A Houston Grand Opera Study Guide

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1 A Houston Grand Opera Study Guide A new opera based on The House without a Christmas Tree, a book by Gail Rock Music by Ricky Ian Gordon Libretto by Royce Vavrek World premiere: Houston Grand Opera November 30, 2017

What Is An Opera? At Houston Grand Opera, we define opera simply as storytelling through words and music. WHAT ARE KEY COMPONENTS NEEDED TO MAKE OPERA?

2 What Is An Opera? At Houston Grand Opera, we define opera simply as storytelling through words and music. WHAT ARE KEY COMPONENTS NEEDED TO MAKE OPERA? A compelling story set to inspiring music The story is called a libretto The music is often referred to as a score Singers These musicians train for years to learn vocal technique, multiple languages, and musical styles required to sing opera. Opera singers do not sing with a microphone, as their technique allows them to project their voices even when singing quietly. However, for this production, amplification will be used to accommodate the acoustics in the HGO Resilience Theater. Orchestra Singers are accompanied by an orchestra, which is led by a conductor. Sizes of opera orchestras vary based on the time period in which a piece was written and the number and type of instruments needed to achieve the composer s musical vision. The sections of the orchestra include strings, woodwinds, brass, and percussion. The chamber orchestra for this production consists of 18 instrumentalists. Production Scenery the physical setting for a particular show or scene Costumes clothes in a style typical of a particular country or historical period in which the story is set Lighting helps to set the mood, location, time of day, etc. Designers the artists who plan what the set, costumes, lighting, and video or projections will look like and how they will function. What Should I Wear to the Opera? There is no dress code for attending an opera; however, we encourage students to dress for success. Photo by Lynn Lane 2

The Story Setting: New York City and Clear River, Nebraska During the holiday season, Adelaide Mills, a writer living in New York, recalls a special Christmas 20 years earlier in Clear River,

As long as Addie can remember, Dad has refused to allow a Christmas tree in the house.

3 The Story Setting: New York City and Clear River, Nebraska During the holiday season, Adelaide Mills, a writer living in New York, recalls a special Christmas 20 years earlier in Clear River, Nebraska, where she grew up. We see the events of that Christmas unfold: Young Addie lives with her father and her paternal grandmother. As long as Addie can remember, Dad has refused to allow a Christmas tree in the house. Addie suspects he doesn t want to spend money on a tree, but Grandma knows the true reason her son has shut down emotionally since the loss of his wife, Addie s mother. At school, Addie s teacher, Miss Thompson, improvises a contest to determine which student can take home the fully decorated class tree before the holiday break begins. Addie wins and brings the tree home. She watches for Dad s reaction: he softens as he relives warm memories of his last Christmas with his wife, but when he notices Addie observing him, he suddenly explodes and tells her the tree must go. When Grandma and Dad are asleep, Addie takes the tree to classmate Gloria Cott s house, rings the bell, and runs away. But Dad has undergone a change of heart. When he, Grandma, and Addie return to the house after the annual Christmas pageant, Addie is amazed to find a large Christmas tree in the living room. Dad crowns it with a star made by Addie s mother the same star that now adorns the top of the grown-up Adelaide s tree in New York City. 3

Who s Who Lauren Snouffer, soprano * Addie Mills a

baritone * James Addison Mills III ( Dad ) Addie s

s paternal grandmother, 60s Heidi Stober, soprano *

City, late 30s Miss Thompson Addie s teacher, late 30s

Mikailovna Samarin, mezzo-soprano * Carla Mae Addie s

of Addie s classmates (sopranos, altos, tenors) The

s nemesis Gloria Cott, soprano, a girl from a poor family

the opera Royce Vavrek Librettist writes the words used

and cast during the performance and maintains the musical

Director instructs the singers on stage movement and

Set Designer designs the scenery, background, and items

4 Who s Who Lauren Snouffer, soprano * Addie Mills a pre-teen girl from Clear River, Nebraska Daniel Belcher, baritone * James Addison Mills III ( Dad ) Addie s father, 40s Patricia Schuman, soprano Grandma Mills Addie s paternal grandmother, 60s Heidi Stober, soprano * Adelaide Mills Addie all grown up, living in New York City, late 30s Miss Thompson Addie s teacher, late 30s Helen Mills Addie s late mother, late 30s Megan Mikailovna Samarin, mezzo-soprano * Carla Mae Addie s best friend and classmate Creative Team Juvenile Chorus of Addie s classmates (sopranos, altos, tenors) The chorus includes these bit roles: Billy Wild, tenor, Addie s nemesis Gloria Cott, soprano, a girl from a poor family Ricky Ian Gordon Composer writes the music performed in the opera Royce Vavrek Librettist writes the words used in the opera Bradley Moore Conductor leads the orchestra and cast during the performance and maintains the musical integrity of the musical score James Robinson Stage Director instructs the singers on stage movement and acting their roles * Former HGO Studio Artist Allen Moyer Set Designer designs the scenery, background, and items used onstage for a performance. James Schuette Costume Designer designs the clothing that the performers will wear onstage 4

The Composer: Ricky Ian Gordon The Librettist: Royce Vavrek RICKY IAN GORDON (b. 1956 in Oceanside, NY) studied piano, composition, and acting at Carnegie Mellon University.

His songs have been performed and/or recorded by such internationally renowned singers as Renée Fleming, Dawn Upshaw, Nathan Gunn, Judy Collins, Kelli O Hara, Audra MacDonald, Kristin Chenoweth,

5 The Composer: Ricky Ian Gordon The Librettist: Royce Vavrek RICKY IAN GORDON (b in Oceanside, NY) studied piano, composition, and acting at Carnegie Mellon University. After moving to New York City, he quickly emerged as a leading writer of vocal music that spans art song, opera, and musical theater. His songs have been performed and/or recorded by such internationally renowned singers as Renée Fleming, Dawn Upshaw, Nathan Gunn, Judy Collins, Kelli O Hara, Audra MacDonald, Kristin Chenoweth, Nicole Cabell, the late Lorraine Hunt Lieberson, Frederica von Stade, Andrea Marcovicci, Harolyn Blackwell, and Betty Buckley, among many others. Ricky Ian Gordon s works include many operas, such as the 2014 work A Coffin In Egypt, which was also premiered at Houston Grand Opera. Other operas include The Grapes of Wrath and 27. ROYCE VAVREK made his HGO debut in 2015 as librettist for O Columbia, with composer Gregory Spears. The Canada-born, Brooklyn-based librettist and lyricist has been called an exemplary creator of operatic prose (New York Times), and his opera Angel s Bone with composer Du Yun was awarded the 2017 Pulitzer Prize for Music. In 2014, Vavrek premiered 27, his first collaboration with composer Ricky Ian Gordon, at the Opera Theatre of Saint Louis. Created for renowned mezzo-soprano Stephanie Blythe, the work brought to life Gertrude Stein s famous salon at 27 rue de Fleurus in Paris. Mark Ray Rinaldi of the Denver Post wrote that the opera tells a great American story, about Gertrude Stein, as well as opera in the 21st century. The House without a Christmas Tree is his second collaboration on an opera with Gordon. 5

What is a world premiere opera? Exactly what it sounds like, a world premiere opera is an opera that is being performed for the first time.

HGO leads the field in commissioning new works, with 63 world premieres to date. The House without a Christmas Tree will become HGO s 64th world premiere.

The original TV special and book were a big part of HGO Artistic and Music Director Patrick Summers s childhood growing up in Indiana.

6 What is a world premiere opera? Exactly what it sounds like, a world premiere opera is an opera that is being performed for the first time. When an opera company decides to create a new opera, a lot of work must be done. The process of creating the story, music, and design concept may take many years. HGO leads the field in commissioning new works, with 63 world premieres to date. The House without a Christmas Tree will become HGO s 64th world premiere. EXAMPLES OF POPULAR WORLD PREMIERE OPERAS BY HOUSTON GRAND OPERA: Nixon in China 1987 Little Women 1998 Cruzar la cara de la luna 2010 How did The House without a Christmas Tree become an opera? The original TV special and book were a big part of HGO Artistic and Music Director Patrick Summers s childhood growing up in Indiana. He brought the source material to Ricky Ian Gordon, who also fell in love with it. In most cases, the composer starts with the idea for the subject matter and pitches it to an opera company, but as with many creative projects there is more than one way to get started. Below is a rough timeline of how the production of The House without A Christmas Tree became HGO s next world premiere. Artistic director speaks with composer about potential subject material Composer submits a one-page artistic treatment outlining the story and characters/voice types Composer and artistic director decide which librettist should be hired Commission agreement is negotiated, including fees and timeline of delivery of materials y Draft libretto submitted to company, which provides feedback and notes (Dec. 1, 2015) y Final libretto submitted (Feb. 1, 2016) y Draft submitted (Oct. 1, 2016) y Piano/vocal workshop (Dec. 2016) y Final piano/vocal score submitted (May 1, 2017) y Orchestral parts and full score delivered (May 1, 2017) First staging rehearsal, with piano in a rehearsal room (Oct. 30, 2017) First orchestra reading (Nov. 20, 2017) First onstage rehearsal (Nov. 20, 2017) Opening night (Nov. 30, 2017) 6

A Symbol of the Season Beloved Queen Victoria of England popularized the modern-day Christmas tree with the help of her German husband, Prince Albert, in the 19th century.

7 A Symbol of the Season Beloved Queen Victoria of England popularized the modern-day Christmas tree with the help of her German husband, Prince Albert, in the 19th century. In England, most people probably brought a sprig of mistletoe or holly in from the wintry cold, but it was not common to place a whole tree inside a home. The long-held German tradition of bringing an evergreen indoors during the holiday season was brought into Windsor Castle with Prince Albert s influence, and in the 1840s and 1850s, the public followed the lead of the royal family. The Victorian tree was beautifully decorated with many similar charms found on today s trees, such as small toys, ribbon, and paper chains. Instead of a string of lights, people decorated with lit candles. In place of ornaments, they hung delicate cakes, popcorn strings, and candies from the branches. Right: Queen Victoria, Prince Albert, and the British royal family gathered around the Christmas tree HISTORY OF CHRISTMAS TREES 1510 The first written record of a decorated Christmas tree comes from Riga, Latvia. Men of the local merchants guild decorated a tree with artificial roses, danced around it in the marketplace, and then set fire to it There is record from Alsace, France (then a German territory), that trees were sold in the marketplace and brought home and set up undecorated. Laws limited the size to 8 shoe lengths (slightly over 4 feet). 1600s By the 17th century, it was common in Germany to decorate Christmas trees with apples. 1700s In parts of Austria and Germany, evergreen tips were brought into the home and hung upside down from the ceiling. They were often decorated with apples, gilded nuts, and red paper strips. Edible ornaments became so popular on Christmas trees that they were often called sugartrees. The first accounts of using lighted candles as decorations on Christmas trees come from France in the 18th century. 1800s The Christmas tree was introduced in the United States by German settlers. It rapidly grew from tabletop size to floor-to-ceiling Christmas trees began to be sold commercially in the United States. They were taken at random from the forests Franklin Pierce is credited with bringing the first Christmas tree to the White House. Around 1883 Sears, Roebuck & Company began offering the first artificial Christmas trees 33 limbs for $.50 and 55 limbs for $ s Due to overharvesting, the natural supply of evergreens began to severely decline. Conservationists became alarmed, and many magazines began to encourage people to substitute an artificial snow covered tree, consisting of a branch of a deciduous tree wrapped in cotton The first Christmas tree farm was started in 1901, when W. V. McGalliard planted 25,000 Norway spruce trees on his farm in New Jersey. Also in 1901, Theodore Roosevelt tried to stop the tradition of Christmas trees out of concern for the declining supply. His two sons didn t agree and enlisted the help of conservationist Gifford Pinchot to persuade the president that, done properly, harvesting Christmas trees was not harmful to the forests. 1930s President Franklin D. Roosevelt started a Christmas tree farm on his estate in Hyde Park, New York The National Christmas Tree Association began its time-honored tradition of having the Grand Champion grower present a Christmas tree to the First Lady for display in the Blue Room of the White House. That year, Howard Pierce of Black River Falls, Wisconsin, presented a tree to President Lyndon Johnson and First Lady Lady Bird Johnson. Today Approximately million real Christmas trees are sold each year in the United States. Almost all of these come from Christmas tree plantations. Information from History-of-Christmas-Trees 7

8 Family, Culture, and Community What kinds of holiday traditions are shared among your students? Create a discussion around food served during winter celebrations or holidays. Where do these recipes originate? Celebrate the many cultures in your classroom with a class recipe book. In the style of today s food blogs, ask students to research the background of their favorite holiday dishes and add a family story to the recipe. Compile all the information into a book for the students and their families to cherish for years to come. Use the template below to help get students started and find more ideas and helpful suggestions at 8

Lesson Plan: Careers In The Arts Lesson Title: Opera Roles How the Theater Works Subject: Language Arts, Fine Arts Integrated Subjects: Social Studies Grade levels: Elementary School, Middle School,

9 Lesson Plan: Careers In The Arts Lesson Title: Opera Roles How the Theater Works Subject: Language Arts, Fine Arts Integrated Subjects: Social Studies Grade levels: Elementary School, Middle School, High School Objective: Students will learn the roles of different people who help make an opera or theatrical performance possible. They will be able to identify the roles and responsibilities of each person. Materials Needed: Writing materials, chart paper LESSON Many people come together to create an operatic or theatrical performance. Aside from the singers themselves, there are numerous individuals who work backstage and behind the scenes to create a good and memorable performance. Below are listed the numerous roles people have that are necessary in developing an opera. ACTIVITY 1 1. Use a bubble map and place the word Opera Roles in the center. Write down the various other roles that people have in creating an opera on the bubble map. 2. Ask students to select one of the roles and create a new bubble map with the role listed in the center bubble and the responsibilities they have on the outside bubbles ACTIVITY 2 1. Use a cause-and-effect map to show and discuss what would happen if one person did not fulfill his or her responsibilities. For example, if there was no librettist, how would that affect the creation of an opera? What if the role of the prop master did not exist? How would this affect the organization of the show? What would be the benefits or negative consequences of eliminating this role? 2. Have students share with each other why each role is important in being able to execute a good performance. Choreographer The person responsible for the dancing in a performance. Conductor The person who leads the orchestra and singers. Composer The person who writes the music. The libretto is written first and the music is composed in accordance with the story and words. Costume Designer The individual in charge of creating the clothing that the performers will wear on stage. Librettist The person who writes the words of an opera. Libretto Literally little book, this refers to the text or words of an opera. Prop Master The individual in charge of all props and objects used by performers onstage during a show Set Designer The individual responsible for the creation and building of the scenery, background, and items used on stage for a performance. Stage Director The person who decides how the singers will move on stage and how they will act while they are singing their parts. Stage Manager The individual responsible for overseeing organization of the production during rehearsals. This person runs the performances, calling all the cues, making sure everyone is where they need to be, and indicating when the curtain rises and falls. 9

10 ASSESSMENT Quiz students on the vocabulary and determine if they were able to draw logical conclusions about the importance of each person s role. DIFFERENTIATION/EXTENSIONS Having students work in small groups, assign each group a term from the previous page. Have them collaborate on creating an oral presentation to share with the class. You may also have groups create posters or projects with visuals for an assigned word, or students may work individually. TEKS ELEMENTARY SCHOOL FINE ARTS K Theater Arts b.5.C, b.5.D, 1st Grade Theater Arts b.5.C, b.5.D, 2nd Grade Theater Arts b.5.C, b.5.D, 3rd Grade Theater Arts b.3.A, b.5.C, b.5.D, 4th Grade Theater Arts b.5.D, 5th Grade Theater Arts b.5.D MIDDLE SCHOOL FINE ARTS 6th Grade Theater Arts c.5.D, 7th Grade Theater Arts c.3.C, c.5.D, 8th Grade Theater Arts c.5.D HIGH SCHOOL FINE ARTS Theater Arts Level I c.5.D, Theater Arts Level II c.5.D, Theater Arts Level III c.5.D, Theater Arts Level IV c.5.D ELEMENTARY SCHOOL ENGLISH LANGUAGE ARTS K b.5.D, b.20.A, b.20.B, 1st b.6.A, b.24.B, 2nd b.5.B, b.25.B, b.25.C, 3rd b.4.B, b.26.C, 4th b.2.A, b.2.E, b.24.C, 5th b.2.A MIDDLE SCHOOL ENGLISH LANGUAGE ARTS 6th b.2.A, b.2.B, b.2.E, 7th b.2.A, b.2.B, b.2.E, 8th b.2.A, b.2.B, b.2.D, b.2.E HIGH SCHOOL ENGLISH LANGUAGE ARTS High School English Language Arts Level I b.1.A, b.1.D, b.1.E, High School English Language Arts Level II b.1.A, b.1.D, b.1.E, High School English Language Arts Level III b.1.A, b.1.D, b.1.E, High School English Language Arts Level IV b.1.A, b.1.D, b.1.E, High School Reading I, II, III b.2.A, b.4.A, b.4.G 10

11 Patrick Summers, Artistic & Music Director Margaret Alkek Williams Chair Perryn Leech, Managing Director Sarah and Ernest Butler Chair Houston Grand Opera (HGO) is one of the largest, most innovative, and most highly acclaimed opera companies in the United States. HGO was the only American finalist for Opera Company of the Year at the 2017 International Opera Awards. In fulfilling its mission to advance the operatic art to serve an ever-evolving audience, HGO has led the field in commissioning new works (63 world premieres to date) and in training and nurturing promising young artists and administrators. HGOco is Houston Grand Opera s unique initiative that explores making opera relevant to its changing audiences by connecting the company with our community through collaboration. HGOco creates opportunities for Houstonians of all ages and backgrounds to create, participate in, and observe art. Houston Grand Opera offers a wide variety of school and community programs. To learn more, visit our website at HGO.org/HGOco Or contact us: HGOco@hgo.org Tel: Mr. and Mrs. Oscar S. Wyatt Harlan and Dian Stai The Brown Foundation, Inc. The Wortham Foundation, Inc. The Robert and Janice McNair Foundation Janice Barrow The Cullen Foundation The Cullen Trust for the Performing Arts The Humphreys Foundation Official Health Care Provider for Houston Grand Opera Official Airline of Houston Grand Opera Preferred Jeweler of Houston Grand Opera 11

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