 1248 AD, leaving traces of their culture in Seville and in all of Andalucia. The most well-known of the remaining Islamic monuments is La Giralda, which is the tower of a mosque.

In 1492 Seville's ports played an important role in the discovery and conquest of the Americas. In fact, Christopher Columbus’96 tomb is located in Seville. The 17th century was a period of grand art in Seville: painters such as Diego Velázquez97, Murillo98 and Valdés Leal99; and sculptors like Martínez Montañés100, were all born in Seville and left behind impressive works. The city also held a major influence over world literature- it gave life to the legendary figure of Don Juan101 and to opera's dramatic 'Carmen' and lighthearted 'Figaro'.102 In the 20th century, Seville found itself in the international spotlight. It hosted the Latin American Exposition103 in 1929, which left important urban improvements in the city; and in 1992, it hosted the Expo92104, which reinforced the image of Seville as a modern and dynamic city.

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La Giralda

Tomb of Christopher Columbus in Seville Cathedral

91

The Tartessian culture existed from the 9th to the 6th centuries BCE in the southwest region of Spain The Roman name for Seville 93 A well-preserved Roman city and the birthplace of Roman Emperors Trajan and Hadrian 94 An East Germanic tribe that established kingdoms in Spain 95 Western Germanic tribes, referred to collectively as Goths 96 Italian explorer, navigator, and colonizer who discovered the New World (1451-1506) 97 Spanish painter who was the leading artist in the court of King Philip IV (1599-1660) 98 Spanish Baroque painter best known for his religious works (1617-1682) 99 Spanish painter and etcher of the Baroque era (1622-1690) 100 Spanish sculptor who was one of the most important figures of the Sevillian school of sculpture (1568-1649) 101 A legendary, fictional libertine 102 The Marriage of Figaro, an opera buffa in four acts composed by Wolfgang Amadeus Mozart in 1786 103 The purpose was to improve relations with Spain and the countries in attendance 104 The theme was “The Age of Discovery” and over 100 countries were represented 92

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Lessons and Activities Discussion – Realism vs. Romanticism Bizet’s opera Carmen gave the Parisian audience something it had never experienced before with its adult themes, foreign flair, and tragic ending. Compare and contrast this type of opera (realism) and the type of opera that the French people were accustomed to at the time (more light-hearted, western-style).

Discussion – Explaining France’s shock and critique with the premiere of Carmen There were many historical, social, and political factors that influenced the reception of Carmen. For instance, Paris’ elite class had control over much of the operatic scene, and they preferred the more traditional, predicable, and western-style opera, a theme which Bizet shattered with the debut of Carmen. Other events, such as the Franco-Prussian War and French colonization105 led to the French’s changing views on foreign cultures and their openness to outside influence. Research what was going on in France at the time of Bizet, and discuss how these historical elements played a role in the initial critical reviews of Carmen.

Depiction of the FrancoPrussian War

105

Célestine GalliMarié, the original “Carmen”

The Second French colonial empire (after 1830) that began with the invasion of Algeria

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Discussion Questions– After the show 1. How would you describe Carmen’s personality and character?

2. What is Carmen’s philosophy on her life?

3. How does Carmen’s philosophy compare with Don José’s?

4. Why was Micaëla introduced as a character? What does she represent?

5. Compare the characters Micaëla and Carmen.

6. Contrast the music sung by Micaëla and Carmen.

7. Compare and contrast the characters Don José and Escamillo.

8. Describe the function and importance of the chorus.

9. Why is the opera’s most dramatic musical theme called the “fate” theme?

10. How does Bizet’s use of this theme foreshadow the end of the opera?

11. Who is the story about – Carmen or Don José?

12. Which character changes or transforms as a result of the plot? How? 13. Would you describe Carmen as a catalyst? Why? 14. How does Bizet’s music affect characterization and mood?

15. How does Bizet’s music support the realism of the story?

16. What elements seen on stage would have been shocking to audiences in 1875?

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Music Activity Composer Georges Bizet used Spanish and Latin elements to create the arias of Carmen. Many of these melodies have found their way into popular culture in commercials, TV shows, and movies, including Disney’s Up. One of his most famous arias is Carmen’s Habanera, which was designed to give the audience an impression of her personality and character. A habanera is a Cuban dance form with a characteristic and catchy rhythm. The aria opens with a chromatic scale, which is a sequence of 12 notes that uses every possible tone in the octave. The scale can start and end on any pitch, but all the pitches in between must be sequential and organized from lowest to highest or highest to lowest (a musical staircase). A regular scale is only 8 notes – notated using solfege as do-re-mi-faso-la-ti-do (Reference the Sound of Music if necessary…)

A chromatic scale uses twelve pitches, each a semitone above or below another.

Trying singing a regular scale and then singing a chromatic scale. How do they sound different, aside from one beginning on Do?

Can you write the chromatic scale you just sang?

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Creative Writing WRITING ASSIGNMENT: Write a short story about a

modern day “Carmen”

TIPS FOR WRITING YOUR SHORT:

1) Develop Bizet’s characters differently. Turn them into animals or objects… anything! But remember, if your characters are not human you must use Anthropomorphism106 (better known as, personification) to bring your animals or objects to life.

2) Choose a setting: Be imaginative.

You can leave the story in Spain, or you can create a whole new world for your version. Your story can take place anywhere, but make sure that it’s set in the 21 st century!

3) Think about the plot.

What happens to your main character? Where is the conflict? How do the characters grow and change from the beginning of the story to the end?

4) Write one version then discuss it with your teacher to get some advice. After some discussion, write a second draft with your improvements.

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106 The

attribution of human characteristics or behavior to an animal or object

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A Red Rose for Carmen: Celery Flower Stamping Craft You will need: a celery stalk, paper, a knife, and paint

1. Cut the celery107 in half at the base- make sure that the stalks are all the same length so that it will print better on paper 2. Paint or dip the “stamp” side of the celery so that the whole top is covered 3. Press the stalk firmly on the paper and carefully lift it straight up 4. Once your celery stamping is done you can paint whatever you’d like around the roses

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Craft from: http://www.craftymorning.com/celery-flower-painting-craft-for-kids/

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Stained Glass Effect with Alcohol Inks Spain is known for its bright and colorful mosaics. By using alcohol inks108, you can turn anything glass or metal (or anything else non-porous) into a work of art!

You will need: Alcohol inks, rubbing alcohol, whatever glass/metal product you’d like to decorate (coasters, candle-holders, vases, a window-pane, etc.), felt, canned air (optional)

Different Techniques There are many techniques to experiment with when using alcohol inks. Techniques range from directly applying the alcohol ink to your project to using a marker to get a more precise application. If you are just starting with alcohol inks here are a couple of techniques we recommend trying:

1. Use your felt applicator to get a marbled effect on your pattern and create a background.

This can later be made more precise and specific by applying alcohol blending solution and adding alcohol ink directly to your project. At any point, to blend colors together, you can use your applicator tool.

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2. Start with applying your dye directly onto the surface you are using. This gives you more control of where colors are going and how much of each color will be shown. Use your applicator tip to blend the colors and cover the surface you are using.

3. Add a drop or two of the alcohol ink at a time and then spray it with canned air.

These are just three of the many techniques you can use when applying alcohol ink. Some other methods could include putting alcohol ink on your slick surface and pressing your paper or surface into the ink to create a pattern. Another technique could be putting the alcohol ink in water and putting your surface through the water to create a different look.

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Other Tips 1. Use a slick surface for easier clean-up. To get ink both off of this surface and off of your hands, you can use the alcohol blending solution.

2. To push some of the ink and color around you can use a straw or an air duster can for more precision.

3. If using a stamp on top of the alcohol ink and non-porous surface use Archival Ink or StazOn Ink. 4. If unhappy with the colors on your metal pieces, use the blending solution to clean it off.

5. Do not eat or drink off a surface you have colored with alcohol ink.

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Craft ideas from: http://pluckingdaisies.com/things-to-make-with-alcohol-ink/

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Carmen Word Search

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Carmen Crossword

Across 1. Composer of Carmen 3. A singer who performs a large role in the opera 6. Ethnic name of gypsies 8. The city that Carmen is set in 12. The highest male voice 13. A bullfighter (toreador)

Down 2. Actors who are in the opera but do not speak or sing 4. Author of the Novella "Carmen" 5. Head of the opera who makes all the final decisions 7. Don Jose's childhood sweetheart 9. The Spanish art of song and dance 10. The lowest female voice 11. A soldier 12. How many librettists wrote Carmen?

14. A fierce gypsy girl

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Espinacas con Garbanzos Tapas (Spinach and Chickpeas)

Tapas are a variety of small, savory Spanish dishes. The Andalusian region of Spain, where Seville is located, is very popular for these dishes. This recipe109 has roots in Seville’s Moorish and Jewish history, and is especially popular in today’s tapas bars served with a picatoste (a large homemade crouton).

Prep Time: 10 mins

Cook Time: 20 mins

Total Time: 30 mins

Ingredients 

           

1 jar (around 500g or 18 ounces) of garbanzo beans (chickpeas) (note: you could also soak and cook dried garbanzos for even more delicious results, but I find that good quality canned beans do the trick nearly as well) 1 large bag (around 300 grams/10 ounces) fresh spinach, washed 2 thick slices of day old bread (sourdough works well) with crusts removed and cut into cubes 15 blanched unsalted Marcona almonds ¼ cup tomato sauce 3 garlic cloves, chopped Extra virgin olive oil 2 Tablespoons Sherry vinegar (or red wine vinegar if sherry vinegar is hard to come by) 1 teaspoon ground cumin Ground cayenne pepper (to taste) Salt Black pepper (to taste) Smoked Spanish paprika (or pimentón dulce, but you could also use pimentón picante)

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Instructions 1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

11.

12.

13.

Coat a large saucepan with extra virgin olive oil (approx. 2 T) and heat to medium high Before the oil gets too hot, add the spinach (in batches if necessary) Sauté the spinach until just wilted and remove to strain in a colander Re-coat the pan with olive oil and add in the bread cubes and raw almonds. Fry until the bread and almonds are browned and crispy on each side Add the chopped garlic, cumin, cayenne and black pepper and sauté for a couple of minutes, until the garlic is fragrant and turning brown Transfer the ingredients to a blender/food processor and add the sherry vinegar Blend the ingredients together until you have a thick paste (don't over blend and make it gooey) Return the paste to the saucepan and add your garbanzo beans and tomato sauce Stir gently until the chickpeas are fully coated by the sauce and add a bit of water to thin things out Add the spinach and stir gently until it is evenly incorporated and hot Season with salt and pepper Once plated, drizzle a swirl of extra virgin olive oil on top of each dish, then sprinkle a small amount of smoked Spanish paprika on top Enjoy!

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Recipe: http://spanishsabores.com/2014/08/17/espinacas-con-garbanzos-spinach-chickpeas/

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Something Sweet: Torrijas In Seville, Torrijas110 are eaten in pastry shops mainly around Semana Santa (Holy Week) but many restaurants make them year-long because they realize that they make a great dessertespecially topped with ice cream! However, this dish can be eaten at any point of the day, as it is also a popular breakfast item all over Spain.

INGREDIENTS 

4-6 slices of stale baguette or white bread*



3/4 cup milk



1 egg



vegetable oil for frying, such as canola or corn oil, NOT olive oil



1/8 tsp vanilla extract (optional)



sugar and cinnamon to sprinkle (optional)



honey to drizzle (optional)

PREPARATION

This torrijas recipe makes 4 servings. Torrijas are also known as rebandas de Carnaval ortortillas de leche. * TIP: If you do not have stale bread on hand, lightly toast the sliced bread so that it dries out enough to soak up the milk and not turn to mush.

Pour the milk into a medium-size mixing bowl. Add the egg and beat together. Add vanilla extract, if desired. Pour enough oil into a large frying pan to cover the bottom and heat on medium.

Be careful that the oil does not burn.

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If you are using stale white bread, place one slice in the milk-egg mixture and quickly flip it over with a fork. Make sure that the bowl is next to the frying pan, so you can quickly transfer it from the bowl to the heated pan.

If you use a stale baguette, slices should be at least 1/2 inch thick. If the bread is more than a day old, you may need to soak the bread for 2-3 minutes or more, so that it softens up. Be careful that the bread does not soften so much that it crumbles when you lift it out of the bowl.

Carefully lift the bread out of the mixture and let the excess milk drain before placing the bread in the frying pan. Repeat for each of the other slices.

After 2-3 minutes, check the bottom of the bread. As the slices turn golden, turn each one. You may wish to use a nylon spatula or tongs to turn the slices over. Make sure that you have enough room in the pan to turn the slices.

Remove each piece from the pan and place on a plate. Sprinkle the top with sugar and cinnamon.

If you prefer, drizzle honey over the top. Garnish with fresh fruit and serve immediately.

Note: If the torrijas cool down and you wish to heat them up, place them back in the frying pan on low heat or in a toaster oven at a low temperature. Do not place them in a microwave because this will cause the bread to become rubbery.

Variations 

Instead of soaking the slices of bread in milk and egg mixture, soak in sweet red wine and then dip in beaten egg.



Substitute 1/2 cup milk and 1/4 cup half-and-half for the 3/4 cup milk to give a richer taste.



Pour flavored honey, such as orange blossom, clover, or eucalyptus over bread before serving.

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110

Recipe: http://spanishfood.about.com/od/dessertssweets/r/torrijas.htm

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Other Resources: Watch and Listen: Listen to and watch a few different recordings of arias from Carmen on YouTube For example: Watch a version of the aria “Habanera” sung by Maria Callas.

Maria was an American-born Greek opera singer, known for her outstanding performing ability. Callas had flaws in her voice, but her performances were so incredibly emotional and stunning that she became a very successful artist.

Maria Callas

Maria Callas’ rendition of “Habanera”: https://www.youtube.com/results?search_query=habanera

Here are some recordings of the aria “Habanera” from other opera greats: Anna Caterina Antonacci: https://www.youtube.com/watch?v=KJ_HHRJf0xg Elina Garanca: https://www.youtube.com/watch?v=K2snTkaD64U Angela Gheorghiu: https://www.youtube.com/watch?v=pJLyZqETuBU

Anna Caterina Antonacci

Elina Garanca

Angela Gheorghiu

Comparisons: Click here for a comparison of Prosper Mérimée’s novella and Georges Bizet’s opera

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Educator/Parent Survey The best tool we have for assessing the effectiveness of our programs is your feedback! This is completely optional. Feel free to submit this evaluation along with any comments, photos, or other responses you have to our production, this study guide, or to opera in general.

Thank you so much for your great support! Without you, we would not exist, and we cannot thank you enough for allowing us to continue in our efforts to build community and enrich people’s lives through music.

Date: Name: School & District: Phone: Email: Address:

Did/will you attend Carmen?

Is this your first opera? If not, what have you seen before, and what was your favorite?

This is our third season and our second year providing study guides and educational programming which aligns with our productions.

Please let us know what we can improve: And what we did well: How did your students react to opera, initially?

Have your students/children ever attended other performing arts events outside of school?

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On a scale of 1 to 5, with 5 being of the utmost importance, how do you rate the priority of arts and cultural education for our youth?

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On the same scale of 1 to 5, how important is it to you for students to be able to take fieldtrips and visit programs outside of school?

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How important is it for those programs to come directly to the schools?

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How would you rate this guide in terms of being helpful?

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How can we as your opera company make a better impact on your students?

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Please feel free to leave any additional comments:

Please return this survey to Rhanda Luna, Director of Administration and Education, by Email, at rhanda@operasa.org or Mail to: Rhanda Luna, Dir. of Admin. & Education OPERA San Antonio 417 8th Street, San Antonio, TX 78215

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Opera and the Texas Essential Knowledge and Skills for Fine Arts Elementary Music Education (5) Historical/cultural heritage. The student relates music to history, to society, and to culture. The student is expected to: (A) identify aurally-presented excerpts of music representing diverse genres, styles, periods, and cultures (B) describe various music vocations and avocations; (D) identify connections between music and the other fine arts.

(E) identify concepts taught in the other fine arts and their relationships to music concepts (6) Response/evaluation. The student responds to and evaluates music and musical performance. The student is expected to: (A) apply basic criteria in evaluating musical performances and compositions; (B) justify, using music terminology, personal preferences for specific music works and styles (C) practice concert etiquette as an actively involved listener during live performances.

Theater Education (4) Historical/cultural heritage. The student relates theatre to history, society, and culture. The student is expected to: (A) explain theatre as a reflection of life in particular times, places, and cultures; and (B) identify the role of live theatre, film, television, and electronic media in American society.

(5) Response/evaluation. The student responds to and evaluates theatre and theatrical performances.

The student is expected to: (A) identify and apply appropriate audience behavior at performances; (B) define visual, aural, oral, and kinetic aspects of informal play-making and formal theatre and discuss these aspects as found in art, dance, and music; (C) compare and contrast the ways ideas and emotions are depicted in art, dance, music, and theatre and select movement, music, or visual elements to enhance classroom dramatizations; and (D) compare theatre artists and their contributions.

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Middle School Music Education (5) Historical/cultural heritage. The student relates music to history, to society, and to culture. The student is expected to: (A) classify aurally-presented music representing diverse styles, periods, and cultures; (B) describe music-related vocations and avocations; (D) relate the content, the concepts, and the processes of subjects other than the arts to those of music.

(6) Response/evaluation. The student responds to and evaluates music and musical performances. The student is expected to: (A) design and apply criteria for evaluating the quality and effectiveness of music and musical performance; (C) apply specific criteria appropriate for the style of the music and offer constructive suggestions for improvement; and (D) exhibit concert etiquette during live performances in a variety of settings.

Theater Education (4) Historical/cultural heritage. The student relates theatre to history, society, and culture. The student is expected to: (A) demonstrate knowledge of theatre as a reflection of life in particular times, places, and cultures; and (B) define theatre heritage as it is preserved in dramatic text, traditions, and conventions and describe the roles of theatre, film, television, and electronic media in American society.

(5) Response/evaluation. The student responds to and evaluates theatre and theatrical performances.

The student is expected to: (A) analyze and practice appropriate audience behavior at various types of live performances; (B) define the terminology and process of evaluation (intent, structure, effectiveness, value) and apply this process to performances, using appropriate theatre vocabulary; (C) identify visual, aural, oral, and kinetic components in art, dance, music, and theatre; compare character, setting, and action in art, musical theatre, dance, and theatre; and express emotions and ideas in improvisations and scripted scenes that integrate art, dance, and/or music; and (D) compare career and avocational opportunities in theatre.

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High School Music Education (5) Historical/cultural heritage. The student relates music to history, to society, and to culture. The student is expected to: (A) listen to and classify music by style and/or by historical period; (B) identify and describe the uses of music in society and culture; (C) identify and describe music-related career options including musical performance and music teaching (D) define the relationships between the content, the concepts, and the processes of the other fine arts, other subjects, and those of music.

(6) Response/evaluation. The student responds to and evaluates music and musical performance. The student is expected to: (A) design and apply criteria for making informed judgments regarding the quality and effectiveness of musical performances; (B) evaluate musical performances by comparing them to exemplary models; and (C) practice informed concert behavior during live performances in a variety of settings.

Theater Education (4) Historical/cultural heritage. The student relates theatre to history, society, and culture. The student is expected to: (A) evaluate historical and cultural influences on theatre; (B) evaluate the role of live theatre, film, television, and electronic media in American society (C) trace historical and cultural developments in theatrical styles and genres.

(5) Response/evaluation. The student responds to and evaluates theatre and theatrical performances.

The student is expected to: (A) evaluate and practice appropriate audience behavior at various types of performances; (B) apply evaluation concepts to performances and compare and contrast literary and dramatic criticism of theatre, film, television, or electronic media; (C) compare the nature, components, elements, and communication methods of theatre, music, art, and dance and compare more than one art form in a specific culture or historical period 51 | P a g e