TABLE OF CONTENTS
Please carefully review all sections of the 2016-2017 Matinees at the Met Program Guide
and involve participating colleagues in organizing your school’s rehearsal experience.
page 2
ABOUT MATINEES AT THE MET
page 2
REPRESENTATIVE EXPECTATIONS
page 3
POLICIES AND PROCEDURES
page 4
VISITING THE MET
page 5
REGISTRATION AND REHEARSAL REQUESTS
page 8
PROFESSIONAL DEVELOPMENT OPTIONS
page 11
MATINEES AT THE MET RESOURCES
page 11
MATINEES AT THE MET STAFF
page 12
MATINEES AT THE MET: BEYOND THE STAGE
ABOUT MATINEES AT THE MET
Going beyond the ordinary field trip experience, Matinees at the Met 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 Matinees at the Met teacher representative is expected to attend one of the professional
development options provided by the Metropolitan Opera and the Metropolitan Opera Guild, and each
representative must also complete the program end-of-year reflection form.
REPRESENTATIVE EXPECTATIONS
Each Matinees at the Met 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 2017.
• Maintain communication with Guild staff regarding the Matinees at the Met program.
• Notify the Guild of any changes in school or representative status.
2
POLICIES AND PROCEDURES
As participants in the Matinees at the Met program, students, teachers, administrators, parents, and other
members of the school community are part of a group of over 10,000 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 with accompanying digital recording and libretto. (Please note: school
groups that have not registered in time for the early August confirmation will be confirmed on a rolling basis.)
•
Four to six weeks prior to rehearsal: Tickets, additional rehearsal material (cast information, etc.), and the Pathways
for Understanding educational packet will be sent to attending school groups; confirmation of mailing sent to
representatives of attending school groups.
CANCELLATION POLICY
The Metropolitan Opera Guild must be notified of any scheduling conflicts or cancellations at least six weeks in
advance of scheduled rehearsal attendance. Cancellations that occur after six weeks prior to the rehearsal will not be
rescheduled, and the membership fee will not be reversed. Upon cancellations, all materials, including tickets, must be
returned to the Guild within five business days, and all use of complimentary digital materials must be discontinued.
Failure to return materials will result in a fine equal to the combined list price of these materials.
Should any matter or condition beyond the reasonable control of either party prevent delivery of Matinees at the
Met services, such as emergency weather conditions, school closings, school emergencies, and Metropolitan Opera
cancellations, then this policy may be terminated or suspended.
ATTENDANCE POLICY
The Metropolitan Opera Guild is proud to serve over 10,000 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
Matinees at the Met 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 (listed under “Visiting the Met”
on page 4) 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 11) with any questions or concerns. It is
important to also review and follow the Matinees at the Met Teacher Representative expectations (listed on page 2).
•
Groups are expected to arrive in the lobby area of the opera house no later than one hour prior to the start of the
rehearsal. When you arrive at the opera house, please send a representative to check-in at 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.
•
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: No food is 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 an area adjacent to where you will be eating.
•
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 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
2016-2017 Matinees at the Met Registration and Rehearsal Request Form is found here:
http://www.metguild.org/MATMreg
Also included on this page are synopses for all the dress rehearsal offerings, as well as the form for making
rehearsal requests for additional groups.
Please follow the directions below to register for the 2016-17 Matinees at the Met program and make your
rehearsal requests. Please 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/MATMreg.
• 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.
• Indicate your first, second, third, and fourth choices for your final dress rehearsal attendance this season, as
well as the number of tickets you would like to request for that rehearsal.
• NOTE: Teachers registering additional groups planning to attend different operas should submit the
Additional Groups form in addition to their registration and initial rehearsal request form. This form can also
be found at http://www.metguild.org/MATMreg. Please submit as many forms as needed.
• Input the total number of class memberships you would like to request. This number should include all
memberships for which you are registering, including any requests made using the additional groups form.
Remember: you are allotted 35 tickets per class membership, which should include chaperones.
• Input your preferred payment method as prompted. If requesting an invoice, 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 with the date.
• Indicate anything else you’d like us to know in the “Notes” section.
• Click “Submit” at the bottom of the page to submit your Matinees at the Met 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.
5
11:00am
10:30am
10:30am
10:30am
10:30am
10:30am
10:30am
al l age S
en glI Sh
al l age S
Ital Ian
ne w pr od uctIo n
conte M pora ry
M Id d le Scho ol and up
Fren ch
all a geS
ItalI an
ne w pr od uctIo n
al l age S
Fren ch
al l age S
Ital Ian
M Id d le School a nd u p
I ta lIa n
o n t h e l I g h t e r S I de
opera noteS
opera noteS
h I S t o r Ic a l el e M e n t S
no ta ble lI terary c onnectI onS
The story of the opera is either based
on or comes directly from a wellknown author or piece of literature.
The opera and/or production includes
historical references, ranging from
settings and time periods to stories or
events with historical significance.
These notes provide insightful
information about both familiar and
obscure works alike.
op e r a n o t e S
school will be accommodated for this opera.
The opera and/or production
includes comedic moments and lighthearted story lines.
o n t h e l I g h t e r S I de
Y Teachers of younger students may want to
pay particular attention to operas with this
designation. However, all teachers are encouraged
to consider all rehearsal offerings and look for
connections with ongoing classroom learning.
Newer productions that use
technology and non-traditional
settings and/or production elements.
conteMporary productIon deSIgn
nudity and adult themes that are not
appropriate for younger students.
* Productions with this symbol may contain
This offering is a new production
that will be premiering at the
Metropolitan Opera this season.
n ew M et p rod uctI on
All timings are approximate. Please
remember that an opera is a work of art
and always open to interpretation. The final
rendering of any opera presented as part of
the Matinees at the Met program is at the
discretion of the Metropolitan Opera.
“Mozart’s fantastical masterpiece has been a beloved operatic standard since its premiere
over 200 years ago.” Whimsical puppetry is showcased in Julie Taymor’s renowned production this season.
First performed in 1842, Nabucco was a great success, initiating Verdi into the canon of famous
opera composers as we know them today.
Nabucco was written with a nationalist flare, connecting Verdi’s countrymen to the concepts of
liberty and self-sustainability, as demonstrated in the musical number “Va, pensiero.”
Based on the poetic text, La Vida breve, by Jaufre Rudel, an early to mid-12th century troubadour.
Aida is Grand Opera at its finest. The famed triumphal march that opens the second act is
not to be missed and includes horses and ballet dancers.
Aida was born through a commission by the ruler of Egypt, Khedive Ismail, who asked Verdi to compose
an opera inspired by his country’s history.
The opera Guillaume Tell is best know for it’s famous overture, and is not generally considered an operatic
warhorse. However, when the opera premiered in 1829 in Paris, it was preformed a whopping 56 times!
Guillaume Tell is based on Schiller’s play William Tell, which was based upon the William Tell legend.
A stark and comedic opera, L’Italiana provides performers with the opportunity to use Rossini’s
energetic melodies as a canvas for their own comedic genius.
Rossini wrote this piece in 27 days at the age of 21. His youthful curiosity
and elegance can be heard throughout the work.
Don Giovanni owes its popularity to Mozart’s masterful juxtaposition of comedy and drama,
as well its enigmatic title character.
Loosely based on the supposed historical figure, Don Juan Tenorio.
# No more than two classes (up to 70 tickets) per
op e r a n o t e S
opera noteS
h I S t o r I c a l e l e Me n t S
no tab le l I t e r a ry c o n n e c t I o n S
opera noteS
h I S t o r I c a l e l e Me n t S
on t h e l I g h t e r S I de
no ta ble l I t e r a ry c o n n e c t I o n S
hI StorI cal e leM entS
the following keys and symbols are designed to guide your
review of rehearsal offerings and help you select the opera
best suited for your students and classroom.
1 hou r and 45 m inu te S
The Magic Flute#Y
Mozart
dec 16, 2016
2 hou rS a nd 4 5 m inu teS
Nabucco
Verdi
dec 9, 2016
2 hou rS a nd 4 0 m inu teS
L’Amour de Loin
saariaho
nov 28, 2016
3 h ou rS and 45 m i nu te S
#Y
Aida
Verdi
nov 1, 2016
4 hou rS a nd 5 0 m inu teS
Guillaume Tell Y
rossini
oct 14, 2016
3 hou rS
L’Italiana in Algeri Y
rossini
Sep 30, 2016
3 hou rS a nd 30 m inu teS
Don Giovanni
Mozart
Sep 23, 2016
RE HEAR SAL OFF ERIN G S
6
10:30am
10:30am
10:30am
10:30am
10:30am
10:30am
#Y
10:30am
3 hou rS
Cyrano de Bergerac
alfano
apr 28, 2017
2 hou rS a nd 3 0 m inu te S
Der Fliegende Holländer
Wagner
apr 21, 2017
3 hou rS a nd 4 0 m inu te S
Eugene Onegin
tchaikoVsky
mar 27, 2017
2 hou rS a nd 3 0 m inu te S
Fidelio
BeethoVen
mar 13, 2017
3 hou rS a nd 3 0 m inu te S
I Puritani
Bellini
Feb 7, 2017
3 hou rS a nd 4 5 m inu te S
Rusalka
dVořák
Jan 30, 2017
3 hou rS a nd 2 0 m inu te S
Il Barbiere di Siviglia
rossini
Jan 6, 2017
M I dd le School and up
Fre nc h
a ll ag eS
g erM an
M Id d le Sc ho ol a nd u p
ruS SI an
a ll ag eS
g erM an
M Id d le Sc ho ol a nd u p
I ta lIa n
new p ro du ctI on
a ll ag eS
cze ch
a ll ag eS
I ta lIa n
hIStorIcal eleMentS
nota bl e l I t e r a ry co n n e c t I o n S
no tab le l I t e r a ry co n n e c t I o n S
hIStorIcal eleMentS
opera noteS
nota bl e l I t e r a ry c o n n e c t I o n S
op e r a n o t e S
notab le l I t e r a ry co n n e c t I o n S
opera noteS
h I S t o r I c a l e l e Me n t S
notab le l I t e r a ry co n n e c t I o n S
h I S t o r I c a l e l e Me n t S
o n t h e l I g h t e r S I de
Roxane was also a real person—de Bergerac’s cousin—and was married to the Baron of Neuvillette.
Cyrano de Bergerac was originally a play written in 1897 by playwright Edmond Rostand. Although there was a
real Cyrano de Bergerac, the play is mainly a fictionalization of his life.
In his 1843 Autobiographic Sketch, Wagner acknowledged he had taken the story from Heinrich Heine’s retelling
of the legend in his 1833 satirical novel, The Memoirs of Mister von Schnabelewopski (Aus den Memoiren des
Herrn von Schnabelewopski).
Wagner claimed in his 1870 autobiography Mein Leben that the opera was inspired following a stormy sea
journey he made from Rigato London in July and August 1839.
Where Pushkin associated himself with Onegin, Tchaikovsky fell for Tatyana. Around the time Tchaikovsky began
feverish work on Onegin he received a love letter from a long-forgotten student named Antonina Milyukova, not
unlike that sent by Tatyana to Onegin. This served as a major influence when he was composing the opera.
Based on the classic Russian novel by Alexander Pushkin
The book, The Standard of Opera, states that “Fidelio stands almost alone in its perfect purity,
in the moral grandeur of its subject, and in the resplendent ideality of its music.”
The libretto Beethoven used for Fidelio in the 1805 version was by Joseph Sonnleithner, based on
a French libretto by Jean-Nicolas Bouilly for the 1798 opera Léonore, ou L’amour conjugal composed
by Pierre Gaveaux. (According to some sources, the original plot is based on a true story.) Bouilly’s
libretto also served as the basis for the 1804 opera Leonora by Ferdinando Pae.
I Puritani, which she referred to as “Dear Puritani”, was Queen Victoria’s favorite opera and the first which she
attended in the company of Prince Albert before their marriage.
This opera is set in England, against the backdrop of the English civil war of the 1640s that divided the nation
between the largely Puritan supporters of Parliament under Oliver Cromwell (the Roundheads) and the Anglican
and Catholic Royalists faithful to the Stuart monarchy (the Cavaliers).
7
The plot of Rusalka contains plot elements that also appear in The Little Mermaid by Hans Christian Andersen and
in Undine by Friedrich de la Motte Fouqué. The opera is described as a “”sad, modern fairy tale”.
Rusalka is a popular figure from Slavic mythology. She is a water sprite that inhabits a lake or river.
Rossini’s work shines with spirited humor. The Met describes its current staging as “light on its feet,
with mobile sets that allow the comic action to swirl from stage to audience and back again.”
Il Barbiere di Siviglia is an adaptation of the first of Beaumarchais’ “Figaro” plays,
and is set before Le Marriage de Figaro, which Mozart used for his own masterpiece.
( CO N TIN uED)
notab le l I t e r a ry co n n e c t I o n S
RE HEA RSA L OFFE RIN G S
PROFESSIONAL DEVELOPMENT
At least one teacher from each Matinees at the Met school is expected to attend a minimum of one of the
following professional development options as part of their school’s participation in the Matinees at the Met
program. This year we have included options from the Metropolitan Opera Guild’s Lectures series and Met
Opera HD Live in Schools Educator Workshops in order to diversify learning opportunities for Matinees at the
Met teachers. Teachers may choose to attend one of the Matinees at the Met-specific Professional Learning
Workshops for free, or pay to attend one of the designated lectures on the following page to complete this
requirement.
To register for Matinees at the Met Professional Learning Workshops or the Guild Lectures option, please visit
www.metguild.org/MATMreg and complete the form listed under “Professional Development Registration.”
Option 1: Matinees at the Met Professional Learning Workshops
Cost: Free for Matinees at the Met teachers
EXPLORING OPERA THROUGH GRADE-LEVEL-SPECIFIC ACTIVITIES
Led by a Guild teaching artist, these explorative workshops provide teachers with the opportunity
to experience grade-level-specific opera activities to bring back to your classroom. We will demo
activities that can be used as a strategy for opera integrated and core curriculum based instruction,
tailored to classroom grade levels. Each session will focus on a different age range, based on the
participating ages within the Matinees at the Met program.
EXPLORING OPERA: ELEMENTARY AND MIDDLE SCHOOL ACTIVITIES
Date: Wednesday, October 26, 2016, 1pm-4pm
Optional Performance: L’Italiana in Algeri ($40 each; 7:30pm)
VISUAL DESIGN IN OPERA
This popular, hands-on workshop explores visual elements in opera production, including scenery,
lighting, and costuming. Participants analyze professional production portfolios and learn how
design serves as an artistic language.
Date: Saturday, January 21, 2017, 2pm-5pm
Optional Performance: Il Barbiere di Siviglia ($40 each; 8:00pm)
BEHIND THE GOLDEN CURTAIN
A successful session addition last season, this workshop will provide comprehensive information
about the Metropolitan Opera house, the largest classical music organization in North America. A
lecture portion and sample in class activities will start off this session, which will then be followed by
a 90 minute tour of the opera house.
Date: Tuesday, March 21, 2017, 10am-1pm
Optional Performance: Idomeneo ($40 each; 7:30pm)
EXPLORING OPERA THROUGH GRADE-LEVEL-SPECIFIC ACTIVITIES
EXPLORING OPERA: HIGH SCHOOL AND UNIVERSITY ACTIVITIES
Date: Thursday, April 27, 2017, 1pm-4pm
Optional Performance: Rigoletto ($40 each; 7:30pm)
8
PROFESSIONAL DEVELOPMENT (CONT.)
Option 2: Met Opera HD Live in Schools Educator Workshops
Cost: Free for Matinees at the Met teachers
The Met offers educators professional development workshops throughout the season. Workshops are focused
on the current HD Live in Schools season and are intended to help teachers learn strategies and techniques to
bring opera to life in the classroom. Join us for any (or all) of these experiential workshops designed to introduce
educators to this season’s exciting productions.
NABUCCO TEACHER WORKSHOP
Date: Thursday, December 15, 2016, 4:30pm-6:00pm
Location: List Hall, Metropolitan Opera House
ROMEO ET JULIETTE TEACHER WORKSHOP
Date: Wednesday, January 11, 2017, 4:30pm-6:00pm
Location: List Hall, Metropolitan Opera House
LA TRAVIATA TEACHER WORKSHOP
Date: Thursday, March 2, 2017, 4:30pm-6:00pm
Location: List Hall, Metropolitan Opera House
EUGENE ONEGIN TEACHER WORKSHOP
Date: Thursday, April 6, 2017, 4:30pm-6:00pm
Location: Opera Learning Center, Metropolitan Opera Guild Offices
9
PROFESSIONAL DEVELOPMENT (CONT.)
Option 3: Guild Lectures
Cost: $15 for Matinees at the Met teachers
OPERA BOOT CAMP: A GUIDE TO LISTENING
What makes one composer’s musical style sound different or distinct from another’s? How did composers
expand the orchestra or break down traditional operatic conventions? How were they influenced by those who
came before them, or had an impact on later generations? Join lecturer Naomi Barrettara as she delves into
these and other questions, surveying the styles of composers in the Met’s 2016–17 season.
FROM MOZART’S CLASSICISM TO
BEETHOVEN’S ROMANTIC INNOVATIONS
WAGNER AND HIS MUSICAL SOUND
Date: Sat 9/17/16, 11am-12:30pm
Registration due by 9/3/16
Date: Sat 9/17/16, 2pm-3:30pm
Registration due by 9/3/16
A POST-WAGNERIAN SOUND WORLD COMPARING AND CONTRASTING
ACROSS EUROPE
MUSICAL ST YLES ACROSS HISTORY
Date: Sat 9/24/16, 11am-12:30pm
Registration due by 9/10/16
Date: Sat 9/24/16, 2pm-3:30pm
Registration due by 9/10/16
OPERA BOOT CAMP: RUSSIAN, SLAVIC, AND FRENCH REPERTOIRE
The lineup of the Met’s 2016–17 season features a variety of operas from the French, Slavic, and Russian romantic
repertoire, as well as a contemporary work by a Finnish composer. Join guild lecturer Naomi Barrettara as she
explores the lives of these operas’ creators as well as the historical background, musical style, and cultural
milieu of each work.
TCHAIKOVSKY AND THE RUSSIAN CZECH OPERA AT THE TURN OF THE
ROMANTIC MUSICAL LANDSCAPE
CENTURY
Date: Sat 2/4/17, 11am-12:30pm
Registration due by 1/21/17
Date: Sat 2/4/17, 2pm-3:30pm
Registration due by 1/21/17
LATE FRENCH ROMANTICISM AND FRENCH ROOTS IN OPERAS OF THE
THE BELLE ÉPOQUE
20TH AND 21ST CENTURIES
Date: Sat 2/11/17, 11am-12:30pm
Registration due by 1/28/17
Date: Sat 2/11/17, 2pm-3:30pm
Registration due by 1/28/17
BEHIND THE GOLDEN CURTAIN: ARTS AND ARTISANS AT THE MET
In this series of conversations, the Guild’s Director of School Programs and Community Engagement, Stuart
Holt, joins Metropolitan Opera musicians, artisans, and administrators for an inside look at the workings of one
of the world’s major performing arts institutions.
MEET THE ORCHESTRA THE MAKING OF A NEW
Date: Thu 3/9/17, 6pm-7pm
Registration due by 2/23/17
PRODUCTION
Date: Thu 3/16/17, 6pm-7pm
Registration due by 3/2/17
SELLING OPERA IN THE 21ST CENTURY
Date: Thu 3/23/17, 6pm-7pm
Registration due by 3/9/17
*Limit one lecture at discounted price per teacher per season. Matinees at the Met teachers have access to any additional
lectures at the Student price. Limited space available. Please note that the Guild will not be able to provide certification of
Professional Development attendance for the Lecture Option.
10
MATINEES AT THE MET 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 Matinees
at the Met participation.
PATHWAYS FOR UNDERSTANDING
These materials are repertoire-specific, offer valuable background and context, and are intended to help teachers
develop their own applications to classroom learning. A digital recording or HD streaming video of the opera,
as well as a full libretto with English translation, are also provided with Pathways for Understanding materials.
OPTIONAL OPERA NEWS SUBSCRIPTION
Each Matinees at the Met 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 Matinees at the Met schools have the opportunity to purchase discounted tickets through the Metropolitan
Opera Guild to select evening performances. This offer is available for student groups only, and students must
be accompanied by adult school representatives. A list of available performances will be distributed in Fall 2016.
The cost per ticket is $40 for all performances.
METROPOLITAN OPERA GUILD LECTURE SERIES
Teachers and high school/college students involved in Metropolitan Opera Guild programming have access to
special educator and student discounts for the Guild’s Lecture Series. Lectures are offered in conjunction with
the Metropolitan Opera season, but also include opportunities during the summer months. Visit the “For the
Community” section of the Guild’s website (www.metguild.org) for more information.
BACKSTAGE TOURS
Matinees at the Met schools are able to tour the Metropolitan Opera at a reduced cost. Students are given
behind-the-scenes access to the world of opera production. Groups tour the costume shop, scenic shop, wig
shop, rehearsal spaces, the stage, the auditorium, and more. The cost is $10 per ticket. (Note: There are no
backstage tours on final dress rehearsal dates.)
MATINEES AT THE MET STAFF
The Metropolitan Opera Guild is dedicated to empowering school communities to provide arts learning
opportunities for all students. The Matinees at the Met staff serves as a resource for supporting your efforts to
include opera as a valuable component of ongoing teaching and learning.
Carianne Bennett, Manager of Matinees at the Met
[email protected] | (212) 769-7024
Stefanie Izzo, School Programs Administrative Coordinator
[email protected] | (212) 769-7022
Stuart Holt, Director of School Programs and Community Engagement
[email protected] | (212) 769-7023
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MATINEES AT THE MET: 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:
FIVE 45-MINUTE SESSIONS PER CLASSROOM
Appropriate for:
GRADE 3 TO COLLEGE
*Fee:
$500 PER CLASSROOM (up to 35 students per classroom)
Minimum 4 classrooms per school
MATINEES AT THE MET: BEYOND THE STAGE
PRODUCTION
DESIGN
This hands-on workshop introduces students to the elements of opera production,
including scenery, lighting, and costume design. Students analyze professional
production portfolios, and learn how technical elements of opera help communicate
information, character, and story. Working in small groups, students create design specs,
scenic renderings, and stage models. The three-hour session is grounded in grade-level
content standards, and includes ties to college and career readiness. Participants may
also attend a backstage tour of the Metropolitan Opera House (subject to availability).
Duration:
3-HOUR WORKSHOP at the Metropolitan Opera Guild
Appropriate for:
GRADE 6 TO COLLEGE
*Fee:
$650 PER CLASSROOM (up to 30 students per classroom)
To register or for
more information:
CARIANNE BENNETT, Manager of Matinees at the Met,
[email protected] 212.769.7024
*Fee in addition to cost of Matinees at the Met participation.
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