2013/14 Season

Study Guide
 Manitoba Opera gratefully acknowledges our
Don Pasquale partners:

Student Night at the Opera Sponsor

Projected Translation Sponsor

Education, Outreach and Audience Development Sponsors

1060 – 555 Main Street

lower level, Centennial Concert Hall
Winnipeg, MB, R3B 1C3
204-942-7479
[Link]

For Student Night tickets or more information on student programs,

contact Livia Dymond at 204-942-7470 or ldymond@[Link]

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 welcome
Contents

DON PASQUALE
Three Great Resources for Teaching
Your Students About Opera 2

Don Pasquale: Good to Know 3

Production Information 4
Synopsis 5
the production

The Principal Characters 7

The Principal Artists 8
The Composer 9
The Librettist 10

The History of Don Pasquale 11
Opera Buffa 12
related topics

Bel Canto 13
of study

Commedia dell’arte 14
The American Old West 15

A Short Overview of Opera 16
opera to the stage

Bringing an Opera to the Stage 18

bringing an

The Operatic Voice and Professional Singing 20

Glossary: Important Words in Opera 21
Audience Etiquette 25

Manitoba Opera 26

Student Activities 27

Winnipeg Public Library Resources 34

1
 welcome
Three Great Resources for Teaching
Your Students About Opera

1. Student Night
In order to expose student audiences to the glory of opera, Manitoba Opera created Student Night.
It’s an affordable opportunity for students to watch the dress rehearsal, an exciting look at the
art and magic of opera before the curtain goes up on Opening Night, when tension is high and
anything can happen. Please note:
• Don Pasquale is an opera in three acts, with a running time of approximately 2.5 hours.
• The dress rehearsal is the last opportunity the singers will have on stage to work with the orchestra
before Opening Night. Since vocal demands are so great on opera singers, some choose not to sing
in full voice during the dress rehearsal in order to avoid unnecessary strain.
• Tickets to Student Night are $12 per person and are available to schools and educational groups only.
For more information or to book tickets, contact Livia Dymond at 204-942-7470.

2. The Study Guide

This study guide has been created to assist you in preparing your students for their visit to
the opera at the Centennial Concert Hall. It is our hope that you will be able to add this to
your existing curriculum in order to expand your students’ understanding of opera, literature,
history, and fine art.
Materials in the study guide may be copied and distributed to students. Some students may wish
to go over the information at home if there is insufficient time to discuss in class.

3. Opera in a Trunk
Bring the magic of opera right into the classroom with our Opera in a Trunk. Each trunk
includes costumes, props, books, a cd and dvd of the opera, photographs, activities, and a guide
for putting it all together. Rental price is $50 per trunk for a two-week period.
Available trunks:
Aida
The Daughter of the Regiment
The Magic Flute
Carmen
For more information or to book a trunk, contact Livia Dymond at 204-942-7470.

2
 the production
Don Pasquale:
Good To Know

• Don Pasquale (pronounced pahs-KWAH-leh) is a comic opera in three acts, composed by

Gaetano Donizetti with an Italian libretto by Giovanni Ruffini and Donizetti.

• The last of Donizetti’s comic operas, written in 1842, Don Pasquale tells the story of an
ornery old fool cured of his desire to marry a much younger woman.

• While the original libretto is set in 19th century Rome, Italy, Manitoba Opera’s production is
set in the American West at about the same time. The music and libretto are unchanged from
the original production.

• Donizetti’s 64th of some 66 operas, Don Pasquale is a staple of standard operatic repertoire,
and is considered his comic masterpiece, as well as one of the three most popular Italian comic
operas, the other two being Rossini’s The Barber of Seville and Donizetti’s own The Elixir of Love.

• The world premiere took place on January 3, 1843, at the Théâtre-Italien in Paris. The
production was an immediate success and was soon produced all over Europe and the
Western Hemisphere.

• Donizetti’s best-known works are

the operas L’elisir d’amore, Lucia di
Lammermoor, and Don Pasquale,
all in Italian, and the French operas
La favorite and La fille du régiment
(The Daughter of the Regiment).

• Along with Vincenzo Bellini and

Gioachino Rossini, Donizetti was
a leading composer of bel canto
opera, a traditional Italian style of
singing emphasizing tone, phrasing,
coloratura passages, and technique. Danielle de Niese as Norina in San Diego Opera’s Don Pasquale
Photo: © Ken Howard / San Diego Opera

• Manitoba Opera’s production stars

Peter Strummer as Don Pasquale, Nikki Einfeld as Norina, Brett Polegato as Dr. Malatesta,
and Michele Angelini as Ernesto.

• The last time Manitoba Opera staged Don Pasquale was in 1997.

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 the production
Production Information

Don Pasquale
November 23, 26, 29
(Dress Rehearsal / Student Night: November 21)
Centennial Concert Hall

Music by Gaetano Donizetti

Libretto by Giovanni Ruffini and Gaetano Donizetti

Premiere Performance: Théâtre-Italien at the Salle Ventadour in Paris on January 3, 1843

Approximately 2.5 hours in three acts, with two intermissions.

Sung in Italian with projected English translations.

PRINCIPAL CAST
In order of vocal appearance

DON pASQUALE Peter Strummer Bass

DR. MALATESTA Brett Polegato Baritone
ERNESTO Michele Angelini Tenor
NORINA Nikki Einfeld Soprano

Manitoba Opera Chorus
Winnipeg Symphony Orchestra

Conductor Tyrone Paterson

Director Robert Herriot
Scenery designer Tony Fanning
Costumes designer Helen Rodgers
Scenery, props and wardrobe San Diego Opera
Lighting designer Bill Williams
Stage manager Evan Klassen
Assistant stage managers Kathryn Ball, Leigh McClymont
Projected titles Sheldon Johnson

4
 the production
Synopsis

Act I
The old bachelor Don Pasquale plans to marry in order to punish his rebellious nephew, Ernesto,
who is in love with the young widow Norina. Pasquale wants an heir so he can cut the young man off
without a penny. He consults Dr. Malatesta, who suggests as a bride his own beautiful younger sister
(“Bella siccome un angelo”). Feeling his youth returning, the delighted Pasquale tells Malatesta to
arrange a meeting at once. Ernesto enters and again refuses to marry a woman of his uncle’s choice.
Pasquale tells him that he will have to leave the house, then announces his own marriage plans to
his astonished nephew. With no inheritance, Ernesto sees his dreams evaporating. To make matters
worse, he learns that his friend Malatesta has arranged Pasquale’s marriage.

On her terrace, Norina laughs over a silly romantic story she’s reading. She is certain of her own
ability to charm a man (“Quel guardo il cavaliere”). Malatesta arrives. He is in fact plotting on
her and Ernesto’s behalf and explains his plan: Norina is to impersonate his (nonexistent) sister,
marry Pasquale in a mock ceremony, and drive him to such desperation that he will be at their
mercy. Norina is eager to play the role if it will help her win Ernesto (Duet: “Pronta io son”).

Act II
Ernesto, who knows nothing of Malatesta’s scheme, laments the loss of Norina, imagining his
future as an exile (“Cercherò lontana terra”). He leaves when Pasquale, impatient to meet his
bride-to-be, appears. The old man is enchanted when Malatesta introduces the timid “Sofronia”
and decides to get married at once. During the wedding ceremony, Ernesto bursts in and accuses
Norina of faithlessness. Malatesta quickly whispers an explanation and Ernesto plays witness
to the wedding contract. As soon as the document is sealed and Pasquale has signed over his
fortune to his bride, Norina changes her act from demure girl to willful shrew. The shocked
Pasquale protests, while Norina, Ernesto, and Malatesta enjoy their success (Quartet: “È rimasto
là impietrato”).

Act III
Pasquale’s new “wife” has continued her extravagant ways and amassed a stack of bills. When
servants arrive carrying more purchases, Pasquale furiously resolves to assert his rights as
husband. Norina enters, dressed elegantly for the theatre, and gives him a slap when he tries to
bar her way. He threatens her with divorce, while she, in an aside, expresses sympathy for the
old man’s pain (Duet: “Signorina, in tanta fretta”). As she leaves, she drops a letter implying that
she has a rendezvous with an unknown suitor in the garden that night. The desperate Pasquale
sends for Malatesta and leaves the servants to comment on working in a household fraught
with such confusion. Malatesta then tells Ernesto to make sure that Pasquale will not recognize
him when he plays his part in the garden that evening. Alone with Pasquale, Malatesta assures
him they will trap “Sofronia” in a compromising situation (Duet: “Cheti, cheti, immatinente”).
Pasquale agrees to leave everything to Malatesta.

continued on next page...

5
In the garden, Ernesto serenades Norina, who responds rapturously (Duet: “Tornami a dir che
m’ami”). They are interrupted by Pasquale and Malatesta—too late to catch the young man, who
slips into the house while “Sofronia” plays the innocent wife. Malatesta announces that Ernesto
is about to introduce his own bride, Norina, into the house. “Sofronia” protests she will never
share the roof with another woman and threatens to leave. Pasquale can hardly contain his joy
and grants permission for Ernesto to marry Norina, with his inheritance. When Sofronia turns
out to be Norina, Pasquale accepts the situation with good humor, gives the couple his blessing,
and joins in observing that marriage is not for an old man (Finale: “La morale in tutto questo”).

- Courtesy of The Metropolitan Opera

Curt Peterson (Ernesto), Tracy Dahl (Norina), Ryan Allen (Don Pasquale) and Jeff Mattsey (Dr. Malatesta),
Don Pasquale, Manitoba Opera, November 1997. Photo: Gerry Kopelow

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 the production
The Principal Characters

In order of vocal appearance

Name Description Pronunciation

Don Pasquale An elderly bachelor pahs-KWAH-leh
Dr. Malatesta His physician mah-lah-TEHS-tah
Ernesto Pasquale’s nephew ehr-NEHS-toh
Norina A youthful widow, Ernesto’s beloved noh-REE-nah

Don Pasquale at its London Premiere, from the Illustrated London News of July 8, 1843

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 the production
The Principal Artists

Peter Strummer Don Pasquale

Peter Strummer was born in Vienna, Austria, and emigrated with his family to
Winnipeg, Manitoba, when he was a child. He later moved to Vancouver, British
Columbia, where he resided until he went to the United States to undertake his
musical education. He is now one of North America’s foremost character bass-
baritones and has appeared at major opera houses world-wide including the
Metropolitan Opera, San Francisco Opera, Washington Opera, New York City Opera,
Canadian Opera Company, as well as 15 years performing in Germany and Austria.
He last appeared with Manitoba Opera as Sacristan in Tosca in November 2010.

[Link]

Brett Polegato Dr. Malatesta

Brett Polegato is one of today’s most sought-after lyric baritones of the operatic
stage. He appears regularly on the world’s most distinguished stages including
those of Lincoln Center, La Scala, the Opéra National de Paris, Glyndebourne
Festival Opera, the Lyric Opera of Chicago, Houston Grand Opera, the Teatro Real,
and Carnegie Hall. Don Pasquale will be Mr. Polegato’s Manitoba Opera debut.

[Link]

Michele Angelini Ernesto

Michele Angelini is one of today’s foremost tenors of the bel canto repertoire. He
performs regularly across Europe and North America with such companies as
Teatro dell’Opera in Rome, Deutsche Oper am Rhein in Dusseldorf, Royal Opera
House, Metropolitan Opera, and Florida Grand Opera. He has also performed in
various concerts including an engagement with the New York Choral Society at
Carnegie Hall. Don Pasquale will be Mr. Angelini’s Manitoba Opera debut.

[Link]/angelini

Nikki Einfeld Norina

Winnipeg-born coloratura soprano, Nikki Einfeld, mentored with the legendary Tracy
Dahl and has since performed with companies across North America including San
Francisco Opera, New Orleans Opera, Canadian Opera Company, Vancouver Opera, and
many more. She last appeared with Manitoba Opera as Marie in The Daughter of the
Regiment in April 2012.

[Link]

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 the production
The Composer

Gaetano Donizetti
Born: 1797
Died: 1848

Gaetano Donizetti was born on November 29, 1797 in Bergamo,

Italy. He enjoyed tremendous popularity throughout Europe and
his operas, together with Bellini’s, came to epitomize the Italian
Romantic spirit of the 1830s.
Donizetti was given free admission to Simon Mayr’s school for choir
boys when he was nine years old, and Mayr proved to be a major
influence on the composer. In 1814, he provided Donizetti with
the financial and moral support he needed to move to Bologna to
study counterpoint (the use of multiple melodies). Three years later,
when Donizetti returned to Bergamo having decided he would be a
composer of opera, Mayr secured a contract for him with a company
in Venice for which Donizetti wrote four operas.
Donizetti’s first notable work was his production of Zoraida
di Granata in Rome in 1822. For the next several years he produced two to five operas a year, from
one-act farces to full-length serious works; these were presented in Naples, Rome, Palermo and Genoa.
In 1828 Donizetti married Virginia Vasselli, and although she bore them three children, none survived
infancy. Virginia herself was stricken with cholera and died an early death in 1837. The loss of her
companionship is said to have had a profound and lasting impact on the composer.
1830 saw Donizetti’s first international success with Anna Bolena, and by that time he had written 23 operas.

In 1835, Rossini invited Donizetti to visit Paris to present Marino Faliero at the Théâtre-Italien. This was
Donizetti’s first experience with opera in the grand tradition, and he was impressed with the artistic
standards and the lucrative pay. Although he returned to Naples later that year to write and produce
Lucia di Lammermoor (based on Sir Walter Scott’s novel, The Bride of Lammermoor), he did not stay long.
The death of his wife and his disillusionment with the operatic world of Naples prompted Donizetti to
move back to Paris in 1838.
During his first two years in France, Donizetti’s operas were performed in four Paris theatres, much
to the chagrin of other contemporary French composers. He rewrote the score of Lucia for a French
production, and though not the artistic success of the Italian original, the exposure it received established
his reputation as an eminent European composer. Among the many operas Donizetti wrote in his later
years were La fille du régiment (1840), La favorite (1840), Don Pasquale (1843) and Dom Sébastien
(1843). Don Pasquale became an overnight success at Paris’s Théâtre-Italien and was widely regarded as
a comic masterpiece.
In rehearsal for his last opera, Dom Sébastien, Donizetti’s behavior became erratic and obsessive. It was
discovered that Donizetti was suffering from cerebro-spinal degeneration of syphilitic origin, and he
was sent to a sanatorium near Paris. Although he was returned home to Bergamo in October of 1847,
Donizetti was paralyzed and unable to speak more than monosyllables. He was attended by friends and
family until his death on April 8, 1848.
-Published with the permission of the Canadian Opera Company

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 the production
The Librettist

Giovanni Ruffini
Born: 1807
Died: 1881
Giovanni Ruffini was a writer and Italian patriot born in Genoa, Italy. He
had been condemned to death as an enemy of the state and was living in
exile in Paris in 1842 when it was suggested to him by Jules Janin (newly
appointed director of Théâtre-Italien) that he might offer his services to
Donizetti as a librettist. Donizetti told him exactly what he required for
his latest project, Don Pasquale, but not that he intended to adapt music
he had already written for other purposes. Ruffini duly wrote the draft
libretto from the original text of Ser Marcantonio dating back to 1810, but
Donizetti changed so much from Ruffini’s version that Ruffini became
angry and refused to allow his name to be included in the programme for
the premiere at the Théâtre Italien in Paris January 3, 1843.

What is a Libretto?
Libretto means “little book” in Italian. It refers to the written text of an
opera set to music by the composer. Today, we commonly refer to an opera
as being ‘by’ the composer of the music, but the text is a vital component
and is normally written first. In earlier times it was often regarded as more
important than the music, and it was common for audience members to
purchase the libretto to read.
Early composers were usually contracted to set music to a pre-existing
text. Only later did composers (such as Mozart and Verdi) work in close
collaboration with their librettists. A few composers – notably Wagner –
wrote their own texts.

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 related topics of study
The History of Don Pasquale

Don Pasquale is Donzetti’s 64th opera,

composed toward the end of his career,
during November of 1842. At the time of its
composition, Donizetti had just been appointed
music director and composer for the imperial
court of Emperor Ferdinand I of Austria.

Donizetti claimed that he composed the

music for Don Pasquale over a remarkably
short period of about 11 days. However, this
did not include orchestration, which was
completed during the rehearsal process and
Donizetti re-used some of the music he had
already written for other purposes.

The libretto was written by both Giovanni

Ruffini and Donizetti after Angelo Anelli’s
An engraving of the Don Pasquale premiere at Théâtre-Italien, Paris, 1843 libretto for Stefano Pavesi’s Ser Marcantonio
(1810), which was derived from Epicœne
or The Silent Woman by Ben Jonson (1609). Ruffini had been condemned to death as an
enemy of the state and was living in exile in Paris in 1842 when it was suggested to him by
Jules Janin (newly appointed director of Théâtre-Italien) that he might offer his services
to Donizetti as a librettist. Donizetti told him what he required for Don Pasquale, but not
that he intended to adapt music already written for other
purposes. Ruffini duly wrote the draft libretto from the
original text dating back to 1810, but Donizetti changed so
much from Ruffini’s version that Ruffini became angry and
refused to allow his name to be printed in the programme
for its premiere performance.

Don Pasquale was given its premiere on January 3, 1843

by the Théâtre-Italien at the Salle Ventadour in Paris, with
Donizetti conducting the first performance. Performed by
four of the most celebrated singers of the day, including
Luigi Lablanche in the title role (pictured right), it was an
immediate success and was soon produced all over Europe
with its first performance in Italy at La Scala in Milan on
April 17, 1843. Don Pasquale was recognized at the time
Luigi Lablache as Don Pasquale,
as, and is still considered, Donizetti’s comic masterpiece, and Artist: Dominique Lintricoire (1796-1854)
remains one of the most popular of his some 66 operas.

11
 related topics of study
Opera Buffa

Opera buffa is an Italian term meaning “comic opera” which is used to describe the Italian comic
operas of the early 1700s to mid 1800s.

Opera buffa originated in Naples, Italy and arose

as a parallel genre to that of the more serious,
opera seria. Opera seria dealt mainly with subjects
of interest to its audience of kings and nobility,
and had plots that revolved around gods, wars,
and the triumphs and tribulations surrounding
royal life. Opera buffa, in contrast, usually involved
comic characters and relatable situations, as in
Mozart’s Le Nozze di Figaro and Rossini’s The
Barber of Seville. The genre developed from
the intermezzi (short comic operas that were
performed between the acts of serious operas).

Don Pasquale is considered to be one of the last true opera buffas. The genre began to fall out of favour by
the mid-19th century, as opera-goers gravitated towards the influences of Verdi and Wagner.

Characteristics of Opera Buffa:

• Everyday settings and relatable situations

• Comic characters influenced by commedia dell’arte
• Simple vocal writing (basso buffo as the associated voice type)
• Patter song: A comic song which is sung at a high speed with a rapid succession of rhythmic
patterns in which each syllable of text corresponds to one note. The text is often filled with
difficult, tongue-twisting lyrics. Patter songs are frequently reprised (to get the singers to sing
them even faster).
A patter song in Don Pasquale can be heard in the last section of each of Pasquale’s and
Malatesta’s verses in their duet “Cheti, cheti, immantinente” in Act 2, plus a reprise in which
they sing their patter simultaneously.
• Set numbers are linked by recitativo secco: a dialogue that, rather than sung as an aria, is
sung with the rhythms of ordinary speech, by using only a few pitches. Accompaniment is by
continuo, which is usually a harpsichord (in the case of Don Pasquale however, the recitativo
is accompanied by strings).
• Ensemble finale: A long, formally organized conclusion to an opera act which includes all
principal characters.

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 related topics of study
Bel Canto

Bel Canto (Italian for “beautiful singing”) is the term to describe the elegant Italian vocal style
of opera that orginated in the mid-1700s and flourished through the first decades of the 19th
century. Donizetti was one of the three leading bel canto composers. He wrote Don Pasquale in
1842, at the end of what was known as the bel canto era (approximately 1805-1840).

Characteristics of Bel Canto Singing:

• A smooth style of singing, or legato, across the entire range

• Agility and flexibility that enables the singer to manage

vocal embellishments with ease

• Lack of noticeable breath sounds and excessive vibrato

• Clear attack and diction

• Full, even tones

• A well-focused timbre
Mathilde Marchesi (1821–1913), a leading
Paris-based teacher of bel canto sopranos
• Refined breath control that governs graceful phrasing

The Three Leading Composers of Bel Canto Opera:

Gaetano Donizetti (1797-1848) Gioachino Rossini (1792-1868) Vincenzo Bellini (1801-1835)

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 related topics of study

Commedia dell’arte

Many of the comedic elements of Don Pasquale are inspired by those of commedia dell’arte
(literally, “comedy of professional artists”), a type of comedy developed in 16th and 17th
century Italy, characterized by improvised text based on plot outlines (scenarios), physical
comedy, and various stock characters. The art form quickly spread throughout Europe, with
many of its elements persisting into present-day theatre.

Don Pasquale features one of commedia

dell’arte’s most popular stock characters, as
well as one of the genre’s most common plots:
the struggles of young lovers, or innamorati,
whose union is hindered by one or several
elders (vecchi), a jealous guardian. The
innamorati seek assistance from a servant or
trickster, called zanni (from which the word
“zany” derives) who, with cunning intervention,
bring the play to a happy conclusion.
Four Commedia dell’Arte Figures by Artist
Claude Gillot (1673-1722)

Don Pasquale character Commedia character Commedia character description

Don Pasquale Pantalone (vecchi) A wealthy merchant: rich, greedy, and

naive. Constantly loses against wit and
improvisation.
Ernesto Pierrot (innamorati) In love with Columbina. Originally
tended to play pranks and insult other
characters for humor; later came to be
known for innocence and dreaminess.
Norina Columbina (innomorati) A comic servant playing the tricky slave
type. Flirtatious and wily. Is also known
for her strange creativity.
Dr. Malatesta Scapino (zanni) A trickster. Self-preservation and self-
interest are his main concerns.

14
 related topics of study
The American Old West

While Don Pasquale is usually set in Rome, Italy during the early 19th century, Manitoba
Opera’s production is set in a Hollywood-style American Old West at around the same
time. The libretto and music are unchanged though some of the action may be different
from that of the traditional performance. The production concept for Manitoba Opera’s
Don Pasquale is inspired by the mythic Old West as portrayed in Spaghetti Western style
films.

The American Old West (also known as the Wild West)

comprises the history, geography, people, lore, and cultural
expression of life in the Western United States, just about
anywhere west of the Mississippi River, during the American
westward expansion. After the War of 1812, much of America’s
attention turned to exploration and settlement of its territory
to the West. Although this expansion began as early as the
17th century, the Old West, which has been given tremendous
popular attention in the media, refers to the period beginning
in the early 19th century until the early 20th century.

This westward expansion was also known as the Wild West

because it was perceived as a hostile time with pioneers forcing
The cowboy, the quintessential
Native Americans from their lands and traveling through and symbol of the American West
settling in harsh landscapes.

The Spaghetti Western, also known as Italian Western, is a

sub-genre of Western films that emerged in the mid-1960s in
the wake of Italian director Sergio Leone’s film-making style
and international box-office success. These films portrayed the
Old West as a mythic place where rules didn’t apply and scores
were settled with gun slinging and shootouts. Music played an
important role in these films. The most well-known spaghetti
westerns were scored by Italian composer Ennio Morricone.
The cast often included Italian, Spanish, German and American
actors, and often featured a fading Hollywood star, or sometimes
a rising one like the young Clint Eastwood in Sergio Leone’s
trilogy of spaghetti westerns (A Fistful of Dollars, For A Few
Dollars More, and The Good, the Bad, and the Ugly).
A movie poster for
The Good, the Bad, and the Ugly

15
 the making of an opera
A Short Overview
of Opera
An opera, like a play, is a dramatic form of theatre that includes scenery, props and costumes. In
opera, however, the actors are trained singers who sing their lines instead of speaking them. An
orchestra accompanies the singers. A conductor coordinates both the singers on stage and the
musicians in the orchestra pit.
Opera consists of many dimensions: the human voice, orchestral music, the visual arts (scenery,
costumes and special effects), drama (tragedy or comedy), and occasionally dance. The melding
of these elements creates a multi-dimensional theatrical experience.
Opera has its roots in Greek drama and originated in Florence, Italy, in the late 1500’s, with a
small group of men who were members of the Camerata (Italian for society). The intellectuals,
poets and musicians of the Camerata decided they wanted words to be a featured aspect of
music. They used ancient Greek drama as their inspiration, including the use of a chorus to
comment on the action.
The Camerata 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, and must avoid the rhythms of
songs.
3. The melody must interpret the feeling of
the text.
The first significant composer to fully develop
the ideas of the Camerata was Jacopo Peri
(1561-1633), whose opera Dafne, based on
a Greek myth, was performed in 1594 and is
regarded as the first opera.
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
usually focuses on a character’s emotions
rather than actions. A recitative is sung
dialogue or speech that occurs between arias
and ensembles. It helps to further the action of
the story and shape the relationships between
the characters.
The story of the opera is written as a libretto:
a text that is set to music. Composers write the
score or the music for the opera. Sometimes
the composer will also write the text of the
The Sydney Opera House

16
 the making of an opera

opera, but most often they work with a librettist. In the past, the libretto was also bound and
sold to the audience. Today, the audience can easily follow the plot with the use of surtitles - the
English translation of the libretto, which are projected onto a screen above the stage.
There are several differences between opera and musicals like The Phantom of the Opera. One
significant difference is the ‘partnership’ found between the music and the drama in an opera.
While musicals use songs to help tell a story, in an opera, the music contributes to the drama, it
does not only accompany it.
The musical style is another important difference between the two art forms; opera is usually
classical and complex, while musicals feature pop songs and sometimes rock and roll. Also,
singers in musicals have microphones hidden in their costumes or wigs to amplify their voices.
The voices of opera singers are so strong no amplification is needed, even in a large venue.
Furthermore, operas are almost completely sung while the use of spoken words are more
common to musicals. There are some operas with spoken words and these are called singspiels
(German) and opéra-comique (French). Examples are Mozart’s The Magic Flute and Bizet’s
Carmen, respectively.

The Metropolitan Opera (1937)

17
 the making of an opera
Bringing an Opera
to the Stage

Opera combines many great art forms to make something completely different. First and
foremost are the performers who portray characters by revealing their thoughts and emotions
through the singing voice. The next very important component is a full symphony orchestra that
accompanies the singing actors and actresses, helping them to portray the full range of emotions
possible in the operatic format. The orchestra performs in an area in front of the singers called
the orchestra pit, while the singers perform on the open area called the stage. Wigs, costumes,
sets and specialized lighting further enhance these performances, all of which are designed,
created, and executed by a team of highly trained artisans.
The creation of an opera begins with a dramatic scenario crafted by a playwright or dramaturg
who, alone or with a librettist, fashions the script or libretto that contains the words the artists
will sing. Working in tandem, the composer and librettist team up to create a cohesive musical
drama in which the music and words work together to express the emotions revealed in the
story. Following the completion of their work, the composer and librettist entrust their new
work to a conductor who, with a team of assistants (repetiteurs), assumes responsibility for the
musical preparation of the work. The conductor collaborates with a stage director (responsible
for the visual component) in order to bring a performance of the new piece to life on the stage.
The stage director and conductor form the creative spearhead for the new composition while
assembling a design team which will take charge of the actual physical production.

Wendy Nielsen (Tosca) and Richard Margison (Cavaradossi), Tosca, Manitoba Opera, November 2010. Photo: R. Tinker

18
 the making of an opera

Set designers, lighting designers, costume designers, wig and makeup designers and even
choreographers must all be brought on board to participate in the creation of the new
production. The set designer combines the skills of both an artist and an architect using
“blueprint” plans to design the actual physical set which will reside on the stage, recreating
the physical setting required by the story line. These blueprints are turned over to a team of
carpenters who are specially trained in the art of stage carpentry. Following the actual building
of the set, painters, following instructions from the set designers’ original plans, paint the set.
As the set is assembled on the stage, the lighting designer works with a team of electricians to
throw light onto both the stage and the set in an atmospheric, as well as practical way. Using
specialized lighting instruments, colored gels and a state-of-the-art computer, the designer,
along with the stage director, create a “lighting plot” by writing “lighting cues” which are stored
in the computer and used during the actual performance of the opera.
During this production period, the costume designer, in consultation with the stage director, has
designed appropriate clothing for the singers to wear. These designs are fashioned into patterns
and crafted by a team of highly skilled artisans called cutters, stitchers, and sewers. Each costume
is specially made for each singer using his/her individual measurements. The wig and makeup
designer, working with the costume designer, designs and creates wigs which will complement
both the costume and the singer, as well as represent historically accurate period fashions.
The principals are the people who have the major roles in an opera. They are professional
singers. Principals usually arrive about three weeks before the first performance, with all of
their music memorized and a good sense of their character. In rehearsal, they work with the
director who helps them block each of the scenes. The director works with the principals to
develop their characters and their voice. For the first two weeks they are accompanied by
a rehearsal pianist. The week of the show, they move into the Concert Hall and begin work
rehearsing on stage with the orchestra in the pit.

Aida, Manitoba Opera, April 2013. Photo: R. Tinker

19
 the making of an opera
The Operatic Voice
and Professional Singing

Operatic singing, developed in Europe during the 17th Vocal Categories

century, places intense vocal demands on the singer.
Women
Opera singers rarely use microphones, and therefore must
project their voices to fill a large theatre and be heard Soprano: Similar to a flute in range

Higher
above an orchestra. and tone colour. Usually plays the
heroine in the opera since a high,
An opera singer learns to use his or her body as an amplifi- bright sound can easily suggest
cation device. By controlling the muscles of the diaphragm, youth and innocence.
the singer can regulate the amount of breath used. The Mezzo-Soprano: Similar to an
diaphragm expands and contracts, regulating the air that oboe in range and tone colour. Called
passes through the vocal cords, causing them to vibrate. an alto in choral arrangements, this
The speed of this determines the pitch. As the sound voice can play a wide variety of char-
passes through the mouth, it resonates in the upper chest acters including gypsies, mothers,
and young men (trouser role).
cavities and the sinus cavities of the face and head. These
cavities act as small echo chambers that amplify the sound. Contralto: Similar to an English
horn in range and tone colour.
Each person’s vocal tract is constructed differently. The Usually play unique roles including
roles that a singer performs are dependent mostly upon fortune-tellers, witches, and older
their vocal range, but within the vocal ranges, there are women.
many colours and weights of voice that contribute. Vocal Men
colour refers to the richness of the sound and vocal weight
Tenor: Similar to a trumpet in
refers to how powerful a voice sounds. range, tone, color and acoustical
Many singers begin their operatic training in university. “ring.” Usually plays the hero or the
Opera students study singing, music history, composition romantic lead in the opera.
and vocal pedagogy (voice teaching). In addition to music Baritone: Similar to a French horn
classes, they study diction and often at least one foreign in tone color. Often plays the leader
language. After university, their first professional roles are of mischief in comic opera or the
usually small parts, but if they continue to study and train, villain in tragic opera, sometimes

Lower
even the hero.
they may move on to the bigger principal roles.
Bass: Similar to a trombone or
Professional singers develop a number of roles in their bassoon in tone color. Usually portrays
repertoire. Since the principal artists are required to have old, wise men, or foolish, comic men.
their parts memorized before rehearsals begin, singers
must prepare well in advance of each contract. Even well Vocal Colourings
established singers have voice teachers, and often acting
coaches, who help them refine their singing techniques. Coloratura: A light, bright voice
that has the ability to sing many notes
Physical health is a major priority to a singer. Contrary to quickly, usually with an extended
popular belief, not all opera singers are overweight. Opera upper range.
singers once believed that excessive weight gave added Lyric: A light to medium weight
volume and richness to the voice. However, now we know voice, often singing beautiful sweeping
that physical fitness can give similar benefits to a voice. melodies.
Plus, the overall health benefits of being in shape over- Dramatic: Dark, heavy and powerful
shadow any loss of vocal power. Most singers, like profes- voice, capable of sustained and force-
sional athletes, try to avoid tobacco, alcohol, and caffeine. ful singing.

20
 the making of an opera
Glossary:
Important Words in Opera
Act: a section of the opera that is then divided Choreographer: the person who designs
into scenes. the steps of a dance.
Aria: means “air” in Italian. This is a piece Chorus: a group of singers of all vocal ranges,
of music written for a one singer (soloist), singing together to support the vocal leads.
usually with instrumental accompaniment.
Classical: the period in music which comes
Aside: a secret comment from an actor after the Baroque and before the Romantic,
directly to the audience that the other charac- roughly from the birth of Mozart to shortly
ters cannot hear. after the death of Beethoven. It represents the
Baritone: the middle singing range of the greatest standardization in orchestral form
male voice. and tonality.

Bass: the lowest singing range of the male voice. Coloratura: elaborate ornamentation of
music written for a singer using many fast
Basso buffo: a bass singer who specializes notes and trills. Also used to describe a singer
in comic characters. who sings this type of music.
Basso profundo: the most serious bass voice.
Baton: short stick that the conductor uses to
lead the orchestra.
Bel Canto: Italian phrase literally meaning
“beautiful singing.” A traditional Italian style
of singing emphasizing tone, phrasing, colora-
tura passages, and technique. Also refers to the
operas written in this style.
Blocking: directions given to the performers
for movement on stage.
Bravo: a form of appreciation shouted by
audience members at the end of a particu-
larly pleasing performance. Technically, bravo
refers to a male performer, brava refers to a
female performer and bravi refers to many
performers.
Buffo: from the Italian for “buffoon.” A singer
of comic roles (basso-buffo) or a comic opera
(opera-buffa.)
Cadenza: a passage of singing, often at the
end of an aria, which shows off the singer’s
vocal ability.
Castrato: a castrated male prized for his
high singing voice.
Jeffrey Springer (Turiddu), Pagliacci, Manitoba Opera,
April 2004. Photo: [Link]

21
 the making of an opera

Composer: the individual who writes all the Curtain Call: occurs at the end of the per-
music for both voice and instrument. formance when all the cast members and the
conductor take bows. This can occur in front of
Comprimario: a nineteenth century
the curtain or on the open stage.
term referring to secondary or supporting
roles such as confidantes, messengers, and Designer: a production can have two or
matchmakers. three designers: a lighting designer, a costume
designer, a set designer, or someone who is
Contralto: the lowest female voice range.
both costume and set designer. They work
Conductor: the person responsible for the closely with the stage director to give the pro-
musical interpretation and coordination of duction a distinctive look.
the performance. The conductor controls the
Diva: literally goddess in Italian. An important
tempo, the dynamic level, and the balance
female opera star. The masculine form is divo.
between singers and orchestra. You will see
this person standing in the orchestra pit con- Dress Rehearsal: the final rehearsal before
ducting the musicians and the singers. opening night, includes costumes, lights,
makeup, etc. Sometimes it is necessary to stop
Countertenor: a male singer with the highest
for adjustments, but an attempt is made to make
male voice range, generally singing within the
it as much like a regular performance as possible.
female contralto or mezzo-soprano range.
Duet: music that is written for two people to
Crescendo: a build in the volume or dynamic
sing together.
of the music.
Encore: a piece that is performed after the last
Cue: a signal to enter or exit from the stage,
scheduled piece of a concert. An encore is usually
to move or to change lighting or scenery; or a
performed because the audience wants to hear
signal given by the conductor to the musicians.
more music even though the concert is over.
Ensemble: a part of the opera written for a
group of two or more singers. This may or may
not include the chorus.
Falsetto: the upper part of a voice in which
the vocal cords do not vibrate completely.
Usually used by males to imitate a female voice.
Finale: the last musical number of an opera
or an act.
Grand Opera: spectacular French opera of
the Romantic period, lavishly staged, with a
historically based plot, a huge cast, an unusu-
ally large orchestra, and ballet. It also refers to
opera without spoken dialogue.
Helden: German prefix meaning “heroic.” Can
also apply to other voices, but usually used in
“heldentenor.”
House: the auditorium and front of the theatre
excluding the stage and backstage areas.
Jeff Mattsey (Don Giovanni) and Stefan Szkafarowsky
(Commendatore), Don Giovanni, Manitoba Opera,
November 2003. Photo: [Link] 22
 the making of an opera

Impresario: the proprietor, manager, or Opera seria: a serious opera. The usual char-
conductor of an opera or concert company; acters are gods and goddesses, or ancient heroes.
one who puts on or sponsors an entertainment Opera-comique: (singspiel) a form of opera
manager, producer. which contains spoken dialogue.
Interlude: a short piece of instrumental Operetta: lighthearted opera with spoken
music played between scenes and acts. dialogue, such as a musical.
Intermission: a break between acts of an Orchestra: an ensemble, led by a conductor,
opera. The lights go on and the audience is free that is comprised of string, woodwind, brass
to move around. and percussion instruments.
Leitmotif: A melodic passage or phrase, Orchestra pit: sunken area in front of the
especially in Wagnerian opera, associated with stage where the orchestra sits.
a specific character, situation, or element.
Overture: an orchestral introduction to the
Librettist: the writer of the opera’s text. opera played before the curtain rises. Usually
Libretto: Italian for little book. It is the text longer than a prelude and can be played as a
or story of the opera. separate piece.
Lyric: used to describe a light-to-medium- Pitch: how high or low a note sounds.
weight voice with an innocent quality, capable Prelude: a short introduction that leads into
of both sustained, forceful singing and deli- an act without pause.
cate effects.
Prima Donna: literally first lady in Italian.
Maestro: means “master” in Italian. Used as a The leading woman in an opera. Because of the
courtesy title for the conductor (male or female). way some of them behaved in the past, it often
Mark: to sing, but not at full voice. A full- refers to someone who is acting in a superior
length opera is very hard on a singer’s voice, and demanding fashion. The term for a leading
so most performers mark during rehearsals. man is primo uomo.
During the dress rehearsal singers try to sing Principal: a major singing role, or the singer
at full voice for part, if not all, of the rehearsal. who performs such a role.
Mezzo-soprano: the middle singing range Production: the combination of sets, cos-
for a female voice. tumes, props, and lights, etc.
Motif or Leitmotif: a recurring musical Props: objects carried or used on stage by
theme used to identify an emotion, person, the performers.
place, or object.
Proscenium: the front opening of the stage
Opera: a dramatic presentation which is which frames the action.
set to music. Almost all of it is sung, and the
orchestra is an equal partner with the singers. Quartet: four singers or the music that is
Like a play, an opera is acted on stage with written for four singers.
costumes, scenery, makeup, etc. Opera is the Raked Stage: a stage that slants downwards
plural form of the Latin word opus, which towards the audience.
means “work.”
Recitative: lines of dialogue that are sung,
Opera buffa: an opera about ordinary usually with no recognizable melody. It is used
people, usually, but not always comic. First to advance the plot.
developed in the18th century.

23
 the making of an opera

Rehearsal: a working session in which the Stage Director: the person in charge of the
singers prepare for public performance. action on stage. He or she shows the singers,
chorus and cast where and when to move and
Score: the written music of an opera or other
helps them create their characters. The stage
musical work.
director develops a concept for how the entire
Serenade: a piece of music honouring performance should look and feel. He or she
someone or something, an extension of the works closely with the stage managers, light-
traditional performance of a lover beneath the ing designer, set designers, costume designer,
window of his mistress. and wig and makeup artists to bring his or her
Sitzprobe: the rehearsal held on to the main vision into reality.
stage for the first time. The entire opera is sung Stage Manager: the person who coor-
through without any costumes or blocking. dinates and manages elements of the
Soprano: the highest range of the female performance.
singing voice. Supernumeraries: appear on stage in
Soubrette: pert young female character costume in non-singing and usually, non-
with a light soprano voice. speaking roles.

Spinto: a lyric voice that has the power and Surtitles: the English translations of the
incisiveness for dramatic climaxes. opera’s language, in this production Italian,
that are projected above the stage during a
Stage Areas: refers to the various sections of performance to help the audience follow the
the stage as seen by those on stage. story, much like subtitles in a foreign film.
Synopsis: a short summary of the story of
the opera.
Tableau: occurs at the end of a scene or
act, when all cast members on stage freeze in
position and remain that way until the curtain
closes. It looks as though that moment has
been captured in a photograph.
Tempo: speed of the music.
Tenor: the highest natural adult male voice.
Trill: very quick alternation between two
adjacent notes. See coloratura.
Trio: an ensemble of three singers or the
music that is written for three singers.
Trouser role: the role of an adolescent
boy or young man, written for and sung by a
woman, often a mezzo-soprano. Also known as
a pants role.
Verismo: describes a realistic style of opera that
started in Italy at the end of the 19th century.
Andriana Chuchman (Pamina), The Magic Flute,
Manitoba Opera, April 2011. Photo: [Link]

24
 the making of an opera
Audience Etiquette

The following will help you (and those around you) enjoy the experience of a night at the opera:

• Dress to be comfortable. Many people enjoy dressing up in formal attire, but this is optional and
people attend the opera wearing all varieties of clothing.
• Arrive on time. Latecomers disturb the singers and others in the audience. Latecomers will only
be seated at suitable breaks - often not until intermission.
• Find your seat with the help of your teacher and remember to thank them.
• Remove your hat. This is customary and is respectful to the artists and to people sitting behind you.
• Turn off, tune in. Switch off all electronic devices including cell phones, smart phones, iPods, pagers,
and digital watch alarms.
• Leave your camera at home and do not use the camera function on your phone during a performance.
This can be very disturbing to the artists and audience members.
• Find the “EXIT” signs. Look for the illuminated signs over the doors. You always want to know
where the nearest emergency exit is in a theatre.
• If you think you might need a breath mint or cough drop, unwrap it before the performance.
• Settle in and get comfortable before the performance begins. Read your program. This tells you
what performance you’re about to see, who created it, and who’s performing in it. You might like
to read a synopsis of the opera before it begins.
• Clap as the lights are dimmed and the conductor appears and bows to the audience. Watch as the con-
ductor then turns to the orchestra and takes up his or her baton to signal the beginning of the opera.
• Listen to the prelude or overture before the curtain rises. It is part of the performance and an oppor-
tunity to identify common musical themes that may reoccur during the opera.
• Save all conversations, eating, drinking, and chewing gum, for the intermission. Talking and eat-
ing can be disruptive to other audience members and distracts from your ability to be absorbed
by the show. The audience is critical to the success of the show – without you, there can be no
performance.
• Sit still. Only whisper when it is absolutely necessary, as a whisper is heard all over the theatre,
and NEVER stand during the performance, except in the case of an emergency.
• Read the English translations projected above the stage.
• Feel free to laugh when something is funny – this is a performance and you are expected to respond!
• Listen for subtleties in the music. The tempo, volume and complexity of the music and singing
often depict the “feeling” or “sense” of the action or character.
• Notice repeated words or phrases; they are usually significant.
• Applaud (or shout Bravo!) at the end of an aria or chorus piece to show your enjoyment of it. The
end of a piece can be identified by a pause in the music.
• Finally, have fun and enjoy the show!

25
 Manitoba Opera

Manitoba Opera was founded in 1969 by a group of individuals dedicated to presenting the great
works of opera to Manitoban audiences. Manitoba Opera is the province’s only full-time profes-
sional opera company. The company attracts internationally renowned artists, highlights the
best local talent, and is supported by the Winnipeg Symphony Orchestra under the direction of
internationally renowned conductors. Manitoba Opera celebrated its 35th Season in 2007/08 by
presenting the world premiere of an opera commissioned by the company, Transit of Venus.

Chorus
The Manitoba Opera Chorus, under the
direction of Chorus Master Tadeusz Bier-
nacki, is hailed for their excellent singing and
acting abilities. The chorus boasts a core of
skilled singers who give generously of their
time and talents. Some are voice majors at
university, a few are singing teachers, but
most work in jobs that aren’t music related.
Carmen, Manitoba Opera, April 2010. Photo: [Link]

Staff
Tadeusz Biernacki
Chorus Master & Assistant Music Director
2013/14 Board of Trustees
Michael Blais
Director of Administration Jennifer Snyder, chair
Valorie Block Liz Barron
Event & Sponsorship Manager Wayne Benson
Larry Desrochers Dr. Robert Biscontri
General Director & CEO
Elba Haid
Livia Dymond
Peter Heavysege
Education & Outreach Coordinator
Amanda Huminicki
Sheldon Johnson
Director of Production Dr. Anthony Iacopino
Natasha MacDonald-Sawh Sue Jurkovic
Patron Services Representative Chris Mainella
Tyrone Paterson Luisa Matheson
Music Advisor & Principal Conductor
Carolin Taubensee
Darlene Ronald
Robert Vineberg
Director of Marketing

Monica Wood
Director of Development

26
 Student Activities

Activity #1: Using the Five C’s, Have your Students Analyze the Opera as Drama

Characters: Are they interesting? Believable? Are their actions, words, thoughts consistent?
Conflict: What conflicts are established? How are they resolved?
Climax: To what climax does the conflict lead?
Conclusion: How well does the conclusion work? Is it consistent? Satisfying? Believable?
Context: What are the historical, physical, and emotional settings? Sets and costumes?

• Give students the synopsis to read and have them re-tell the story after they have read it.
• Ask comprehensive questions.
• Present and discuss the composer and librettist.
• Listen to excerpts from the opera. Watch a DVD of the opera (DVD and CD are available for loan
from Manitoba Opera). Have students identify and recognize recurring themes.
• Discuss the historical background, emphasizing the visual and performing arts and history-social
science frameworks. Discuss the results of certain events. Whom did they affect? How? Why? Did
any changes occur as a result?
• Review the glossary of terms.
• Have the students watch for references to themes in the opera in their everyday lives. The internet,
radio, TV, magazines, and movies often refer back to classics.

Activity #2: Create a Poster, Set, Costume, Press Release, or Ad

• Choose a time and place to set your production.
• Have the students design a poster for Don Pasquale Student Night at the Opera, including
such details as the date, the time, and the people involved.
• Have them draw a set for a production of the opera.
• They might also sketch a costume, wig, and makeup for a character in Don Pasquale.
• Have the students write a press release about Don Pasquale Student Night at the Opera,
including the date, the time, the people involved, and why it would be exciting or fun to attend.
• Have the students create an ad for the opera. Include whatever you feel is the biggest “selling
point” of the opera - what makes it exciting? Why should people come to see it?

27
 student activities

Activity #3: A Review

Step 1 – Think-Group-Share
Individually, students will write, in point form, the answers to the following questions:
1. What did you like about the opera? What did you dislike?
2. What did you think about the sets, props, and costumes?
3. If you were the stage director, would you have done something differently? Why?
4. What were you expecting? Did it live up to your expectations?
5. What did you think of the singers’ portrayal of their characters?
Break the students into groups to discuss their feelings and reactions to the production. Have
the students write on poster papers their answers or important points of their discussion.
Encourage the students to go beyond the questions posed.
Step 2 – Class Discussion
Have the whole class examine the poster papers and discuss the different ideas from each group.
Step 3 – Outlining your review
Go over the essential aspects of a review including: a clearly stated purpose, a coherent
comparison/contrast organizational pattern, a summary paragraph capturing the interest of
the reader, precise nouns, revision for consistency of ideas. You might give your students a
few samples of reviews for fine arts events – or ask them to bring in some reviews they find
themselves. Have the students fill out the review outline, then complete a rough draft.
1. Purpose (why are you writing this and who is your audience?)
2. Plot Synopsis (including who sang what role, etc.)
3. Paragraph 1 (compare and contrast things you liked or didn’t like)
4. Paragraph 2 (compare and contrast things you liked or didn’t like)
5. Paragraph 3 (compare and contrast things you liked or didn’t like)
6. Summary/Closing Paragraph
Step 4 - Peer Conferencing
Students will exchange reviews to critique and edit. Encourage the students to focus on effective
coordination of ideas in sentences and the correct use of grammar and punctuation.
Step 5 - Creating the final draft
Have students make the appropriate adjustments to their reviews. You could also have the
students type the pieces and organize them into a newspaper.

28
 student activities

Activity #4: Have your students act out the story

Have students consider the characters and the role they play in the story. Choose one
of the following:

don pasquale | norina | ernesto | dr. malatesta

If you were going to play this character, you would have to discover, create, and imagine
background, personality, and physical qualities. Some clues are provided in the story and the
music and some you need to make up yourself.

Pretend you are that character and answer the following questions:
1. What motivates you? How does this affect your actions? What obstacles stand in your way?
2. What steps in the opera do you take to achieve your objectives? What are the results?
3. What obstacles are beyond your control (laws, social status, others’ actions)?
4. What are your (character’s) greatest strengths? Greatest weaknesses?
5. What is your relationship to the other characters?
6. How is the character’s personality expressed through the music of the opera?
7. Can you think of a modern-day character who has similar characteristics and traits?
8. If this character were alive today, how would s/he be more or less successful?
9. What different steps would s/he take to achieve an objective?

Activity #5: Write a Biography

Have students research and write a biography of the composer, librettist or one of the characters.

Activity #6: Create a Journal or Blog from the Point of View of a Character
Have the students choose a point of conflict, and write a journal or blog of those events from a
character’s point of view. How does Norina feel about Don Pasquale not approving of her and
Ernesto’s relationship? What does Don Pasquale think about the behaviour of this new “wife”? etc.

Activity #7: Write a Letter from One Character to Another

Have the students choose a moment in the story and have one character write a letter to
another, giving them advice for the future.

29
 student activities

Activity #8: Cast Don Pasquale

Have the students cast modern-day singers or actors as the performers in Don Pasquale. Who
did you choose? What are their costumes like? What did you base your decisions on?

Activity #9: Tweet About Don Pasquale

Have the students tweet about Don Pasquale Student Night by writing out a twitter in 140
characters. Have students read their tweet aloud to the class. Try to be clever, funny, or start a
conversation.

Activity #10: Myths of the Old West

Have students research some of the myths about the American Old West which appear in
popular culture. How do these myths differ from the reality of the Old West? What are some
films or books which feature some of these myths?

Have the students present to the rest of the class any surprising discoveries that may changed
their perception of life during the Old West.

Activity #11: Don Pasquale Mood Board

Often before artists and designers create their work, they make a mood board to set the tone for
the piece. This is usually a poster-sized piece of paper covered in images and words, usually torn
from the pages of magazines and newspapers, that together communicates the complex mood of
the piece in a way that words can’t. It’s the same as making a collage, except a mood board is for
the purpose of communicating a focused concept.
Have your students go through a stack of old magazines and newspapers to create a mood board
for Don Pasquale. They can create one each or work together on a large one for the class. Consider
elements like colours, textures, phrases, faces, patterns, and images that represent the opera.

30
 student activities

Activity #12: Opera Comprehension Tests

The Opera

1. _____________________ A theatrical production incorporating both vocal and instrumental music,

drama, and sometimes dance.

2. _____________________ The lowest male vocal range.

3. _____________________ An instrumental introduction to an opera.

4. _____________________ The area where the orchestra is seated.

5. _____________________ Considered the first opera.

6. _____________________ A song for solo voice in an opera.

7. _____________________ The highest female vocal range.

8. _____________________ A song for two voices.

9. _____________________ The lowest female vocal range.

10. ____________________ The Italian word meaning “little book.”

11. ____________________ The middle male vocal range.

12. ____________________ He/she is in charge of all the action on the stage.

31
 student activities

Don Pasquale

1. What year was the opera Don Pasquale written? ____________________________

2. Who is the composer? ____________________________

3. Who is the librettist? ____________________________

4. What is the setting of Manitoba Opera’s production of Don Pasquale? ________________

5. What is the traditional setting of Don Pasquale? ________________

6. What are the names of the four principal characters?

______________________ ______________________ ______________________ _____________________

7. What is the style of singing that Donizetti uses in this opera that emphasizes tone, phrasing,

coloratura passages, and technique? ____________________________

8. The role of Don Pasquale is sung by a _________________________ (name the singing voice).

9. In what language is the opera sung? ___________________________

10. Who will sing the role of Don Pasquale in Manitoba Opera’s production of Don Pasquale?

____________________________

11. What is the Italian term for comic opera? ____________________________

12. What is the name of the traditional Italian comedy that inspired the characters of Don Pasquale?

____________________________
32
 student activities

Answer Key

Activity #12

The Opera Don Pasquale

1. Opera 1. 1842
2. Bass 2. Gaetano Donizetti
3. Overture 3. Giovanni Ruffini and Gaetano Donizetti
4. Orchestra pit or “the pit” 4. American Old West
5. Daphne 5. Rome, Italy
6. Aria 6. Don Pasquale, Ernesto, Dr. Malatesta, Norina
7. Soprano 7. bel canto
8. Duet 8. bass
9. Contralto 9. Italian
10. Libretto 10. Peter Strummer
11. Baritone 11. opera buffa
12. Stage director 12. commedia dell’arte

Manitoba Opera would be pleased to receive a copy of any work related

to this opera produced by your students. Please forward to:

Education Coordinator, Manitoba Opera, 1060 - 555 Main St., Winnipeg, MB R3B 1C3
or
ldymond@[Link]

33
 related topics of study
Winnipeg Public Library
Resources

Books Scores

The New Grove Masters of Italian Operas: Don Pasquale: a comedy in 3 acts / music
Rossini, Donizetti, Bellini, Verdi, Puccini by Gaetano Donizetti; libretto by Giovanni
[by Philip Gossett et al.] Ruffini ; English translation by Phyllis Mead
New York: Norton, c1983. Ricordi, 1994
Call No.: 782.1092 NEW Call No.: SCORE 782.1 DON

Bravo! Brava! A Night at the Opera: Sound Recordings

behind the scenes with composers, cast,
and crew [by Anne Siberell] The World’s Very Best Opera for Kids!
New York: Oxford University Press, c2001. The Childrens Group, p2003
Call No.: J 782.1 SIB Call No.: CD JUV WORLDS

Usborne Learn to Play Opera Tunes: Over The Pavarotti Edition. Donizetti. / [sung by]
25 simple pieces for piano [by Caroline Luciano Pavarotti
Hooper] Decca, p2001
London: Usborne, 1996. Call No.: CD OPERA DONIZETTI OPE
Call No.: J 786.2 HOO
Donizetti Portraits
Sing Me A Story [by Jane Rosenberg; Nightengale Classics, [2012], p1996
introduction by Luciano Pavarotti] Call No.: CD OPERA DONIZETTI DON
New York: Thames and Hudson, 1989.
Call No.: J 782.1 ROS Bel Canto [sung by] Elina Garanca
[United States] : Deutsche Grammophon,
The Bel Canto Arias of Rossini, Donizetti, p2009
and Bellini [by Charles Osborne] Call No.: CD OPERA GARANCA BEL
Portland, Or. : Amadeus Press, 1994.
Call No.: 782.10945 OSB

Wild West [by Stuart Murray]

London; New York: DK Pub,. in
association with the Smithsonian
Institute, 2005.
Call No.: J 978.02 MUR 2005

The Wild West [by Tim Wood]

Jordan Hill, Oxford, Great Britain:
Heinemann, 1996.
Call No.: J 978.02 WOO

Illustration of a scene from Don Pasquale,

Artist: Granger, 1852

34
 Works Cited
(Don Pasquale)

Don Pasquale (study guide). San Diego Opera, 17 Jun 2013. <[Link]

Don Pasquale (educator guide), The Metropolitan Opera. 17 Jun 2013. < [Link]
education/educatorguides/[Link]?customid=13406>

“Gaetano Donizetti.” Canadian Opera Company. 15 July 2013. < [Link]

LuciaDiLammermoor/[Link]>

“Giovanni Ruffini.” Wikipedia. 18 Jun 2013. <[Link]

“Gaetano Donizetti.” Classical Net. 18 Jun 2013. <[Link]

“Don Pasquale - the perfect ending to an operatic genre.” Washing National Opera Notebook. 3 July 2013. <[Link]
[Link]/sites/wnoblog/_layouts/[Link]?ID=Don%20Pasqualeu>

“Giovanni Ruffini.” Wikipedia. 5 July 2013. < [Link]

“Bel Canto: Audiences Love It, but What Is It?” The New York Times. 28 November 2008. < [Link]
arts/music/[Link]?pagewanted=all&_r=0>

“Operatic Styles - Bel Canto Opera.” Suite101. com. 15 July 2013. < [Link]
opera-a212169>

“Commedia dell’Arte.” The Metropolitan Museum of Art. 5 July 2013. < [Link]

“American Frontier.” Wikipedia. 12 August 2013. < [Link]

“A Beginner’s Guide to Spaghetti Westerns.” Flavorwire. 12 August 2013. < [Link]

spaghetti-westerns>

Ticket to the Opera [by Phil G. Goulding]. New York: Fawcett Books, 1996

The St. James Opera Encyclopedia [edited by John Guinn and Les Stone]. Detroit: Visible Ink Press, 1997

The New Grove Dictionary of Opera [edited by Stanley Bashford]. New York: McMillan Reference Limited, 1997
 Works Cited
(General)

This study guide was compiled accumulatively and includes information from the following sources
accessed at various unknown dates since 2000:
[Link]
[Link]
Bellevue University
The Billboard Illustrated Encyclopedia of Opera
The Canadian Opera Company
Encyclopedia of Manitoba
Encyclopedia of the Opera by David Ewen
Fort Worth Opera Study Guide
[Link]
La Scena
Lyric Opera of Kansas City
Manitoba Archives
Metropolitan Opera
[Link]
[Link]
New York City Opera
Opera America Learning Centre
[Link]; Opera Columbus Study Guide
Opera News
Operas Every Child Should Know
Opera Lyra Ottawa Study Guide
Opera Today
Orchestra London Study Guide
Pacific Opera
San Diego Opera Study Guide
San Francisco Opera Guild Study Guide
[Link]
A Season of Opera
Skeletons from the Opera Closet
[Link]
Tulsa Opera Study Guide
University of Chicago Press
University of Manitoba
University of Texas
University of Waterloo
Rimrock Study Guide
Virginia Opera Study Guide
Winnipeg Free Press
Wikipedia
The World’s Great Operas