Opera San José PresentsHansel and Gretel

By Engelbert Humperdinck

Teacher’s Study Guide

Dear Educator, We are delighted that our singers will be performing Humperdinck’s classic children’s opera Hansel and Gretel for your students. This Teacher’s Guide can be used as a tool to help you in preparing your students for what may be their first exposure to opera. Some of the sections which may be particularly helpful are:

Synopsis (pg 5) Opera – an Introduction (pg 8 ) Opera Singers – How do they do it? (pg 9)

Prior to the performance, we would also encourage you to read the original Grimms Brothers fairytale upon which this opera is based to your students, available in either your school or local public library. After the performance, we welcome your comments and suggestions and hope you will let us know about any additional activities that you initiated with your students which you think might enhance our study guides. Please take the time to complete the evaluation form in the back of this Guide (pg 24 ) and return it to the below address (alternatively, you may use an on-line evaluation form located at http://operasj.org/hansel&greteleval.html Best regards, Matt Siek Lettie Smith Director of Education K-12 Outreach Coord.

Opera San José 2149 Paragon Drive

San Jose, CA 95131-1312 (408) 437-4464

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Contents

Page

Hansel and Gretel Characters Music/Production Staff

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Synopsis 6Before the Performance…

Opera – an Introduction 9Opera Singers…how do they do it? 10Behind the Curtain: The Creative Team 13About the Composer: Engelbert Humperdinck

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A Night at the Opera: Etiquette 101 17Glossary 19

After the Performance… Classroom activities 22Evaluation 25

Additional Resources 27Our Sponsors 28

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Hansel and Gretel Characters (in order of appearance):

Hansel:

Michele Schroeder,Tori Grayum

Gretel:

Jillian Boye, Giovanna Hutchison

Mother:

Robin Costa, Alexandra Cowell, Amy Mendon

Sandman: (the sleep fairy)

Robin Costa, Alexandra Cowell, Amy Mendon

The Dew Fairy: Robin Costa, Alexandra Cowell, Amy Mendon

Rosina Dainty-mouth: (the witch)

Michael Mendelsohn, Bill Welch

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Music & Production Staff:

Stage Director:

Stephen Boisvert

Pianists:

Veronika Agranov, Victoria Lington, Simona Snitkovskaya

Choreographers:

Jillian Boye, Alexandra Cowell

Costumes:

Corina Galano

Sets: John Draginoff

Props:

Lori Scheper

Makeup: Alexandra Cowell

Production Coordinator: Matt Siek

Outreach Coordinator: Lettie Smith

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Synopsis: Hansel and Gretel

SCENE I: In a tiny house on the edge of town, Hansel and Gretel are spending a very long Saturday doing their chores, as their parents are both at work. Gretel tries her best to mend a sock while Hansel is none too thrilled about fixing a broom for his mother. Gretel sings a nursery rhyme but is interrupted by Hansel’s cries of hunger. The two chase each other around playfully, ignoring their chores, until Hansel remembers a pitcher of milk left on the table. As he moves in to drink the last thing in the house, Gretel stops him and reminds him that they need to finish their work before their parents get home, or else they’ll get nothing to eat for dinner. Hansel pouts, pointing out that, “Making brooms is BORING!” To keep Hansel entertained (and to avoid mending her sock), Gretel leads him in a dance around the house. The two dance themselves silly, spinning all around until they are interrupted by the sound of their mother’s voice. Suddenly she appears, home after a long day of cleaning houses, and angrily scolds them for playing instead of finishing their chores. When Hansel talks back, Mother threatens them both and furiously chases Hansel around the room. As she tries to grab him, Mother accidentally hits the pitcher of milk and spills it all over the table and floor. Hansel and Gretel can barely contain their laughter and this only makes Mother angrier. She reminds them how severe their punishment will be once their father gets home, then orders them out to the nearby forest to pick wild strawberries for dinner. The children, frightened into action, run out of the house while mother collapses into a chair, exhausted. Left all alone, she sadly cleans up the spilled milk and wishes that someone would send help to her.

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SCENE II: In the nearby forest, Gretel makes a wreath of flowers and a bouquet as Hansel searches for strawberries. Hansel shows off his full basket of berries and Gretel shows off her wreath. Although he avoids wearing it, Hansel points out that it looks majestic on Gretel and declares her the Queen of the Woods. He offers her

the strawberries, reminding her not to eat them all, and Gretel knights him with her bouquet of flowers. The two share the berries and hear a cuckoo in a tree. They sing to the bird and continue to snack on the strawberries. As they do, though, they start to notice how dark and scary the forest is getting. The more they think about it, the more the cuckoo is no longer fun, but quite frightening! Soon, the shadows overtake the forest and Hansel and Gretel scare each other, imagining ghosts and goblins in the trees. They stumble deeper into the forest and as their fear reaches a peak, a mysterious figure appears! It is the magical Sandman! The Sandman, seeing how scared the children are, assures them that he means no harm. In fact, he has come to protect them as they sleep, and to bring them pleasant dreams. As he sprinkles his magic sand over them, Hansel and Gretel relax and can barely stay awake. The Sandman wanders back into the forest and the children say their evening prayers before drifting off to sleep.

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SCENE III: As the morning light chases away the shadows, another magical being appears! The Dew Fairy brings the dawn and gently wakes the children before fluttering back into the forest. Hansel and Gretel rub the sleep from their eyes and discover that they have slept in front of a cottage made of candy and gingerbread. The two are overcome with delight and begin to eat their fill of the delicious house. As they play and tease each other with their newfound treats, an old woman sneaks up behind them and grabs them! They struggle but she holds them tightly and explains that she is Rosina Dainty-mouth and she “dearly loves all children!” Despite the promise of more wonderful things to eat, Hansel and Gretel resist her charms and begin to leave. ZAP! Rosina Dainty-mouth stops them both with a wave of her magic wand, revealing that she is in fact a devious witch! Frozen, the children can do nothing as the witch magically guides Hansel into a cage and locks it with a spell. She keeps the children frozen in place as she goes inside to finish her dinner preparations. Left alone, Gretel bemoans their fate but Hansel reassures her that he has a plan. The witch returns with a plate of cakes and pies with which to fatten up Hansel before baking him in her giant oven. She releases Gretel from her magical spell and sends her into the house to set the table. After checking the fire in the oven, the witch is overjoyed at the prospect of the feast to come. She grabs her enchanted broom and goes on a wild ride before returning to check on the boy. Seeing that Hansel still isn’t quite the proper size for baking, the witch calls for more treats. Gretel returns

with a refilled plate, and Hansel does his best to quietly point out the witch’s wand to her. Gretel catches on and as the witch feeds Hansel, Gretel slyly sneaks the wand out of her apron and reverses the spell on him. The witch turns on Gretel just as Hansel unfreezes, but he manages to regain his composure before she turns back around. Eager to begin the baking, the witch calls Gretel over to check on the oven. Gretel plays dumb, pretending that she doesn’t know how an oven works, and tells the witch she’ll have to show her how to inspect it. The witch shoves her aside and opens the oven door as Gretel quickly unlocks the cage. Hansel and Gretel give each other a wink and with a running start, they push the witch into the oven along with her cursed magic wand! The two joyously dance in triumph, free of the witch and her evil magic! As they waltz, their mother appears, who has been searching for them all night. No longer angry, she is relieved to find them safe and they embrace as Hansel and Gretel tell her all about their incredible adventure.

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Before the Performance…….

Opera: An Introduction:

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Opera is an art form similar to a play in which a story is being told to an audience. In opera, however, the entire story, including the dialogue between characters and sometimes even the inner thoughts of those characters, is sung, not spoken. The words of the opera are called the libretto, while the music is called the score. Opera also "tells the story" with accompaniment, stage action, sets, lights, costumes, make-up, and wigs.

Opera originated in Florence, Italy, in the late 1500s, with a small group of men who were members of a Camerata (Italian for Society) who decided they wanted to set their poetry to music. They laid down three principles for their new art form:

1. The text must be understood; the accompaniment must be very simple and should not distract from the words.

2. The words must be sung with correct and natural declamation, as if they were spoken.

3. The melody must interpret the feeling of the text.

Operas are divided into scenes and acts that contain different types of vocal pieces for one or many singers. An aria is a vocal solo that focuses on a character’s emotions rather than actions. A recitative is sung dialogue or speech that occurs between arias and ensembles.

The composer writes the score (music) for the opera. Sometimes, the composer will also write the libretto (words) for the opera, although he often works with a librettist. The story of the opera is written as a libretto, a text that is easily set to music.

Opera Singers…..how do they do it? The style we call "operatic" or "classical" singing developed in Europe a few hundred years ago. It is characterized by a large vocal range, as well as an increased volume and projection. You will notice that our cast of Hansel and Gretel does not use microphones. Opera singers must have voices strong enough to sing louder than an entire orchestra – usually 30 to 50 instruments! Their voices must be able to carry through the vast spaces of theatres which hold up to 3,000 people. This is the main difference between opera singing and popular singing. Opera singers must learn to breathe properly, using the natural resonance of their chest and nasal cavities to project their voices. Projecting the voice over a full orchestra requires as much "athleticism" as being a professional basketball or football player!

Opera singers do not all sound the same. They sing as differently as people speak; but within those differences, there are six basic "types" or "ranges" of operatic voices:

Soprano

The highest female voice. Sopranos usually play the leading lady but can also play secondary roles.

Christina Major as Violetta (La traviata), 2000

Mezzo-soprano

The medium female voice. Mezzo-sopranos often play the maids or sister roles, although they can be the leading lady as in Carmen.

Kerry Walsh as Carmen (Carmen), 1995

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Contralto:

The lowest female voice. Contraltos often play the grandmothers or queens.

Michelle Berger as Azucena (A Masked Ball), 2005

Tenor: The highest male voice. Tenors usually play one of the leading male roles, and are often "in love" with the soprano.

Carlo Scibelli as Count Almaviva, (The Barber of Seville), 1993

Baritone:

The medium male voice. Baritones can also be the male lead and "in love" with the soprano. Baritones often portray the villain or "bad guy" in an opera.

Joseph Wright as Count Anckarstroem (A Masked Ball), 2005

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Bass:

The lowest male voice. Basses often perform the role of the father, priest and king, and sometimes the villain.

Carlos Aguilar as the Commendatore

(Don Giovanni), 2006

Behind the Curtain: The Creative Team

Stage Director: The stage director is the person who "brings the opera to life," and is directly responsible for all the action taking place on the stage. The director works with the set designer, the costumer and the lighting designer to make certain that the costumes, sets, and lights are coordinated. The director also helps the audience understand the characters and the story by planning the movement of the singers. The director helps bring out the drama or comedy in a situation.

Stephen Boisvert,

Stage Director, Hansel and Gretel

The Costume Designer: The singers' costumes contribute to the feeling of realism of the opera. The costume designer makes sketches from which patterns are made. After the fabric is purchased, it is cut by a cutter and the pieces assembled by a stitcher. At that point, the singer tries on the costume to determine how well it fits. After

Costume for Donna Elvira

(Don Giovanni), 1994

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the fitting, the costume is altered by the stitcher and re-fitted on the singer. During this entire process, the costume designer acts as shop supervisor. The average cost of a costume is at least $400.

Make-up/hair Designer: The make-up and hair staff is responsible for making each singer/actor look appropriate to the part they are playing. Sometimes people must be made to look very old or very young. Other times the characters must appear ugly (or beautiful). Wigs are often used to help the overall effect. The make-up and hair staff also contribute to making the characters believable.

Wig from The Marriage of Figaro, 1996

Set Designer: Sets are also very important to an opera. The set designer first meets with the stage director to discuss the idea of the opera. Then, in much the same way as the costumes are made, the set is built. The designer draws a sketch, the master craftsmen build and paint the set in a workshop and later assemble it on the stage at the theatre.

Set from The Marriage of Figaro, 2004

Lighting Designer: The lighting that illuminates the sets and singers is designed by the lighting designer. Lighting designers work closely with the director and the set and costume designers. The lighting designer attends many rehearsals so he or she can plan lighting that will highlight and accentuate the action of the opera.

Lighting from The Flying Dutchman, 2005

Technical crew The technical crews, "techies," do the backstage jobs that vary from one opera production to another. They change scenery, move lights, carry props, sweep the stage, or open and close the curtain. "Techies" are definitely the unsung heroes of every opera.

Stage crew works on set construction

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About the Composer: Engelbert Humperdinck

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The German composer Engelbert Humperdinck was born on September 1, 1854 in Siegburg in the Rhineland. He began to study piano at the age of seven and he heard his first opera at the age of 14. He wrote two singspiels – the German word for “song-play” – that same year. His father had hopes that he would become an architect, but Humperdinck convinced him to allow him to pursue a career in music. In 1872, Humperdinck moved to Cologne to study at the Conservatory. Four years later, he won the Frankfurt Mozart Prize, which took him to Munich to study for two

years. In 1890, Humperdinck’s sister asked him to write some folksongs to accompanher version of the Grimm Brothers’ fairy tale, Hansel and Gretel. As he worked on the music, his songs moved through several stages, from folk songs to singspiel and finally to opera. Hansel and Gretel received its premiere performance in Weimar, Germany, on Christmas Eve in 1893, with another young composer, RichardStrauss, conducting. Almost immediately, Hansel and Gretel came to enjoy terrificsuccess around the world. In its first year alone, it was performed in 72 theatresEurope and the opera became traditional Christmas fare in German opera houses.

“Used by permission of the Canadian Opera Company.”

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A Night at the Opera: Etiquette 101 Going to the opera At a live performance you not only share the performance with the actors or singers but also with everyone else in the hall. Every noise or movement you make could interrupt the group experience. Everyone in the hall is part of the performance, so everyone needs to follow certain guidelines if the performance is to be a success. Below are some good things to remember when attending a live performance of an opera or any other performing group: What to wear Going to the opera provides a unique opportunity to wear your best clothes. However, you are welcome to wear whatever makes you comfortable. You’ll see people in tuxedos and gowns, but also people in sports coats and jeans. You make this event as formal or informal as you like. Entering the performance hall Before going into the performance hall, remember to stop by the water fountain and the restroom first. You will not have a chance to visit these once the show has started. Walk slowly and speak in a soft voice. When you get to your seat take some time to read the program. It will tell you about the opera you are seeing, the singers who are performing and many other interesting bits of information. Performance etiquette The lights in the hall will begin to dim just before the performance starts. This is your cue to settle in your seat and sit quietly. The orchestra will begin to play when the lights go dim. This is called “tuning” and is not a part of the performance. When they finish, a bright light will come on and the conductor will enter. It is polite to clap when the conductor enters.

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When the conductor turns to the orchestra and begins the music, it is your signal that the opera has started and you should again sit quietly. Never bring a camera, video camera, tape recorder, or cell phone to a performance. Unlike at a movie, you may not eat food during an opera performance. When to clap An audience claps to tell the performers that they have done a good job or to say “thank you” for the performance. When a performance is exceptionally good the audience will stand and clap. This is called a “standing ovation.” Times when it is appropriate to clap include:

When the conductor enters the orchestra pit After the overture, at the end of an act or scene At the end of an aria When the opera is over When the singers take a bow

At an opera people will sometimes yell “bravo” to the male singers, “brava” to the female singers or “bravi” to a group of singers to tell them they performed very well. This is appropriate to do when clapping even after a solo. Leaving the performance hall When the last applause has ended and the stage curtain is closed, you may leave the performance hall. Never run in the aisles and always allow people in front of you to exit first.

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Glossary

Act n. One of the main divisions of a play or opera.

aria (ah-ree-ah) n. A melody, especially long, complex and difficult from opera or oratorio sung by one singer.

beat n. The basic regular unit of time in a musical composition; also, the hand or baton movement used by the conductor to indicate this unit.

bravo (brah-voh) interj. Italian, meaning "well done," used for a single male performer. "Brava" is used for a single female, and "bravi" is used for two or more people singing together.

choreographer (ko-ree-og-rah-fer) n. The person who designs the steps of a dance

chorus (kor-us) n. A group of mixed voices or the musical passage sung by such a group.

coloratura n. A kind of vocal music that requires the singer to execute a variety of technically brilliant and difficult passages. These may be fast runs (scales), trills (rapid alternation of two notes), or other devices that embellish the vocal line.

conductor n. The person who leads the singers and orchestra.

diaphragm (di-ah-fram) n. The muscle and connective tissue that separates the chest and abdominal cavity in mammals. A singer learns to make the diaphragm stretch to let the lungs fill completely with air. Then, tightens the diaphragm to push out the air at the desired volume and speed.

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diva n. Literally, “goddess,” it refers to an important female opera star. The masculine form is divo.

duet n. A song for two voices.

dynamics n. How loudly or softly music is played or sung.

ensemble n. A musical passage or piece of music in which more than one performer of equal importance participates at the same time. A group of musicians.

grand opera n. A large opera accompanied by a gigantic orchestra, usually with a ballet, much pageantry and sometimes even with live animals on stage.

intermission n. A break between acts of an opera. The lights go on and the audience is free to move around. Intermissions usually last up to twenty minutes.

libretto n. The text (words) of an opera.

librettist n. The person who writes the words for an opera.

maestro n. Literally “master.” Used as courtesy title for the conductor, whether a man or a woman.

melody n. The tune of a piece of music.

opera n. A play told through singing.

opera buffa n. Comic opera, often with elements of farce.

orchestra n. The group of musicians who are led by the conductor and accompany the singers.

overture n. An orchestral piece several minutes in length played before the beginning of an opera. Usually, but not always, it contains some themes from the music of the opera.

principal n. A leading role or character in the opera.

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quartet n. A musical piece for four voices.

range n. In reference to operatic voices, describes the highest to the lowest note that a singer can successfully sing.

rhythm n. A pattern in time, formed by long andd short notes, or rests, and influenced by accents, harmony and melody.

recitative (reh-sit-ah-teev) English adaptation from the Italian recitativo (reh-chi-tah-teev-oh) n. a type of speech-like singing that allows a degree of rhythmic freedom in performance. It is generally accompanied by orchestra, harpsichord, or piano, but can be accompanied by other instruments capable of harmonic support, such as harp or guitar.

repertoire (rep-er-twar) French n. In music, the body of literature that is available for performance.

score n. The written music of a musical composition, such as an opera. It includes the text that is sung, the orchestra music and any information from the composer pertinent to performance.

supertitles n. Translations into English of the original words, projected on a screen above the stage.

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After the Performance………. Classroom Activities

Suggested Questions for Class Discussion/Letters to Opera San José

1. Which part of the opera did you like the best? How did it make you feel? 2. Who was your favorite character? 3. What were your favorite things about his/her performance? What kinds of

songs do you like to sing? Are they like the operatic songs you heard today? How are they different? What are the topics of your favorite songs?

4. If you wrote an opera, what would it be about? Who would be the characters? What kinds of songs would they sing?

Questions you may want to ask after seeing Hansel and Gretel

1. How do singers make those sounds when they sing? 2. Are there any jazz or rock operas? What is the difference between a musical

and an opera? 3. Why do people like to sing opera? Does it make them rich and famous? Is it

hard work? 4. How long does it take to become an opera singer? How do they practice?

How many hours a day can they sing? What’s the hardest thing about being an opera singer?

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Revisiting Hansel and Gretel Activity: Choosing one of the below sentences, have each student draw or color a picture illustrating that sentence. Using a long flat surface such as a wall or table, have your students place all their pictures in the correct sequence of the plot of the story.

1. Hansel and Gretel are brother and sister. 2. They live with their Mother in a little house on the edge of town. 3. The family is poor, with little food. 4. The children love to play and sing. 5. Mother is upset, and accidentally spills the milk. 6. Mother sends the children into the woods to find berries. 7. The children get lost in the woods and are scared. 8. The Sandman puts them to sleep. 9. The Dew Fairy awakens the children at the gingerbread house. 10. The children take a bite of the house. 11. A scary witch lives in the house, and captures the children. 12. The witch wants to fatten Hansel and bake him. 13. The witch makes Gretel do chores while Hansel is trapped. 14. The witch goes on a wild ride, on her magic broom. 15. Hansel and Gretel shove the witch into the oven. 16. The children celebrate being free from the witch. 17. Mother is reunited with Hansel and Gretel.

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Create your own opera! Activity: Choose a story or fairytale you have read and think about how you would go about adapting it into an opera or piece of musical theatre. You would have to choose what parts of the story would be accompanied by music and decide what kind of music would be fit with the story and characters. When would there be duets, or trios or quartets? Maybe a major character might need to have an “aria” so he/she could better describe his/her feelings. How would you “set” your opening scene?

Would you have a big chorus to set up the place and time or would it begin in a more quiet way? Activity 1: Write out an “outline” and try to sketch your opera. Activity 2: Choose one of the main characters in Hansel and Gretel: Hansel, Gretel, Father, Mother or the Witch. Pretend that you are that character and answer the following questions (some “clues” are provided in the story and the music; you might have to use your imagination to answer some of the questions.) Character:

1. How old are you? 2. Do you have brothers and sisters? 3. What is your house like: is it a castle, a hut, a cave? Describe it. 4. What is most important to you in the story? (This is called your character’s

objective). 5. What are some obstacles that might prevent you from getting what you want? 6. How do you go about achieving your goals in the opera? Are you successful? 7. What are your character’s greatest strengths and weaknesses? 8. Can you think of a modern day character that has similar characteristics and

traits?

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Evaluation Dear Educator, One of the most valuable tools for assessing the effectiveness of our educational programs is feedback from teachers and parents! Therefore, we would greatly appreciate it if you could spend a few minutes completing the below evaluation. (An on-line evaluation is available at http://operasj.org/hansel&greteleval.html) Thank you for your participation and your help! Date of your performance: School: Your Name: Grade-level of students attending performance:

1. How would you describe your students’ engagement during the performance?

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2. Have you used (or are you planning to use) any of the suggested activities in the Study Guide? Were any particularly helpful?

3. Do you have additional comments/suggestions regarding our program?

Please detach evaluation and mail/fax to: Lettie Smith, Outreach Coordinator Opera San José 2149 Paragon Drive San Jose, CA 95131-1312 Fax: (408) 437-4455

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Additional Resources

Side-by-side versions of the 1812 and 1857 Grimm Brothers editions of “Hansel and Gretel” : http://www.pitt.edu/~dash/grimm015a.html

Bravo! Brava! A Night at the Opera by Anne Siberell published by Oxford Univ. Press. A comprehensive “behind the scenes” look at how opera is created, including illustrations of opera characters and stories. Available at Amazon.com

Sing Me a Story: The Metropolitan Opera’s Book of Opera Stories by Jane Rosenberg.

The First Book of the Opera by Noel Streatfield

Mp3 downloads (Amazon.com): Hansel and Gretel: http://www.amazon.com/s/ref=nb_sb_ss_i_0_29?url=search-alias%3Ddigital-music&field-keywords=hansel+and+gretel+humperdinck&sprefix=hansel+and+gretel+humperdinck

DVD: Hansel and Gretel – Humperdinck; Frederica von Stade, Judith Blegen – Metropolitan Opera, 2010. http://www.amazon.com/Hansel-Gretel-Frederica-von-Stade/dp/B0038Q3UKK/ref=ed_oe_dvd

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Many thanks to the proud sponsors of Opera San José’s educational programs:

City of San Jose Office of Cultural Affairs

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The Michelson Family Foundation

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