The Daughter of the Regiment 2019...performance as actors (roles with speaking parts), supernumeraries (roles without speaking parts) and stage hands (see glossary of terms in the

The Holt Building 221 Lambert Avenue Palo Alto, CA 94306 Telephone 650-843-3900 Box Office 650-424-9999 WBOpera.org

The Daughter of the Regiment

2019 TABLE OF CONTENTS

Assembly Coordinator’s Checklist p. 2 Assembly Coordinator’s Roadmap – Student Volunteer Opps. p. 3 Road Map for Teachers p. 4 MATERIALS FOR OLDER STUDENTS p. 6 Pre-Performance Classroom Study – The Daughter of the Regiment Glossary of opera terms and professions p. 7 Donizetti bio and Synopsis of The Daughter of the Regiment p.12 Student Script for Dialogues p.14 Word Search The Daughter of the Regiment p.21 Optional Chorus Sheet Music – The Daughter of the Regiment "When the call is sounding…" p.22 Post-Performance Classroom Study – The Daughter of the Regiment p.23

MATERIALS FOR YOUNGER STUDENTS p.24 Coloring Book Sketches p.25-31

MATERIALS FOR TEACHERS ONLY p.32 Post-Performance Discussion and Quiz ANSWERS p.33 Word Search ANSWERS p.35 Evaluation Form p.36

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08/09/18 The Daughter of the Regiment - Assembly Coordinator’s Checklist Page 1 of 1

The Daughter of the Regiment Assembly Coordinator's Checklist

In order to facilitate the smooth running of the Opera in the Schools performance of The Daughter of the Regiment in your school, we would like to suggest that you make sure that the following things have been addressed prior to the day of the performance.

1. ___ The date and time of the performance, as provided in the cover letter, agree with what is shown on the school calendar.

2. ___ An announcement of the performance has been placed in the school newsletter. PLEASE NOTE: The packet contains a ready-to-go announcement. If you prefer to edit it or need text and an image for a web-based newsletter, there is a Word version downloadable from our website at www.wbopera.org/ForKids

3. ___ Classroom materials (mailed to you or the school principal as a complete packet) have been distributed

to all the appropriate teachers. All materials in the packet are also available online for download from the OITS page of the West Bay Opera website: www.wbopera.org/ForKids

4. ___ If your school has chosen to prepare the optional chorus parts, the sheet music (in the packet) has been

distributed to the appropriate teachers, and teachers have been alerted to download the mp3 sound files from www.wbopera.org/oits, to help the students prepare.

5. ___ If there are scripted roles for students (there ARE six, for The Daughter of the Regiment: the Marquise,

Hortensius and 4 soldiers) the scripts have been provided to the person coordinating the volunteer student actors, and any non-speaking roles (there are 2 in The Daughter of the Regiment, the Footmen) have been assigned to students.

6. ___ The piano has been checked, all the keys and the pedals work. It is in tune, and there is a piano bench.

Otherwise, OITS personnel can bring an electronic keyboard, but there is an extra $50 charge and you need to request it by calling the OITS Coordinator at least 10 days before the performance date.

7. ___ A parking spot near the performance space, on the day of the performance, has been reserved through

the school office, for use by the OITS staff to load and unload the set and props for the show.

8. ___ The Custodian/Janitor has been informed that the performance space must be available at least one hour before performance time. The space must include a large folding table for props and 10 folding chairs for student volunteers. The space must be clear of any clutter and swept clean. Dust can affect singers' voices.

West Bay Opera appreciates your help in organizing the performance and acting as liaison for the school. Your help makes the performance and the educational experience for the children possible. Thank you!

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08/09/18 Student Volunteer Opportunities and Custodial Help Needed - Page 1 of 1


STUDENT VOLUNTEER OPPORTUNITIES

AND CUSTODIAL HELP NEEDED

ASSEMBLY COORDINATOR’s ROAD MAP HELP WITH SETS -- One of our singers will be arriving at the school about 1 hour before performance time to set up the stage. We request that a custodian be available in case unusual circumstances require help. The OITS coordinator, Balbina Heitner, will call in advance of the performance to be sure that all the arrangements are in order. Please let the volunteers know if there are any special concerns with parking or dropping off the set. Though the set is very portable, it is extremely helpful to have access as close as possible to the stage or performance area. PROPS NEEDED – a piano (in tune) and bench, a table at the back of the stage area to hold costumes and props and, if available, 10 chairs onstage for the student volunteers to sit on. The performance area should be clean and free of clutter. STUDENT PARTICIPATION - Eight children are incorporated as actors into each performance of The Daughter of the Regiment. Six of the students will have dialogue lines to learn and need to have those lines fully memorized prior to the date of the assembly. Another two students will be needed for non-speaking roles and should be assigned prior to the date, as well, and should be told what role they are going to play. The student actors will need to report for training with the OITS cast 45 minutes before the start of the performance. All student actors must be chosen from the 4th Grade or higher. It is helpful if these children are good at following instructions on the spot. If there are two performances, all student parts must be single-cast, i.e., played by the same student at both performances. There is not enough time to rehearse two sets of students prior to the performance. We will provide costumes and props for the children. For this production the following roles will be cast:

1 girl - Marquise of Berkenfield, Marie’s long-lost aunt. 1 girl or boy - Hortensius, trusted servant to the Marquise 4 boys or girls – Soldier #1, Soldier #2, Soldier #3 and Soldier #4 2 boys or girls – Footman #1 and Footman #2

Chorus (optional) - The chorus may be a group of any size but advance preparation is required. The teacher’s packet includes the sheet music to be practiced. In addition, there are recorded music mp3s downloadable from our website to help the students practice the chorus parts. There are 3 mp3 files, one with instructions, one with just the piano part, one with the singing and piano accompaniment together. The children will sing in unison (just one part).

If your school has scheduled two consecutive assemblies, there may be two separate choruses. If there are two separate choruses, each group should report 15 minutes before its performance time to get instructions, and to rehearse the music with our accompanist.

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08/09/2018 The Daughter of the Regiment – Road Map for Teachers Page 1 of 2


by Gaetano Donizetti

ASSEMBLY PROGRAM (45 minutes)

ROAD MAP FOR TEACHERS

About the production: This is an abridged, 45-minute English language version of Donizetti’s opera The Daughter of the Regiment (a 2 ½ hour work originally written in French.) This version is especially prepared for young students and it features the best music from this very special work. There are only three professional opera singers, covering several roles each. The performers will be in costume and they will bring with them portable sets to be used as backdrop scenery for the performance. In this production, the children will hear some of the elements which are outlined in the Classroom Study Material, i.e., arias, duets, and coloratura. The music will be sung by three of the major voice types: soprano (Maria, the “Daughter” of the Regiment); tenor (Tonio, a Tyrolean peasant); and bass (Sulpice, a French grenadier sergeant). They will be accompanied by a pianist who substitutes for the orchestra. Some of the students’ classmates, as arranged by the assembly coordinator, will be featured in the performance as actors (roles with speaking parts), supernumeraries (roles without speaking parts) and stage hands (see glossary of terms in the Classroom Study Material). Scripts and instructions for the student volunteers are included in this packet. All student actors will need to be available for training with the OITS artists about an hour before the performance. We really encourage the children’s participation in the question and answer session at the end of the performance. This part can be shortened for younger children. What’s in the Classroom Study Material Packet? In the front of the packet you will find materials for the older children, followed by materials for the younger children. In the very back are materials for teachers only (answers to crossword and quiz and an evaluation form). Here’s a detail:

The materials FOR OLDER CHILDREN include the following: Glossary of Opera Terms: the children can learn basic opera terminology and get a better sense of what an opera is, so when they see the production these concepts are clear and they can relate to them. Listing of Opera-Related Professions: we’d like the children to learn that it requires the talents of many different people to stage an opera besides that of the singers and musicians. This will deepen their appreciation for what they see onstage and give them an opportunity to see themselves perhaps doing some of those things in the future.


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08/09/2018 The Daughter of the Regiment – Road Map for Teachers Page 2 of 2

Brief Biography of Donizetti: this is to give them a sense of the time period when the piece was composed and the degree of accomplishment of the composer. Synopsis: This is the story line of The Daughter of the Regiment, which is an opportunity for the children to also learn and remember the names of the characters. Word Search: These are materials that can be used to test the children and ingrain the material. Answers are provided in the teachers’ portion of the Packet. Sheet Music to When the call is sounding: This is the one chorus number in our production of The Daughter of the Regiment. The chorus is optional, but if you decide to have one, you must prepare the children in advance. In addition to the sheet music, there are recorded music mp3s available for download from our website at www.wbopera.org/oits. Those include several versions: the piano accompaniment alone, the voice part notes played on the piano alone, and a version with both the singing and the piano accompaniment, to make it easy for the children to practice and learn the part, especially if they are doing it as homework. After Performance Discussion Questions and Quiz: These are self-explanatory materials.

The materials FOR YOUNGER CHILDREN include the following:

Coloring Book: Eight pages with drawings of the characters in our production of The Daughter of the Regiment: the Marquise, Marie, Tonio, Sulpice, Hortensius and the soldiers.

The materials FOR TEACHERS ONLY include the following:

Answers to the Word Search: these are self explanatory Key to Answers: These are answers to the After Performance questions and to the Quiz. Teacher’s Evaluation Form: This is your opportunity to give us feedback so we can know what we are doing well and what we can improve upon. Please take a moment to complete the form after the performance.

ALL MATERIALS are available for download at www.wbopera.org/ForKids

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08/09/18 The Daughter of the Regiment – Materials for Older Students Page 1 of 1


MATERIALS FOR OLDER STUDENTS

Pre-Performance Classroom Study – The Daughter of the Regiment

Glossary of Opera Terms p.6

Donizetti Bio and Synopsis of the Opera p.12

Student Script for Dialogues p.14

Word Search The Daughter of the Regiment p.21

Optional Chorus Sheet Music – The Daughter of the Regiment

"When the call is sounding" p.22 Post-Performance Classroom Study – The Daughter of the Regiment p.23

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08/09/18 The Daughter of the Regiment – Pre-performance Classroom Materials Page 1 of 5

CLASSROOM STUDY MATERIALS For before the performance of

The Daughter of the Regiment Please use the material below to prepare your students for the assembly. Any preparation you provide the students will enhance their enjoyment and appreciation of the performance. A glossary of opera terminology is given below followed by a description of some of the career opportunities found in opera. GLOSSARY OF OPERA TERMS What is opera? Opera is a combination of theater and classical music. It is the most complex of all the performing arts, because it is a combination of all of them. The most unique thing about opera is that the singers go through a lot of vocal training to be able to sing without a microphone. Their voices are both beautiful and big, and they can be heard even in the back rows of a big theater. Listening to those big voices in the theater can be very exciting. Singers must be able to act, as well. Since people in many different countries have written operas, singers must be able to sing in different languages. Most operas include a chorus, in addition to the principal singers. Opera performances also require an orchestra, to set the mood for the piece and accompany the singers. They also require stage sets, props, lighting, and sound effects, as well as costumes, makeup, and wigs for all the performers. The addition of music into a play changes the rules. In opera, people are often singing about what they are “thinking”. Three or four people can be singing at the same time about their own private thoughts, in ensembles called trios or quartets. It is understood, when this happens, that the other characters onstage are not hearing what each person is singing about individually, as if the person singing what only "thinking" those thoughts in their own heads. This is impossible in a regular play. People started writing what we now call opera almost 400 years ago! As it became more and more popular, special theaters were built for the productions. Since there was no television or radio, operas where the best entertainment form, the opera house became a popular meeting place, and operas were like the Broadway shows of the time. It was not uncommon for people to hum tunes from operas on the street. These days, complete operas are occasionally shown on television, and there are subtitles or supertitles in English for people to understand what the singers are singing about, no matter what language they are singing in. There are also many operas on video, to watch at home. What are the different types of songs in opera? Aria: A song sung by one person. Duet: A song sung by two people at the same time. Trio: A song sung by three people at the same time. Quartet: A song sung by four people at the same time. Groups of singers such as duet, trios and quartets, are called ensembles.

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What are the different types of voices in opera?

Soprano: A female high voice Mezzo Soprano: A female medium voice

Contralto: A female low voice Tenor: A male high voice Baritone: A male medium voice Bass: A male low voice What kinds of stories are found in operas? There are operas about all kinds of stories. Many operas are based on plays (theater pieces). For example, some of Verdi's operas are based on Shakespeare plays. Some are tragedies (the have a sad ending), and some operas are comedies. Some opera stories are about imaginary gods and goddesses, and more modern ones are often based on the lives of real people and real events. What is an Accompanist? An accompanist is a person who plays the piano so that a singer can sing along with the music. He/she takes the place of an orchestra in rehearsals or in performances where an orchestra is not available. What is an Overture? An overture is a musical introduction to an opera. There is no singing during the overture, although it introduces melodies that will be heard later in the opera. What is Recitative? (Pronounced re-si-ta-teev) Recitative is singing that sounds half-way between ordinary speech and singing. The words are recited in rising and falling tones and with a rhythm similar to speaking, but there is a pitch to each syllable. Arias are usually melodic and beautiful, but the words are often poetic and usually are not enough to tell the whole story. So, in opera, recitative is used to advance the storyline in between arias or ensembles. What is the Set? A set or scenery is the name given to the make-believe surroundings used on the opera house stage to present an opera. A Set Designer designs the sets. Presenting an opera onstage also involves special lighting, which is created by a lighting designer. Nowadays, many operas include projections of still pictures and videos on screens, to make the set more interesting. Different from movies, stage productions are not intended to be perfectly realistic. Instead, they aim to create an atmosphere or feeling, to bring the audience into the story, and let people use their imagination to fill in the details. OITS brings simple portable sets to these school performances, to create a backdrop for the action, and the students fill in the rest using their own imagination. What are Costumes? Costumes are the clothes worn by singers and actors onstage. A Costume Designer designs the costumes. The set designer and the costume designer work together to design sets and costumes that will be coordinated in style and color and fit in with the time period in which the story of the opera takes place. What is a Pants Role? The role of a young boy is often sung by a mezzo-soprano, since a young boy’s voice would not be strong enough. The mezzo’s voice is slightly lower than that of a soprano. What is a Patter Song? A patter song is a song with a lot of syllables sung in very quick rhythm. What is Coloratura? A song decorated with trills, grace notes, and technically difficult vocal passages. What are Properties or “Props”? Props are objects used onstage by singers or actors other than the set or costumes; for example, a broom or a glass of water. Everything that happens on stage is make-believe. If the prop is something potentially dangerous, like a gun or sword, it has to be made harmless before it can be used onstage. For example, a sword’s edge is dulled and a gun barrel is filled up with putty.

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What is a Supernumerary? A supernumerary (or super) is a person who has a small acting (non-singing) part in an opera and usually serves as a volunteer, just for the love of being part of the show. In West Bay Opera’s OITS program, which you’re going to see, some of your classmates will be “supers”. What are Supertitles and Subtitles? These are the words that the performers are singing onstage, but translated into English. These words are projected onto a screen above or to the side of the stage. Supertitles help the audience to understand the story more clearly, since most operas are sung in a foreign language. When opera is shown on TV or video, the words are at the bottom of the screen and are called subtitles. To get the most enjoyment from an opera, the audience should also read the libretto (story) at home before attending the opera. Do opera lovers like every opera? Definitely not! Just like watching movies and TV shows, people like some and not others. There are so many different types of operas that people are bound to have favorite ones and maybe not care for some at all. There are many different styles of music and types of stories from which to choose. So, one should be adventurous and listen to different operas. In what languages are operas sung? Most operas these days are sung in the language in which they were originally written, usually Italian, German or French. There are also many operas written in Russian and some written in English, Czech and Spanish, as well. Operas that were written in English are performed in English. West Bay Opera’s OITS program will present its “mini-operas” to you in English, even though they were written in other languages.

OPERA-RELATED PROFESSIONS Opera is not just about singers. It’s a form of theater. It takes a great deal of knowledge, training and talent to put together an opera. Opera is the most complex of all the performing art forms, because it involves many different crafts and skills. Here are some of the most prominent occupations involved in producing an opera. Perhaps you will take an interest in one of these areas and some day you will want to work in opera. A Librettist (author) writes the story (called the libretto). This is similar to the script for a movie or play, but the words are not as conversational as in A Composer writes the music. A Conductor rehearses and prepares the production musically and leads the orchestra, principal singers and chorus in performance. The conductor keeps the performance together, making sure instruments play and singers sing at the right moments, ensembles sing together and, in general, that the sound produced by the orchestra closely supports and enhances the dramatic action that is happening onstage. An Orchestra plays the music (sometimes there are only a few musicians; sometimes as many as 100, depending on the opera). A Stage Director rehearses the singers, chorus, supers and dancers as to how to move onstage and how to “act” their roles. The performers have to memorize all of this in order to perform their roles. That’s what they do in rehearsals. A Stage Manager runs backstage crew like a general commanding his troops in battle. He or she calls the cues (signals for action) for lighting changes and scene shifts, alerting chorus and principal singers about when they are supposed to come onstage, and initiating special effects like smoke or snow at the exact

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moment when they are supposed to happen in the opera. He or she is responsible for running the show onstage exactly the way the stage director planned it. A Set Designer creates a design for the set, and it requires carpenters and painters to build and finish it. Some things work like a machine (maybe a dragon or a boat), and may require mechanics or electricians to build them. The set designer also works with a Projections Designer on video and still images that are projected as part of the set. A Lighting Designer decides what type of lighting should be used to make the set look its best and to create special effects (such as lightning). Electricians are also necessary to implement the lighting design. A Costume Designer designs the costumes, intended to look like what people wore at the time the story takes place. It takes many people to cut the fabric and sew the costumes. Since singers usually have to get dressed in a rush, wardrobe people (called dressers) help them. Costume designers also design headpieces and hats for the performers, sometimes requiring hat makers to build them. Shoe makers are also often involved in building special period shoes and boots for operas. A Wig Designer creates wigs for the performers to complete their costume. A Make-up Artist must apply make-up to each performer, so they look right. Otherwise, the bright lighting onstage would make them look very pale. Language Coaches help the singers during rehearsals learn how to pronounce words correctly, when they have to sing in a foreign language. Vocal Coaches, accompany singers on the piano in private rehearsals or coachings, to help the singers learn and practice their parts. Dancers are part of many operas that include ballet numbers. When ballet numbers are called for in an opera, there is typically a Choreographer, who creates the dance numbers (the specific moves and steps) to be performed. Supernumeraries or Supers are actors who do not sing but appear on stage in non-speaking parts. They are often seen as the maids and valets of the principal singers, but they can also be part of a crowd or they can be acrobats or help with changes in sets or furniture that are happening onstage during the performance. Stage Hands and Prop Handlers put all the sets, furniture and props into place onstage. Set changes usually have to happen very quickly. It takes expert coordination to get everything done fast in the time available. A Props Designer is responsible for the tables, chairs, lamps, swords, and other items that are used or carried by characters onstage in an opera, but which are not considered part of the set. The Props Designer must either make or obtain the props, keep track of them, and have them onstage at the right time. Props or Properties are divided into scene and hand props. A scene prop is an object that sits on the stage and is placed in one location; typicaly a piece of furniture, like a lamp. A hand prop is an object that a performer carries on stage and uses in acting the part he is performing, such as a fan. Sound Designers and Sound Effects people take care of making special noises in the opera, such as thunder, a cannon blast or a creaking door opening.

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An Artistic Director or sometimes a General Director, is responsible for deciding which operas to stage each season, selecting the singers, musicians and other artists, hiring the conductors, directors and designers, making sure that everyone is working together and that the final product is of very good quality. A Production Manager is responsible for ensuring that sets, costumes, props and all other onstage components of the opera are produced on time and on budget, to the exact specifications provided by the designers. The Administration Staff handles many functions, such as writing contracts for the artists, scheduling rehearsals, doing publicity, selling tickets, paying people after the show is done and many business details. These are some of the most prominent roles for people involved in producing an opera, and there are many others who work behind the scenes to make things run smoothly.

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08/09/18 The Daughter of the Regiment – Composer’s Bio and Synopsis Page 1 of 2

Biography of

Gaetano Donizetti

composer of The Daughter of the Regiment Gaetano Donizetti was born in Italy in 1797. He died in 1848, when he was only 51. He was born to a very poor family, the youngest of three sons. In 1830, after years of struggling, he had his first big hit with the opening of the opera Anna Bolena in Milan, which made him instantly famous all over Europe. Just two years after that he composed The Elixir of Love, a comic opera that is still very popular today, and which OITS performs regularly in the schools, and then he composed the now very famous Lucia di Lammermoor. He got married and had three children, but his wife Virginia and the three children all died in the 1830s.

He composed The Daughter of the Regiment for the Paris Opera Comique, where it was first heard in 1839. While the premiere was poorly received, the opera soon became very popular. By 1908 it had been performed more than 1,000 times at the Opera Comique, and it was regularly featured in most opera theaters around the world. By the mid 1840s Donizetti got very sick and, sadly, he became insane. He died in Bergamo, the city where he was born. He left us 75 operas, 16 symphonies, 19 string quartets and almost 200 songs, among many other compositions.

Synopsis of


by Gaetano Donizetti

Once upon a time there was a little baby named Marie. Suddenly, the carriage she was traveling in found itself in the middle of a battle. The nanny in charge of Marie was terribly frightened. In the confusion of war, she got separated from the baby, and she ran away. Marie was rescued by some of the soldiers. Unable to find anyone to take the baby, they decided to raise her as their own. “(The thunder of battle was my cradle song”) and (“We are the best, second to none”).

Many years later Marie is walking in the mountains near the soldiers’ camp. She slips and is saved by a young man named Tonio. Stunned by Marie’s beauty Tonio falls instantly in love with her and follows her back to the camp. When he is caught sneaking around the camp, Marie explains to the soldiers that Tonio rescued her and that he was not their enemy.

Tonio tells Sulpice, Marie’s adoptive father, how much he loves Marie. Sulpice has decided that Marie can only marry another member of the 21st Regiment. So Tonio runs away and enlists in the army. We’ll learn more about Tonio later in the story.

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08/09/18 The Daughter of the Regiment – Composer’s Bio and Synopsis Page 2 of 2

Later, Sulpice meets an older woman and her servant, Hortensius. She is the Marquise de Berkenfield. Sulpice remembers meeting a Captain Robert Berkenfield. The Marquise tells Sulpice that her sister had married a Robert Berkenfield and that their child had been lost during a fierce battle.

Realizing that Marie must be the Marquise’ niece, Sulpice rushes to introduce them. The Marquise is shocked at Marie’s rough manners and decides to take her home and make a lady out of her. As they are getting ready to leave, Tonio returns having joined the Regiment (“Yes, it is true, I am a soldier”) and tells his comrades that he will marry Marie on his “Day of Glory”. Marie tells her friends that she must go. (“I must depart”)

When Marie arrives at the home of the Marquise, she is made to learn the manners of the court. This means learning to sing “appropriate” songs (“The grove lay still and cool”). No more singing the songs that the soldiers had taught her. The Marquise is hoping the Marie will marry the wealthy Duke of Krackenthorp, and she must learn to behave like a future Duchess. When Sulpice is sent to the castle to recover from a wound, he and Marie sing the songs of Marie’s soldier upbringing. This makes Marie feel sad, but hearing the regiment march by, she cheers up. “(All hail to my country”).

The soldiers have brought Tonio to visit Marie. Sulpice, Tonio and Marie sing a happy song (“Isn’t this utter bliss?”) telling of their joy at being back together.

The Marquise comes in and sees them together. She orders Tonio to leave. Tonio convinces the Marquise to tell everyone the truth, that Marie is her daughter not her niece. Marie had been misplaced by a servant who was supposed to return her to her mother’s care after Captain Robert Berkenfield was killed. The Marquise and the Captain had married secretly, against her parents’ wishes. When the Captain was called back to war the Marquise returned home. She left Marie with a trusted servant never thinking that Marie’s father would be killed.

Realizing that Marie’s happiness is more important than the planned marriage to the Duke, the Marquise gives her blessing to the young couple. Marie sings a toast to love and friendship (“A toast to the future!”) as the opera ends.

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08/09/18 The Daughter of the Regiment – Student Script - Page 1 of 7

G. Donizetti’s The Daughter of the Regiment

SCRIPT Text that students must memorize is inside the frames

STUDENT NARRATOR (one of the Footmen):

Today you will hear a shortened version of The Daughter of the Regiment. This charming comic opera was written by the Italian composer Donizetti, and was first performed in Paris, France, in 1840. The action takes place in the year 1805, when the victorious French armies of the Emperor Napoleon occupied much of Europe. Ah, here comes a soldier now… (Footman retires to side of the stage. SULPICE enters R on music.)

MUSIC #1 – Entrance of Sulpice (piano) SULPICE: This is a proud day for the 21st Regiment. Our daughter Marie is to be

married, and every last soldier in the regiment may be thankful that our little pride and joy has turned into such a fine young woman. But I'm getting ahead of myself. SULPICE here, sergeant in the army of the Emperor Napoleon. Our regiment is stationed here, high in the Tyrolean Alps. Many years ago, we found a baby girl lying on the battlefield. We were unable to find her parents or family, so the whole regiment decided then and there to raise the girl as our own daughter--the Daughter of the Regiment. There was never a daughter so dutiful as our MARIE, and yet she also had a mind of her own. About a year ago, I remember, she met a young Tyrolean boy named TONIO, who followed her around like a lovesick puppy. About the same time, I encountered an elegant lady, the MARQUISE OF BERKENFIELD, and her faithful servant HORTENSIUS. I soon discovered that the Marquise held the secret to Marie's past. Ah, it's as clear in my mind as if it were yesterday.

(On last line, SULPICE steps aside, ready to join as SOLDIERS enter R)

MUSIC #2 – Entrance of Soldiers (piano) SULPICE: Left, right, left, right. Company halt!

SOLDIER #1: Sergeant, beg permission to report, Sir! SOLDIER #2: Strangers have been seen lurking in the vicinity, Sir! SOLDIER #3: We fear for the safety of our daughter Marie, Sir! SOLDIER #4: Request permission to investigate, …. (pause) … Sir!

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SULPICE: Strangers, eh? Good work, men. It is such deeds as yours that cause our flag to be loved and dreaded around this great continent!

MUSIC #3 – "When the call is sounding" (Sulpice with optional student chorus) SULPICE: WHEN THE CALL IS SOUNDING, (+ CHORUS) WE ALL MUST OBEY! WHEN THE DRUM IS POUNDING, WE QUICKLY MARCH AWAY! ON THE EVE OF BATTLE, LET'S BE OF GOOD CHEER! LET THE SABRES RATTLE! VICTORY IS NEAR! SULPICE: (spoken over tag) Go and see what you can find. Right face, forward march! (As

music continues, SOLDIERS exit R)

MUSIC #4 – Entrance of Marie MUSIC #5 – "The thunder of battle" (Marie, Sulpice) (SOLDIERS drag in TONIO R)

SOLDIER #1: Sergeant, look what we found in the bushes! SOLDIER #2: It's one of the enemy! He was spying on us! SOLDIER #3: Let's take him prisoner! SOLDIER #4: Naah! That's too good for him! Let's make him clean up after the horses!

SULPICE: Now you just hold your horses! I'm the sergeant here! I'll decide what to do with him! Let's see, we have shooting, we have….

MARIE: Wait! Let me explain. A few days ago, I was hiking in the mountains. I reached out to get this really fabulous flower, and I slipped and went flying…

SULPICE: Holy moley! MARIE: ... into the arms of a young man. SULPICE: Now wait a minute! A young girl is not supposed to fly into the arms of any

man, except her father's. MARIE: Well, it was either that or straight down about 2,000 feet. SULPICE: Ahem… erm! And that young man? MARIE: Very nice! And you were about to shoot him! SULPICE: (clearing his throat) Ahem! Yes – well – as I was about to say, let's sing a toast

to the young man who saved Marie's life. TONIO: No, not to me, but to you (looking at MARIE, then noticing all the soldiers watching)

... to all my new friends! SULPICE: Marie, the party wouldn't be complete without a verse or two of our regimental

song! MUSIC #6 – "We are the best" (Marie with Tonio, Sulpice) MUSIC #7 – Changing of the guard (piano)

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SULPICE: Time for changing of the guard. (significantly) Soldiers, see that this young man

finds his way home! MARIE: But he's my prisoner! I saw him first! SULPICE: Sorry, Marie, rules are rules. Soldiers, right face, forward march! MUSIC #8 – Exit of soldiers (piano) (TONIO, SULPICE and SOLDIERS exit R)

(TONIO re-enters) MUSIC #9 – "So, you love me?" (Marie and Tonio) SULPICE: (entering R during the final cadenza and observing, then surprising them) Confound

it, what is going on here? Not that ... that ... Tyrolean again! TONIO: Sir, I'm in love with Marie, and I want to marry her! SULPICE: Marriage?! Marie, have you forgotten the rules? MARIE: What rules? SULPICE: By regulations, she can only marry a soldier of the Twenty-First Regiment. MARIE: Oh, that rule. (aside to Tonio) I think it stinks! SULPICE: I heard that, young lady! Go to your tent! That's an order! (MARIE stomps off L)

TONIO: If Marie can only marry one of the regiment, then I will enlist. Where do I sign up? (SULPICE points offstage R; TONIO exits R)

SULPICE: (exasperated) Kids!

(MARQUISE enters L frightened, accompanied by HORTENSIUS.)

MARQUISE: Help, help! Please! SULPICE: What seems to be the problem, Madam? MARQUISE: Oh, thank heaven, a friendly face! Sergeant, I wish to return home to my

castle; but there's fighting in the mountains, and I am terrified to go there alone!

SULPICE: Where is your castle, Madam? MARQUISE: (pointing out into the audience) Can you see across the valley, on top of that

mountain? Those are the towers of Berkenfield Castle. SULPICE: Berkenfield, did you say? That's a name I haven't heard in a long time! Years

ago, I knew a young officer from near Berkenfield, a Captain Robert. Did you know him?

MARQUISE: (dreamily) Captain Robert (pronounced “Ro-BARE) (sighs). Ah yes, it was so sad! Robert and I ... (snapping out of her dreamy mood) I mean, Captain Robert and... uh ... my sister ... were secretly married during the war and had a beautiful baby girl, but there was a terrible battle near the castle, and the baby was lost in the confusion.

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SULPICE: She was not lost! Our regiment found her in the field, and for the past twenty years, we have fed her, clothed her, and taught her all we know. Every one of us has been a father to her, and we consider her the Daughter of our Regiment!

MARQUISE: Oh, sergeant, is this true? Do you have proof? SULPICE: Here is a letter I have always kept with me. It proves that our Marie was

Captain Robert's daughter. MARQUISE: And has my daugh… I mean… my niece been raised properly? HORTENSIUS: Does she have the manners of a fine lady? After all, she would be a

baroness. SULPICE: Oh, absolutely. As I said, we taught her all we know! (MARIE enters L.)

MARIE: Thunder and tarnation! Sulpice, are we out of beer already? HORTENSIUS: (shocked) Well, that's quite an education! SULPICE: (clearing his throat) Marie, may I present the Marquise of Berkenfield? MARIE: Whoa! (MARIE strides to the MARQUISE, stops, and offers her hand.)

SULPICE: Marie, your manners! (MARIE spits on her hand, wipes it on her skirt, and offers it. SULPICE curtseys to demonstrate, then she curtseys.)

SULPICE: This fine lady is your aunt! MARQUISE: My child, you will follow me immediately. MARIE: But Sulpice… SULPICE: Marie, here is a letter that we found with you when you were a baby. (hands her

the letter) It was your father's dying wish that you should live with your aunt. MARIE: (after scanning the letter) Well, if I go, the whole regiment has to come with me. MARQUISE: Soldiers?! Oh, my word! Well, we can discuss that after you get your things. (SULPICE, MARIE, MARQUISE and HORTENSIUS exit L.)

(TONIO, in uniform, enters R with SOLDIERS as music starts.)

MUSIC #10 – "Yes, it is true, I am a soldier" (Tonio) TONIO: Yes, my friends, I am in love, and I'm going to get married! SOLDIER #1: Oh, yeah? And who's the lucky girl? TONIO: Why, Marie, of course! SOLDIER #2: Marie? Forget it, pal! She's got to marry one of us! TONIO: But I am one of you! Just ten minutes ago I joined your regiment for that very

reason! SOLDIER #3: Does that mean we don't get to shoot you?

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TONIO: Sorry! Besides, Marie and I love each other! I'm asking you for a father's consent!

SOLDIER #4: Well, all right… Besides, Marie always gets what she wants anyway!

MUSIC #11 – "Day of glory!" (Tonio) (SULPICE and MARIE enter L with her things.) TONIO: Ah, Sergeant, there you are! It's official: I have enlisted in the Twenty-First

Regiment, and I ask you for Marie's hand! SULPICE: I'm afraid, my boy, that now only Marie's long lost aunt can give her away, and

she and Marie are leaving immediately.

SOLDIER #1: But she can't take Marie away from us! SOLDIER #2: Who's gonna sound the drums? SOLDIER #3: Who's gonna carry the flag? SOLDIER #4: Who's gonna tuck us in bed at night and read us a story?

MARIE: It's no use, my friends. Sulpice has shown me a letter my father wrote before he died. I have no choice.

MUSIC #12 – "I must depart" (Marie with Tonio and Sulpice) (MARIE exits L. TONIO would follow, but SULPICE blocks the way. TONIO and SOLDIERS exit R. SULPICE steps forward to speak, while HORTENSIUS and FOOTMEN set up for Act II.)

ACT II SULPICE: And so, Marie went off with her aunt to become a fine young lady. Life at the

camp over those next long months was just not the same without our daughter. We thought we would never see her again. But fate sometimes plays strange tricks. (Music begins under narration.) About a month ago I was wounded in battle, and was brought here to recuperate -- here at Berkenfield Castle. The Marquise seemed awfully glad to see me. She had desperately been trying to change Marie's soldierly ways into something more ladylike, but she had not met with much success. She often turned to me to try to put Marie into a better mood.

MUSIC #13 – Formal entrance music (piano) (FOOTMEN leave L; HORTENSIUS remains on stage; MARQUISE enters L.)

MARQUISE: Ah, Sulpice, I need your help. I have chosen a husband for Marie – the Duke of Krackenthorp, one of the wealthiest men in Germany. But Marie is not taking the news with much enthusiasm.

SULPICE: Well, Marie does have a mind of her own! MARQUISE: Here is my problem. Tonight I am giving a party so that everyone will see

what a proper young lady Marie is. HORTENSIUS: That'll be a laugh! MARQUISE: I need you to help keep her in line.

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MARIE: (enters L and curtseys) Bonjour, dear Aunt. MARQUISE: Marie, let us rehearse the lovely song you are to sing tonight. HORTENSIUS: That sounds like my cue to get out of here. (exits L)

MARQUISE: Now remember your posture—chin up, toes straight! Smile!

MUSIC #14 – "The grove lay still and cool"..."Carry on!" (Marie and Sulpice)

MARQUISE: Really, Marie! I am surprised and shocked! It's all your fault, Sulpice. You encourage her.

SULPICE: (aside) Well, it is a little dull around here. MARQUISE: Now, I must attend to some details for the party tonight. Sulpice, I'm leaving

you in charge. (She exits L.)

SULPICE: Come, come, Marie, you will soon be a duchess. (Music begins under dialog.) I'm sure the Duke is a nice young man and in time you'll come to love him. Chin up! Ah, that's my little soldier. (He exits R.)

MUSIC #15 – "There's no more hope" (Marie) …. continue with "All hail to my country" (soldiers enter during music) MARIE: My friends, it’s so good to see you! SOLDIER #1: It’s been three months … SOLDIER #2: … and we’ve missed our daughter! SOLDIER #3: So we came to cheer you up … SOLDIER #4: … and we brought someone with us! TONIO: (enters) Marie! MARIE: Tonio! (They embrace.)

MUSIC #16 – "Isn't this utter bliss?" (Marie, Tonio, and Sulpice)

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SULPICE: Here comes the Marquise! I'll try my best, but believe me, she won't be easy to convince.

MARQUISE: (entering L with HORTENSIUS and FOOTMEN) Sulpice, where did all these soldiers come from? And who is that soldier embracing Marie?

MARIE: Dear Aunt, some time ago this brave man saved my life. His name is Tonio and we are in love.

MARQUISE: Nonsense, Marie, you will be married within the hour. Young man, I must ask you to leave at once.

TONIO: Madam, I had hoped it wouldn't come to this, but if you take Marie away from me, I will be forced to reveal a secret about Marie's birth.

SULPICE: (trying to stop him) Tonio! MARQUISE: No, Sulpice, this young man is right. Friends, I told Sulpice the truth and he

promised to keep my secret, but the time has come for you all to know that Marie is not my niece. She is ... my daughter!

SULPICE: You see, Captain Robert and this fine lady were very much in love, but her parents did not approve. Captain Robert went back to war and the Marquise returned home alone, leaving you, Marie, with a trusted servant. When the Captain was killed in battle, that servant tried to bring you to safety with the Marquise, but he never made it, and that is when we found you on the battlefield.

MARQUISE: Marie, can you ever forgive me? All I want is for you to have the happiness I was denied. (MARIE embraces the MARQUISE.)

TONIO: Then, is Marie free to marry me? MARQUISE: Yes! And may you live happily ever after! SULPICE: Three cheers for the Marquise! ALL: Hip, hip, hooray! MUSIC #17 – "A toast to the future (Marie, Tonio and Sulpice) (All cast members join hands and bow as the music ends.

THE END

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08/09/18 The Daughter of the Regiment – WORD SEARCH Page 1 of 1

The Daughter of the Regiment WORDSEARCH

OPERA THEATER HORTENSIUS RECITATIVE FRENCH BARITONE SOPRANO STEWARD MARIE SUPER DONIZETTI ACCOMPANIST

LIBRETTO COMICOPERA MARQUISE GRENADIER SULPICE STAGEMANAGER

TONIO ORCHESRA PIANO

A B K U I W E S I U Q R A M J E V U M F

R M U N L L H T N V C Q M O N A R P O S

T I P L O Z C A J N L E H H R Y V N X X

E I A K U L N G W W T H Y P C S P Z C M

N A P S L I E E R E C I T A T I V E A D

O T P Y O B R M C Z V V T B W O O X V H

R B U F F R F A R I Y G E I R A M B U T

H A L G D E K N O D O N I Z E T T I M L

J R J R U T O A Q W R Y K B C T C A P Z

L I T E Y T J G R S B G F K J S R I A A

O T O N G O P E V U T F O A N I A V X P

R O X A J L Q R B P J P H R E N X H S H

C N Z D A B D G Z E E U C E O A E B J D

H E C I P L U S I R P T W P I P H O Q R

E T H E A T E R A P D G H O R M Y H F A

S D A R U V J T P J Y P P C C O V B G W

T J H O R T E N S I U S K I D C N H C E

R C T I X F H M K X U M B M F C G G O T

A K X V N O I N O T W S D O O A E W N S

H R O B Z X F L E P Q Y P C U T R L H H

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08/09/18 The Daughter of the Regiment – WORD SEARCH Page 1 of 1

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08/09/18 The Daughter of the Regiment - Post-performance Class Mats – Page 1 of 1

POST-PERFORMANCE Classroom Study Material

The Daughter of the Regiment by Gaetano Donizetti

Discussion Questions (Answer Key in Teachers’ Materials Section at the end of the package)

1. How is an opera different from a play?

2. What kinds of jobs, besides singing, are part of the process of putting on an opera like the one you saw?

3. Would the opera have been different had any of these things been missing? How?

4. Would you be willing to leave the castle of the Marquise to live the life of a soldier or Tyrolean peasant? Do you think that Tonio and Marie would “live happily ever after?”

Opera Quiz (The opera terms are explained in the Study Material in this packet for study “before” the performance.

1. When did people start writing operas?

2. What is an aria; a quartet?

3. In what languages are operas written and sung?

4. Who composed the opera you saw, The Daughter of the Regiment? When did he live?

5. What is recitative? Did you hear recitative in today’s opera?

6. If you could be a singer in this opera, which character would you choose to be?

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MATERIALS FOR YOUNGER STUDENTS

Coloring Book Images: Marie as Soldier p.24 Sulpice p.25 Soldier p.26 Marquise p.27 Hortensius p.28 Marie as Daughter of the Marquise p.29 Tonio p.30

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Marie as Soldier

from Donizetti’s opera The Daughter of the Regiment

West Bay Opera – 221 Lambert Ave., Palo Alto, CA 94306 – 650-424-9999 - www.wbopera.org

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Sulpice Marie’s guardian

from G. Donizetti’s opera



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A soldier




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Marquise

from Donizetti’s opera The Daughter of the Regiment


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Hortensius Trusted servant to the Marquise




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Marie as the Marquise’s Daughter

from Donizetti’s opera



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Tonio A soldier in love with Marie




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MATERIALS FOR TEACHERS ONLY

Post Performance Discussion and Quiz ANSWERS p.28 Word Search ANSWERS p.31 Evaluation Form p.32

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08/09/18 The Daughter of the Regiment - Post-performance Class Mats – Answers Page 1 of 2

TEACHERS’ MATERIALS

ANSWERS to Post-performance discussion questions and Quiz

The Daughter of the Regiment by Gaetano Donizetti

Discussion Questions (with answers)

1. How is an opera different from a play? The words are sung instead of spoken. More than one person can sing at the same time, each “saying” something different. The character can sing about what he/she is “thinking” or “feeling”

2. What kinds of jobs, besides singing, were involved in putting on the opera you saw?

a. Musical Director (reduced the long opera to 40 minutes) b. Costume Designer (created and supervised the manufacture of the clothes worn by

the singers. c. Accompanist (played the piano during performances – and also played for rehearsals) d. Set designer (designed and painted the portable set that you saw onstage)

3. Would the opera have been different had any of these things been missing? Haow? Question for classroom discussion.

4. Would you be willing to leave the castle of the Marquise to live the life of a soldier or Tyrolean peasant? Do you think that Tonio and Marie would “live happily ever after?” Question for classroom discussion.

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08/09/18 The Daughter of the Regiment - Post-performance Class Mats – Answers Page 2 of 2

Opera Quiz

1. When did people start writing operas? About 400 years ago. The first known opera was Dafne, written in Italy by Jacopo Peri in 1597.

2. What is an aria; a quartet? An aria is an operatic piece sung by one person. A quartet is a piece sung by four people at the same time. In a quartet each person will sing a different line and different notes, creating harmony. While the word aria used to refer to a solo vocal piece in an opera, a quartet can refer to singers or instruments, for example, a string quartet is two violins, viola, and cello.

3. In what languages are operas written and sung? The most common languages in which operas are sung are Italian, German, and French. But there are also many operas written in Russian, Czech, English, and also some in Spanish. In addition, some countries, like Germany, have a tradition of taking operas in other languages (like Italian) and translating them so they can be sung in the everyday language that people understand in that country.

4. Who composed the opera you just saw, The Daughter of the Regiment? When did he live? The Daughter of the Regiment was composed by Gaetano Donizetti, who was born in Italy in 1797 and he died in 1848, when he was only 51, having composed 75 operas, almost 200 songs, 16 symphonies and 19 string quartets.

5. What is recitative? Did you hear recitative in today’s opera? Recitative is when the singer sings in a style that is very close to just speaking, usually saying a lot of words quickly, to help progress the plot or story of the opera.

6. If you could be a singer in this opera, which character would you choose to be? Why? Question for Classroom Discussion.

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08/09/18 – The Daughter of the Regiment – WordSearch Key Page 1 of 1


The Daughter of the Regiment WORDSEARCH – ANSWER Key

OPERA FRENCH MARIE LIBRETTO GRENADIER

TONIO THEATER BARITON SUPER

COMICOPERA SULPICE ORCHESTRA HORTENSIUS SOPRANO

DONIZETTI MARQUISE STAGEMANAGER PIANO

RECITATIVE STEWARD ACCOMPANIST

Words may appear vertically, horizontally, diagonally and in reverse position.

A B K U I W E S I U Q R A M J E V U M F R M U N L L H T N V C Q M O N A R P O S T I P L O Z C A J N L E H H R Y V N X X E I A K U L N G W W T H Y P C S P Z C M N A P S L I E E R E C I T A T I V E A D O T P Y O B R M C Z V V T B W O O X V H R B U F F R F A R I Y G E I R A M B U T H A L G D E K N O D O N I Z E T T I M L J R J R U T O A Q W R Y K B C T C A P Z L I T E Y T J G R S B G F K J S R I A A O T O N G O P E V U T F O A N I A V X P R O X A J L Q R B P J P H R E N X H S H C N Z D A B D G Z E E U C E O A E B J D H E C I P L U S I R P T W P I P H O Q R E T H E A T E R A P D G H O R M Y H F A S D A R U V J T P J Y P P C C O V B G W T J H O R T E N S I U S K I D C N H C E R C T I X F H M K X U M B M F C G G O T A K X V N O I N O T W S D O O A E W N S H R O B Z X F L E P Q Y P C U T R L H H

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08/09/18 Teacher Evaluation Form – The Daughter of the Regiment Page 1 of 2

Mail or FAX to: Balbina Heitner – OITS Coordinator West Bay Opera Palo Alto, CA. 94306 FAX 650-843-3904

Teacher’s Evaluation Form

West Bay Opera is interested in receiving your comments about the Opera In The Schools Program. We are always seeking to improve the quality of the children’s opera experience. Please take a few minutes to respond to the questions below and return the questionnaire to your main office for submission to West Bay Opera. Thank you!

Classroom Study Material for BEFORE the performance (with glossary of opera terminology): how

useful was it in teaching the children about opera in general?

________________________________________________________________________________

________________________________________________________________________________

Classroom Study Material for AFTER the performance: how useful was it to reinforce the students’

appreciation of the performance?

________________________________________________________________________________

________________________________________________________________________________

Coloring sketches: how did the younger students like them?

________________________________________________________________________________

________________________________________________________________________________

Opera puzzles: how did the students like them?

________________________________________________________________________________

________________________________________________________________________________

Biography of the Composer: how useful did you find it?

________________________________________________________________________________

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08/09/18 Teacher Evaluation Form – The Daughter of the Regiment Page 2 of 2

________________________________________________________________________________

Did the students enjoy and learn from the assembly performance? _________________ _

________________________________________________________________________________

Did you find it helpful to have the study materials available online?

________________________________________________________________________________

What do you feel were the program’s strengths and weaknesses?

________________________________________________________________________________

________________________________________________________________________________

________________________________________________________________________________

________________________________________________________________________________

________________________________________________________________________________

Would you want West Bay Opera’s School Program to return to your school with other programs in

subsequent years? ______________________________________________

Additional Comments:

________________________________________________________________________________

________________________________________________________________________________

________________________________________________________________________________

________________________________________________________________________________

_______________________________________________________________________________

Thank you for your participation in West Bay Opera’s School Program

Name of School: ________________________________________

Class Level: ________________________________________

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Documents

The Daughter of the Regiment 2019...performance as actors (roles with speaking parts), supernumeraries (roles without speaking parts) and stage hands (see glossary of terms in the