Cinderella in Spain/ Cenicienta en España

Transcription

Cinderella in Spain/
Cenicienta en España
Design by Liz Freese
THE STUDY GUIDE
Opera to Go! is supported by:
Mr. and Mrs. Richard Agee
Mr. and Mrs. Robert Bruni
Cockrell Family Fund
Mr. and Mrs. Anthony Petrello
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ďĂƐŝĐƐŽĨŽƉĞƌĂ͕ŝŶĨŽƌŵĂƟŽŶŽŶCinderella in Spain
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in SpainŝƐĞŶũŽǇĂďůĞĨŽƌĂůůĂƵĚŝĞŶĐĞƐ͕ĂƉƌĞƉĂƌĞĚ
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2
Table of Contents
THE BASICS OF OPERA
What Is an Opera?
Why Should We See an Opera?
Opera Myths and Facts
4
5
6
CINDERELLA IN SPAIN, AN OPERA
Synopsis
Characters
Biographies
7
8
9
CINDERELLA, A FAIRY TALE
Cinderellas of the World
A Cinderella Timeline
Geography of Spain
Vocabulary Guide
10
11
12
13–14
ACTIVITY PAGES
Design Your Own Slippers
Cinderella Maze
Cinderella Coloring Pages
15
16
17–20
WORKSHEETS
English Language Arts Worksheet
Social Studies Worksheet
Music/Art Worksheet
Musical Example
21
22
23
24–25
3
What is an Opera?
Teachers: Ask your students for their ideas about what an opera is. Write OPERA on the board. Under it,
list students’ answers. Ask again after the performance to see if their opinions have changed.
WHAT IS AN OPERA?
An opera is just like a play, except people sing the words instead of speak them. In most operas, all of the
words are sung. There are other types of operas, however, in which there is almost as much speaking as
singing. These are sometimes called operettas.
HOW DOES IT WORK?
You will immediately notice that opera singers,
unlike their peers in popular music, do not use
microphones. Rather, an opera singer develops
KHURZQERG\DVDVRXUFHRI³QDWXUDO´DPSOL¿FDtion.
HOW IS THIS DONE?
Through years of careful study and practice,
she learns to project her sound and control the
expelling of breath. The process is easy–by
expanding the lower abdominal muscles while
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then assist the singer in regulating the amount
of air used in singing. This frees the neck and
throat (where the vocal cords are) so the singer
can produce a relaxed, full sound.
As the sound passes through the mouth it resonates in the sinus cavities of the face and head, which act
as small echo chambers that help amplify the sound. The resulting sound is not only audible, but can be
clearly perceived in the back rows of the orchestra and the top of the balcony.
LANGUAGE, IL LINGUAGGIO, LA LANGUE, DIE SPRACHE
Operas and operettas are written in many languages, so a professional opera singer must be prepared to
sing in at least four different languages. Many of our main-stage performers have sung in Italian, French,
German, Russian, Spanish, Czech, and even Egyptian! There are also operas in Hungarian, Finnish, Mandarin Chinese...and the list goes on!
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least one language other than their native tongue. How do they sing in all these different languages? Singers prepare by taking diction classes, which help them pronounce the words correctly and with intensive
study that includes a word-by-word translation of the text they’re singing. But it doesn’t end there–not only
do they have to know what they’re saying, but they have to know what everyone else on stage is saying
around them! As you can imagine, it can take hours to prepare for even one scene.
4
Why Should We See an Opera?
DOES THE MUSIC REALLY MAKE A
DIFFERENCE WHEN TELLING
A STORY?
WHY DO YOU PERFORM OPERAS?
We love opera, and therefore want to share it with
you! Here at Houston Grand Opera, we believe that
opera can help people tell their stories. It is a great
way to learn about other people and their cultures.
We also think opera is fun!
When you watch television or a movie, you might
notice music heightens the drama. If something
scary is about to happen, what do you hear? Often
you’ll hear a solitary note played very high on a
string instrument. What if something surprising happens? Sometimes the director will have the whole
orchestra play a sudden loud sound to scare you.
People have used music to enhance drama ever
since drama was created to entertain and enlighten
us. If you’re not convinced, turn on the subtitles
next time you watch a movie and mute the sound.
You’ll notice that having music accompany the
words makes a big difference!
WHAT’S SO SPECIAL ABOUT OPERA?
In its simplest form, opera combines music and
drama to create a spectacular new art form. Not
only do you get to watch a story, you get to listen to
beautiful music and singing as well! In its grandest
form, opera combines choral singing, solo singing,
orchestral instruments, acting, mime, dance, carpentry, set design, costume design, makeup design,
painting, lighting, sculpture...the list goes on and
on! Opera is unique in its ability to include almost
every other art form in its presentation.
I LIKE MUSIC, BUT OPERA IS FOR
OLD PEOPLE...
Many older people enjoy opera because they have
learned to love it. You may be unfamiliar with opera
and may not know much about it. It’s true that opera
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bunch of people singing stuff in a foreign language,
hitting high notes, and singing really old music,
right? What you may not know is that many of the
old operas are still around because the stories they
tell still relate to people today. What is one of the
best ways to appreciate opera? Just listen, and pretty
soon you’ll see why everyone is crazy about it. Besides, when listening to opera you can choose from
tons of different musical styles. There are even rock
operas out there! Remember: opera is telling stories
through music. You could even create an opera right
in your classroom!
5
Opera Myths and Facts
1. YOU HAVE
SINGER.
4. OPERA
TO BE LARGE TO BE AN OPERA
NOTES ALL THE TIME.
Not all opera singers are large– although many of
them have larger-than-life personalities! Opera singers cover the entire body shape spectrum just like
other people. Some operas have larger orchestras
and therefore require larger voices that can sing
over them. Often a larger voice will be in a larger
body, but that’s not necessarily the case.
Birgit Nilsson, one of the largest soprano voices of
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2. OPERA
Because of technology being so far advanced, most
of the music we listen to today comes through
speakers. While your ears probably aren’t accustomed to operatic singing, it can be a wonderful
experience because it’s all natural. The sounds you
hear are coming straight from the singers’ throats
to your ears, with nothing in the way. Part of the
beauty of opera is that the singers are able to control
their voices, and use them to their fullest extent. If
an average person can sing an octave and a half,
then opera singers can sing up
to twice that range! So when
a soprano hits a high note,
enjoy it! She has trained for
years to be able to produce
that sound so that it can reach
your ears.
SINGERS WEAR
HORNS AND BLOND BRAIDS.
This myth began with a show
called Die Walküre (dee vahl
KUY– reh) by Richard Wagner.
In productions many, many
years ago the Valkyries, who
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wore hats with horns. This has
stuck as a symbol of the absurdity of opera since then. You
won’t see any horns today in
opera, though you may see a
braid or two. Directors are making sure that opera
closely resembles things that audiences today can
relate to.
3. OPERA
SINGERS JUST SCREECH AND HIT HIGH
5. OPERA
AND OLD.
IS IRRELEVANT
Although over 400 years old,
opera is relatively new in the
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they were around hundreds of years before opera
was invented! What many people don’t know is that
new operas are being created all the time. There are
hundreds of operas that have been written in the
past few decades, and many composers are writing
more operas today. It’s a surprisingly modern art
form.
SINGERS CAN’T ACT.
There are many opera singers who were and are
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mind though, opera singers have to balance all these
things: the mechanics of singing (posture, breath
control), executing their staging (often on a raked
or inclined stage), remembering their notes, remembering foreign languages, and keeping an eye on the
conductor to make sure they’re with the orchestra.
In many productions today, opera singers have to
roll and jump around as well. So the next time you
see an opera singer, tell them, “Hang in there!” or,
“I appreciate all the things you have to do!”
6. OPERA
IS MELODRAMATIC, AND EVERYBODY
DIES AT THE END.
Although there are operas where everyone dies at
the end, there are certainly more comedies and fun,
crazy operas. Opera covers the entire spectrum of
the theater!
6
Cinderella in Spain Synopsis
As the Opera to Go! company sets up the scenery, they introduce Cinderella
and her cruel madrastra (stepmother). Isabella and Margarita, Cinderella’s
stepsisters, enter to scold Cinderella for burning a shirt while ironing. They
demand that Cinderella help them with their dresses and their hair, and that she
do the housekeeping. Hungry, they exit, demanding that Cinderella come to
prepare their dinner.
The scene changes to the king’s palace, and Prince Paulo enters. Having partied
all night, he hates the sight of the glaring sun and wishes for night to return. His
father, the king enters, looking for him. Determined to make his son cease this
wild behavior, the king tells Paulo that he is giving a great ball in Paulo’s honor.
Paulo is thrilled until the king tells him that at the ball he must choose one of the
young women of the kingdom to be his bride. Paulo exits, convinced his youth
and freedom are over forever.
Guillermo, the town crier, announces that all the young women in the kingdom
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daughters plan to go, convinced that one of the stepsisters will be the prince’s
chosen bride. When Cinderella asks if she may go, they laugh and make fun of
her rags and her poverty. After forcing her to help them get ready, they leave for
the ball, and Cinderella is left alone. As Cinderella weeps, her fairy godmother
suddenly appears. She will help Cinderella go to the ball, and in spite of
Cinderella’s doubts, her fairy godmother turns a pumpkin into a golden carriage,
provides her with a beautiful gown, and sends Cinderella off with the warning
that she must be back by midnight.
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marry. Angry at his father’s insistence, Paulo decides to punish him by choosing
an unsatisfactory bride. He dances with Isabella and tells his father that she is
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Margarita and offers her for his father’s opinion. Again the king sends him back.
The town crier comes looking for the prince to show him the lovely girl who has
just entered the room. Paulo sees Cinderella and everything changes for him.
After dancing with her, he falls in love and is determined to marry her. However,
the clock strikes midnight, and Cinderella runs away. Her glass slipper is found,
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Cinderella, once again dressed in rags, comes running into the house. Her
stepmother and stepsisters come in soon after, distraught because the strange
beautiful foreign princess took the prince away from them. A knock at the door
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He tries the slipper on Margarita and then on Isabella. Though the stepsisters are
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announces she will be his bride. When the family complains bitterly, the prince
says if they intend to come live at the palace, they must change their ways.
Choking back their frustration, the stepmother and stepsisters join the rejoicing.
7
photos by Eric Melear
Characters
SINGERS
CHARACTER DESCRIPTION
CHARACTERS
Cinderella/Cenicienta
Cinderella is a poor girl whose parents died a long time ago. She now lives
with her stepmother and two stepsisters, but is treated more like a servant
than a child and sister. Although they are mean to her, Cinderella tries to be
a good person.
Cinderella
Julia Fox, soprano
The Stepmother/La Madrastra
The stepmother is overwhelmed taking care of three daughters. This makes
her irritable and prone to nervous attacks.
The Fairy Godmother/La Madrina
The fairy godmother is a quirky fairy, who creates magic every time she
sneezes. Unfortunately, she’s allergic to almost everything.
Maria Dominique Lopez,
mezzo-soprano
La Madrastra
Margarita
Margarita is Cinderella’s oldest stepsister and is the boss. However, she
sometimes has trouble making friends.
Guillermo/The Town Crier
Guillermo is the town crier, always eager to please and loves to be heard.
Margarita
Brian Yeakley, tenor
Prince Paul/Prince Paulo
Prince Paul likes to party. He’s always drinking soda, eating candy, and playing video games, even though they’re bad for him. He isn’t excited to learn
that his father wants him to grow up.
Prince Paul
Wesley Landry, baritone
Isabella
Isabella is Cinderella’s older, shy stepsister. Sometimes she feels like a middle child, but when the pressure is on, she’s ready to dance!
Saïd Pressley, bass
The King/El Rey
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relax knowing that the kingdom is in good hands.
Isabella
8
Biographies
DR. MARY CAROL WARWICK, COMPOSER
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and librettist whose works are currently enjoying American and international performances.
Her body of work includes several operas for children commissioned by Houston Grand Opera:
Strega Nona, The Princess and the Pea, The Velveteen Rabbit, the bilingual Cinderella in Spain,
The Clever Wife, and Rapunzel. Her chamber works include the Sonata for Viola and Piano, the
Sonata for 2 Oboes, Bassoon and Piano, and many works for singers and instruments. Among
her many works are several previous collaborations with New York poet Ilsa Gilbert, as well as
the New York premiere of In Costa Rica, a chamber piece for voices and instruments. Included
among Warwick’s numerous awards are grants from Opera New World, a Challenge Grant from
the National Endowment for the Arts, and the Mayor’s Proud Partner Award from the city of
Houston for her environmental musical, Celebrate the Earth, commissioned by Theater Under
the Stars. Warwick also received a commission from NASA to write a wake-up call for Space
Shuttle Mission STS-33, and a recent commission from New York baritone Anthony Turner to set
the poems of incarcerated youth in a song cycle called Who Am I? This song cycle, based on
the poems of women and family members of women with breast cancer, gives a voice and song
to those who have been affected by breast cancer.
KATE EMERY POGUE, LIBRETTIST
Writer, stage director, teacher, and lecturer Kate Emery Pogue is the author of Shakespeare’s
Friends, Shakespeare’s Family, and Shakespeare’s Figures of Speech. A graduate of
Northwestern University and the University of Minnesota, Kate Pogue founded the drama
program at Houston Community College and has been artistic director for both the Shakespeare
by the Book Festival in Richmond, Texas, and Opera to Go! at Houston Grand Opera. She has
written two children’s books, Bravest of All and Fritzie Goes Home, as well as librettos for a
number of children’s operas including The Starbird, St. George and the Dragon, Cinderella in
Spain/Cenicienta en España, and others still in the Opera to Go! repertoire. Her Shoemaker and
the Christmas Elves has become the annual children’s musical produced by the Humphreys
School of Theatre Under the Stars. Pogue lives in Houston and teaches at the University of
Houston Downtown. Married to Bill Pogue, she has two children and three grandchildren.
9
Cinderellas of the World
Around the world there are thousands of variations
of the classic fairy tale “Cinderella.” Each version
has its own twists and turns with one underlying
theme: the main character endures oppression
of some nature, but by the end of the story she
experiences remarkable
fortune. This traditional
story has had international
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Many themes and elements
of “Cinderella” can be found
in a variety of media. Today
the word Cinderella is used
to describe someone who
has experienced neglect
but unexpectedly achieves
recognition.
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of “Cinderella” in Japan, China, and many other
countries. The oldest known version of this fairy
tale was recorded by the Greek historian Strabo in
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Rhodopis rather than Cinderella. This version of
the classic fairy tale includes evil servants, an
eagle, and sandals. Rhodopis is given tasks from
fellow servants as they attend a function sponsored
by the pharaoh. As Rhodopis washes her clothes
in a stream, an eagle takes her sandal and drops it
in front of the pharaoh, who is then determined to
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the pharaoh falls in love with her.
Another version, “Ye Xian,” was written in
A.D. 860. “Ye Xian” appeared in Miscellaneous
Morsels from Youyang by Tuan Ch’eng-Shih.
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reincarnation of her mother who was killed by her
evil stepmother. With no fairy godmother to help
her, Ye Xian uses magical bones to get dressed for a
festival, at which she loses her slipper. The king is
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The Grimm brothers (who also wrote “Hansel and
Gretel”) had a version of “Cinderella” that is also well
recognized. Their story is called “Aschenputtel.” Their
version also did not include a magical fairy godmother
but rather a wishing tree growing on Aschenputtel’s
mother’s grave. The evil stepsisters devise a plan to
convince the prince that the lost slipper belongs to
them. They cut off part of their feet to get the slipper
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stepsisters’ actions. The prince is tricked a couple of
times in this version, but is always spared by the two
birds.
The most popular version of “Cinderella” was written
in 1697 by Charles Perrault. Perrault’s version
introduces the magical fairy godmother, pumpkin, and
glass slippers—the familiar elements of a Cinderella
story we are all familiar with. However, it is believed
that in Perrault’s version, Cinderella originally wore
fur boots. When the story was translated into English,
it was accidentally translated from fur boots to glass
slippers. The story has remained the same ever since.
These examples of Cinderella stories are only a
few of the thousands that exist. Each variation of
this famous story is slightly different, yet the same
theme is present: an individual overcomes hardship
and oppression to be recognized and experience
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representation of the stepmother and stepsisters, the
glass slippers, and the magical fairy godmother that
we are familiar with.
Information gathered from http://en.wikipedia.org/wiki/
10
11
La Cenerentola (opera)
Cendrillon (opera)
Cinderella
Cinderella in Spain/
Cenicienta en España (opera)
Cinderella Story
Another Cinderella Story
1817
1894/5
1950
1997
2004
2008
HISTORICAL PARALLEL
Julius Caesar is murdered
The Vikings attack Constantinople
Peter the Great travels through Europe
War of 1812 begins, The United States declares
war on Britain
Gioachino Rossini
Construction on the Erie Canal begins
Jules Massenet and Henry Debussy’s ballet L’après-midi d’un faune
Cain
premieres in Paris
Disney
Gian Carlo Menotti’s opera The Consul premieres
in New York City
Mary Carol Warwick and 6FLHQWLVWVLQ6FRWODQGFORQHWKH¿UVWPDPPDOD
Kate Pogue
sheep named Dolly
Warner Bros.
Ronald Reagan’s funeral is held at the Washington
National Cathedral
Warner Bros.
%DUDFN2EDPDLVHOHFWHGWKH¿UVW$IULFDQ
American president of the United States
AUTHOR/COMPOSER
Strabo
Tuan Ch’eng-Shih
Charles Perrault
The Grimm Brothers
http://en.wikipedia.org/wiki/Cinderella
Cinderella has been adapted as the basis for a number of operas. Below are operas based on this classic character:

Cendrillon (1749) by Jean-Louis Laruette

Cendrillon (1810) by Nicolas Isouard, libretto by Charles-Guillaume Étienne

Cinderella (1901–02) by Gustav Holst

Cendrillon (1904) by Pauline García-Viardot

Aschenbrödel (1905) by Leo Blech, libretto by Richard Batka

La Cenicienta (1966) by Jorge Peña Hen

Cinderella, a “pantomime opera” (1979) by Peter Maxwell Davies

Cendrillon, children’s opera (1994) by Vladimir Kojoukharov

Rossini’s Cinderella (2007), an Opera to Go! adaptation of the Rossini classic opera
http://www.historyorb.com/events
“Rhodopis”
“Ye Xian”
“Cendrillon”
“Aschenputtel”
TITLE
YEAR
1st Century BC
A.D. 860
1697
1812
The Cinderella story has been adapted around the world. This classic fairy tale has been used in a variety of forms, from books, to movies, to
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Are there any other movies or stories that you can think of that follow the Cinderella theme?
A Cinderella Timeline
Geography of Spain

According to the map on the right,
how many provinces are in Spain?
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capital of Spain?
What is the name of the mountain
range that separates Spain and
France?
12
Find Spain on the map to the left
Name the countries that border Spain.
Is Spain north or south of England?
What continent does the southern tip of
Spain almost touch?
Vocabulary Guide
ACCOMPANIMENT
The musical background provided for a principal part
ARIA
A musical piece for solo voice focusing on emotional expression
BARITONE
The middle range male voice
BASS
The lowest male voice
CHORUS
A group of singers who sing and act in a group, never as soloists
COLORATURA
Elaborate ornamentation of a vocal line, or a voice having the ability and
agility to sing many notes quickly, usually in an extended range
COMPOSER
The person who writes the music
CONDUCTOR
The person who leads the orchestra
DUET
A musical piece for two performers
ENSEMBLE
Two or more singers singing and expressing their emotions at the same
time
FINALE
The last musical number of an act or show. It usually involves most of
the cast and often repeats musical themes from the show
LIBRETTIST
The person who writes the words of an opera
LIBRETTO
Literally “little book,” this is the text or words of an opera
MEZZO-SOPRANO
The middle female voice, usually darker and fuller than a soprano
OPERA
A play that uses singing instead of speaking and is accompanied by
instrumental music
OVERTURE/PRELUDE
Introductory orchestral music in an opera. In later opera, it set the
theme or mood for the coming drama or comedy, containing musical material to be heard later in the work. In the early operas it was simply used to
quiet the audience.
PROPS
Objects placed on the stage and used by the actors; an abbreviation of the
word “properties”
13
Vocabulary Guide
RECITATIVE
A type of text setting where the music matches more directly spoken
UK\WKPVDQGLQÀHFWLRQVXVXDOO\DFFRPSDQLHGE\DNH\ERDUGLQVWUXPHQW
SCORE
The printed page upon which all the vocal and instrumental music of
an opera is written
SET
The scenery used on the stage to show location
SOPRANO
The highest female voice
STAGE DIRECTOR
The person who decides how the singers will move on stage and
how they will act while they are singing their parts
TENOR
The highest male voice
photo by Eric Melear
Opera to Go! cast of Cinderella in Spain from Houston Grand Opera’s 2009–10 season
14
Design Your Own Slippers
Color the shoes below to create your own magical slippers. Add a pattern or shapes to make your shoes unique!
Cinderella Maze
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English Language Arts & Reading Worksheet
BEGINNER (K–2)
What is the main idea of Cinderella in Spain?
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ORRNWR¿QGRXWDERXWSURSVDQGFRVWXPHV"
Draw your favorite scene from Cinderella in Spain.
Before you see the show, read the synopsis and act out a part of the story the way you envision it. How do you think
the characters would stand? How would they react to each other? After you see the show, then reenact the same part of
the opera. How would you do it differently?
After viewing the show, would you want to change the ending? If so, share with your classmates how you would
change it.
INTERMEDIATE (3–5)
7DNLQJWKH¿YHPDLQDVSHFWVRIDVWRU\DQDO\]HCinderella in Spain&RS\WKH¿YHHOHPHQWVRQWRDVKHHWRISDSHUDQG
describe how each pertains to Cinderella in Spain.
SETTING
CHARACTERS
PLOT
EVENTS
SOLUTION
After you see the show, write a review as if you’re writing for a magazine or newspaper. Be sure to describe what you
saw and heard, what you liked about the show, and what you might change. Be sure to be descriptive. Keep in mind
you are writing for a public that has not yet seen the show. Be mindful of punctuation, capitalization, and spelling.
The stepmother and her daughters treat Cinderella very poorly, and even, so she and her daughters are invited to live
with the prince and Cinderella at the palace. Write a journal entry as if you are the stepmother. Explain your feelings
towards Cinderella, even after you were invited to live at the palace. Do you feel regret or remorse? Do you hope Cinderella forgives you for everything you’ve done?
Summarize the included page, “Operatic Myths and Facts,” in one paragraph. Be sure to include a topic sentence and
supporting details.
Follow the link below to read the Scottish version of Cinderella. Write an essay comparing and contrasting Scotland’s
Cinderella story and the Cinderella in Spain story.
surlalunefairytales.com/cinderella/stories/rashin.html
ADVANCED (6–8)
Write your own libretto for a popular fairy tale. Who are the characters? What would they say for each scene? Where
would you need to rhyme, and where can you use free verse?
Choose a popular composer and write a brief biography on his/her life and works. How did the composer’s life affect
what he/she wrote?
Social Studies Worksheet
BEGINNER (K–2)
Describe the set of Cinderella in Spain. What colors, shapes, and objects did you see? Can you sketch the set from
memory?
Look at the events below. Put them in the correct order.
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Prince Paul discovers the slipper belongs to Cinderella
The king tells Paulo there will be a ball in his honor
The fairy godmother appears
Prince Paul falls in love with Cinderella
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Guillermo announces there will be a ball
Prince Paul dances with Isabella
The king or queen of a country typically puts rules in place to keep order within his/her country. His/her role is very
important in maintaining a country. If you were the king or queen of your own country, what rules would you have? If
people were to break your rules, what sort of consequences would you enforce?
Research and discuss Spanish culture. What elements of the culture did you see in the opera? Compare and contrast
Spanish culture to the culture here in the United States.
8VHDPDSWR¿QG6SDLQ2QZKLFKFRQWLQHQWGRHVLWUHVLGH":KDWFRXQWULHVERUGHU6SDLQ"'RHVWKH8QLWHG6WDWHVOLH
in the same continent; if not what continent does it lie in?
Have students update the story of Cinderella in Spain to modern times and have them discuss the settings, costumes,
and characters of their new version.
Match the following composers to their native countries :
Wolfgang Amadeus Mozart
Benjamin Britten
Charles Gounod
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Richard Wagner
Edvard Grieg
Giuseppe Verdi
France
Czech Republic
Italy
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England
Norway
Austria
ADVANCED (6–8)
Find two different versions (some are mentioned in the “Cinderellas of the World” section) of the Cinderella story in
two different cultures and compare and contrast them. Be sure to include the differences and similarities between the
characters and settings. What elements of the culture do you see in the story?
The Spanish language is spoken in a number of countries around the world. However, it is a bit different in each country. Research Spain’s Spanish dialect and another country’s Spanish dialect. The second country can be of your choice.
6KDUH\RXU¿QGLQJVZLWK\RXUFODVVPDWHV,IVRPHRQHZHUHÀXHQWLQWKH6SDQLVKVSRNHQLQ6SDLQZRXOGLWEHHDV\IRU
him to travel to another Spanish-speaking country?
Music Worksheet
BEGINNER (K–2)
Have your students sing a well-known song like “Mary Had a Little Lamb” using the dynamics f (forte) and p
(piano). Explain the difference between forte and piano.
Teach your students the musical alphabet. Have them write their own songs using the musical alphabet. Play their
pieces for them.
6KRZ\RXUVWXGHQWVDFRS\RI³(VWDQRFKHOD¿HVWD´&DQWKH\SRLQWRXWZKHQWKHPHORG\PRYHVXSDQGZKHQLW
moves down?
In opera, emotion is represented in the music. What emotions are present in Cinderella in Spain?
Have your students listen to a major and minor scale. Ask them what emotions they hear in each scale. Can they
think of instances why a composer may want to use a major key? Minor key? Do they remember any moments in
Cinderella in Spain where a major key was used? Minor key?
Are your students familiar with the bass clef? If not, teach it to them using the included excerpt.
ADVANCED (6–8)
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the measure? Is there any space (for rests) left over? Start over with a sixteenth note followed by a dotted eighth
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When you see the opera, you will notice that each singer has a different voice type. Six different voice types include: soprano, mezzo-soprano, alto, tenor, baritone, and bass. Have your students arrange the voice parts from
highest to lowest. Give them an example of the range of each voice part. What kind of voice do they think would
play an evil villain? What kind of voice would play a young child? What about a prince?
Teach your students the difference between half and whole steps. Using a piano keyboard as a visual may be helpful. See if they can determine the following to be either a half or whole step.
G–A
E–F
C–D
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E – F-sharp
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Musical Example
ESTA NOCHE- Music by Mary Carol Warwick, Words by Kate Pogue
24
Musical Example
25