Study Guide

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WHAT IS HGOco?

HGOco connects Houston Grand Opera’s creative resources with our diverse and vibrant community. The “co” in HGOco stands for company, community, and collaboration. HGOco’s innovative and engaging programs take place throughout the Houston area—in schools, parks, community landmarks, alternative performance spaces, and at the Wortham Theater Center, providing a range of opportunities for Houstonians of all ages to seek, engage, and learn through the inspiring art of opera. Our education programming includes Opera to Go!, High School Night and student matinees of main-stage productions, the Bauer Family High School Voice Studio, professional development workshops for teachers, opera camps, and residency programs.

WHY ARTS INTEGRATION?

Integrating the arts into your curriculum not only has the undisputed benefit of increasing student engage-ment and motivation, but plays an important role in supporting student achievement. Students who par-ticipate in arts-integrated activities can help to in-crease both oral and written language skills as well as ESL abilities. Curriculum rich in arts-integrated activities has been linked to the development of im-portant 21st century skill building and increases in retention.

Using information in new and different ways facili-tates creativity and problem-solving, fosters active learning, supports higher-level learning and abstract reasoning, while allowing students to make personal connections to the content. The arts also build a strong sense of community and help children develop criti-cal social and collaborative skills. Whether for purely artistic and esthetic reasons or to build specific skills, integrating arts into the important work you already do with your students will provide a rich foundation for continued exploration and growth. ABOUT OUR STUDY GUIDE

This study guide is designed to be used within the classroom to prepare your students for the Opera to Go! performance. It is divided into four sections: the basics of opera; information on Monkey & Francine in the City of Tigers, the opera; reference terms and fun activity pages; and curriculum-related lesson plans for your students.

Although Monkery & Francine in the City of Tigers is enjoyable for all audiences, a prepared student will better appreciate the performance.

As always, we love to hear feedback. We want to know how we can best serve you!

For more information please go to our website, HGO.org/HGOco

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Table of Contents

THE BASICS OF OPERA

What is an opera? 4 Why should we see an opera? 5

MONKEY & FRANCINE IN THE CITY OF TIGERS, AN OPERA

Synopsis 6Characters 7

REFERENCE/ACTIVITY PAGES

Vocabulary Guide 8-9Biographies - Composer & Librettist 10Libretto & Musical influences 11-12Create your own comic strip! 13Monkeys and Crocodiles and Tigers (Oh My!) 14-15

LESSON PLANS

Sing-a-Conversation 16Opera Poetry 17Opera Sense 18Fan Page 19

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Teachers: Ask your students for their ideas about what an opera is. Write OPERA on the board. Under it, list students’ answers. Ask again after the performance to see if their opinions have changed.

WHAT IS AN OPERA?

At Houston Grand Opera (HGO) we like to say Opera is simply storytelling, using words and music. Traditionally, all of the words are sung. However, some forms in the mid-late 19th century employed extended dialogue with comedy or satire and were called operettas. In the 21st century, exciting operas are

written in many forms and styles drawing on current social trends and an increasing diverse global society.

HOW DOES IT WORK?

You will immediately notice that opera singers, unlike their peers in popular music, do not use microphones. Rather, an opera singer develops her own body as a source of “natural” amplification.

HOW IS THIS DONE?

Through years of careful study and practice, they learn to project their sound and control the expelling of breath. By expanding the lower abdominal muscles while taking in air, the singer fills their lungs. These low muscles then assist the singer in regulating the amount of air used in singing. This

frees the neck and throat (where the vocal cords are) so the singer can produce a relaxed, full sound.

As the sound passes through the mouth it resonates in the sinus cavities of the face and head, which act as small echo chambers that help amplify the sound. The resulting sound is not only audible, but can be clearly heard in the back rows of the audience and the top of the balcony.

LANGUAGE, IL LINGUAGGIO, LA LANGUE, DIE SPRACHE

Operas are written in many languages as they are meant to appeal to the audience for which they originally perform. In the United States, many new operas are written in English and more and more are incorporating more than one language to reflect our growing diversity. A professional opera singer may be required to sing in Italian, French, German, Russian, Spanish, Czech and English, among others. There are also operas in Hungarian, Finnish, Mandarin Chinese...and the list goes on!

Obviously, not all opera singers can learn all of these languages, though many become fluent in at least one language other than their native tongue. How do they sing in all these different languages? Singers prepare by taking lyric diction classes that help them pronounce the words correctly, and with intensive study that includes a word-by-word translation of the text they are singing. But it doesn’t end there—not only do they have to understand what they’re saying, but they have to know what everyone else on stage is saying to make their interaction on stage authentic.

W h a t i s a n o p e r a ?

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W h y s h o u l d w e s e e a n o p e r a ?

WHY DOES HGO PERFORM OPERAS?

We love opera, and therefore want to share it with you! Opera is the ultimate collaborative art form that tells fun and relevant stories in new and exciting ways. It is a great way to learn about other people and their cultures. We think you will love it too!

(a scene from The Barber of Seville by Rossini)

WHAT’S SO SPECIAL ABOUT OPERA?

In its simplest form, opera combines music and drama to tell a story. In its grandest form, opera combines solo and choral singing, full or chamber orchestras, acting, movement and dance, scenic, costume and lighting design and other visual elements, and production/technical skills to make an exciting and unique art form.

I LIKE MUSIC, BUT OPERA IS FOR OLD PEOPLE...

Opera can be overwhelming at first, but you too can learn to love it! What you may not know is that many of the traditional operas are still popular because the music is so powerful and stories they tell can still relate to us today. Just like in sports where there are many different kinds - baseball, soccer, swimming, running and basketball, there are many different styles of opera - intense dramatic works, humorous stylized

operas, operas that celebrate specific cultures, and operettas among others. It may take time to find what you love the most. Remember: opera is telling stories through music. You could even create an opera right in your classroom!

DOES THE MUSIC REALLY MAKE A DIFFERENCE WHEN TELLING A STORY?

When you watch television or a movie, you might notice music heightens the drama. If something scary is about to happen, what do you hear? What if something surprising happens? People have used music to enhance drama ever since drama was created to entertain and enlighten us. If you’re not convinced, turn on the subtitles next time you watch a movie and mute the sound. You’ll notice that having music accompany the words makes a big difference. Here’s a fun online article all about this:http://www.bbc.co.uk/arts/0/24083243

(a scene from La Traviata by Verdi)

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M o n k e y & F r a n c i n e , S y n o p s i s

The Young Monkey Prince knows that someday he will be king of the monkeys. His sister Francine tells him that she can do anything boys can do. Their father, the Monkey King, tells the kids the kingdom is in trouble. The Lord of the City of Tigers has taken all their money

and bananas. Francine suggests their favorite game, “Crocodile Crunch.” Their parents warn them to not speak to crocodiles, beware of tigers, and never go into the forest by themselves. Monkey and Francine get ready for bed. The moon is outside the window. Francine, as always, is reading her book. Monkey is hungry. He sees the moon outside the window and thinks it is a dumpling. He crawls out the window, onto the branch of a huge flowering tree outside the Monkey Palace. He reaches for the moon, falls out of the tree, and lands on the ground beside the riverbank. Monkey meets the Crocodile. Monkey tells the Crocodile he was reaching for a sweet dumpling outside of his window when he fell out of the tree. The Crocodile tells him the best treats are on the other side of the river, and offers to take him. Monkey agrees. While in the river, the Crocodile tells Monkey he tricked him and he is going to eat his monkey heart. Monkey thinks fast. He tells the Crocodile he left his heart in a tree, and he will have to take him back to the other side of the river to get it. The hungry Crocodile reluctantly agrees and takes him back.

Once there, Monkey scampers up the tree, and back into the palace. He tells Francine there is a crocodile outside. Francine suggests that he skin the crocodile, and then they can use the skin to play their game, “Crocodile Crunch.” Quick as a wink, Monkey skins the crocodile and heads back to show it to Francine. But Francine is gone. Monkey sees the clues she has left behind and realizes the Tigers have kidnapped her.

Francine is tied to a tree in the forest, and Monkey finds her. They try to escape, but they cannot agree which way is the best. The Lady Tiger kidnaps them and takes them to the City of Tigers. Monkey and Francine are brought before the Lord of the Tigers, who promises to eat them for a snack. Francine asks Monkey if he has the crocodile skin. He says yes. She protests to the Tigers that they do not know who they are dealing with! Monkey puts on the crocodile skin and together he and Francine trick the terrified Tigers into letting them go.

Monkey and Francine take all the gold and bananas back to the Monkey Kingdom. Their parents are proud of him and tell him that he will be king. He insists that his clever sister Francine co-rule the kingdom with him. They know when they work together, they can do anything.

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C h a r a c t e r s

SINGERS CHARACTER DESCRIPTION COSTUMES

Priscilla Salisbury, soprano

Francine - The young princess of the Monkey Kingdom and Monkey’s sister. Francine loves reading books and has a special fondness for poetry. She enjoys bugging her brother and dreams of adventure.

Tahanee Aluwihare, mezzo-soprano

Monkey Queen - Mother to our two young heros, she wishes her kids weren’t such a handful sometimes.

Tiger Lord - This feline ruler has an enormous ego and a constant need for validation. He’s taken all the gold and bananas from the Monkey Kingdom.

Taelon Stonecipher, tenor

Monkey - The young prince of the Monkey Kingdom and Francine’s brother. His real name is George but he likes to go by “Monkey” insead. He’s often told that someday he’ll be king which fills him with pride. However, he’d often rather be eating bananas or getting into trouble.

Rameen Chaharbaghi, bass

Monkey King - Father to our two young heros, he loves his family but worries about the kingdom.

Crocodile - a smooth talker, but ultimately not too bright.

Lady Tiger - The obsequious wife who constantly praises the Tiger Lord. She also has a flair for choreography.

Costume design sketches by Clair Hummel

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ACCOMPANIMENT The musical background provided for a principal part

ARIA A musical piece for solo voice focusing on emotional expression

BARITONE The middle-range male voice

BASS The lowest male voice

CHORUS A group of singers who sing and act in a group, never as soloists

COLORATURA Elaborate ornamentation of a vocal line, or a voice having the ability and agility to sing many notes quickly, usually in an extended range

COMPOSER The person who writes the music

CONDUCTOR The person who leads the orchestra

DUET A musical piece for two performers

ENSEMBLE Two or more singers singing and expressing their emotions at the same time

FINALE The last musical number of an act or show. It usually involves most of the cast and often repeats musical themes from the show

LIBRETTIST The person who writes the words of an opera

LIBRETTO Literally “little book,” this is the text or words of an opera

MEZZO-SOPRANO The middle female voice, usually darker and fuller than a soprano

OPERA A play that uses singing instead of speaking and is accompanied by instrumental music

OVERTURE/PRELUDE Introductory orchestral music in an opera. In the early operas it was simply used to quiet the audience. Later, it set the theme or mood for the drama or comedy, containing musical material to be heard later in the work.

V o c a b u l a r y G u i d e

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PROPS Objects placed on the stage and used by the actors; an abbreviation of the word “properties”

RECITATIVE A type of text setting in which the music matches more directly spoken rhythms and inflections, usually accompanied by a keyboard instrument

SCORE The printed page upon which all the vocal and instrumental music of an opera is written

SET The scenery used on the stage to show location

SOPRANO The highest female voice

STAGE DIRECTOR The person who decides how the singers will move on stage and how they will act while they are singing their parts

TENOR The highest male voice

V o c a b u l a r y G u i d e

Set desgins by Torsten Louis

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B i o g r a p h i e s

Praised as “strikingly original” (New York Times), composer Kamala Sankaram has received commissions from Beth Morrison Projects, HERE Arts Center, Opera on Tap, and Anthony Braxton’s Tri-Centric Orchestra, among others. She is the recipient of a Jonathan Larson Award from the American Theater Wing and has received grants from the National Endowment for the Arts, MAP Fund, Opera America, Foundation for Contemporary Arts, Meet the Composer, the Augustine Foundation, the Anna SosenkoTrust, and the Asian Women’s Giving Circle. Residencies and fellowships include the MacDowell Colony, the Watermill Center, the Citizens, HERE Arts Center, CAP21, Con Edison/Exploring the Metropolis, the Hermitage, and American Lyric Theater. As a performer, Sankaram has been hailed as “an impassioned soprano with blazing high notes” (Wall Street Journal). For more information, visit - http://kamalasankaram.com/

David Johnston is an award-winning playwright, librettist, and screenwriter. His plays have been performed and read at The New Group, Moving Arts, The Neighborhood Playhouse, HB Playwrights Foundation, and Ensemble Studio Theatre. New York productions with Blue Coyote Theater Group include Coney; Conversations on Russian Literature; a new adaptation of The Oresteia (Time Out Best of 2007); Busted Jesus Comix (GLAAD nominee 2005, London, Los Angeles, DC Cap Fringe); A Bush Carol, or George Dubya and the Xmas of Evil; and Effie Jean in Tahiti (the latter two with music and lyrics by Stephen Speights). Current projects include the Czech Republic premiere of Busted Jesus Comix in Prague, May 2016; a new film directed by Kevin Newbury with music by Jimmy Lopez, Epiphany V; a new play-in-development, Pelicans; and Monkey & Francine in the City of Tigers. Since 2012, David has been the executive director of Exploring the Metropolis, Inc., the only New York City-based nonprofit focused exclusively on workspace issues for performing artists, organizations, and facilities. For more information, visit - http://davidjohnstonplaywright.com/

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l i b r e t t o I n f l u e n c e s

According to David Johnston, the characters in this brand new story were inspired by age-old folktales, epic poems, modern comic books, and even Kung Fu movies. This includes the Ramayana, an ancient Indian epic poem which narrates the struggle of the divine prince Rama to rescue his wife Sita from the demon king Ravana. Hanuman (pictured on right) is the monkey-companion of Rama. He is viewed as the ideal combination of “strength, heroic initiative and assertive excel-lence” and “loving, emotional devotion.” He symbolizes the human qualities of inner self-control, faith and service to a cause, hidden behind the first impressions of a being who looks like a monkey.

Hanuman is stated by scholars to be the inspiration for the allegory-filled adventures of the monkey hero, Sun Wukong, in the Xiyouji (Journey to the West) – the great Chinese poetic novel (pictured on left). He is a monkey born from a stone who acquires supernatural powers through Taoist practices.

Another source of inspiration were the Amar Chitra Katha comic books, which aim to spread knowledge and create a bet-ter awareness about Indian mythology. Here is a sample comic that features an encounter with a tiger:

Go to page 13 to create your own

comic book!

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M u s i c a l I n f l u e n c e s

Composer Kamala Sankaram combined several musical styles to create this unique, world premiere. She drew from her diverse artistic background which inspired a fresh take on opera.

She sent us some fun YouTube links that highlight her source material:

Bollywood legend RD Burman (pictured on left), “Mera Pyaar Shalimar” is a good example of his ability to combine Latin influences with Indian music: https://www.youtube.com/watch?v=wAAFE1u6fuY

Kamala loves this song,“Lekar Hum Deewana Dil”: https://www.youtube.com/watch?v=i1rAsrjAeU0

Mulatu Astatke (pictured on right), “Mulatu of Ethiopia” - father of Ethiopian jazz: https://www.youtube.com/watch?v=RrjxHiUx1ps

Frances Bebey, “Sanza Nocturne” - mixed traditional sanza (mbira) with psyche-delia: https://www.youtube.com/watch?v=z7033W-8meI

The music of Monkey & Francine also uses Hindustani ragas: Sudh Sarang and Chandranandan. Ragas are found in Hindustani music, a form of classical music from Northern India. Ragas are most similar to Greek modes, like the Dorian and Phrygian scale. Ragas gain their character from the number of notes within a scale, the actual pitches, the order of pitches in ascending versus descending passages, and the relative importance of notes within the scale.

Scales are notated using swara, which is similar to solfege in Western music (made famous in The Sound of Music by Rodgers & Hammerstein):Sa (Do), Ri (Re), Ga (Mi) Ma (Fa), Pa (So), Da (La), Ni (Ti)

Notes may be raised or lowered by a half step. This is usually indicated by case, so in a scale starting on C, an E flat would be written as lowercase “ga.”

Descending (avaroha) passages may use different notes than ascending (aroha) passages, so you’ll usually be given the swara for each.

Ragas used in Monkey & Francine include:

Sudh SarangAroha - S m R M P N SAvaroha - S N D P M P D P m R S

Chandranandan (Raga for the moon)Aroha - S G m d n SAvaroha - R S n d P m G m g S

Kamala is in a band called Bombay Rickey!

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Create your own comic strip!Monkey & Francine in the ...

Librettist David Johnston said comic books were a big inspiration in the creation of this opera. Simply add more blocks if you need them. Will you write a sequel to this opera or a brand new story? Send us copies of your artwork and we may feature them on Facebook!

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m o n k e y s a n d c r o c o d i l e s . . .

Monkeys are haplorhine primates, a group consisting of about 260 known living species. Many monkey species are tree-dwell-ing (arboreal), although there are species that live primarily on the ground, such as baboons. Most species are also active during the day (diurnal). There are two major types of monkey: New World monkeys from South and Central America and Old World mon-keys from Africa and Asia. Monkeys are generally considered to be intelligent, particularly Old World monkeys.

Monkeys range in size from the pygmy marmoset, which can be as small as 4.6 in and just over 3.5 oz. in weight, to the male mandrill, almost 3.3 ft. long and weighing up to 79 lbs. Diets differ among the various species but may contain any of the following: fruit, leaves, seeds, nuts, flowers, eggs, and small animals (including insects and spiders).

Some characteristics are shared among the groups; most New World mon-keys have prehensile tails while Old World monkeys have non-prehensile tails or no visible tail at all. Since our opera is based on Eastern folk tales, our monkeys would be Old World monkeys!

Crocodiles (Crocodylidae) are large aquatic reptiles that live through-out the tropics in Africa, Asia, the Americas and Australia. A total of 14 extant species have been recognized. All crocodiles are semi-aquatic and tend to congregate in freshwater habitats such as rivers, lakes, wetlands and sometimes in brackish water and saltwater. They are carnivorous animals, feeding mostly on vertebrates such as fish, reptiles, birds and mammals.

Crocodiles have narrow and long heads, with a more V-shaped than a U-shaped snout compared to alligators. Another obvious trait is that the upper and lower jaws of the crocodile are the same width, and when the mouth is closed, all teeth are visible. All crocodiles are tropical species that, unlike alligators, are very sensitive to cold.

Size greatly varies among species, from the dwarf croco-dile to the saltwater crocodile. The saltwater crocodile, found throughout Southeast Asia, Northern Australia and in our opera, can grow to sizes over 23 ft. and weigh 2,200 lbs. We cannot confirm or deny if the saltwater crocodile’s favorite dish is Monkey heart.

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m o n k e y s a n d c r o c o d i l e s . . . . . . a n d t i g e r s ( o h m y ! )

The tiger (Panthera tigris) is the largest cat species, most recognizable for their pattern of dark vertical stripes on reddish-orange fur with a lighter underside. Tigers are apex predators, primarily preying on ungulates such as deer and bovids (not bananas!).

They are territorial and generally solitary but social animals, often requiring large contiguous areas of habitat that support their prey require-ments. Tigers once ranged widely across eastern Eurasia, from the Black Sea in the west, to the In-dian Ocean in the south. Over the past 100 years, they have lost 93% of their historic range. The remaining six tiger subspecies have been classi-fied as endangered by the International Union for Conservation of Nature (IUCN).

Tigers are among the most recognizable and popu-lar of the world’s megafauna. They have featured

prominently in ancient mythology and folklore, and continue to be depicted in modern films and literature. They appear on many flags, coats of arms, and as mascots for sporting teams. The tiger is the national animal of Bangladesh, India, Malaysia and South Korea. The Bengal tiger population occurs in Bangladesh, Bhutan, India, and Nepal, in alluvial grasslands, subtropical and tropical rain-forests. Males attain a total nose-to-tail length of up to 120 in. and weight between 397 to 569 lbs.

The Tiger Dance Festival celebrates the harvest festival of Onam and the begin-ning of their New Year. This tradition is celebrated with great enthusiasm in the village of Thrissur which is located about 50 miles outside of Kochi. This popular festival highlights a popular folk dance in which participants simu-late a tiger being stalked by a hunter. Our director and costume designer took inspiration from such festivals.

Lesson Title: Sing-a-Conversation Subject: Language Arts

Integrated Subjects: Fine Arts Grade levels: Elementary School

Objective: Students will learn and understand how words can be put to music to communicate with others, conduct a dialogue between two people, and tell a story.

Lesson:

Model: Invite a student to sit with you and have a conversation with you on any topic. Keep it simple and uncomplicated (talk about a pet, what they did over the weekend, etc.)

Invite two students to come up and have a conversation on another simple topic. This time, record their conversation by writing it down. You can use alternating colors to indicate who is speaking and to create a visual for your other students who are observing or type it on a computer/smart board as if you are writing a script. Allow the conversation to last for about 6–10 sentences. These sentences are now your “libretto.”

Have students then discuss a song or tune that can be used as an accompaniment for the conversation. You can do this as a whole group or put the students in pairs or small groups and have them work together to develop the music for the conversation. Try using simple tunes that they may be familiar with such as “Twinkle, Twinkle.” If you would like to allow for more creativity, have students create their own songs and music for their “libretto.”

Invite students to perform for one another. Compare and contrast performances by observing which tunes were selected and why. Did the words fit into music or did the students need to adjust the music to fit the words? Is it easier to understand what is happening when speaking or singing? How can singers best be understood when performing?

Assessment: Were students able to transfer their verbalizations into written form following proper writing conventions? Were students able to establish a musical tune for their written dialogue?

Differentiation/Extensions: Select a specific topic for students to write and sing about. You may also select a section or part from a book and use an already established dialogue between characters for students to sing.

TEKS

Elementary School English Language Arts

K- 110.11.b.1.A, 110.11.b.1.C, 110.11.b.1.E, 110.11.b.2.A, 110.11.b.13, 110.11.b.14, 110.11.b.16, 110.11.b.17, 110.11.b.22; 1st – 110.12.b.1.A, 110.12.b.1.D, 110.12.b.1.E, 110.12.b.5, 110.12.b.17, 110.12.b.18.A, 110.12.b.21, 110.12.b.22, 110.12.b.28; 2nd – 110.13.b.4, 110.13.b.8, 110.13.b.17, 110.13.b.18.A, 110.13.b.21, 110.13.b.22, 110.13.b.23.B, 110.13.b.28.A, 110.13.b.29; 3rd – 110.14.b.3, 110.14.b.7, 110.14.b.8.C, 110.14.b.13.C, 110.14.b.17, 110.14.b.19, 110.14.b.22, 110.14.b.23, 110.14.b.24.B, 110.14.b.29.A, 110.14.b.30; 4th – 110.15.b.1, 110.15.b.5, 110.15.b.6.C, 110.15.b.17, 110.15.b.21, 110.15.b.22, 110.15.b.27.A, 110.15.b.28; 5th – 110.15.b.1, 110.15.b.5, 110.15.b.16.A.iii, 110.15.b.21, 110.15.b.22.A, 110.15.b.27.A, 110.15.b.28

HGO General Opera Lesson Plans

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HGO General Opera Lesson Plans

Lesson Title: Opera Poetry Subject: Language Arts

Integrated Subjects: Fine Arts Grade levels: Elementary School, Middle School, High School

Objective: Students will write a poem about an operatic performance

Materials Needed: Paper and writing tools

Lesson: After students watch the performance, instruct them to write a poem about what they saw. Poems can be in any style and any length in accordance with your ELA curriculum for your grade level.

Here is a brief list of poetry styles that you may select from

HaikuSonnetLimerickOdeBalladAbecedarianProseEpigram

Students can create drawings or collages to go with their poems. Display them in class or the hallway.

Assessment: Students will be assessed on creativity and on following the format of the poetry style selected.

Differentiation/Extensions: Number of stanzas and lines written can be modified for students at lower or higher learning levels.Have students write poems about opera using the vocabulary in the first lesson. Collect all poems to create a class book of opera poetry.

TEKS

Elementary School English Language ArtsK- 110.11.b.2.C, 110.11.b.2.D; 1st – 110.12.b.8; 2nd – 110.13.b.7; 3rd – 110.14.b.6; 4th – 110.15.b.4; 5th – 110.16.b.4

Middle School English Language Arts6th – 110.18.b.4, 110.18.b.6, 110.18.b.15.B; 7th – 110.19.b.4, 110.18.b.7, 110.18.b.15.B; 8th – 110.20.b.4, 110.18.b.8, 110.18.b.15.B

High School English Language ArtsHigh School English Language Arts Level I – 110.31.b.3, 110.31.b.9, 110.31.b.14.BHigh School English Language Arts Level II – 110.32.b.3, 110.32.b.10, 110.32.b.14.BHigh School English Language Arts Level III – 110.33.b.3, 110.33.b.11, 110.32.b.14.BHigh School English Language Arts Level IV – 110.34.b.3, 110.34.b.12, 110.34.b.14.B

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HGO General Opera Lesson Plans

Lesson Title: Opera Sense Subject: Science

Integrated Subjects: Fine Arts, English Language Arts Grade levels: Elementary School

Objective: Students will identify which senses are used to observe and participate as an audience member at an opera performance and what senses are used by performers to execute a show

Materials Needed: Writing tools, chart paper

Lesson: Use chart paper and list or draw a picture representing the five senses. Have students list and share how they used each sense during the performance. Ask more specific questions, for example, what colors were the costumes of the different characters and how seeing set changes helped the story progress.

Repeat this same activity but this time pose the question, “How did the singers use their five senses to perform the show?”

Sight Hearing Taste Smell Touch

Assessment: Did students accurately identify how the five senses were used throughout the performance? Were they able to distinguish the difference between being an audience member vs. being a performer?

Differentiation/Extensions: Have students witness another small performance in class and have them do so blindfolded or with earplugs. How did this affect their ability to understand what was happening?

TEKS

Elementary School Science

K- 112.11.b.2.D, 112.11.b.4.B, 112.11.b.6.A

1st – 112.12.b.2.D

2nd – 112.13.b.2.D

3rd – 112.14.b.2.C

4th – 112.15.b.2.C

5th – 112.16.b.2.C

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HGO General Opera Lesson Plans

Lesson Title: Fan Page Grades: Middle School, High School

Subject: Social Studies Integrated subjects: Fine Arts, Technology

Objective: Students will conduct research and use modern technology to develop a web page related to opera

Needed Materials: computers, writing materials, art materials such as poster board, glue, and scissors

Lesson: Social networking sites are hugely popular and are utilized by individuals and organizations to promote themselves and their products. Discuss how a business or organization would use a webpage or social network-ing site to share information and the information you would expect to see on such a site. Look at appropriate examples.

Ask students to create a web page or social network page (for example, Facebook) for opera. The page may be created for opera in general, a specific opera, a singer, or composer. Information should be factual and accurate with appropriate documentation of references used. Encourage students to be creative in their use of visuals and layout.

Assessment: Students used accurate information and documented appropriately. They followed criteria out-lined by the teacher with regard to content and also demonstrated creativity.

Differentiations and Extensions: Have students create an interactive PowerPoint or SMART Board game about opera.

TEKS

Middle School Social Studies6th – 113.18.b.2.A, 113.18.b.18.A, 113.18.b.18.B, 113.18.b.18.C, 113.18.b.21.A, 113.18.b.21.C, 113.18.b.22

7th – 113.19.b.21.C, 113.19.b.21.D, 113.19.b.22

8th – 113.20.b.26, 113.20.b.29.C, 113.20.b.30

High School Social Studies

High School World History Studies – 113.42.c.29.F, 113.42.c.30.A, 113.42.c.30.B, 113.42.c.30.C

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