ACCESS OPERA 2018-2019 PROGRAM GUIDE
TABLE OF CONTENTS Please carefully review all sections of the 2018-2019 Access Opera Program Guide and involve participating colleagues in organizing your school s rehearsal experience. page 2 ABOUT ACCESS OPERA page 2 REPRESENTATIVE EXPECTATIONS page 3 POLICIES AND PROCEDURES page 4 VISITING THE MET page 5 REGISTRATION AND REHEARSAL REQUESTS pages 6-10 REHEARSAL OFFERINGS AND DESCRIPTIONS page 11 PROFESSIONAL DEVELOPMENT OPTIONS page 12 BEYOND THE STAGE page 13 ACCESS OPERA RESOURCES page 13 ACCESS OPERA STAFF
ABOUT ACCESS OPERA Going beyond the ordinary field trip experience, Access Opera introduces students to live opera performances and provides teachers with resources for drawing connections across literature, social studies, foreign language, and the arts. As part of their participation in the program, each school receives the opportunity to attend a final dress rehearsal at the Metropolitan Opera. A final dress rehearsal is the final run-through rehearsal before opening night. Additionally, each Access Opera teacher representative is encouraged to attend one of the professional development options provided by the Metropolitan Opera Guild, and each representative must also complete the program end-of-year reflection form. REPRESENTATIVE EXPECTATIONS Each Access Opera school must designate a teacher representative to serve as a liaison to the Metropolitan Opera Guild. The Guild will work directly with this individual to coordinate and communicate all aspects of program participation. Representatives are expected to do the following: Select an opera suitable for their students study and core curriculum. Attend rehearsal(s) and/or performance(s), sitting with and supervising students. Be responsible for the behavior and welfare of students at all times while inside the opera house. Select capable parent/teacher chaperones and clearly communicate program expectations to them. Ensure that at least one teacher responsible for student instruction related to the opera experience attends one or more professional development opportunities offered by the Metropolitan Opera Guild. Complete and submit the end-of-year reflection form, to be distributed by Guild staff in May 2019. Maintain communication with Guild staff regarding the Access Opera program. Facilitate the timely processing and payment of any Access Opera related invoices. Notify the Guild of any changes in school or representative status. 2
POLICIES AND PROCEDURES As participants in the Access Opera program, students, teachers, administrators, parents, and other members of the school community are part of a group of over 15,000 individuals who attend Metropolitan Opera dress rehearsals. A variety of materials and resources are provided, and policies and procedures are in place to ensure a meaningful experience for all involved. MATERIALS DISTRIBUTION TIMELINE June/July: Program registration begins. Early August: First round of confirmations sent. (Please note: school groups that have not registered in time for the early August confirmation will be confirmed on a rolling basis.) September: Online resources for all rehearsals will be made available to Access Opera teachers. Four to six weeks prior to rehearsal: Tickets, A Guide for Educators materials (including digital recordings), and additional rehearsal material (cast information, etc.) will be sent to attending school groups. An email confirmation regarding the mailing will be sent to representatives of attending school groups. One week prior to rehearsal: reminder email and volunteer liaison assignment information will be provided for school representatives. CANCELLATION POLICY The Metropolitan Opera Guild must be notified of any scheduling conflicts or cancellations at least six weeks in advance of a scheduled rehearsal attendance date. Cancellations that occur less than six weeks prior to the rehearsal will not be rescheduled, and the membership fee will not be reversed. Upon cancellation, all tickets must be returned to the Guild within five business days. Failure to do so may result in a fine equal to the combined list price of these tickets and/or restriction on further participation in the Access Opera program. Should any matter or condition beyond the reasonable control of either party prevent delivery of Access Opera services, such as emergency weather conditions, school closings, school emergencies, and Metropolitan Opera cancellations, this policy may be terminated or suspended. ATTENDANCE POLICY The Metropolitan Opera Guild is proud to serve over 15,000 students and teachers across six states. It is our goal to provide opportunities to diverse communities from varying geographic and socio-economic areas. We believe it is important for all participating schools to recognize the breadth of reach for the Metropolitan Opera Guild and the Access Opera program. That being said, it is imperative that all students, teachers, administrators, parents, and other members of the school community are familiar with the Metropolitan Opera House Rules and Responsibilities prior to visiting the Opera House. While the Metropolitan Opera Guild is not in the practice of terminating partnerships with schools, failure to comply with the outlined rules and responsibilities may result in a limiting of future participation. 3
VISITING THE MET Please carefully review each item and contact Guild staff (listed on page 13) with any questions or concerns. It is also important to review and follow the Access Opera Teacher Representative expectations (listed on page 2). Groups are expected to arrive in the lobby area of the opera house no later than 30 minutes prior to the start of the rehearsal. When you arrive at the opera house, please send a representative to check in with the Education table on the far left side of the lobby area. A Met Opera Guild representative will confirm your group s attendance before you proceed into the main area of the house. Latecomers will not be allowed inside the auditorium until after intermission. If available, late groups may be seated in List Hall (where subtitles are not available). Large groups should wait outside the opera house (weather permitting) until congestion in the lobby is relieved. All students should receive their individual tickets prior to entering the opera house lobby to ensure an orderly and efficient entrance. Metropolitan Opera ushers will assist schools with seating inside the opera house. One adult chaperone per every 10 students in attendance is required, regardless of the age/grade of students. Please be sure that chaperone seats are evenly dispersed amongst students. Proper clapping etiquette should be addressed prior to the rehearsal. Clapping should occur only after the orchestra has stopped playing. Students should be reminded that talking and noise-making is a distraction to their fellow audience members and the performers. Most rehearsals include at least one intermission, during which students are permitted and encouraged to eat lunch. NOTE: Food is not available for purchase at the opera house. Students should bring lunches in disposable bags, and all lunches should be packed in a single container (a large box or large trash bag is recommended), clearly labeled with the school name. Food is not allowed inside the auditorium; during the performance, lunch containers should be placed in the area designated for each school group. Students must be accompanied by a teacher or adult chaperone at all times, including during intermissions. Those who leave the auditorium during a performance will not be permitted to re-enter until intermission. In scheduling transportation back to your school, allow at least 30 minutes leeway in the length of the performance. As these are working rehearsals, the conductor and/or stage manager may pause or stop to make adjustments during or after the performance. Should your group need to leave early, please notify Guild staff prior to the rehearsal. Any changes in a school s attendance status should be communicated to the Guild immediately, and no less than six weeks before scheduled attendance. Please see the cancellation policy on page 3 for more information. 4
REGISTRATION AND REHEARSAL REQUESTS The registration and rehearsal request process will again be conducted via online form. The link to the 2018-2019 Access Opera Registration and Rehearsal Request Form is: http://www.metguild.org/accessoperareg Also included on this webpage are breakdowns of each opera offering, as well as a link to the synopses, for assistance in selecting an appropriate choice for your school group. Please follow the directions below to register for the 2018-19 Access Opera program and make your rehearsal request(s). Be sure to read all instructions thoroughly, and complete all sections to the best of your ability. Access the online form at http://www.metguild.org/accessoperareg. Input your School and Representative information, as prompted. To ensure that we have correct information on file, we ask that you complete all fields as requested. New this year: Indicate whether you d like to attend more than one opera this season. You will then select your first, second, and third choices for EACH of your final dress rehearsal attendance(s) this season, as well as the number of tickets you would like to request for each rehearsal. The registration form will automatically calculate your membership and individual ticket subtotals, as well as your total cost. Please verify this information is correct before proceeding to the payment section. Remember: you are allotted 35 tickets per class membership, which should include chaperones. Input your school s preferred payment method as prompted. Please be sure to indicate the name and address to which the invoice should be sent if different from your own. Thoroughly review the Final Dress Rehearsal and Membership Cancellation Policy, and type your name next to Signature, which will serve as your agreement to the policy terms. The Date field will be automatically filled in. Indicate anything else you d like us to know in the Notes section. Click Submit at the bottom of the page to submit your Access Opera registration and rehearsal requests. If you do not click this button, we will not receive your form. Upon receipt, you will receive a confirmation email that will include a copy of your registration and rehearsal request form. Please contact us if you do not receive this email, as it may mean your request has not been received. Q&A WITH METROPOLITAN OPERA CHORUS AND ORCHESTRA MEMBERS The Metropolitan Opera s Chorus and Orchestra are considered the best in the world, and perform more than 200 times each season. This season, Access Opera will continue to provide students an unparalleled opportunity to meet with both Chorus and Orchestra members and participate in a Q&A, allowing students a deeper view into the world of the Opera. This Q&A is open to one group of 70 students or less per final dress rehearsal, prepared with questions and the ability to stay 30-45 minutes following the final dress rehearsal. Groups can demonstrate interest through the registration page, and arrangements will be made a month before the final dress rehearsal date. 5
Rehearsal Offerings DATE / TIME OPERA RUN TIME LANGUAGE GENRE GOOD FOR NEWCOMERS AGE LEVEL Fri, Sep 21, 2018 at 11 AM puccini La Bohème 3 hrs Italian Romantic Tragedy All Ages Mon, Oct 1, 2018 at 10:30 AM puccini La Fanciulla del West 3 hrs, 25 mins Italian Western Romance All Ages Mon, Oct 22, 2018 at 10:30 AM puccini Tosca 3 hrs Italian Romantic Tragedy Middle School+ Fri, Oct 26, 2018 at 10:30 AM bizet Carmen* 3 hrs, 25 mins French Romantic Tragedy All Ages Mon, Nov 5, 2018 at 10:30 AM boito Mefistofele 3 hrs, 30 mins Italian Mythical Drama Middle School+ Tue, Nov 20, 2018 at 10:30 AM puccini Il Trittico 3 hrs, 45 mins Italian Tragedy/Romantic Drama Middle School+ Fri, Nov 30, 2018 at 10:30 AM verdi La Traviata new production 3 hrs, 10 mins Italian Romantic Tragedy All Ages Tue, Dec 11, 2018 at 11 AM verdi Otello 3 hrs Italian Tragedy Middle School+ Mon, Dec 17, 2018 at 11 AM mozart The Magic Flute* # 1 hr, 45 mins English Mythical Comedy All Ages Mon, Jan 28, 2019 at 10:30 AM mozart Don Giovanni 3 hrs, 25 mins Italian Dark Comedy Middle School+ Mon, Feb 4, 2019 at 10:30 AM donizetti La Fille du Régiment 2 hrs, 35 mins French Romantic Comedy All Ages Fri, Feb 8, 2019 at 10:30 AM verdi Rigoletto 3 hrs, 15 mins Italian Tragedy High School+ Wed, Mar 6, 2019 at 10:30 AM wagner Das Rheingold # 2 hrs, 30 mins German Mythical Drama High School+ Tue, Mar 26, 2019 at 11 AM mozart La Clemenza di Tito 2 hrs, 55 mins Italian Historical Drama Middle School+ Wed, May 1, 2019 at 10:30 AM poulenc Dialogues des Carmélites 3 hrs, 10 mins French Historical Tragedy High School+ * Limit of 70 tickets per school group May contain brief nudity # No intermission
LA BOHÈME STORY & SET TING: THIS OPERA IS LOOSELY BASED ON THE NOVEL SCÈNES DE LA VIE DE BOHÈME BY HENRY MURGER, AS WELL AS INSPIRED BY EVENTS IN PUCCINI S OWN LIFE. SET IN PARIS 1830, THE STORY CENTERS ON A GROUP OF ARTISTIC-MINDED YOUTHS AT ODDS WITH MAINSTREAM SOCIETY AFTER THE UPHEAVALS OF REVOLUTION AND WAR. OPERA NOTES: LA BOHÈME IS CONSIDERED ONE OF THE WORLD S MOST POPULAR OPERAS, THANKS TO ITS ENDUR- ING THEMES OF BOTH LOVE AND LOSS. THE ORCHESTRATION IS A STEADY FLOW THAT SEAMLESSLY SUPPORTS THE INCESSANT ACTION, EVEN IN LARGER SCENES. ONE OF THE BENCHMARK OPERAS OF THE VERISMO (REALISM) MOVE- MENT, THIS CLASSIC HAS BEEN PERFORMED AT THE MET OPERA OVER 1,200 TIMES. LA FANCIULLA DEL WEST STORY & SETTING: PUCCINI S AMERICAN OPERA TAKES PLACE IN THE MOUNTAINS OF THE WILD WEST: CALIFORNIA DURING THE GOLD RUSH IN 1849 50. THE STORY FEATURES A GUN-SLINGING HEROINE AND THE OUTLAW SHE IS DETER- MINED TO FIGHT FOR. OPERA NOTES: THIS OPERA MARKS THE SECOND SETTING BY PUCCINI OF A DAVID BELASCO PLAY, FOLLOWING 1904 S MADAMA BUTTERFLY. INTRIGUED BY THE AMBIENCE OF THE WEST, PUCCINI COLLABORATED WITH LIBRETTIST CARLO ZINGARINI TO PRODUCE THIS PIECE, WHICH WOULD BECOME THE FIRST WORLD PREMIERE AT THE MET IN 1910. TOSCA STORY & SETTING: VICTORIEN SARDOU INITIALLY DECLINED PUCCINI S REQUEST FOR THE RIGHTS TO TRANSFORM HIS PLAY LA TOSCA INTO AN OPERA. HOWEVER, AFTER THE SUBSEQUENT SUCCESSES OF MANON LESCAUT AND LA BOHÈME, THE PLAYWRIGHT CONSENTED IN 1895. THE STORY FOLLOWS OPERA SINGER FLORIA TOSCA AS SHE GOES TO EXTREME LENGTHS TO PROTECT THE MAN SHE LOVES, AMIDST THE POLITICALLY WROUGHT ATMOSPHERE OF EARLY 19TH CENTURY ROME. OPERA NOTES: WHILE THE PIECE CONTAINS SOME OF PUCCINI S MOST FAMILIAR ARIAS (INCLUDING THE FAMOUS VISSI D ARTE SUNG BY THE TITLE HEROINE), THE PIECE IS LARGELY SET IN THROUGH-COMPOSED STYLE. THE OPERA ALSO UTILIZES WAGNERIAN-STYLE LEITMOTIFS, OR SHORT MOTIVE THEMES, TO REPRESENT INDIVIDUAL CHARACTERS OR IDEAS. A REALIST TO THE CORE, PUCCINI TRAVELLED TO ROME TO METICULOUSLY RESEARCH THE CHURCH PROCESSIONS, CHANT MELODIES, AND BELL SOUNDS THAT HE WOULD INCLUDE IN THE SCORE OF TOSCA. HIS JUXTAPOSITION OF TOSCA S RELIGION AGAINST THE BRUTAL AND PASSIONATE CIRCUMSTANCES WITHIN WHICH SHE FINDS HERSELF IS WHAT MAKES THIS ONE OF THE MOST EXCITING AND BELOVED OPERAS OF ALL TIME. CARMEN STORY & SETTING: THE IRRESISTIBLE GYPSY HEROINE OF PROSPER MÉRIMÉE S NOVELLA FINDS A SWEEPING AND TRIUMPHANT PORTRAYAL IN BIZET S OPERA. THE ACTION OF THE OPERA TAKES US IN AND AROUND SEVILLE, FROM AN ARMY BARRACKS, TO A CIGARETTE FACTORY, TO A SMUGGLER S DEN, TO THE CLIMACTIC FINAL SCENE OUTSIDE A BULL- FIGHT. OPERA NOTES: ARGUABLY THE MOST RECOGNIZABLE OPERATIC MELODIES CAN BE FOUND IN THE SCORE OF CAR- MEN. THE OPERA CONTINUES THE FRENCH ROMANTIC FASCINATION WITH THE EXOTIC, EMPLOYING GYPSY-INSPIRED MELODIC AND RHYTHMIC SCHEMES, LUXURIOUS VOCAL LINES, AND SOARING DRAMA. INITIALLY A SCANDAL AT ITS PREMIERE, CARMEN REMAINS ONE OF THE TOP STAGED OPERAS IN THE WORLD TO THIS DAY. *LIMIT 70 TICKETS PER SCHOOL GROUP. 7
MEFISTOFELE STORY & SETTING: IN THIS OPERA, THE TALE OF THE FAUSTIAN BARGAIN CENTERS ON THE CHARACTER THAT REALLY DRIVES THE ACTION: THE DEVIL HIMSELF. THE PLOT FOLLOWS MEFISTOFELE AS HE WAGERS WITH HEAVEN HIS ABILITY TO LEAD DOCTOR FAUST TO DAMNATION. OPERA NOTES: BOITO, THE LIBRETTIST FOR THE OPERAS OTELLO AND FALSTAFF, TOOK ON THE ROLE OF BOTH LIBRETTIST AND COMPOSER FOR HIS MEFISTOFELE, PERHAPS AS A NOD TO RICHARD WAGNER, A COMPOSER HE GREATLY ADMIRED. AFTER THE INITIAL 6-HOUR PREMIERE OF THIS WORK, BOITO WAS SPURRED TO MAKE MAJOR ADJUSTMENTS, DUE TO BOTH LENGTH AND OBJECTIONS TO THE WORK BY RELIGIOUS GROUPS. HIS REVISED VERSION, WHICH IS THE ONE COMMONLY PERFORMED TODAY, IS CONSIDERED THE MOST FAITHFUL TO THE GOETHE STORY IN COMPARISON TO OTHER OPERATIC ADAPTATIONS. IL TRITTICO STORY & SETTING: THIS TRIPLE BILL PRESENTS THREE VERY DIFFERENT COMPLETE STORIES OF ORDINARY PEOPLE IN SHORT, ACTION-PACKED BURSTS. THE OPENER, IL TABARRO FOLLOWS A PLOT OF JEALOUSY AND REVENGE, WHILE SUOR ANGELICA TELLS THE TRAGIC TALE OF A NUN WHO HAS GIVEN UP EVERYTHING IN THE NAME OF FAMILY. GIANNI SCHICCHI ENDS THE EVENING ON THE LIGHTER SIDE, SHOWCASING A SECRET LOVE AFFAIR ALONGSIDE THE MACHINA- TIONS OF GREED WITHIN A FLORENTINE FAMILY. EACH PIECE IS UPDATED TO TAKE PLACE IN A DIFFERENT DECADE OF THE 20TH CENTURY. OPERA NOTES: AT THE TIME OF ITS COMPOSITION, ONE-ACT OPERAS WERE NOT EXTREMELY COMMON, BUT IL TRITTICO WAS CONCEIVED AS A WHOLE, AND MIRRORS THE TRIPTYCH OF DANTE FROM INFERNO, TO PURGATORIO, TO PARADISO. THE PIECE SHOWCASES PUCCINI S LATER STYLE, IN WHICH THE COMPOSER STROVE TO USE THE SWEEPING MELODIES OF ROMANTIC LYRICISM SPARINGLY, ALONGSIDE MUSICAL METAPHOR AND ATMOSPHERE. IN IL TABARRO, THE MUSIC EVOKES THE SETTING OF THE RIVER THROUGHOUT, WHILE SUOR ANGELICA PROVIDES A HEART-RENDING (AND HARMON- ICALLY ADVENTUROUS) SCORE SET ENTIRELY FOR WOMEN S VOICES. SCHICCHI CONTAINS THE FAMOUS O MIO BABBINO CARO ARIA, CONTRASTED WITH VIGOROUS AND OFTEN HISTRIONIC VOCAL GYMNASTICS REQUIRED BY THE TITLE CHAR- ACTER. LA TRAVIATA STORY & SETTING: VERDI S BELOVED WORK ABOUT THE SACRIFICES MADE FOR LOVE AMIDST THE STRAINS OF FAMIL- IAL DUTY RECEIVES AN UPDATE TO LATE 18TH CENTURY PARIS IN THIS NEW MET PRODUCTION. BASED ON ALEXANDRE DUMAS PLAY LA DAME AUX CAMÉLIAS, THE PLOT IS A REFLECTION OF THE AUTHOR S AFFAIR WITH A WOMAN WHOSE INTELLECT FAR SURPASSED HER SOCIAL STATION. OPERA NOTES: THE WORK IS AN EXAMPLE OF THE OPERAS OF VERDI S MIDDLE COMPOSITIONAL PERIOD, DURING WHICH SOME OF HIS BEST-LOVED WORKS WERE PRODUCED. THE COMPOSER S INCREASED FINANCIAL STABILITY, AS WELL AS A DESIRE TO TURN HIS ATTENTIONS AWAY FROM THE POLITICAL TROUBLES OF ITALY AT THE TIME, INSPIRED HIM TO CREATE A PIECE AROUND AN INTIMATE STORYLINE A DEPARTURE FROM PREVIOUS LARGER SCALE WORKS LIKE NABUCCO AND MACBETH. THE ROLE OF FALLEN WOMAN VIOLETTA VALÉRY IS CONSIDERED ONE OF THE PINNACLES OF THE OPERATIC REPERTORY, REQUIRING A SOPRANO WHO CAN CONVINCINGLY SOAR TO THE HIGHS AND DELVE DOWN TO THE LOWS OF VOCAL AND DRAMATIC LIMITS. 8
OTELLO STORY & SETTING: ARRIGO BOITO S ITALIAN LIBRETTO ADAPTATION OF THE CLASSIC SHAKESPEAREAN TALE OF JEALOUSY, REVENGE AND OTHERNESS MAINTAINS THE PLAY S TAUT INTRIGUE AND DRAMATIC IRONY. ORIGINALLY SET IN 15TH CENTURY CYPRUS, BARTLETT SHER S PRODUCTION UPDATES THE ACTION TO THE LATE 19TH CENTURY, RE- FLECTING THE TIME OF THE OPERA S COMPOSITION. OPERA NOTES: VERDI S SETTING IS A POWERHOUSE OF MUSICAL DRAMA, AND REQUIRES IMMENSE VOCAL, DRAMATIC, AND MUSICAL VARIETY FROM ITS 3 LEAD SINGERS, PARTICULARLY THE TITLE TENOR. SOME CHANGES TO THE ORIGI- NAL STORY INCLUDE THE ADDITION OF A LOVE DUET, AS WELL AS THE CREDO MONOLOGUE FOR IAGO, IN WHICH HIS VILLAINY IS WONDERFULLY SHOWCASED. THE OPERA S INTENSITY THROUGHOUT IS STUNNING, HELPED ALONG BY THE PROMINENT ROLE THE ORCHESTRAL SCORE TAKES IN DEPICTING EACH SCENE: FROM THE OPENING STORM TO AN EAR- NEST EVENING PRAYER TO THE CHILLING AND TRAGIC FINAL SCENE. THE MAGIC FLUTE STORY & SETTING: MOZART S CLASSIC ENLIGHTENMENT OPERA IS ABRIDGED IN THIS ENGLISH-LANGUAGE, FAMILY PRODUCTION. THE FAIRY TALE STORY OF DARK VERSUS LIGHT IS GIVEN A DELIGHTFUL AND VISUALLY STUNNING ADAP- TATION BY JULIE TAYMOR S COSTUME DESIGN AND USE OF PUPPETRY. OPERA NOTES: THIS OPERA IS AN EXAMPLE OF THE GERMAN SINGSPIEL STYLE, IN WHICH SUNG TEXTS ARE INTER- SPERSED WITH SPOKEN DIALOGUE. THIS WAS MOZART S FINAL OPERA, AND IT CONTAINS MANY ALLUSIONS TO FREE MASONRY, OF WHICH HE WAS FAMOUSLY A MEMBER. THE MUSIC RANGES FROM SOLEMN, TO COMIC, TO TRIUMPHANT, AND INCLUDES SOME OF THE HIGHEST AND LOWEST WRITTEN NOTES SUNG IN THE OPERATIC REPERTOIRE. *LIMIT 70 TICKETS PER SCHOOL GROUP. PREFERENCE WILL BE GIVEN TO GRADES 3-5. **THIS PERFORMANCE DOES NOT HAVE AN INTERMISSION DON GIOVANNI STORY & SETTING: IN THIS OPERA, MOZART BRINGS US TO MID-18TH CENTURY SPAIN TO OBSERVE THE EXPLOITS OF THE NOTORIOUS AND ENIGMATIC GIOVANNI, A CHARACTER LOOSELY BASED ON THE FIGURE OF DON JUAN TENORIO. FOLLOWED AT EVERY TURN BY HIS SPURNED OR VENGEFUL CONQUESTS, AND AIDED BY HIS EVER-FAITHFUL SERVANT LEPORELLO, THE TITLE LIBERTINE MEETS HIS EVENTUAL DOWNFALL IN THIS MAGNETIC CLASSIC. OPERA NOTES: THE 2ND OF 3 OPERATIC COLLABORATIONS BETWEEN MOZART AND LIBRETTIST LORENZO DA PONTE, GIOVANNI IS A WONDERFUL MIXTURE OF GENRES- FROM FARCE TO HORROR, FROM COMEDY TO SEDUCTION, AND EVENTUALLY TO A BREATHTAKING FINAL JUDGEMENT. THE MUSIC SOMETIMES DELVES INTO DARKER, MORE DRAMATIC TERRITORY, THOUGH THE TYPICAL MOZARTEAN FLOW AND BEAUTY OF LINE CAN BE FOUND IN MANY OF THE MELO- DIES THROUGHOUT THE PIECE. LA FILLE DU RÉGIMENT STORY & SETTING: THIS DELIGHTFUL COMEDY TELLS THE TALE OF A MILITARY REGIMENT AND THE YOUNG WOMAN THEY VE ADOPTED AS THEIR MASCOT. SET IN FRENCH-OCCUPIED TYROL DURING WORLD WAR I, THE OPERA COMBINES A SIMPLE AND LIGHT PLOT STRUCTURE WITH THE EARNEST LONGINGS OF FIRST LOVE. OPERA NOTES: AN EXAMPLE OF THE 19TH CENTURY S BEL CANTO OPERA MOVEMENT, THIS WORK CONTAINS THE SHOW- STOPPING AH! MES AMIS POUR MON ÂME FEATURING 9 HIGH CS FOR THE TENOR. DONIZETTI WAS ALREADY LOVED IN PARIS, THANKS TO THE SUCCESS OF HIS LUCIA DI LAMMERMOOR, AND THIS FORAY INTO FRENCH-LANGUAGE OPERA LED HIM TO EMBRACE THE OPÉRA-COMIQUE MODEL, AS WELL AS TO INSERT FRENCH MARCH INFLUENCES INTO THE OPERA S RHYTHMIC STRUCTURE AND ORCHESTRATION. HOWEVER, HIS SIGNATURE USE OF REFINED MELODY CAN BE EASILY FOUND, PARTICULARLY IN THE TITLE CHARACTER S IL FAUT PARTIR ARIA. 9
RIGOLETTO STORY & SETTING: BASED ON VICTOR HUGO S CONTROVERSIAL PLAY LE ROI S AMUSE, THIS TRAGIC PIECE TELLS THE TALE OF A DISFIGURED COURT JESTER WHOSE SCHEMES GO AWRY IN THE WORST POSSIBLE WAY. MICHAEL MAYER S PRODUC- TION UPDATES THE STORY FROM 15TH CENTURY MANTUA TO LAS VEGAS IN THE 1960S, COMPLETE WITH NEON LIGHTS, FLASHY COSTUMES, AND A SEEDY UNDERBELLY. THIS PRODUCTION CONTAINS ADULT THEMES AND SOME VERY BRIEF NUDITY. OPERA NOTES: COMPOSED IN 1851, RIGOLETTO IS CONSIDERED THE FIRST OPERA OF VERDI S MIDDLE PERIOD, A TIME WHEN HE FOCUSED LESS ON POLITICAL ALLEGORY AND LARGER-THAN-LIFE HEROES AND HEROINES, AND INSTEAD TURNED HIS EYE TO MORE INTIMATE STORIES OF DEEP HUMAN EMOTION. THROUGH HIS MUSIC, THE COMPOSER EVOKES A FULL SPECTRUM OF EMOTIONS, FROM THE HORROR OF A CURSE, TO THE SIGHING OF FIRST LOVE, TO THE TEMPESTU- OUS STORM THAT LEADS TO THE FINAL SCENE. MANY OF THE MELODIES IN THIS PIECE ARE INCREDIBLY MEMORABLE; LEGEND TELLS IT THAT VERDI KEPT THE TENOR ARIA LA DONNA È MOBILE SECRET UNTIL THE OPERA S PREMIERE, KNOWING THAT IT WOULD INSTANTLY BE A HIT. DAS RHEINGOLD STORY & SETTING: DAS RHEINGOLD IS THE FIRST OPERA IN WAGNER S EPIC RING CYCLE. THE SHORTEST OF THE FOUR WORKS, THIS HIGH-TECH UPDATE FROM CREATOR ROBERT LEPAGE UTILIZES 24 SWIVELING BEAMS COVERED IN LED SCREENS TO EVOKE THE FANTASTICAL SETTINGS. THE PLOT FOLLOWS THE ACTIONS OF MYTHICAL CREATURES SUCH AS RHINE RIVER MAIDENS, DWARVES, GIANTS, AND GODS. OPERA NOTES: SERVING AS BOTH COMPOSER AND LIBRETTIST, WAGNER WISHED TO CREATE A MONUMENTAL MUSICAL DRAMA. HE DID THIS THROUGH THE TECHNIQUE OF LEITMOTIF, USING A SHORT MUSICAL THEME TO REPRESENT A SPECIFIC CHARACTER, PLACE, OR IDEA. THE THEMES INTRODUCED IN THIS FIRST INSTALLMENT OF THE RING CYCLE ARE REPEATED OFTEN IN THE SUBSEQUENT OPERAS IN INCREASINGLY COMPLEX WAYS. *THIS PERFORMANCE DOES NOT HAVE AN INTERMISSION LA CLEMENZA DI TITO STORY & SETTING: THIS ELEGANT AND STATELY OPERA TELLS A STORY OF VENGEANCE AND FORGIVENESS IN THE ROMAN EMPIRE. ADAPTED ON A METASTASIO TEXT, TITO FOLLOWS THE PLOTTING OF VITELLIA, DAUGHTER OF THE PREVIOUS EMPEROR, AS SHE ATTEMPTS TO WREST THE THRONE AWAY FROM TITO. DESPERATE ACTIONS FROM MULTIPLE CHARACTERS ULTIMATELY LEAD THE AUDIENCE TO CONTEMPLATE THE MEANING OF TRUE LEADERSHIP. OPERA NOTES: ONE OF MOZART S LAST WORKS, THIS PIECE WAS WRITTEN FOR THE CELEBRATION OF HOLY ROMAN EMPEROR LEOPOLD II OF BOHEMIA S CORONATION, AND THE SUBJECT MATTER APPROPRIATELY PRAISES THE TITULAR EMPEROR. SET IN OPERA SERIA FORM (ALREADY CONSIDERED OLD-FASHIONED BY 1791), MOZART WAS IN SUCH HASTE TO FINISH THE WORK IN TIME THAT HE TRUSTED THE RECITATIVO SECTIONS TO HIS ASSISTANT SÜSSMAYR, THE MAN ALSO LATER KNOWN FOR FINISHING HIS REQUIEM. HOWEVER, ITS LIBRETTO UPDATES, SUBTLE ORCHESTRATION, AND VIRTUOSIC SINGING MADE THIS AN EXTREMELY POPULAR OPERA IMMEDIATELY FOLLOWING THE COMPOSER S DEATH. DIALOGUES DES CARMÉLITES STORY & SETTING: IN ADDITION TO COMPOSING THE MUSIC, POULENC WROTE THE LIBRETTO FOR THIS DEVASTATINGLY BEAUTIFUL OPERA ABOUT FAITH AND MARTYRDOM. THE PIECE IS BASED ON A TRUE STORY OF 16 CARMELITE NUNS WHO CHOSE TO SACRIFICE THEMSELVES FOR THE ADVANCEMENT OF PEACE DURING THE FRENCH REVOLUTION. OPERA NOTES: PREMIERED IN 1957, POULENC S SECOND OPERA COULD NOT BE MORE DIFFERENT IN SUBJECT OR MOOD THAN HIS EARLIER FARCE LES MAMELLES DE TIRÉSIAS. THE COMPOSER DEDICATED THE PIECE TO PREDECESSORS MONTEVERDI, DEBUSSY, VERDI AND MUSSORGSKY, AND EVEN APOLOGIZED FOR THE TONAL MUSIC CONTAINED IN THIS OPERA. THE PIECE IS NOTED FOR ITS GREAT USE OF TEXT-DRIVEN RECITATIVO SINGING, AND USE OF LEITMOTIF TO REPRESENT THEMES SUCH AS FEAR, DEATH, AND PRIDE. RATHER THAN A GRAND FINALE, HE EMPLOYS A HAUNTING UNISON CHORALE OF THE SALVE REGINA AS THE NUNS GO TO MEET THEIR FATE. 10
PROFESSIONAL DEVELOPMENT At least one teacher from each Access Opera school is expected to attend a minimum of one of the following professional development options as part of their school s participation in the Access Opera program. To register for Access Opera Professional Learning Workshops, please visit www.metguild.org/accessoperareg and complete the form listed under Professional Development Registration. FROM PAGE TO STAGE: ADAPTING LITERARY WORKS FOR THE OPERA HOUSE Led by a Guild teaching artist, this workshop will delve into the adaptive process of a librettist. Using examples from this season s Access Opera offerings, participants will have a chance to compare original works with their operatic versions. Demo activities for integration in the classroom will be provided, with options for various grade levels. Related rehearsals: Otello, Mefistofele, Tosca, La Fanciulla del West, Carmen, La Traviata Date: Wednesday, October 17, 2018, 10:00am-1:00pm Optional Performance: La Fanciulla del West (7:30pm) TRIUMPH AND TRAGEDY IN THIS SEASON S MOZART OPERAS The operatic cannon of W.A. Mozart is as wide ranging as can be imagined. Join us for a detailed look into this year s offerings, from the lighthearted and fantastical Magic Flute to the dramatic and fiery end of Don Giovanni. Led by Guild staff, this lecture will explore the ways in which the composer and librettist portray a variety of moods, characters and ideas. Multiple entry points for opera integrated instruction will be explored, and both newcomers and experienced opera-going teachers will be sure to find new ways to approach these classics with their students. Related rehearsals: The Magic Flute, Don Giovanni, La Clemenza di Tito Date: Wednesday, November 28, 2018, 12:00pm-3:00pm Optional Performance: Les Pêcheurs de Perles (7:30pm) BEHIND THE GOLDEN CURTAIN Our most popular session from last season is back! This workshop will provide comprehensive information about the Metropolitan Opera house, the largest classical music organization in North America. A lecture portion will start off this session, followed by a 90 minute tour of the opera house. Date: Thursday, January 10, 2019, 1:30pm-4:30pm Optional Performance: Otello (7:30pm) LEITMOTIF IN OPERA: A LOOK AT DIFFERENT COMPOSER APPROACHES The concept of leitmotif, or using specific musical motives to represent characters, places, or ideas, is most often associated with Richard Wagner. However, he was not the only operatic composer to use this technique. In this interactive lecture, Guild staff will lead participants through an exploration of multiple composers, with specific focus on their operas from this season s Access Opera offerings. Related rehearsals: Das Rheingold, Il Tabarro (Il Trittico), Dialogues des Carmélites, Tosca Date: Saturday, February 2, 2019, 2:00pm-5:00pm Optional Performance: Don Giovanni (8:30pm) VISUAL DESIGN IN OPERA This popular, hands-on workshop explores visual elements in opera production, including scenery, lighting, and costuming. Special focus will be given this year to contemporary production updates of classic operas, and will invite participants to analyze professional production portfolios and learn how design serves as an artistic language. Date: Wednesday, March 20, 2019, 3:30pm-6:30pm Optional Performance: Rigoletto (8:00pm) 11
BEYOND THE STAGE REPERTOIRE EXPLORATION This series of five workshops provides students with an introduction to the art form by immersing them in the text, music, and artistic interpretation of the opera they will be attending. Led by a Guild Artist, these interactive sessions take place in the classroom and are tailored to curriculum goals in collaboration with participating teachers. Students are encouraged to draw connections across subject areas, including literature, social studies, foreign language, and the arts. The workshops are intended as the next step, following initial preparation completed by the classroom teacher (which may include studying the story, characters, themes, and historical context). Duration: Appropriate for: *Fee: FIVE 45-MINUTE SESSIONS PER CLASSROOM GRADE 3 TO COLLEGE $500 PER CLASSROOM (up to 35 students per classroom) Minimum 4 classrooms per school *Not including final dress rehearsal ticket cost IN-SCHOOL OR ON-SITE WORKSHOPS This year, the Guild is happy to offer schools participating in the Access Opera program the opportunity to deepen their opera experience through a one-time workshop for students and teachers. These interactive workshops will be led by Guild Artist and Staff, and are fully customizable for the age level and opera(s) to be attended. Subjects such as production design, composition, opera history, and voice types are examples of focus points for these workshops. Guild workshop space can accommodate up to 50 participants. Duration: Appropriate for: *Fee: 3-4 HOURS GRADE 3 TO COLLEGE $400-600 PER WORKSHOP (dependent upon location and material) BACKSTAGE TOURS *Not including final dress rehearsal ticket cost Go behind the scenes for an exclusive look at what it takes to make operatic magic at the Met! Tours offer a fascinating backstage look at one of the world s premiere performing arts organizations, including areas such as the scenic and carpentry shops, rehearsal rooms, dressing rooms, and stage area. Tours are held during the Met performance season on some weekdays at 3:00PM and most Sundays at 10:30AM and/or 1:30PM. *NO TOURS are available on days of final dress rehearsals. Please call (212) 769-7028 to schedule a group tour or for more information. Duration: Appropriate for: Fee: 75 MINUTES GRADE 3 TO ADULT $20 PER PARTICIPANT (STUDENT GROUP RATE) 12
ACCESS OPERA RESOURCES The Metropolitan Opera Guild is committed to providing quality resources to aid teachers in connecting the opera experience with ongoing classroom instruction. The following are therefore provided as part of Access Opera participation: A GUIDE FOR EDUCATORS & ONLINE RESOURCES These materials are repertoire-specific, offer valuable background and context, and are intended to help teachers develop their own applications to classroom learning. All digital materials will be made available to participating schools, including a recording of each opera, available video and libretto materials, and other online resources. OPTIONAL OPERA NEWS SUBSCRIPTION Each Access Opera school has the opportunity to receive a complimentary digital subscription to OPERA NEWS magazine, a monthly publication that presents interviews, commentary, and the latest news on opera from around the world. EVENING PERFORMANCES All Access Opera schools have the opportunity to purchase discounted tickets through the Metropolitan Opera Guild to select evening performances. This offer is available for student and teacher groups only, and students must be accompanied by adult school representatives. A list of available performances will be distributed via email in Fall 2018. The cost per ticket is $42.50 for all performances. METROPOLITAN OPERA GUILD LECTURE SERIES Teachers involved in Metropolitan Opera Guild programming have access to special offers for the Guild s Lecture Series. Lectures are offered in conjunction with the Metropolitan Opera season, but also include opportunities during the summer months. Special offers will be sent by email to Access Opera participants. For more info about the Guild s lecture series, visit www.metguild.org. ACCESS OPERA STAFF The Metropolitan Opera Guild is dedicated to empowering school communities to provide arts learning opportunities for all students. The Access Opera staff serves as a resource for supporting your efforts to include opera as a valuable component of ongoing teaching and learning. Stefanie Izzo, Access Opera Manager sizzo@operaed.org (212) 769-7022 Stuart Holt, Director of School Programs and Community Engagement sholt@operaed.org (212) 769-7023 13