PHOTO: Palm Beach Opera

PHOTO: Palm Beach Opera

PHOTO: Coastal Click Photography We believe that opera tells stories to which we can all relate, and that s why the operatic art form has thrived for centuries. The education programs at Palm Beach Opera strive to immerse the community directly into these stories, revealing timeless tales of love, passion, and joy. We challenge each person to find his or her own connection to opera s stories, therefore inspiring learners of all ages to explore the world of opera. At Palm Beach Opera, there is something for everyone! #PBOperaForAll

The Masterminds 4 Who s Who 8 Understanding the Action 10 Engage Your Mind 18 PHOTO: Bruce Bennett

PHOTO: Palm Beach Opera

Giuseppe Verdi. An Opera in Three Acts. 1853 Libretto by Francesco Maria Piave, after the play La Dame aux Camélias (The Lady of the Camellias) by Alexandre Dumas, fils. First performance at the Teatro La Fenice, Venice, Italy, March 6, 1853. Composer Giuseppe Fortunino Francesco Verdi (October 10, 1813 January 27, 1901) was born in the small village of Roncole in the country known today as Italy. At the time Verdi was born, the Village of Roncole was in an area controlled by the French. His mother and father were determined that their son have a good education. Verdi s musicianship became evident at an early age when he became his church s full-time organist at the age of 9. In 1823, Verdi moved to the larger, nearby city of Busseto, where he became heavily involved in the city s musical life as a composer and as a performer. The town recognized his talents and raised money to pay for his studies in Milan. In 1832, Verdi applied for admission at the Milan Conservatory, but was rejected due to his age. Subsequently, he began studying under Vincenzo Lavigna, a famous composer from Milan. In 1833, Verdi became conductor at the Philharmonic Society in Busseto. He remained in Busseto for several years, composing songs and working as an organist. In 1836, he married Margherita Barezzi; their marriage was brief and tragic. Verdi and Barezzi lost two children in their infancy and Barrezi died just four years after they wed. FUN FACT: Verdi s original birth certificate is French with his name registered as Joseph Fortunin François. At age 25, Verdi composed his first opera, Oberto, which debuted at La Scala in 1839 and garnered him a commission from the theatre to compose three additional operas. Verdi followed Oberto with the comic opera Un giorno di regno, which premiered in Milan in 1840. The comedy received very poor reviews from the audience and critics alike.

FUN FACT: In 1859, Verdi married the opera singer Giuseppina Strepponi. She retired from her stage career and devoted her life to supporting Verdi s compositional endeavors. Although engulfed by the painful loss of his family and his disastrous premiere of Un giorno di regno, Verdi continued composing. In 1842, Verdi debuted his opera Nabucco, based on the biblical story of Nebuchadnezzar and the exile of the Jews from Babylon. The opera is well-known for the chorus Va, pensiero or Chorus of the Hebrew Slaves, which served as a rallying song for Italian nationalists in the 1800s. Nabucco was an instant success and Verdi became a prominent composer on the Italian scene. A leading Italian composer of the 19th century, Verdi composed more than 25 operas and produced revisions of several of his operatic works. He was lauded for his lyricism, unforgettable melodies, impactful ensemble numbers, and dramatic prowess. Throughout four decades of composing, Verdi penned several of the most loved operas in the history of the art form: Nabucco (1842), Ernani (1844), Simon Boccanegra (1857), Un ballo in maschera (1859), Don Carlos (1867), and Aida (1871). Despite his desire to retire from composing, Verdi was persuaded to work on Otello, a four-act opera that premiered in Milan at La Scala on February 5, 1887. This opera, based on William Shakespeare s play Othello, is highly regarded as one of the best works ever composed. Verdi followed Otello s success with Falstaff, a comedic adaptation of Shakespeare s The Merry Wives of Windsor and Henry IV. Falstaff debuted at La Scala on February 9, 1893. Like Otello, early reactions to Falstaff were, by and large, tremendously positive, and the opera continues to earn great renown today.

Giuseppe Verdi died on January 27, 1901 in Milan at the age of 87. Regarded in Italy as one of the most important men of his day, 250,000 people lined the streets to view his funeral procession. Famed conductor Arturo Toscanini led a chorus of Va, pensiero in his honor. His final resting place is in a crypt at the Casa di Riposo per Musicisti (a rest home for retired musicians that Verdi had recently established) in Milan beneath a large bronze slab. Verdi s Funeral procession Francesco Maria Piave was the librettist for Verdi s La traviata. Piave was born on May 18, 1810 in Murano, Italy. He was a librettist, poet, journalist, translator, and stage director at Venice s La Fenice opera house and later at La Scala in Milan. Piave collaborated with Verdi for nearly two decades on eleven operas including Ernani, La Forza del Destino, Macbeth, Simon Boccanegra, and Rigoletto. It is reported that Verdi was quite tough on Piave, and that Verdi s ideas often overshadowed Piave s in the libretto writing process. Despite Verdi s demands and overbearing reach, the pair enjoyed a successful working relationship and a true friendship. When Piave suffered a stroke in 1870, Verdi provided support to Piave s family. When Piave died on March 5, 1876, Verdi paid for Piave s burial at the Monumental Cemetery in Milan. FUN FACT: Verdi was elected to the first Italian parliament where Vittorio Emanuele II, King of Piedmont, was proclaimed King of Italy.

PHOTO: Palm Beach Opera

A courtesan in 19th-century Paris vee-oh-let-tah soprano A young man of good and reputable family al-fray-doe tenor Alfredo s father djare-mont baritone A protector of Violetta s doo-fole baritone Violetta s friend, another kept woman FLOH-rah mezzo-soprano Violetta s Physician grahn-veel bass

PHOTO: Palm Beach Opera

PG-13: Check out a lighthearted look at La traviata from The Dallas Opera: https://youtu.be/rnqdwmznglc In and around Paris, about 1850. La traviata means the fallen woman or one who goes astray, referring to the main character, Violetta Valéry. It is a love story shrouded in sacrifice and misunderstanding. The love of young Alfredo makes Violetta question everything she has known. Violetta shows her true integrity when Alfredo s father makes a sacrificial request. This leads to mistaken betrayals that bring tragic conclusions that occur in true operatic form. ACT I The salon in Violetta s house Violetta Valéry, a famed courtesan, throws a lavish party at her Paris salon to celebrate her recovery from an illness. Gastone, a viscount, has brought with him a friend, Alfredo Germont, a young bourgeois from a provincial family who has long adored Violetta from afar. While walking to the salon, Gastone tells Violetta that Alfredo loves her, and that while she was ill, he came to her house every day. Alfredo joins them, admitting the truth of Gastone s remarks. Baron Douphol, Violetta s current lover, waits nearby to escort her to the salon. Once there, the Baron is asked to give a toast, but refuses, and the crowd turns to Alfredo, who agrees to sing a brindisi a drinking song (Alfredo, Violetta, chorus: Libiamo ne lieti calici Drink from the joyful cup ). From the next room, the sound of the orchestra is heard and the guests move there to dance. After a series of severe coughs and almost fainting, Violetta begins to feel dizzy and asks her guests to go ahead and to leave her to rest until she recovers. While the guests dance in the next room, Violetta looks at her pale face in her mirror. Alfredo enters and expresses his concern for her fragile health, later declaring his love for her (Alredo, Violetta: Un dì, felice, eterea One day, happy and ethereal ). At first, she rejects him because his love means nothing to her, but there is something about Alfredo that touches her heart. He is about to leave when she gives him a flower, telling him to return it when it has wilted (which will be the very next day).

After the guests leave, Violetta wonders if Alfredo could actually be the one (Violetta: È strano! Ah, fors è lui Ah, perhaps he is the one ), but she concludes that she needs freedom to live her life (Violetta, Alfredo: Sempre libera Always free ). From off stage, Alfredo s voice is heard singing about love as he walks down the street. ACT II Scene 1: Violetta s country house outside Paris Three months later, Alfredo and Violetta are living together in a peaceful country house outside of Paris. Violetta has fallen in love with Alfredo and she has completely abandoned her former life. Alfredo sings of their happy life together (Alfredo: De miei bollenti spiriti / Il giovanile ardore The youthful ardor of my ebullient spirits ). Annina, the maid, arrives from Paris, and when questioned by Alfredo, tells him that she went there to sell the horses, carriages, and everything owned by Violetta to support their country lifestyle. Alfredo is shocked to learn this and leaves for Paris immediately to settle matters himself. Violetta returns home and receives an invitation from her friend, Flora, to a party in Paris that evening. Alfredo s father, Giorgio Germont, is announced and demands that she break off her relationship with his son for the sake of his family, since he reveals that Violetta s relationship with Alfredo has threatened his daughter s engagement (Giorgio: Pura siccome un angelo, Iddio mi diè una figlia Pure as an angel, God gave me a daughter ) because of Violetta s reputation. Meanwhile, he reluctantly becomes impressed by Violetta s nobility, something which he did not expect from a courtesan. She responds that she cannot end the relationship because she loves him so much, but Giorgio pleads with her for the sake of his family. With growing remorse, she finally agrees (Violetta, Giorgio: Dite alla giovine, sì bella e pura, Tell the young girl, so beautiful and pure, ) and says goodbye to Giorgio. In a gesture of gratitude for her kindness and sacrifice, Giorgio kisses her forehead before leaving her weeping alone. Violetta gives a note to Annina to send to Flora accepting the party invitation and, as she is writing a farewell letter to Alfredo, he enters. She can barely control her sadness and tears; she tells him repeatedly of her unconditional love (Violetta: Amami, Alfredo, amami quant io t amo Love me, Alfredo, love me as I love you ). Before rushing out and setting off for Paris, she hands the farewell letter to her servant to give to Alfredo.

Soon, the servant brings the letter to Alfredo and, as soon as he has read it, Giorgio returns and attempts to comfort his son, reminding him of his family in Provence (Giorgio: Di Provenza il mar, il suol chi dal cor ti cancellò? Who erased the sea, the land of Provence from your heart? ). Alfredo suspects that the Baron is behind his separation with Violetta, and the party invitation, which he finds on the desk, strengthens his suspicions. He decides to confront Violetta at the party. Giorgio tries to stop Alfredo, but he rushes out. Scene 2: Party at Flora s house At the party, the Marquis tells Flora that Violetta and Alfredo have separated, much to the amazement of everyone who had previously seen the happy couple. She calls for the entertainers to perform for the guests (Chorus: Noi siamo zingarelle venute da lontano We are gypsy girls who have come from afar ; Di Madride noi siam mattadori We are matadors from Madrid ). Gastone and his friends join the matadors and sing (Gastone, chorus, dancers: È Piquillo un bel gagliardo Biscaglino matador Piquillo is a bold and handsome matador from Biscay ). Violetta arrives with Baron Douphol. They see Alfredo at the gambling table. When he sees them, Alfredo loudly proclaims that he will take Violetta home with him. Feeling annoyed, the Baron goes to the gambling table and joins him in a game. As they bet, Alfredo wins some large sums until Flora announces that supper is ready. Alfredo leaves with handfuls of money. As everyone is leaving the room, Violetta has asked Alfredo to see her. Fearing that the Baron s anger will lead him to challenge Alfredo to a duel, she gently asks Alfredo to leave. Alfredo misunderstands her apprehension and demands that she admit that she loves the Baron. In grief, she makes that admission and, furiously, Alfredo calls the guests to witness what he has to say (Alfredo: Questa donna conoscete? You know this woman? ). He humiliates and denounces Violetta in front of the guests and then throws his winnings at her feet in payment for her services. She faints onto the floor. The guests reprimand Alfredo: Di donne ignobile insultatore, di qua allontanati, ne desti orror! ( Ignoble insulter of women, go away from here, you fill us with horror! ). In search of his son, Giorgio enters the hall and, knowing the real significance of the scene, denounces his son s behavior (Giorgio, Alfredo, Violetta, chorus: Di sprezzo degno sè stesso rende chi pur nell ira la donna offende. A man, who even in anger, offends a woman renders himself deserving of contempt. ).

ACT III Violetta s bedroom Dr. Grenvil tells Annina that Violetta will not live long since her tuberculosis has worsened. Alone in her room, Violetta reads a letter from Alfredo s father telling her that the Baron was only wounded in his duel with Alfredo; that he has informed Alfredo of the sacrifice she has made for him and his sister; and that he is sending his son to see her as quickly as possible to ask for her forgiveness. But Violetta senses it is too late (Violetta: Addio, del passato bei sogni ridenti Farewell, lovely, happy dreams of the past ). Annina rushes in the room to tell Violetta of Alfredo s arrival. The lovers are reunited and Alfredo suggests that they leave Paris (Alfredo, Violetta: Parigi, o cara, noi lasceremo We will leave Paris, O beloved ). But it is too late: she knows her time is up (Alfredo, Violetta: Gran Dio!...morir sì giovane Great God!...to die so young ). Alfredo s father enters with the doctor, regretting what he has done. After singing a duet with Alfredo, Violetta suddenly revives, exclaiming that the pain and discomfort have left her. A moment later, she dies in Alfredo s arms. PHOTO: Bruce Bennett Flora and the ladies attempt to persuade Violetta to leave the dining room, but Violetta turns to Alfredo: Alfredo, Alfredo, di questo core non puoi comprendere tutto l amore ( Alfredo, Alfredo, you can t understand all the love in this heart ). PHOTO: Palm Beach Opera

Off the Charts! According to operabase.com, La traviata was the most performed opera in the world during the 2017-2018 season totaling 4,162 performances in 889 different productions. The runners-up? Bizet s Carmen with 3,524 performances and W.A. Mozart s Die Zauberflöte with 3,318 performances. Verdi is the composer with the largest number of performances of his operas over five seasons from 2013-2014 to 2017-2018. Wolfgang Amadeus Mozart is close behind him. La traviata influenced both the plot and thematic material of the 1990 classic film Pretty Woman. The wealthy businessman Edward Lewis (Richard Gere) hires Vivian Ward (Julia Roberts) to be his escort for several business and social functions. This draws parallels to Violetta Valèry, a courtesan, and Alfredo Germont, a poet from a wealthy and respectable family. In the film, Edward takes Vivian to see the opera La traviata in San Francisco. Vivian is visibly moved by this experience which eventually inspires her life decisions.

The 2001 cult classic, Moulin Rouge, closely follows the plot of Verdi s opera as well. Nicole Kidman stars as the courtesan Satine and Ewan McGregor as the young poet Christian. Like Violetta, Satine learns that love can be true, both romances are shattered by extenuating circumstances, and they each selflessly sacrifice their own happiness for someone else s sake. The most obvious parallel is that both Violetta and Satine suffer from the same fatal disease and tragically die once they are reunited with their true love. The plot from La traviata was also repurposed in the 1936 Greta Garbo film Camille. Music from the opera has been featured in films such as The Godfather, In the Line of Fire, Brüno, Spectre, and La La Land. Verdi s operas really are what people imagine operas to be: lots of emotion, lots of women singing very loud and high, and lots of main characters dying at the end.

January 1 March first practical fire engine (horse drawn) in the US enters service clothing company Levi Strauss & Co is founded in San Francisco, CA March 4 March 5 April 14 May May August 24 September 11 Franklin Pierce is inaugurated as the 14 th president of the United States Steinway & Sons, a piano maker, is founded in Manhattan by German immigrant Henry E. Steinway and his family Harriet Tubman began her Underground Railroad, helping slaves escape the first public aquarium opens at the London Zoo an outbreak of yellow fever kills 7,790 in New Orleans potato chips are first prepared by George Crum in Saratoga Springs, New York first electric telegraph used September 20 September 24 Elisah Graves Otis sold his first hoist machines, or elevators, featuring an automatic safety brake which paved the way for making the construction of skyscrapers possible Northern Daily Times, 1 st provincial daily newspaper starts in London Composers who influenced Verdi included: Rossini, Bellini, Meyerbeer, Donizetti, and Mercadante. Wagner influences can be heard in Otello and Aida. Despite being the two most influential figures in 19 th century opera, Verdi and his contemporary Richard Wagner apparently resented each other greatly though they never met. Verdi said of Wagner, He invariably chooses, unnecessarily, the untrodden path, attempting to fly where a rational person would walk with better results.

PHOTO: Palm Beach Opera

The following pages contain Lesson Plans and accompanying materials for grades 6-12. Lesson Plans were crafted according to curriculum standards set forth and approved by the state of Florida. Palm Beach Opera s curriculum is approved by The School District of Palm Beach County. For questions about the Lesson Plans, or for more information about how Palm Beach Opera can serve your classroom, email education@pbopera.org.

PHOTO: Coastal Click Photography