Grapes Guide.pdf - Minnesota Opera

More documents

Recommendations

Info

1 2 BACKSTAGE STAGE (14) BACKSTAGE 13 13 OFFSTAGE SCENERY 2 OFFSTAGE SCENERY 3A 1A CURTAIN (16) 12 PROP TABLE 3 WIGS AND MAKEUP ORCHESTRA PIT (7) CHORUS WARM-UP AND DRESSING ROOMS (10) CONTROL BOOTH (15) 5 5 BOX OFFICE (7) AUDITORIUM (4) 6 LOBBY (8)
The Elements of <strong>Opera</strong> – The Singers The most important part of the opera is the singers. They are categorized into six different voice types. the soprano DON CARLOS 1 2 DON CARLOS High-voiced woman. Voted “Most Likely to Die Before the Curtain Goes Down.” Putty in the hands of the tenor, baritone and occasionally even the mezzo (especially if she is in pants). THE CAPULETS AND THE MONTAGUES 1 2 LA CLEMENZA DI TITO the mezzo-soprano Middle- to lower-voiced woman. Nobody’s pawn. May hook up with the baritone, unless she’s playing a young man, in which case she usually gets the soprano. 1 2 PELLÉAS ET MÉLISANDE 3 the contralto Lowest-voiced woman. Usually the mother, maid or duenna (an older woman charged with monitoring the virtue of the impressionable soprano). Generally the contralto calls herself a mezzo in order to get more work. the tenor High-voiced man. Whether comic or tragic, most often the misunderstood romantic role. Often kill themselves; almost always get the girl. 4 LA BOHÈME 1 LUCIA DI LAMMERMOOR 4 5 DON CARLOS 6 6 the bass and baritone Middle- to lowest-voiced man. Usually the bad guy, the father or guardian, or the hero’s best friend. If he hooks up with another singer, it’s usually a mezzo. THE MERRY WIDOW 1 the fat lady There is no fat lady in helmet and horns—that is a myth. It ain’t over till the curtain goes down for the last time and everyone around you is clapping. LUCIA DI LAMMERMOOR 1 CLOCKWISE, LEFT TO RIGHT: ÉLISABETH; EBOLI; GIULIETTA, ROMEO; MIMÌ, RODOLFO; EDGARDO, ENRICO; LUCIA; HANNA; PHILIPPE, GRAND INQUISITOR; GENEVIÈVE; SERVILIA, ANNIO 1 - SOPRANO; 2 - MEZZO; 3 - CONTRALTO; 4 - TENOR; 5 - BARITONE; 6 - BASS elements of opera 102
Page 1 and 2:
Opera Box
Page 3 and 4:
620 North First Street, Minneapolis
Page 5 and 6:
lesson title minnesota academic nat
Page 7 and 8:
9.1.1.4.2 benchmark: Evaluate how f
Page 9 and 10:
9.2.1.4.2 benchmark: Revise a creat
Page 11 and 12:
Opera Box Content List The Grapes o
Page 13 and 14:
The Grapes of Wrath Opera Box lesso
Page 15 and 16:
John Steinbeck: An American Writer
Page 17 and 18:
(5) Why do you think the librettist
Page 19 and 20:
1.6: UNCLE JOHN’S PLACE (The Grap
Page 21 and 22:
(3) What is the dramatic purpose of
Page 23 and 24:
(4) Ma breaks into the conversation
Page 25 and 26:
(2) In the stage directions for “
Page 27 and 28:
(3) What do the Joads encounter in
Page 29 and 30:
Page 31 and 32:
Page 33 and 34:
Page 35 and 36:
This school of critical theory focu
Page 37 and 38:
Page 39 and 40:
Appendix A “The Grapes of Wrath
Page 41 and 42:
Within two months after the publica
Page 43 and 44:
In the light of this basic analogy,
Page 45 and 46:
These structural techniques for int
Page 47 and 48:
The great variety of prose style an
Page 49 and 50:
Closely associated with this latter
Page 51 and 52: The ability of this thematic struct
Page 53 and 54: 29 George F. Whither, “Proletaria
Page 55 and 56: As the land itself and its houses a
Page 57 and 58: people,” strikes echoes answered
Page 59 and 60: his conversion, say for the second
Page 61 and 62: Appendix C “We Still See Their Fa
Page 63 and 64: An Appalachian woman of my acquaint
Page 65 and 66: Fortunately, there was an administr
Page 67 and 68: Appendix D A D D I T I O N A L R E
Page 69 and 70: prologue The cropper men and women
Page 71 and 72: (9) one star (rosasharn, then conni
Page 73 and 74: The next day a contractor and a dep
Page 75 and 76: (19) things turn around (casy, then
Page 77 and 78: Published and represented by Willia
Page 79 and 80: B A C K G R O U N D N O T E S PROLO
Page 81 and 82: also anticipate events to follow sp
Page 83 and 84: help with Rosasharn’s birthing an
Page 85 and 86: North of Italy, Hamburg composer re
Page 87 and 88: competition with other leading comp
Page 89 and 90: Three Masters of Opera giuseppe ver
Page 91 and 92: Operas to come out of the resulting
Page 93 and 94: 20 th - and 21 st -century American
Page 95 and 96: History of the Minnesota Opera Minn
Page 97 and 98: Minnesota Opera Repertoire - 1963-2
Page 99 and 100: The Standard Repertory eighteenth c
Page 101: elements of opera 100 the premiere
Page 105 and 106: cabaletta cadence cadenza camerata
Page 107 and 108: masking masque melodrama mélodrame
Page 109 and 110: omanticism score scrim serenata sin
Page 111 and 112: dominant fermata forte fortissimo f
Page 113 and 114: Bibliography, Discography, Videogra
Page 115 and 116: Opera Box Teacher’s Guide Evaluat
show all

Grapes Guide.pdf - Minnesota Opera

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?