Study Guide For Teachers
Stephen Mosel and
Company
in
“Opera Works”
presented by
Young Audiences
(866) 500-9265
www.yanj.org
www.yaep.org
ABOUT THE PROGRAM
BACKGROUND INFORMATION FOR STUDENTS
Using excerpts from such operas as The
Barber of Seville, La Traviata, Don Giovanni and
Porgy and Bess, the company introduces students
to the expressive qualities of the human voice and
the dramatic possibilities of the operatic medium.
This lively ensemble blends a special mix of music,
theater and plenty of humor as the students learn
about the variety of language used in opera and
how to understand what they’re watching through
the abilities of the performers to communicate
theatrically and musically. With active participation
in the program, the audience becomes the directors,
conductors and musicians needed to produce live
theater.
Opera is a musical work composed for the
theater, in which most of the dialogue is sung.
Although music is the main ingredient of opera,
opera involves all of the visual and performing arts,
including singing, accompaniment, artistic and
music direction, visual arts (in creating sets,
scenery, lighting and costumes) and a conductor.
Because words are sung, we hear
individuals singing their thoughts in solos, duets and
sometimes in ensembles. Sometimes a singer will
express thoughts in a vocal style called recitative,
which imitates and emphasizes the natural
inflections of speech. In contrast, the aria, which is
often introduced by the recitative, is much more
tuneful and represents lyric episodes that
temporarily relieve the dramatic tension of the
action and show off the artistry of the singer.
Opera began in ancient times. We know that
music played an important role in the earliest
recorded form of theatre, that of ancient Greece.
However, because this music was not written down
in recognizable symbols, we know very little about
what it sounded like.
Opera, as we know it today, started as a
diversion for the Italian court in the late 16th
century. As it expanded into the public theatre, it
became a more complex art form. By the 19th
century, opera had become a popular form of
entertainment and has remained so through this
century.
LEARNING GOALS
ƒ Students will develop a positive attitude toward
opera.
ƒ Students will learn the basic components of the
operatic medium.
ƒ Students will develop an appreciation of the range
and qualities of the operatic voice.
BEFORE THE PROGRAM
1. Before the performance, practice the skill of
listening! Start with recordings of such popular
operas as Carmen, Amahl and the Night Visitors,
Marriage of Figaro, or La Boheme (available at
most libraries), and point out to the students some
of the most beloved arias and ensembles. Have
them listen carefully to the words and music and
see if they can discover some of the underlying
emotion just from hearing the music.
2. Point out to the children that opera is a play that is
sung instead of spoken, and discuss the many
different ingredients in opera (singing, acting,
costumes, orchestra, scenery, etc.).
3. Ask the children to listen to each other's voices
and to differentiate them. Show that the
differences involve pitch, volume, and timbre.
4. Talk to students about the skills that a good opera
singer needs to have.
ƒ The operatic voice must be strong enough to
be heard in a large room without a
microphone.
ƒ The singer must have a voice that is resilient,
exciting, and capable of expressing a variety
of emotions —and therefore needs years of
vocal training and hours of daily practice!
ƒ Opera singers must also be familiar with
drama , dance, and stage combat. It is also
very important to be a strong musician!
5. Explain to students that opera singing is a
specialized skill. Play records of folk music, pop,
rock, country, soul, gospel, and opera — and
compare voice types. Relate different voice
ranges to instrument ranges.
6. On the day of the performance, ask students to
keep the following suggestions in mind as they
look and listen:
ƒ Watch the singers' facial expressions and
hand movements.
ƒ Look closely at the props and costumes. Do
they add to the enjoyment and understanding
of what is going on?
ƒ Listen to the pianist. He has one of the hardest
jobs of all!
AFTER THE PROGRAM
1. Have students write a review of the program they
just saw for the school newspaper. What parts of
the show did they like? Why? What could have
been better about the show?
2. Have students work together or individually to
write a aria about something that is important to
them. They could use an existing tune or make
up their own. After writing their arias, have them
sing them to the class, or to each other in small
groups.
3. Have students draw a picture of one of the scenes
of one of the operas they saw in today’s program.
Tell them to make sure to depict the character’s
traits in their drawing, either literally or
symbolically.
VOCABULARY WORDS
Soprano — the highest of the women's voices.
Mezzo-soprano — "Mezzo" means "middle." This
woman's voice lies between soprano and contralto.
Contralto — the lowest female voice.
Tenor — the highest male voice.
Baritone — lies between tenor and bass.
Bass — the lowest male voice.
Aria — a song, especially for one singer.
Brava! (f.) and Bravo! (m.) — an audience shout,
applauding a singer's performance.
Composer — a person who creates and writes down
the music.
Conductor — the leader of the musicians and
singers.
Director — the person who decides how the story will
be told through the actions of the singers; and along
with technical assistance, the appearance of the
costumes, the lighting, and the sets.
Ensemble — a work for three or more singers; also,
musicians engaged in a performance.
Libretto — A "Little Book" that contains the words of
the opera.
Recitative — words spoken musically.
Staging/Stage direction — manner in which the
singers move on stage in order to express what the
characters are doing, thinking, or feeling.
RESOURCES
ARTIST INFORMATION
Englander, Roger. Opera: What's All the Screaming
About? New York: Walker and Company, 1983.
Stephen Mosel, Producer and Director of “Opera
Works”, is an accomplished bass-baritone with a long
history presenting performances and residencies in
the schools of New Jersey. He has toured
extensively, singing leading roles throughout the
United States and internationally. He developed
“Opera Works” in 1978 and since then he and his
talented cast, have performed for over 15,000
students each year.
Streatfeild, Noel. The First Book of the Opera. New
York: Franklin Watts, Inc., 1966.
Updike, John and Chappell, Warren. The Magic Flute.
New York: Alfred