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O p e r a B ox Teacher’s Guide table of contents Welcome Letter . . . . . . . .

O p e r a B ox Teacher’s Guide table of contents Welcome Letter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1 Lesson Plan #1 – Pre-Opera Activity: The 45-minute Hamlet . . . . . . .2 Lesson Plan #2 – Pre-Opera Activity: The Play and the Opera . . . . . .4 Lesson Plan #3 – Pre-Opera Activity: “Cross That Line, Hamlet” . . . .8 Lesson Plan #4 – Pre-Opera Activity: Pantomime Reading . . . . . . . . .9 Lesson Plan #5 – Post-Opera Activity: Hamlet the Musical . . . . . . . .12 Lesson Plan #6 – Post-Opera Discussion Questions – Production . . .14 Lesson Plan #7 – Post-Opera Discussion Questions – General . . . . . .15 Lesson Plan #8 – Hamletology . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17 Lesson Plan #9 – Sources of Hamlet . . . . . . . . . . . . . . . . . . . . . . . . . .18 Synopsis and Musical Excerpts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19 Ambroise Thomas – a biography . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24 Catalogue of Thomas’ Operas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25 Background Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27 Q and A with Stage Director Thaddeus Strassberger . . . . . . . . . . . . .33 Scenic Breakdown with Side-by-Side Comparison of Play and Opera .35 World Events in 1868 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38 History of Opera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39 History of Minnesota Opera, Repertoire . . . . . . . . . . . . . . . . . . . . . .50 The Standard Repertory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54 Elements of Opera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55 Glossary of Opera Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .59 Glossary of Musical Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .65 Bibliography, Discography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68 Acknowledgements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71 GIUSEPPE VERDI SEPTEMBER 22 – SEPTEMBER 30, 2012 GAETANO DONIZETTI NOVEMBER 10 – 18, 2012 FOR SEASON TICKETS, CALL 612.333.6669 DOUGLAS J.CUOMO AND JOHN PATRICK SHANLEY BASED ON HIS PLAY ©2005 AND FILM ©2008 JANUARY 26 – FEBRUARY 3, 2013 2012–2013 SEASON AMBROISE THOMAS MARCH 2 – 10, 2013 GIACOMO PUCCINI APRIL 13 – 21, 2013 mnopera.org Dear Educator, Thank you for using a Minnesota Opera Opera Box. This collection of material has been designed to help any educator to teach students about the beauty of opera. This collection of material includes audio and video recordings, scores, reference books and a Teacher’s Guide. The Teacher’s Guide includes Lesson Plans that have been designed around the materials found in the box and other easily obtained items. In addition, Lesson Plans have been aligned with State and National Standards. See the Unit Overview for a detailed explanation. Before returning the box, please fill out the Evaluation Form at the end of the Teacher’s Guide. As this project is new, your feedback is imperative. Comments and ideas from you – the educators who actually use it – will help shape the content for future boxes. In addition, you are encouraged to include any original lesson plans. The Teacher’s Guide is intended to be a living reference book that will provide inspiration for other teachers. If you feel comfortable, include a name and number for future contact from teachers who might have questions regarding your lessons and to give credit for your original ideas. You may leave lesson plans in the Opera Box or mail them in separately. Before returning, please double check that everything has been assembled. The deposit money will be held until I personally check that everything has been returned (i.e. CDs having been put back in the cases). Payment may be made to the Minnesota Opera Education Department. All forms of payment are accepted. Since opera is first and foremost a theatrical experience, it is strongly encouraged that attendance at a performance of an opera be included. The Minnesota Opera offers Student Matinees and discounted group rate tickets to regular performances. It is hoped that the Opera Box will be the first step into exploring opera, and attending will be the next. I hope you enjoy these materials and find them helpful. If I can be of any assistance, please feel free to call or e-mail me any time. Sincerely, Jamie Andrews Community Education Director Andrews@mnopera.org 612.342.9573 (phone) mnopera.org imagineopera.org introduction letter 1 620 North First Street, Minneapolis, MN 55401 Kevin Ramach, PRESIDENT AND GENERAL DIRECTOR Dale Johnson, ARTISTIC DIRECTOR opera box lesson plans 2 Hamlet Opera Box pre-opera activity the 45-second HAMLET purpose This activity can be used with students who are or are not familiar with Shakespeare’s play. objective(s) • To acquaint (or re-acquaint) students with the main ideas, themes and issues dealt with in the play. • To give students the opportunity to physically interact with the text. what to do (1) Make 10 copies of the script included here. Highlight each script according to the numbers, e.g. Actor Number One’s script should have all their parts highlighted, Actor Number Two’s script should have only the lines highlighted belonging to Actor Number Two, etc. (2) Assign 10 students to read the parts, assigning the 9 students to a number and one to read Hamlet’s lines. (3) The students should stand in a circle. (4) The goal will be to go through the entire script in 45 seconds or less. (5) Rules: – No overlapping, i.e. a student can’t begin their line until the student speaking ahead is done – The audience has to be able to understand the words. – If a student’s character dies, the student must fall onto the floor (carefully). (6) Appoint a timekeeper. (7) Allow students to read the script around once to hear it before they begin to attempt to “beat the clock.” note This can be done as a contest between teams of 10 to see who can do it the fastest. If you have more than one class working with Hamlet, they can compete against each other. follow-up If students have studied the play, have them identify the speakers and discuss the relevance of the quotations to the plot and the themes. If they are new to the play, have them attempt to construct a plot and identify possible themes. 3 opera box lesson plans T HE 45-S E C O N D H AM LE T actor one: “Who’s there?” hamlet: “Frailty thy name is uploads/Ingenierie_Lourd/ hamlet-guide-cd.pdf