ACCESS OPERA 2019-2020 PROGRAM GUIDE

TABLE OF CONTENTSPlease carefully review all sections of the 2019-2020 Access Opera Program Guide and involve participating colleagues in organizing your school’s rehearsal experience.

page 2 ABOUT ACCESS OPERA

page 2 REPRESENTATIVE EXPECTATIONS

page 3 POLICIES AND PROCEDURES

page 4 VISITING THE MET

page 5 REGISTRATION AND REHEARSAL REQUESTS

pages 6-9 REHEARSAL OFFERINGS AND DESCRIPTIONS

page 10 PROFESSIONAL DEVELOPMENT OPTIONS

page 11 BEYOND THE STAGE

page 12 ACCESS OPERA RESOURCES

page 12 ACCESS OPERA STAFF

ABOUT ACCESS OPERAGoing beyond the ordinary field trip experience, Access Opera introduces students to live opera performances and provides teachers with resources for drawing connections across literature, social studies, foreign language, and the arts.

As part of their participation in the program, each school receives the opportunity to attend a final dress rehearsal at the Metropolitan Opera. A final dress rehearsal is the final run-through rehearsal before opening night. Additionally, each Access Opera teacher representative is encouraged to attend one of the professional development options provided by the Metropolitan Opera Guild, and each representative must also complete the program end-of-year reflection form.

REPRESENTATIVE EXPECTATIONSEach Access Opera school must designate a teacher representative to serve as a liaison to the Metropolitan Opera Guild. The Guild will work directly with this individual to coordinate and communicate all aspects of program participation. Representatives are expected to do the following:

• Select an opera suitable for their students’ age, experience, and curriculum. Guild staff is happy to offer assistance with selecting an appropriate opera for your student group.

• Attend rehearsal(s) and/or performance(s), sitting with and supervising students.

• Be responsible for the behavior and welfare of students at all times while inside the opera house.

• Select capable parent/teacher chaperones and clearly communicate program expectations to them.

• Ensure that at least one teacher responsible for student instruction related to the opera experience attends one or more professional development opportunities offered by the Metropolitan Opera Guild.

• Complete and submit the end-of-year reflection form, to be distributed by Guild staff in May 2020.

• Maintain communication with Guild staff regarding the Access Opera program.

• Facilitate the timely processing and payment of any Access Opera related invoices.

• Notify the Guild of any changes in school or representative status.2

POLICIES AND PROCEDURESAs participants in the Access Opera program, students, teachers, administrators, parents, and other members of the school community are part of a group of over 15,000 individuals who attend Metropolitan Opera dress rehearsals. A variety of materials and resources are provided, and policies and procedures are in place to ensure a meaningful experience for all involved.

MATERIALS DISTRIBUTION TIMELINE

• June: Program registration begins.

• Early August: First round of confirmations sent. (Please note: school groups that have not registered in time for the early August confirmation will be confirmed on a rolling basis.)

• September: Online resources for all rehearsals will be made available to Access Opera teachers.

• Four to six weeks prior to rehearsal: Tickets, “A Guide for Educators” materials (including digital sound clips), and additional rehearsal material (cast information, etc.) will be sent to attending school groups. An email confirmation regarding the mailing will be sent to each school’s representative.

• One week prior to rehearsal: Reminder email and volunteer liaison assignment information will be provided for school representatives.

• One month after your last attended performance: All payments for Access Opera memberships are due.

CANCELLATION POLICY

The Metropolitan Opera Guild must be notified of any scheduling conflicts or cancellations at least six weeks in advance of a scheduled rehearsal attendance date. Cancellations that occur less than six weeks prior to the rehearsal will not be rescheduled, and the membership fee will not be reversed. Upon cancellation, all tickets must be returned to the Guild within five business days. Failure to do so may result in a fine equal to the combined list price of these tickets and/or restriction on further participation in the Access Opera program.

Should any matter or condition beyond the reasonable control of either party prevent delivery of Access Opera services, such as emergency weather conditions, school closings, school emergencies, and Metropolitan Opera cancellations, this policy may be terminated or suspended.

AT TENDANCE POLICY

The Metropolitan Opera Guild is proud to serve over 15,000 students and teachers across six states. It is our goal to provide opportunities to diverse communities from varying geographic and socio-economic areas. We believe it is important for all participating schools to recognize the breadth of reach for the Metropolitan Opera Guild and the Access Opera program.

That being said, it is imperative that all students, teachers, administrators, parents, and other members of the school community are familiar with the Metropolitan Opera House Rules and Responsibilities prior to visiting the Opera House. While the Metropolitan Opera Guild is not in the practice of terminating partnerships with schools, failure to comply with the outlined rules and responsibilities may result in a limiting of future participation.

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VISITING THE METPlease carefully review each item and contact Guild staff (listed on page 12) with any questions or concerns. It is also important to review and follow the Access Opera Teacher Representative expectations (listed on page 2).

• Groups are expected to arrive in the lobby area of the opera house no later than 30 minutes prior to the start of the rehearsal. When you arrive at the opera house, please send a representative to check in with the Education table on the far left side of the lobby area. A Met Opera Guild representative will confirm your group’s attendance before you proceed into the main area of the house. Latecomers will not be allowed inside the auditorium until after intermission. If available, late groups may be seated in List Hall (where subtitles are not available).

• Large groups should wait outside the opera house (weather permitting) until congestion in the lobby is relieved.

• All students should receive their individual tickets prior to entering the opera house lobby to ensure an orderly and efficient entrance.

• Metropolitan Opera ushers will assist schools with seating inside the opera house.

• One adult chaperone per every ten students in attendance is required, regardless of the age/grade of students. Please be sure that chaperone seats are evenly dispersed amongst students.

• Proper clapping etiquette should be addressed prior to the rehearsal. Clapping should occur only after the orchestra has stopped playing. Students should be reminded that talking and noise-making is a distraction to their fellow audience members and the performers.

• Most rehearsals include at least one intermission, during which students are permitted and encouraged to eat lunch. NOTE: Food is not available for purchase at the opera house. Students should bring lunches in disposable bags, and all lunches should be packed in a single container (a large box or large trash bag is recommended), clearly labeled with the school name. Food is not allowed inside the auditorium; during the performance, lunch containers should be placed in the area designated for each school group.

• Students must be accompanied by a teacher or adult chaperone at all times, including during intermissions. Those who leave the auditorium during a performance will not be permitted to re-enter until intermission.

• In scheduling transportation back to your school, allow at least 30 minutes leeway in the length of the performance. As these are working rehearsals, the conductor and/or stage manager may pause or stop to make adjustments during or after the performance. Should your group need to leave early, please notify Guild staff prior to the rehearsal.

• Any changes in a school’s attendance status should be communicated to the Guild immediately, and no less than six weeks before scheduled attendance. Please see the cancellation policy on page 3 for more information.

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REGISTRATION AND REHEARSAL REQUESTSThe registration and rehearsal request process will again be conducted via online form. The link to the 2019-2020 Access Opera Registration and Rehearsal Request Form is:

http://www.metguild.org/AccessOperaReg

Also included on this webpage are links to the synopsis of each opera offering, for assistance in selecting an appropriate choice for your school group.

Please follow the directions below to register for the 2019-20 Access Opera program and make your rehearsal request(s). Be sure to read all instructions thoroughly, and complete all sections to the best of your ability.

• Access the online form at http://www.metguild.org/AccessOperaReg.

• Input your School and Representative information, as prompted. To ensure that we have correct information on file, we ask that you complete all fields as requested.

• Indicate whether you’d like to attend more than one opera this season. You will then select your first, second, and third choices for EACH of your final dress rehearsal attendances this season, as well as the number of tickets you would like to request for each rehearsal.

• The registration form will automatically calculate your membership and individual ticket subtotals, as well as the total cost. Please verify this information is correct before proceeding to the payment section. Remember: you are allotted 35 tickets per class membership, which should include chaperones.

• Input your school’s preferred payment method as prompted. Please be sure to indicate the name and address to which the invoice should be sent if different from your own.

• Thoroughly review and accept the Final Dress Rehearsal and Membership Cancellation Policy, and type your name next to “Signature,” which will serve as your agreement to the policy terms. The “Date” field will be automatically filled in.

• Indicate anything else you’d like us to know in the “Notes” section.

• Click “Submit” at the bottom of the page to submit your Access Opera registration and rehearsal requests. If you do not click this button, we will not receive your form.

• Upon receipt, you will receive a confirmation email that will include a copy of your registration and rehearsal request form. Please contact us if you do not receive this email, as it may mean your request has not been received.

Q&A WITH METROPOLITAN OPERA CHORUS AND ORCHESTRA MEMBERS

The Metropolitan Opera’s Chorus and Orchestra are considered the best in the world, and perform more than 200 times each season. This season, Access Opera will continue to provide students an unparalleled opportunity to meet with both Chorus and Orchestra members and participate in a Q&A, allowing students a deeper view into the world of the Opera.

This Q&A is open to one group of 70 students or less per final dress rehearsal, prepared with questions and the ability to stay 30-45 minutes following the final dress rehearsal.

Groups can demonstrate interest through the registration page, and arrangements will be made a month before the final dress rehearsal date. Interest in Q&A does not guarantee selection for these sessions; preference will be given to returning schools who have not participated in a Q&A within the last two seasons.

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Access Opera Rehearsals

DATE / TIME OPERA RUN TIME LANGUAGE GENRE GOOD FOR NEWCOMERS AGE LEVEL

Thurs, Sep 19, 2019 at 12:45 PM the gershwins’ Porgy and Bess new production 3 hrs, 15 mins English Drama Middle School +

Tue, Oct 8, 2019 at 10:30 AM puccini Madama Butterfly 3 hrs, 15 mins Italian Romantic Tragedy Middle School +

Tue, Oct 22, 2019 at 10:30 AM puccini La Bohème 3 hrs Italian Romantic Tragedy All Ages

Wed, Nov 13, 2019 at 10:30 AM mozart Le Nozze di Figaro 3 hrs, 25 mins Italian Social Comedy All Ages

Tue, Nov 26, 2019 at 10:30 AM tchaikovsky The Queen of Spades 3 hrs, 35 mins Russian Thriller / Drama Middle School +

Tue, Dec 10, 2019 at 10:30 AM strauss Der Rosenkavalier 4 hrs, 15 mins German Romantic Comedy Middle School +

Fri, Dec 13, 2019 at 11 AM mozart The Magic Flute*# 1 hr, 45 mins English Mythical Comedy All Ages

Tue, Jan 7, 2020 at 10:30 AM verdi La Traviata 3 hr, 10 mins Italian Romantic Tragedy All Ages

Wed, Jan 22, 2020 at 11 AM berlioz La Damnation de Faust 2 hrs, 40 mins French Mythical Tragedy Middle School +

Mon, Feb 3, 2020 at 10:30 AM handel Agrippina† new production 3 hrs, 45 mins Italian Political / Historical Drama High School +

Mon, Mar 9, 2020 at 10:30 AM rossini La Cenerentola* 3 hrs, 15 mins Italian Fairytale Romance All Ages

Fri, Mar 13, 2020 at 10:30 AM massenet Werther∆ 2 hrs, 50 mins French Tragedy High School +

Mon, Mar 23, 2020 at 10:30 AM puccini Tosca 3 hrs Italian Romantic Tragedy Middle School +

Tue, Apr 7, 2020 at 10:30 AM verdi Simon Boccanegra 3 hrs, 15 mins Italian Political Drama Middle School +

Fri, Apr 24, 2020 at 10:30 AM puccini Manon Lescaut 3 hrs, 10 mins Italian Romantic Tragedy Middle School +

* Limit of 70 tickets per school group† Contains adult themes and content. Recommended for ages 17+∆ Contains violence that may be inappropriate for younger audiences# No intermission

Access Opera: Open Rehearsals for Students is made possible by a generous gift from Robert and Jane Toll.

Major sponsorship is provided by Bank of America.

Access Opera is produced in cooperation with the Metropolitan Opera Guild.

PORGY & BESSStory & Setting: DuBose Heyward wrote the bestselling novel Porgy in 1925, and later adapted it for the stage with the help of his wife Dorothy in 1927. The play gained the attention of the Gershwin brothers, who were already a staple in American songwriting. With the help of Heyward, the trio worked to adapt what they called a “folk opera.” James Robinson’s production, originally staged for English National Opera in London, brings us to Catfish Row in Charleston, where Gullah residents, including the title pair, cope with storms, strife, and unexpected love.Opera Notes: Porgy & Bess’ standing as a favorite American opera is no surprise, as the Gershwins’ vibrant score and vivid storytelling make this an emotional journey for any audience member. However, at the time of the opera’s composition, George Gershwin’s desire to stage it with an all-black cast (and not in the blackface tradition of the time) limited the venue for a premiere performance. It premiered at the Colonial Theatre in Boston in 1935, and subsequently moved to Broadway, but was not produced by an American opera company until 1976. The piece mixes musical styles, including blues, jazz, and opera, to produce classics such as “Summertime” and “It Ain’t Necessarily So,” and has been performed by opera legends Leontyne Price, Grace Bumbry, and Simon Estes.

MADAMA BUTTERFLY

Story & Setting: Set in Nagasaki at the turn of the century, Butterfly follows the devotion and ultimate de-mise of the title geisha as she clings to her marriage to an American naval officer. The story is a beautifully tragic commentary on cultural norms and Western imperialism. Anthony Minghella’s visually stunning production enhances this opera staple through bright colors and puppetry.Opera Notes: Puccini’s music features lush and colorful harmonies, interspersed with snippets of American themes, but the heroine remains the single driving force of the opera. Her heartbreaking aria, “Un bel dì” makes up just a small part of the role’s vocal tour de force. The Italian libretto is based off of John Luther Long’s short story and the David Belasco play of the same name.

LA BOHÈME

Story & Setting: This opera is loosely based on the novel Scènes de la Vie de Bohème by Henry Murger, as well as inspired by events in Puccini’s own life. Set in Paris 1830, the story centers on a group of artistic-minded youths at odds with mainstream society after the upheavals of revolution and war.Opera Notes: La Bohème is considered one of the world’s most popular operas, thanks to its enduring themes of both love and loss. The orchestration is a steady flow that seamlessly supports the incessant ac-tion, even in larger scenes. One of the benchmark operas of the verismo (realism) movement, this classic has been performed at the Met Opera over 1,200 times.

LE NOZZE DI FIGARO

Story & Setting: A perennial favorite of opera houses, Le Nozze di Figaro follows the household drama, schemes, and romantic entanglements of nobles and servants in a Seville manor estate. The complex plot and interconnected storylines are presented through some of Mozart’s most beautiful vocal writing. Sir Richard Eyre’s production updates the setting to the 1930s, which creates lovely visual and dramatic paral-lels for fans of Downton Abbey.Opera Notes: Le Nozze di Figaro is based off of Pierre Beaumarchais’ farcical trilogy that served as a com-mentary on 18th Century society. Deemed extremely scandalous in its time, the piece would inspire two of the most famous operas: Rossini’s Il Barbiere di Siviglia and Le Nozze di Figaro. The latter was the first of three comic opera collaborations between Mozart and librettist Lorenzo da Ponte.

THE QUEEN OF SPADES

Story & Setting: Tchaikovsky and his brother Modest created the libretto for this luxurious Russian opera, based on a short story by Alexander Pushkin. The story explores the repercussions of addiction and obses-sion against the backdrop of St. Petersburg during the later reign of Catherine the Great. Opera Notes: Usually associated with his symphonies and ballets, Tchaikovsky’s prowess in vocal writing is on display throughout this complex opera. The score soars through brilliant highs and dramatically dark lows, finding extreme orchestral colors to showcase the diversity in the vocal parts. Many of the arias and ensembles in this piece are well-known to Russian audiences, and are given a rare performance in the U.S. at the Met this season.

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QUESTIONS ABOUT APPROPRIATE REPERTOIRE FOR YOUR GROUP?Guild staff is more than happy to recommend operas based on your students’ age, experience with opera, and subject areas. Please contact Stefanie Izzo at (212) 769-7022 or sizzo@operaed.org for assistance. Additionally, more detailed information about each opera can be found on our online resource website (see page 12).

DER ROSENKAVALIERStory & Setting: After his creation of two highly-charged operas (Elektra and Salome), Strauss turned to his previous collaborator Hugo von Hoffmansthal to write the libretto for a lighter, more humorous piece. The original setting is 1740s Vienna, but the piece contains many elements that are either fictitious (such as the silver rose presentation) or anachronistic (the waltz). The current Met production updates the time to the last days of the Hapsburg Empire.Opera Notes: Written with Mozart’s societal comedic operas in mind, this work features a tangled web of intrigue and love at first sight, accompanied by an ultra-Romantic score. Strauss’ lush orchestration alter-nately serves to bring out raucous waltzes and mythical dreamlike sequences. The three main characters, including the title role of young Octavian, are sung by women, and the final trio is considered one of the most beautiful ensembles ever written for the opera stage.

THE MAGIC FLUTE

Story & Setting: Mozart’s classic Enlightenment opera is abridged in this English-language, family produc-tion. The fairy tale story of dark versus light is given a delightful and visually stunning adaptation by Julie Taymor’s costume design and use of puppetry.Opera Notes: This opera is an example of the German singspiel style, in which sung texts are interspersed with spoken dialogue. Containing many allusions to Free Masonry (of which the composer was a mem-ber), this was Mozart’s final opera. The music ranges from solemn, to comic, to triumphant, and contains some of the highest and lowest written notes sung in the operatic repertoire.

*Limit 70 tickets per school group. Preference will be given to grades 3-5. **This performance DOES NOT have an intermission.

LA TRAVIATAStory & Setting: Verdi’s beloved work about the sacrifices made for love amidst the strains of familial duty receives an update to late 18th century Paris in this Met production. Based on Alexandre Dumas’ play La Dame aux Camélias, the plot is a reflection of the author’s affair with a woman whose intellect far surpassed her social station.Opera Notes: The work is an example of the operas of Verdi’s middle compositional period, during which some of his best-loved works were produced. The composer’s increased financial stability, as well as a desire to turn his attentions away from the political troubles of Italy at the time, inspired him to create a piece around an intimate storyline – a departure from previous larger scale works like Nabucco and Macbeth. The role of the “fallen woman” Violetta Valéry is considered one of the pinnacles of the operatic repertory, requiring a soprano who can convincingly soar to the highs and delve down to the lows of vo-cal and dramatic limits.

LA DAMNATION DE FAUST

Story & Setting: The story of the doomed professor Faust and his temptation by the devil is no stranger to the opera stage, having been set by numerous composers in various languages and styles. In Berlioz’s adaptation, the plot closely follows the original Goethe text, with the exception of Marguerite’s final salvation. The setting expands from Leipzig and the River Elbe into the plains of Hungary. Robert Lepage’s visually dazzling production, which utilizes the Ex Machina LED projections and repelling system later made famous in the Ring cycle, is a spectacle to behold in the opera house. Opera Notes: Berlioz became enamored by the Faust story as a struggling young artist, and his very first published opus was 1829’s 8 Scènes de Faust. Later on in his career, after devoting time to more tradi-tional lyric operas such as Benvenuto Cellini, he returned to creating a full version of the “dramatic legend” of Faust. After travels through Hungary during an extremely wrought political time, Berlioz wrote a “Hun-garian march” that caused such a stir in that country that he decided to incorporate it into the operatic score for La Damnation de Faust. The opera, much like its source, is hard to characterize into one genre, and though not initially well-received by audiences now enjoys recognition as a masterpiece.

AGRIPPINA

Story & Setting: Intrigue, tyranny, and impropriety abound in this new production of Handel’s tale of ancient Rome. Set in “present day,” this piece is given a racy update to highlight the current-day paral-lels found in the power-hungry actions of historical Roman figures such as Agrippina, Nero, Poppea and Claudius. Opera Notes: This opera is one of Handel’s earliest, and like many of his stage works includes a role written for a castrato singer. In present day, these roles are generally sung by either a mezzo-soprano or a countertenor. For this production, the opera’s first at the Met, we see both a countertenor and a mezzo-soprano in male roles, giving us a variety of vocal colors. While set in the standard opera seria form of the time, the piece is really more of a satirical comedy. It was extremely well-received at its premiere, leading to an unprecedented 27 consecutive performances in Venice in 1709.

* This production contains mature material, including substance abuse and some sexual content, and is recommended for ages 17+.

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LA CENERENTOLAStory & Setting: Rossini’s festive take on the classic Cinderella story contains a number of variations from the most widely-known version of the fairytale. The largest difference in Jacopo Ferretti’s libretto for the opera is the complete lack of magic. The story centers on the truly human experience of the title heroine, as she transforms from downtrodden black sheep of the family to adored princess through a combination of comedy, charm, and drama. In this retelling, even the prince is not a generic love interest, but a royal within the real-life locale of Salerno, Italy.Opera Notes: The florid vocal passages and buoyant melodies that made Rossini a superstar in his time abound in this opera. Angelina, the title heroine, is sung by a mezzo-soprano; the melody of her introductory aria, “Una volta c’era un re” serves as a recurring theme of the character’s struggles, which is balanced with the fiery melismas and frenzied ensembles that give this opera its irresistible spunk.

* Limit 70 tickets per school group. Preference will be given to grades 3-5.

WERTHER

Story & Setting: An adaptation of Goethe’s The Sorrows of Young Werther, Massenet’s tragic opera carries the audience through an emotional tale of unrequited love. Originally set in 18th Century Frankfurt, this produc-tion moves the action to the time of the opera’s composition in the late 19th Century. The title character is a melancholy poet who falls for a married woman that cannot return his affection, leading him to plummet further into disillusionment and depression. It is believed that Werther is based off of Goethe’s real life friend, and legend has it that the story inspired a rash of suicides across Europe, leading it to be banned in places like Leipzig and Denmark.Opera Notes: Massenet wanted to bring out the true nature of his beloved German book, and later said that he put “all my soul” into his operatic adaptation. He did make a few significant changes to the story, including a passionate final meeting of Charlotte and Werther, which is not in the original text. Massenet’s signature prowess with melody is present throughout the opera, and the sweeping orchestration helps to complete the piece’s tragic, emotional beauty.*This opera contains some brief violence that may be inappropriate for younger audiences

TOSCAStory & Setting: Victorien Sardou initially declined Puccini’s request for the rights to transform his play La Tosca into an opera. However, after the subsequent successes of Manon Lescaut and La Bohème, the playwright consented in 1895. The story follows opera singer Floria Tosca as she goes to extreme lengths to protect the man she loves, amidst the politically wrought atmosphere of early 19th century Rome.Opera Notes: While the piece contains some of Puccini’s most familiar arias (including the famous “Vissi d’arte” sung by the title heroine), it is largely set in through-composed style. The opera also utilizes Wagnerian-style leitmotifs, or short motive themes, to represent individual characters or ideas. A realist to the core, Puccini travelled to Rome to meticulously research the church processions, chant melodies, and bell sounds that he would include in the score of Tosca. His juxtaposition of Tosca’s religion against the brutal and passionate circumstances within which she finds herself is what makes this one of the most exciting and beloved operas of all time.

SIMON BOCCANEGRA

Story & Setting: Verdi’s opera of political and family intrigue is based on a historical figure who became Genoa’s doge in 1339. The inspiration to create the opera came from the Spanish play by Antonio García Gutiérrez, whose El Trovador had been previously set by Verdi. The title politician struggles to maintain his position amongst numerous plots to overthrow him, while also grappling with being reunited with a long lost daughter. Boccanegra serves as both a leader and an outsider, and is one of the most compelling roles in the baritone repertoire.Opera Notes: The original and revised versions for the libretto came from frequent Verdi collaborators Fran-cesco Maria Piave and Arrigo Boito, respectively. The revision was completed more than two decades after the initial premiere in 1857, which Verdi felt had been “too sad, too desolate.” He made several large adjustments through the score, including adding more contrast and variety in the first act. While Verdi’s signature rousing melodies can be found in this opera, much of its beauty lies in the sophisticated orchestral role and smaller moments that deepen characterizations, particularly for the doge.

MANON LESCAUT

Story & Setting: By 1884, Abbé Prévost’s L’Histoire du Chevalier des Grieux et de Manon Lescaut had already inspired a popular new operatic adaptation by Jules Massenet. Puccini’s desire to set the story in Italian proved quite difficult, requiring input from no less than five librettists and his publisher, Giulio Ricordi, to arrive at a final result. The story centers on a naïve young woman who struggles to resolve her conflict between true love and a life of comfort and luxury. The original story is set in France in the 1720s; Richard Eyre’s production updates the time to the occupation in the 1940s.Opera Notes: Puccini wanted his operatic adaptation to vary greatly from his French predecessor, going so far as to say that “Massenet feels it as a Frenchman, with powder and minuets. I shall feel it as an Italian, with desperate passion.” One can argue that he certainly achieved this goal with the urgent and emotional music for this opera, which would bring him acclaim and establish his role as Italy’s foremost composer.

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PROFESSIONAL DEVELOPMENTAt least one teacher from each Access Opera school is expected to attend a minimum of one of the following professional development options as part of their school’s participation in the program. To register for Access Opera Professional Learning Workshops, please visit www.metguild.org/AccessOperaReg and complete the form listed under “Professional Development Registration.”

NEW THIS YEAR: The Guild is now an approved sponsor of CTLE credit hours. Any NYS teacher looking to take advan-tage of this will be able to do so during all offered PLW sessions. Info will be provided upon PLW registration.

WHAT THE FACH? EXPLORING VOICE TYPES IN OPERATIC REPERTOIREWant to understand the difference between a soubrette and a spinto soprano? Wondering what’s up with all those mezzos playing teenaged boys on stage at the Met? Join Guild staff for a survey of the extremely varied vocal types that students and teachers will encounter in this season’s dress rehearsal offerings. Date: Wednesday, October 2, 2019, 10:30am-1:30pmOptional Performance: Manon (7:30pm)

CLASSROOM OPERA COMPOSITIONBased on a segment of the Guild’s Students Compose Opera program, this workshop will explore the elements of music composition, with the intent of developing teachers’ ability to facilitate original student operatic composition. We will be offering two sessions for this workshop. The first is a beginner session tailored for teachers of younger grades and/or without a musical background. Arts-integration tools and techniques will be discussed at length, with a special focus on composing with non-traditional notation and approaches for participants outside the musical disciplines. The intermediate/advanced level course will delve deeper into composition, utilizing music theory and analysis, and is aimed at music teachers, particularly of upper grades. Both sessions will be led by a Guild Teaching Artist. Teachers are welcome to attend both sessions as a comprehensive overview of both approaches.

Date: Wednesday, December 4, 2019Beginners (Elementary & non-music teachers) 10:00am – 1:00pmIntermediate/Advanced (Middle-High school & music teachers) 2:00pm – 5:00pmOptional Performance: Akhnaten (7:30pm)

VISUAL DESIGN IN OPERAThis popular, hands-on workshop explores visual elements in opera production, including scenery, lighting, and costuming, as well as staging techniques and use of modern technology. Special focus will be given this year to contemporary production updates of classic operas, and will invite participants to analyze professional production portfolios and learn how design serves as an artistic language. Date: Saturday, January 11, 2020, 2:30pm-5:30pmOptional Performance: Porgy & Bess (7:30pm- available tickets for this performance are extremely limited)

BEHIND THE GOLDEN CURTAINA perennial favorite among teachers, this workshop provides comprehensive information about the Metropolitan Opera house, the largest classical music organization in North America. A lecture portion will start off this session, followed by a 90 minute tour of the opera house. Date: Tuesday, March 3, 2020, 1:30pm-4:30pmOptional Performance: Agrippina (7:30pm)

ADDITIONAL PROFESSIONAL DEVELOPMENT- TEACHING THROUGH OPERAThe Guild hosts additional professional development workshops on-site through our Teaching Through Opera program, which is also approved for CTLE credits. For information on participating in a single day, or week-long intensive, please contact Guild staff.

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BEYOND THE STAGE

REPERTOIRE EXPLORATION

This series of five workshops provides students with an introduction to the art form by immersing them in the text, music, and artistic interpretation of the opera they will be attending. Led by a Guild Artist, these interactive sessions take place in the classroom and are tailored to curriculum goals in collaboration with participating teachers. Students are encouraged to draw connections across subject areas, including literature, social studies, foreign language, and the arts. The workshops are intended as the “next step,” following initial preparation completed by the classroom teacher (which may include studying the story, characters, themes, and historical context).

Duration: FIVE 45-MINUTE SESSIONS PER CLASSROOM

Appropriate for: GRADE 3 TO COLLEGE

*Fee: $500 PER CLASSROOM (up to 35 students per classroom) Minimum 4 classrooms per school

*Not including f inal dress rehearsal ticket cost

IN-SCHOOL OR ON-SITE WORKSHOPS

The Guild is happy to offer schools participating in the Access Opera program the opportunity to deepen their opera experience through a one-time workshop for students and teachers. These interactive workshops will be led by Guild Artists and/or Staff, and are fully customizable for the age level and opera(s) to be attended. Subjects such as production design, composition, opera history, and voice types are examples of focus points for these workshops. Guild workshop space at Lincoln Center can accommodate up to 50 participants.

Duration: 3-4 HOURS

Appropriate for: GRADE 3 TO COLLEGE

*Fee: $400-600 PER WORKSHOP (dependent upon location and material)

*Not including f inal dress rehearsal ticket cost

BACKSTAGE TOURS

Go behind the scenes for an exclusive look at what it takes to make operatic magic at the Met! Tours offer a fascinating backstage look at one of the world’s premiere performing arts organizations, including areas such as the scenic and carpentry shops, rehearsal rooms, dressing rooms, and stage area. Tours are held during the Met performance season on some weekdays at 3:00PM and most Sundays at 10:30AM and/or 1:30PM. *NO TOURS are available on days of final dress rehearsals. Please call (212) 769-7028 to schedule a group tour or for more information.

Duration: 75 MINUTES

Appropriate for: GRADE 3 TO ADULT

Fee: $20 PER PARTICIPANT (STUDENT GROUP RATE)

ACCESS OPERA RESOURCESThe Metropolitan Opera Guild is committed to providing quality resources to aid teachers in connecting the opera experience with ongoing classroom instruction. The following are therefore provided as part of Access Opera participation:

A GUIDE FOR EDUCATORS & ONLINE RESOURCESThese materials are repertoire-specific, offer valuable background and context, and are intended to help teachers develop their own applications to classroom learning. All digital materials will be made available to participating schools, including a recording of each opera, available video and libretto materials, and other online resources.

OPTIONAL OPERA NEWS SUBSCRIPTION Each Access Opera school has the opportunity to receive a complimentary digital subscription to OPERA NEWS magazine, a monthly publication that presents interviews, commentary, and the latest news on opera from around the world.

EVENING PERFORMANCESAll Access Opera schools have the opportunity to purchase discounted tickets through the Metropolitan Opera Guild to select evening performances. This offer is available for student and teacher groups only, and students must be accompanied by adult school representatives. A list of available performances, and directions for placing an evening ticket request, will be distributed via email in Fall 2019. The cost per ticket is $42.50 for all performances.

METROPOLITAN OPERA GUILD LECTURE SERIESTeachers involved in Metropolitan Opera Guild programming have access to special offers for the Guild’s Lecture Series. Lectures are offered in conjunction with the Metropolitan Opera season, but also include opportunities during the summer months. Special offers will be sent by email to Access Opera participants. For more info about the Guild’s lecture series, visit www.metguild.org.

ACCESS OPERA STAFFThe Metropolitan Opera Guild is dedicated to empowering school communities to provide arts learning opportunities for all students. The Access Opera staff serves as a resource for supporting your efforts to include opera as a valuable component of ongoing teaching and learning.

Stefanie Izzo, Access Opera Manager sizzo@operaed.org | (212) 769-7022

Stuart Holt, Director of School Programs and Community Engagement sholt@operaed.org | (212) 769-7023

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