Turandot Study Guide

Young PeoPle’s oPera Matineeseptember 17, 2010 11:00 am

national arts Centre, southam Hall

Opera Lyra Ottawa Study Guide Series

TurandoT Puccini

Opera Lyra Ottawa Study Guide Series – Turandot 1

Table of Contents

To The TeacherWelcome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3Using the Study Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3

Performance InformationWhat to Expect at the Opera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4About Southam Hall, National Arts Centre . . . . . . . . . . . . . . . . . . . . . . . . . .4About Opera Lyra Ottawa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5Spotlight on Mariateresa Magisano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7

Giacomo PucciniPuccini’s Life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8Puccini’s Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9Puccini’s Times: A World of War and Turmoil . . . . . . . . . . . . . . . . . . . . . . .10

All About Opera Everything You Wanted to Know About Opera . . . . . . . . . . . . . . . . . . . . . . .12Introducing Turandot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13Synopsis of Turandot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15Turandot At-A-Glance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18

CD Listening Guide for Turandot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20

Lessons Lesson One The Plot: Magnificent Obsessions . . . . . . . . . . . . . . . . . . . . . . .24Lesson Two Jasmine Flowers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26Lesson Three Soprano-land . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .31Lesson Four Puccini : Master Dramatist – Master Composer . . . . . . . . . . .35Lesson Five World’s Best Tenor Aria! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40Lesson Six The Role of the Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48

Ontario Arts Curriculum Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51

Who Does What at Opera Lyra Ottawa? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .58

2 Opera Lyra Ottawa Study Guide Series – Turandot

Acknowledgments

Opera Lyra Ottawa would like to gratefully acknowledge the generous gift by Michael Potter which has permitted the development of the Young People’s Opera Matinee program. Through this program youth in Ottawa/Gatineau will have the opportunity to experience grand-scale opera within Southam Hall of the NAC.

Opera Lyra Ottawa gratefully acknowledges the support of our donors.

AuthorsAlison Kenny-Gardhouse, Connexionarts, Inc .Catherine West, Connexionarts, Inc .Britta Obern, Connexionarts, Inc .

IllustratorRichard Peachey, Goodness Graphics, Inc .

Graphic DesignPaul Kelly, gecko graphics inc .

© Connexionarts Inc ., 2010www .connexionarts .com

Photo: Marc Fowler


WelcomeOpera Lyra Ottawa is thrilled to share the experience of grand-scale opera through the Matinee performance of Puccini’s Turandot.

This study guide will help prepare your students for the opera performance. In addition to being aligned with the newly revised Ontario Arts Curriculum, many of the lessons reach into the areas of Social Studies and Language Arts. We hope that you will take time to review the information, lessons and listening strategies, and that you and your students will enjoy the accompanying compact disc.

Opera elegantly blends the artistry of theatre, singing and music, forging a dramatic and unforgettable experience. We are certain your students will be transported by Puccini’s tale of transformative love.

Enjoy the show!

Elizabeth Howarth

General Director Opera Lyra Ottawa

Using the Study GuideThe lessons and strategies in this guide focus on helping you to familiarize your students with the music and plot of Turandot. A lot of technical and historical information is embedded into the lesson plans, so that students are learning about music and the opera in a context. Some activities that will be particularly helpful are to:

» Start a word wall with opera-specific vocabulary. Keep adding to it each day before and after the opera. Use the vocabulary as part of a follow-up assessment.

» Play selections from the CD frequently – during transitions as well as in lessons. » Give each student a copy of Turandot At-A-Glance. A picture is worth a thousand words! » Ask students to listen to their Excerpts from Turandot CD at home as part of their homework

assignments.

Did you know…The National Arts Centre is built in the shape of a hexagon. Architect Russell Thompson took his inspiration from the land the NAC was to be built upon, the intersection of Canal Street and the Rideau Canal. This intersection forms a sixty-degree angle and thus the idea for building in a hexagon shape (a hexagon has six sides with sixty-degree angles). The hexagon theme is carried through inside the building as well. When you come to the opera, look for the familiar honeycomb shapes in the ceiling treatments.

Photo: André Dubreuil


Performance Information

What to Expect at the OperaOpera Lyra Ottawa performs on the stage of Southam Hall in the beautiful National Arts Centre in downtown Ottawa. Your students will be interested in the striking architecture of the building so it will be helpful to review the information provided below.

The opera begins at 11:00 am. There will be an intermission after the 1st act and students will have half an hour to eat lunch* in the foyer. The 2nd act will follow lunch and the opera will finish at approximately 1:45 pm.

*Students should bring a packed lunch . There is insufficient time to leave the building to purchase food .

Please arrange for your students to use the washrooms before the performance or during the intermission as they should not leave the hall during the opera. Remind students that an opera requires careful listening and that unlike movies or hockey games, talking during the performance is not appropriate. Please feel free to clap at the end of the arias or choruses. If you particularly like what you have heard, you can call out “Bravo!” (or “Brava” if it is a female singer).

About Southam Hall, National Arts CentreUntil the recent opening of the Four Seasons Opera House in Toronto, Southam Hall was the only hall in Canada built specifically for opera and ballet. It was modeled on the traditional European horseshoe shaped opera houses of the 19th century.

There are several very important design features that make Southam Hall a wonderful place for opera. First, with 2300 seats, it is a small hall. This is important because unlike Broadway and pop singers who wear body-mikes, opera singers sing without any form of amplification. There was a lot of pressure on architect Russell Thompson to build a 4000 seat hall since bigger halls can generate more money per performance. We’re glad he stayed true to his vision!

Another opera-friendly feature of Southam Hall is its huge backstage area. It is vast, even larger than the stage itself. This means that there is room for the many large sets that are needed for all the scene changes.


About Opera Lyra OttawaHere is some information about the people who bring Opera Lyra performances to life.

The ChorusIt’s not just the main characters that count in an opera! No opera is complete without a chorus of singers to transform into a mob scene or swell the sound when needed. By the time you visit the National Arts Centre to see the student matinee, the chorus of Opera Lyra Ottawa will have been busy at work for several months.

What kind of people sing in the chorus? Think of them as men and women who lead double lives - they have regular jobs during the day and turn into opera singers at night. All are trained singers. Some are voice majors at university, a few are singing teachers but many work in jobs that aren’t music related. The chorus of Opera Lyra Ottawa boasts a core of skilled musicians who give generously of their time and talents. They surely do it for the love of it because none of them are paid – it’s entirely voluntary.

To get into the chorus you must audition (men are auditioned one year and women the next). For the audition you must arrive prepared to sing two arias (usually you are asked to sing one of the two but you must be prepared to sing both) and possibly answer a few questions. Everyone has to re-audition every two years, no matter what. Being accepted back into the chorus is based not just on your voice, but on how well you work with other people and your overall level of professionalism (things like being on time, arriving with your music organized and being ready to work hard).

Three months before the opera opens, the chorus meets for weekly rehearsals at the University of Ottawa. These rehearsals are led by the chorus master. Three weeks before opening night, when staging rehearsals begin, they rehearse at a church hall. At this point the Maestro takes over and works with the chorus right through the move into the National Arts Centre. The Maestro is the person who conducts the onstage performances with the cast and orchestra.

The Principals The people who have the major roles in an opera are called the principals. They are singers who work professionally and are paid. Principals usually arrive about three weeks before the first performance and live in a hotel while they are here. It is generally expected that they arrive with all of their music learned and memorized and have a good sense of their character in the opera. In rehearsal each day they work with the director who helps them block each of the scenes. The director works with the principals on understanding their characters so that they are convincing in their acting as well as their singing. For the first two weeks they are accompanied by a répétiteur (rehearsal pianist). A week before the show opens they move into the space at the NAC and begin work rehearsing on stage with the orchestra in the pit.

Principals rehearse up to a maximum of six hours a day for no more than six days in a row. These are rules set by Equity, the union they belong to. These rules protect the singers from overusing their voices. The stage manager handles all the rehearsal schedules and has to have a clear picture of who is in each scene and how much rehearsal time will be needed. Some scenes take longer to stage than others and he/she has to use the six hours per day per singer wisely.

Did you know…There are two parties on Opening Night. The official one is a reception hosted by the sponsor and is held at the NAC. It is by invitation only and includes the principals, the key music staff (such as the conductor, chorus master, répétiteur), key office staff members (such as the General Director and Artistic Director) and officials from various organizations. The other party is organized by the chorus and is usually held in the home of one of their members. The chorus heads over as soon as they are out of their costumes and makeup. When the NAC party finishes around midnight, the chorus party is still going strong and it’s stop number two for the principals and any other party goers who care to join in.

What in the world is a

sitzprobe??Pronounced “zits-probe” this German word is not what you may think! It is the name given to the type of rehearsal that is held the first day of moving on to the main stage. For the first time, the principals and chorus are together with the Maestro and the orchestra. The entire opera is sung through without any costumes or blocking. This gives everyone a chance to check the ensemble and balance between the singing and the orchestra (remember, up until now rehearsals have been accompanied by piano.)

The German word sitzprobe does NOT mean what you may think .


The Silver CastWhile the principals are rehearsing, another group of people are in the room observing and taking notes. These are members of the Silver Cast and they are the performers you will be hearing perform some of the main roles when you attend the student matinee. They are usually young singers at the beginning of their professional careers. Singing at the student matinee gives them the opportunity to learn and perform a major role in a large house, with an orchestra. This is a major stepping stone for a young singer.

One of the members of the Silver Cast is highlighted for you on the next page.

A Little Woman? Mariateresa recently played the role of Beth in the Canadian premier of the opera Little Women. Beth, much like Liù, is a character who never reaches her full potential as a human being because death arrives too soon. Mariateresa describes the focus of the opera as “a circle of love among sisters and the importance of the bond that is formed over time in family.”

What’s on Mariateresa’s iPod? “Ella Fitzgerald, Billie Holiday,

Cesaria Evora, Chick Corea, Paco de Lucia, The Eagles,

Sting, Annie Lennox, Prince, Billy Joel, Phil Collins, Alanis Morissette, Leonard Cohen,

Jann Arden and Michael Bublé – it really just depends

on my mood!”


Spotlight on Mariateresa Magisano

It is a bit of a jog from studying news and television in the first year of college to working in the world of opera, but it is a

journey Mariateresa Magisano has always wanted to take. Like her character Liù, who she describes as being “loyal to all that is true to her”, Mariateresa was determined to remain true to her love of opera. “I enjoyed news and television very much,” she says. “But I felt strongly about pursuing my talent to sing and also to see where that would bring me.”

In fact, her opera career has sent Mariateresa across North America, performing in New York, Columbus, Buffalo, Calgary, Montreal and Vancouver and on to Europe. She has even performed in Italy, the country of Puccini’s birth! You might expect such a well-traveled performer to have a favorite place to

sing but Mariateresa claims she doesn’t, saying that her travel experience is based more on the opera she is performing rather than the city itself. “Being in this field truly expands your knowledge of the world,” she says, and notes that larger cities always have many places where an artist can stimulate their creativity, such as museums or historical sites. “As an artist, you always have to keep yourself open for inspiration, so that you continue to grow and add to your pool of inspiration because it is a great resource for learning a role and the music one performs.”

Her opera experiences include both serious and comedic operas, both of which she enjoys. She loves the laughter that happens

during rehearsals for the more comedic operas, but also doesn’t back down from the challenge of performing a serious role, which she says can reveal levels of emotion that can be “quite exciting to experience”.

Performing in many languages doesn’t intimidate her either. “Languages are something that as singers we learn to deal with at the beginning of our training in school.” While the formal education most singers receive in languages and phonetics is hugely helpful, Mariateresa says, “performance anxiety is always there on different levels. Each artist just learns to deal with it as best they can.”

Determination is another quality of Liù’s that Mariateresa admires, as well as the servant girl’s quiet, inner strength that is also apparent in Mariateresa’s resolve to follow her dream of becoming an opera singer. Her advice is to “work hard and do your best.”

Celebrity Watch!Puccini was one of the first composers to become a major celebrity, and photos of him were often published in the Italian newspapers. Anything he did was guaranteed to draw the attention of the press. When Puccini got into a major car accident with his wife and was seriously injured, photographers raced to the scene. The next day he was headline news and the papers were filled with multiple pictures of Puccini being carried out on a stretcher.


Puccini’s Life

Giacomo Puccini (1858-1924)Giacomo Puccini was born on December 22, 1858 in the Tuscan region of Italy. One of nine children, it was important to his mother that Puccini as the eldest son, carry on the family tradition of becoming a musician. Puccini’s older sisters were sent to work so that they could save money to send their beloved brother to music school.

While Puccini excelled at music, he was a terrible student and was often expelled for various pranks (such as stealing a pipe from the local church’s organ to sell for scrap metal and using the money to buy tobacco). But, if there was one thing Puccini learned during this time, it was how to sweet-talk his way out of trouble. Despite his poor school record he still managed to get a scholarship to go to college in Milan. While there, he was encouraged to enter a music competition held by a local publisher. Puccini lost the competition but it allowed other music publishers to hear his work and led to the commissioning of his first opera.

During this time Puccini met and fell in love with Elvira, the wife of a friend. A huge scandal ensued when she took her two sons and left her husband to live with Puccini. They had a son together the following year and Elvira remained Puccini’s mistress until she was able to marry him when her husband died nineteen years later.

Puccini had many hobbies and was an avid outdoorsman. His love of hunting, hiking, motoring and boating is thought by some to have distracted him from getting more operas written. Elvira turned out to be an intense and demanding girlfriend as well, and Puccini began to travel a lot. This lead Elvira to believe

that Puccini was cheating on her and she soon became convinced he was having an affair with their servant girl, Doria. Elvira made the girl’s life miserable, and Doria eventually committed suicide. A coroner’s report revealed that Doria was a virgin and had never had a physical relationship with anybody. Doria’s grieving family sued Elvira for defamation of character. They held Elvira

responsible for the suicide and it was only Puccini’s intervention that saved her from going to prison. But Elvira had been right about one thing: Puccini’s life of luxury not only included several

homes, yachts and fast cars, but several other women as well.

Living a life of excess took its toll on Puccini and he developed throat cancer due to his heavy smoking. He died of a heart attack during throat surgery on November 29, 1924, leaving his last opera, Turandot, unfinished. It was completed by Franco Alfano and debuted in Milan two years after Puccini’s death.

As a young boy, Puccini was always making trouble at school, and at home .

The Age of Romanticism

Puccini grew up in an age of romanticism – the valuing of emotion and intuition over reason as the key to understanding the world. The Romantic sees the truest and best expression of human nature in the expression of strong emotion, extreme situations, the exotic, the fantastic. The Romantic hero or heroine is often someone who is a misunderstood, suffering loner who must seek answers outside of society, not within it. Many of Puccini’s plots, featuring isolated protagonists, extreme situations and exotic locations are excellent examples of romanticism. What elements of romanticism can you find in the story of Turandot?


Puccini’s Music

Puccini’s music is central to the world of opera, even now more than eighty-five years after his death. Three of his operas (La Boheme, Tosca and Madama Butterfly) are among the top six most frequently performed at the New York Metropolitan Opera. His arias turn up in multiple movie scores and plot lines, and at least two of his operas have inspired Broadway musicals (La Boheme/Rent, Madama Butterfly/M . Butterfly and Miss Saigon).

Puccini was first and foremost a composer of opera. He wrote several string quartets, music for the church and smaller vocal works, but from an early

age he focused his talents on writing opera. In a letter to a friend Puccini said, “Almighty God touched me with his little finger and said, ‘Write for the theater – mind you, only for the theater!’ And I have obeyed the supreme command.”

Puccini’s operas are filled with soaring phrases and wide ranges of orchestral and vocal colours. The music bursts with emotion and is intensely personal. In Puccini’s work we hear the early influences of Verdi (whose performance of Aida he walked 21 kilometers to see), and also the effects of the modern music of his time - composers like Schoenberg and Webern. His music is a startling blend of traditional and modern.

As popular and successful as he was in his day, Puccini was not without detractors. He was sometimes accused of not contributing to the tradition of Italian opera, and for some, Puccini’s financial success made him suspect. One critic, Fausto Torrefranca, wrote an entire book denouncing Puccini as a composer and as a person. Luckily, Puccini managed largely to ignore these types of criticisms, writing in a letter to a friend that he didn’t care what the critics thought, as long as the public liked his music.

Puccini at his piano .


For Europeans like Puccini, life was very privileged. The affluent middle and upper classes had servants who maintained their very comfortable lifestyle, and often they were sustained by private wealth that passed from generation to generation; many did not have to go out to work – income tax had not yet come into existence. They had the time to create art, write music, do volunteer work, engage in scholarly research and so on, and this was a time of wonderful achievements in all of these areas. Of course, many of the privileged were less productive, and led lives we would now regard as very idle.

For the less privileged, increasing industrialization was changing the way people lived and made their livings, throwing many out of work, and creating vast numbers of people on the move, seeking better lives in new countries, including Canada. The late 19th century also saw the growth of nationalism as peoples all over Europe asserted their right to self-determination based on their cultural identity. Artists began to explore folklore – stories, songs, games, and traditions - as a rich source of artistic inspiration. Puccini sought out authentic examples of Chinese folk song for the score of Turandot – an impulse Mozart a century earlier would never have had. This aspect of nationalism was largely beneficial,

leading to respect for the less privileged and a sense of self-worth amongst cultural groups who would only have seen themselves as ‘peasantry’ in the past.

Unfortunately nationalism was also linked to less beneficial effects, for this was also an age of militarism and imperialism. The Franco-Prussian War of 1870-71 gave rise to a powerful German state, and led to the creation of multiple complex alliances amongst all the European nations as they jockeyed for power and self-protection, and built up huge stockpiles of armaments. By 1914, the battle lines were drawn between the members of the Triple Entente (France, the United Kingdom and Russia) and the Triple Alliance (Germany, Austria-Hungary, Italy) and it took only a tiny incident to spark the beginning of the First World War. At the same time these countries were carving up the known world into colonies under their conflicting spheres of influence, particularly Africa, often exploiting the people in those countries with little regard for their welfare.

Meanwhile Italy – Puccini’s home - was in the thick of the European turmoil, and in a state of change itself, evolving from a series of small nation states under the control of other European powers to

1858 1861 1867 1890 1901

1859 1865 1871 1899

Giacomo Puccini is born December 22.

Scientist Charles Darwin publishes “Origin of the Species”.

Italy becomes united as a country under King Emmanuel II.

Slavery in United States is abolished.

Confederation of Canada The Franco-

Prussian War ends The London

Underground, the world’s first subway, opens.

The First Peace Conference in Hague is signed

The first Nobel Prizes are awarded.

Puccini’s Times: A World of War and Turmoil


1904 1908 1914 1922

1903 1905 1912 1917

The Wright brothers take their first flight at Kitty Hawk, North Carolina.

The teddy bear, named after President Theodore Roosevelt is introduced. Albert Einstein

proposes his Theory of Relativity.

The Titanic sinks on its maiden voyage.Henry Ford

develops the first Model T automobile.

World War I begins.

Worldwide Spanish influenza pandemic strikes, killing millions.

Canadians Frederick Banting and Herbert Best discover insulin.

1924

Puccini dies from complications due to throat surgery November 29.

become, in 1861, a country under King Victor Emmanuel II, although many were disappointed that the new country was a monarchy instead of a republic. Basic rights and freedoms were granted only to those with property; the uneducated and poor were not given a vote. Subsequent governments were despotic, corrupt, and militaristic, but also progressive in some respects, making education compulsory, and gradually expanding the vote to more people.

The First World War (1914-1918) was a devastating conflict for both sides. It is now seen as a terrible example of a war where generals and politicians threw away human lives without concern. On the western front, particularly in northern France, both sides dug themselves into trenches and the engagements that occurred over months and years achieved little and killed many. The invention of poison gas, military tanks, aircraft and submarines caused more loss of life and dreadful suffering. Politically the war did not resolve the tensions that had caused it, which re-emerged soon after as the World War II (1939-45).

By the end of World War I, the time when Turandot was composed, an entire generation had been scarred by the devastating number of deaths and injuries, and vast social change had taken place. The serving class of men and women had left to join the

ranks of the employed in factories and the military, earning real wages for the first time, and they did not return to household service jobs. Income tax required the wealthy to share with the rest of the populace whose work had generated the money, starting to erase boundaries between social classes. Women had worked during the war in factories and at the front, and now demanded the right to self-determination, and the vote. The post-war world was not, however, an optimistic one. In general, people had a lack of faith in the future and a belief that civilization itself was declining.

Puccini, although cocooned from much of the turmoil by a privileged lifestyle, was influenced by the political aspirations and social change surrounding him, and in his operas we are aware of the public world, with all its issues, just outside the lives of the characters. Writing Turandot in 1920, a time of unprecedented national cynicism, and personally in the grip of a deadly illness, it is little wonder that he struggled to create the triumphant optimistic finale to the piece, and highly symbolic that he had to ‘pass the torch’ to another man for this task. Perhaps in the end his awareness of all the doomed and maimed young men, disappointed republicans, exploited workers, and unwilling migrants made it impossible for him to believe in a world where love could conquer all.


Everything You Wanted to Know About Opera

Q: What is opera?

A: A story that is told through singing, acting, and staging.

Q: What kind of story?

A: One music critic suggests that most opera plots boil down to a soprano and tenor wanting to hook up but being prevented from doing so by the baritone! While that’s not always the case, the theme of unrequited love does turn up in opera frequently. Most of all though, the stories of opera are the human stories of love, loss, triumph and hope.

Q: Are these people singing all the time? Don’t they ever get to talk?

A: Not in a Puccini opera they don’t. This opera is through-composed. You will notice that the music continues non-stop. This is different from a Mozart opera for instance, where there is something called recitative that sounds more like people talking, followed by an aria, followed by an end to the aria and some space for the audience to applaud. Puccini likes to keep the drama flowing and does away with recitatives and spaces for applause. The big songs are still called ARIAS, but they ebb and flow within the larger musical work.

Q: Does the composer write everything? The story and the music?

A: No. The story is usually in the form of a novel or play first. Then a LIBRETTIST transforms it into text from which the composer creates arias, ensembles and recitatives.

Q: What about all those voices? They all sound so different.

A: They are different. No two voices are ever the same. The most we can generalize by is their range and colour. Check out this handy chart for the voice categories.

Female Voices

Coloratura Soprano highest

Soprano high

Mezzo-Soprano medium-high

Contralto low

Male Voices

Countertenor highest

Tenor high

Baritone medium-high

Bass low

Q: What does it take to be a great opera singer?

A: You need a big voice that is distinctive, an understanding of at least four different languages, incredible musical skills, deep artistry, a healthy body, and a strong work ethic. Most important…you have to love opera and being on stage.


Introducing Turandot

Turandot is Giacomo

Puccini’s last opera

and the last in the

tradition of grand

opera.

Puccini’s interest

in writing an opera

about the Persian

legend of Turandot

was sparked after

reading the play of the same name by Carlo Gozzi.

Puccini first began composing Turandot in 1919 with

librettists Giuseppe Adami and Renato Simoni and

was almost done five years later, except for the final

duet between Calaf and Turandot. The text went

through four rewrites before Puccini was satisfied

and he managed to make dozens of compositional

sketches right up until two days before he was

diagnosed with cancer. Puccini’s doctors never

revealed to him the seriousness of his illness and he

left for treatment in Belgium intending to finish the

opera there. Unfortunately, he died of complications

five days later, leaving Turandot incomplete.

The task fell to a younger composer, Franco Alfano

to complete the opera based on Puccini’s last

sketches and under the watchful eye of the famous

and influential conductor Arturo Toscanini. Both the

publishing company and Toscanini forced Alfano to

Puccini’s love of adventure took him all over the world — even to the desert .This playbill advertises the first performance of Turandot in 1926 . The opera debuted two years after Puccini’s death .

Puccini loved wearing hats, and it is rumored that he could not compose if he was not wearing one .


Introducing Turandot

revise the ending numerous times so that it followed

Puccini’s sketches more closely. However, on opening

night, April 25, 1926 the orchestra rested in the

middle of Act III, two measures after the words, “Liù,

poesia!” Toscanini put down his baton, turned to

the audience and announced, “Here the opera ends,

because at this point the maestro died.” He never

conducted a performance of Turandot again.

Turandot continues to be performed around

the world with Alfano’s ending, although other

composers have attempted rewrites. Despite the

initial controversy surrounding the ending, Turandot

is still considered to contain one of opera’s most

sophisticated orchestral scores and one of the most

lavish, colorful and elaborate of its time.

Poster advertising the debut of Turandot at Teatro Scala .It’s not hard to believe that this dashing Puccini enjoyed smoking, drinking, cards and women!


Synopsis of Turandot

Act 1The opera opens in the splendid Imperial Palace in Peking. A crowd gathers to hear a royal official read out the law the Princess Turandot has made: any prince who wishes to marry her must answer three riddles correctly (“Popolo di Pechino”). If he fails, he will be executed.

The Prince of Persia, the most recent of the unsuccessful suitors, is about to be executed. The bloodthirsty crowd surges forward and is beaten back by the guards (“Indietro, cani!”) In the chaos, an old, blind man is knocked down. His servant girl Liù cries out. Calaf, the exiled Prince of Tartary, comes to their aid and recognizes the old man as

Timur, his long lost father (“Padre! Mio padre!”). Timur was a king but was defeated and driven out of his kingdom – Calaf has not seen him in many years and believed him dead.

The crowd waits impatiently for the moon to come out, the signal for Turandot’s appearance and the execution to proceed. (“Gira la cote!”) The mood changes to one of pity for the victim as the moon appears (“Là sui monti del l’est”) but Turandot cannot be moved to mercy. The execution proceeds and Calaf has his first glimpse of the Princess. He falls in love with her beauty, and Liù despairs. (“Signore, ascolta”!) Calaf strikes the gong to declare his intention of trying for Turandot’s hand in marriage. (“Ah! Per l’ultima volta!”)


Act IIThree officials, called Ping, Pang and Pong consider all the executions they have seen and hope that Turandot’s icy heart will melt (“Olà, Pang” & “O China, che or sussulti!”). The Emperor, Turandot’s father, begs Calaf to withdraw his challenge – he is tired of the needless executions. Meanwhile Turandot sings for the first time, declaring that she hates all men because her ancestor was murdered by a prince (“In questa reggia”). Calaf takes the test of the three riddles, and answers all three correctly. (“Il terzo enigma & La terza riposta”) Turandot is horrified that she has to marry Calaf, so Calaf offers her a different bargain: if she can guess his name by dawn, she does not have to marry him and can execute him instead. Turandot accepts this challenge.




Act 3Everyone in the kingdom stays awake all night frantically searching for the name of the mysterious stranger, while Calaf confidently thinks about his own future happiness with the princess (“Nessun dorma!”). Ping, Pang and Pong try to convince Calaf to leave the city but he refuses. Soldiers capture Liù and Timur, and torture the servant girl. To avoid betraying Calaf, whom she loves dearly, Liù commits suicide (“Tu che di gel sei cinta”). Turandot is finally changed by the example of Liù’s selfless love, and declares that the stranger’s name is “Love” (“Padre augusto”). She joyfully accepts him as her husband.


Scene 1:A crowd gathers as Turandot’s latest suitor is led to his death. As the throng jostles about, Liù, a young slave girl, cries out that her frail, blind master has fallen. Calaf comes to help and realizes the blind man is his father, Timur. There is an emotional reunion, both having thought the other was dead.

Scene 2:Ping, Pang and Pong, the king’s officials, try to persuade Calaf not to strike the gong and risk his life for the princess’ hand.

Scene 3:A frantic Turandot orders her kingdom to discover the stranger’s real name. It is her only chance at not being forced to marry Calaf.

Turandot At-A-Glance


Scene 4:Liù and Timur are captured and tor-tured in an attempt to discover Calaf’s name. Liù refuses to reveal his identity and commits suicide.

Scene 5:Turandot is changed by the example of Liù’s selfless love, and declares that the stranger’s name is “Love”. She joyfully accepts Calaf as her husband.

Turandot At-A-Glance


Listening Guide

Track Excerpt Storyline

1 “Popolo di Pechino” (People of Peking)Mandarin, People

“Indietro, cani!” (Back, dogs! Back!)Guards, People, Liù

“Padre! Mio padre!” (Father! My Father!)Calaf, People, Timur, Liù

The Mandarin announces that Princess Turandot will become the bride of the royal who answers three riddles, and that any suitor answering the riddles incorrectly will be beheaded. The crowd is informed that the Prince of Persia has been unsuccessful in answering the riddles and will be executed when the moon rises. The bloodthirsty crowd begins to call for this latest victim to be dragged out and readied for execution. As the crowd jostles about, Liù the servant girl, cries out that her frail, blind master has fallen. Calaf comes to help and realizes that the blind man is his father, Timur. There is an emotional reunion, both having thought that the other was dead.

2 “Gira la cote!” (Turn the grindstone!)

People, Liù Executioner’s Men

The crowd calls for the grindstone to sharpen the executioner’s blade. Their lust for blood builds. The executioner‘s men note that there is no shortage of work where Turandot reigns.

3 “Là sui monti dell’Est” (Over one the Eastern Mountains)

Boys

The moon has risen, meaning that it is time for the execution. The crowd becomes still and the sound of children’s voices floats in.

4 “Signore, ascolta!” (My Lord! Hear me!)

Liù

Liù begs Calef not to accept the challenge of the riddles. She cannot bear the thought of him dying, leaving her to die in exile with his grieving father.

5 “Ah! Per l’ultima volta!” (For the last time please!)

Timur, Liù, Calaf, Ping, Pang, Pong,

This is the close of Act II. Everyone is involved in trying to persuade Calaf not to pick up the gong and declare his intent to marry Turandot. But it would seem that he is a man with a mission and the pleas fall on deaf ears. He calls out Turandot’s name three times, picks up the gong and strikes it three times.


Musical Detail Listening Strategies and ActivitiesThe opening calls for attention and communicates a sense of urgency. The xylophone pattern played with wooden mallets is described by one critic as sounding like “rattling bones”.

The mood changes with the entry of Liù and sweeping phrases lead into the strong tenor line, full of emotion.

The return of the chorus is driving, the xylophone still sounds threatening, and bass voice of Timur is noticeable contrast. Note the warmth of singing between father and son when Timur and Calif are reunited.

The excerpt ends on a beautiful high B flat pianissimo from Liù.

Ask: What is the effect of not starting with an overture?

Listen: There is a repetitive xylophone part. Try notating it.

Listen: Identify the gong. It will be a significant instrument throughout the opera.

Ask: Can you guess what emotion Liù is expressing when she sings the high B flat pianissimo to Calef? (love of course! He has asked her why she has cared for his father and she explains that it is because one day at court, Calef smiled at her.)

See Lesson One: The Plot: Magnificent Obsessions

The conversation goes back and forth. Several thematic melodies emerge. One theme is rhythmically driving and is followed by staggered entries of descending voices. Accompanied by glockenspiel, it has a fragmenting effect and contributes to the feeling of chaos. The ending jabs of chords are hard hitting.

Listen: The voices frequently return to a short melodic theme on the words “dove regna Turandot”. This continually reminds us that Turandot is the character driving all the action.

See Lesson Six: The Role of the Chorus

Listen for the boy’s chorus first heard from off stage. The effect is ethereal. The score calls for the melody to be doubled by two alto saxophones played off stage.

The melody sung by the children is a traditional Chinese folk tune.

Ask: Who is singing? (boys).

Discuss: Describe how the voices of boy sopranos are different from the adult sopranos.

Identify: Listen for “principessa” chanted by the crowd. Turnadot is arriving.

See Lesson Two: Jasmine Flowers

The melody is pentatonic, suggesting a gentle simplicity. Puccini uses a harp towards the end of the aria to underscore Liù’s words that she can bear no more.

The aria ends with a show of determined strength on a high B flat.

Ask: What feeling do you think the composer wants you to have towards Liù?

Listen: Towards the end of the aria you will hear the harp. What effect does it have?

See Lesson Three: Soprano-land

The scene starts with the voices of the principles (singing back and forth in a 9/4 metre) and later grows to include the chorus.

The trumpets, horns and trombones are very noticeable. Puccini has given score directions that they are to be playing from back centre stage “behind a practical gauze painted like a veil.” After Calaf strikes the gong, the brass reprises the melody of the Chinese folk tune heard earlier (Jasmine Flowers)

Listen: This is Calaf’s big moment of decision. See if you can hear when he sings “Turandot!” three times, and then strikes the gong three times. There is no turning back for him now!

See Lesson Four: Puccini – Master Dramatist - Master Composer


Listening Guide


Track Excerpt Storyline

6 “Olà, Pang! “ (Hello Pang!)

Ping, Pong, Pang

“O China, che or sussulti”(1:20) (Oh China, how thou art troubled)

Ping, Pong, Pang

Ping, Pang and Pong meet in the royal pavilion to make preparations for both a wedding and a funeral. Either way, they intend to be prepared. They think back to more peaceful times when they were respected ministers and didn’t spend their time attending executions.

7 “In Questa Reggia” (Within this palace)

Turandot

This is Turandot’s big aria where she explains her fear of men and determination never to marry. She explains that long ago her ancestress Princess Lou-ling had been captured and ravished by a foreign king.

For this reason she, Turandot, must take revenge.

8 “Il terzo enigma” (The third riddle)

Turandot

“La terza riposta” (The third answer)

Calaf

Turandot speaks the third and last riddle. “Ice that gives you fire and from your fire takes more ice...white and dark, if it frees you it makes you a slave, and if it accepts you as a slave, it makes you a king!” Turandot taunts Calaf and tells him to surrender. Instead Calaf gives the answer, “Turandot!”, and when the answer is revealed by the Wise Men, Calaf is confirmed as correct.

9 “Nessun dorma!” (None shall sleep tonight)

Calaf

The entire city is awake and faced with the threat of death if they fail to discover the name of the stranger who has solved the three riddles. Only Calaf is calm, believing without doubt that he will succeed in winning the heart of Turandot.

10 “Tu che di gel sei cinta” (You who are wrapped in ice)

Liù

Liù and Timur are captured and tortured in an attempt to discover Calaf’s name. Turandot asks Liù how she has the strength to withstand the torture and Liù replies “Princess, it is love!” Finally, Liù commits suicide and dies without revealing Calaf’s identity.

11 “Padre augusto” (Noble father)

Turandot, People

Turandot is shaken and moved by the selflessness of Liù’s love for Calaf. When she is kissed by Calaf, she is transformed and admits that she loves him. Turandot announces to her father and the people that she knows the stranger’s name, and “it is love!”.


Musical Detail Listening Strategies and ActivitiesSeveral different motives of Chinese origin are heard. The xylophone lends a comical note and the three males singing a farewell to the China of old is somewhat reminiscent of the impoverished artists garret scene in La Boheme.

Listen: Describe the voices you hear. What vocal ranges are they? (baritone and two tenors).

Discuss: What is the dramatic purpose of Ping, Pang and Pong? (sometimes comic relief, sometimes filling in the back detail of the plot)

The aria begins with a calm almost chant-like line. This quickly becomes more agitated and it is interesting to note the modulation that takes Turandot from D major, to F sharp minor, the key of the executioner.

Listen: Turandot is telling the story of her ancestress Pincess Lou-Ling. Note when the chorus comes in. They fill in the details of her story, saying that it was in a time of war with the King of Tartary. Notice how the effect is one of evoking distant memories in Turandot.

See Lesson Three: Soprano-land

Turandot’s vocal line is steely and chromatic as she reads the riddle. Notice the descending strings pacing under her outbursts.

The melody of Jasmine Flowers returns this time with the victorious words “Glory to the Conqueror”. Notice the prominence of the brass – once again Puccini has placed them onstage with the singers.

Discuss: Describe how Puccini builds the tension as Turandot asks the riddle and then waits for the answer.

Ask: What instruments carry the melody of Jasmine Flowers, just after Calaf’s answer has been declared correct? (trumpets and trombones)

“Nessun dorma!” is centered in the key of G+. Beautifully lyrical, it is definitely a challenge to sing. The tessitura is high throughout. Although the off stage women’s chorus supports the climb towards the triumphant ending, the high B is a very exposed note. Interestingly, Puccini wrote the highest note as a quick sixteenth note, possibly anticipating its difficulty, but of course audiences have come to expect a prolonged and triumphant delivery of the top note, sung of course to the word, Vincerò!

Ask: What makes this so beautiful?

See Lesson Five: World’s Greatest Tenor Aria

This haunting aria uses the full soprano range and demands a voice that is both strong and warm. Puccini uses the darkness of the woodwinds and full strings to create a mood of deep sadness.

Describe: Describe Liù’s voice and how it conveys her sadness and love.

Listen: Notice the beating of the timpani as Liù reaches out to grab the dagger, and the horrific moment when the crowd cries out for her to answer, not knowing that she is already dead.

With Turnandot’s moment of revelation, “Nessun dorma” comes back with full orchestra and chorus.

This is the music that was written after Puccini’s death. Franco Alfano had the task of being held to the musical outlines left by Puccini. While there are differences in the style of Alfano’s orchestration, he manages to bring the opera to a spectacular close.

Consider: At the very end, notice the pullout of the orchestra, leaving the voices naked for a split second.

Why might Alfano have used this technique?

Ask: Do you think that Franco Alfano did a good job in finishing Puccini’s opera? Why or why not?

See Lesson One: The Pot: Magnificent Obsessions



Lesson One The Plot: Magnificent Obsessions

ObjectivesStudents explore the plot of Turandot through listening, predicting, acting, and reflecting.

MaterialsTrack #1, “Popolo di Pechino”, CD Excerpts from TurandotTrack # 11, “Padre augusto”, CD Excerpts from TurandotCharacter name cards on strings (to hang around neck)Copy of the Synopsis of Turandot

Lesson MapI. Predicting

» Write on the board the following words: royalty, execution, riddles, love, and loyalty. » Play the first part of Track #1 “Popolo di Pechino” to 2:19, and ask students to predict what kind of

story this opera will have. Does it sound like a comic or tragic story? What unusual instrument sounds can you hear – do they give you any clues about where this story takes place?

» Listen to the final chorus of the opera, Track # 11, “Padre augusto” . Knowing this is how the opera ends, do you think this is a happy or sad story?

II. Setting the Context and Acting Out the Story » Ahead of time write the characters’ names on the board. » Set the context:

ū The story of Turandot ultimately comes from the Tales of the Arabian Nights. The story appealed to Puccini because although it is a fairy tale, it is more normal and human than others he looked at. Puccini was known for composing in the “verismo” genre, opera with realistic characters who behave as people actually do, albeit in rather unusual circumstances! The main characters are Turandot, a cruel princess: Calaf, the man who falls in love with her: and Liù, the woman who loves him. The action happens in Peking (Beijing) “in legendary times”.

» Introduce the full cast of characters, giving each character card to a different volunteer. Explain that every character in this opera has a single intent or obsession. Each character has a key phrase on the card, which is the key to that character’s obsession. The actor must say the phrase every time the character’s name comes up in the story:

Character Who are they in the opera? Key phrase

Princess Turandot a cruel princess, unmarried I hate you all!

Emperor Turandot’s father Please change your mind!

Timur A dethroned king, now living in poverty My son!


Character Who are they in the opera? Key phrase

Calaf A prince, Timur’s son Vincerò! (Vin-chair-oh, meaning “I will win!”)

Liù A young slave girl who voluntarily stays with Timur I love you Calaf!

Ping The grand chancellor Hallo Pang!

Pang The general purveyor Hallo Pong!

Pong The chief cook Hallo Ping!

The Prince of Persia An unsuccessful suitor of Turandot’s Have mercy on me!

» Tell students: In opera the plot summary is referred to as a ‘synopsis’ . We are going to act out the story of Turandot while I read the Synopsis .

» Read aloud; students say their key phrase whenever their character is mentioned by name; their actions are guided by the developing story.

III. Consolidating » Compare the actual plot to the student predictions, first as a pair-share, then as a whole class. » As a wrap-up, discuss where Puccini might have seen the opportunities to explore normal human

emotions in this story. Which characters will be comic? Which will be serious? Over the next few lessons, refer back to the predictions.

Not That Prince of PersiaThose hoping to see some serious acrobatic

action will be disappointed to learn that the

Prince of Persia in Turandot is not the same

Prince of Persia that appears in the video games

or in the recent film of the same name. Although

Puccini and video game creator Jordan Mechner

drew inspiration from Arabian Nights, the

Prince of Persia in the video game bears closer

resemblance to the Prince of Persia in the tale,

who flies across Asia on a time-travelling horse.

Too bad the Prince of Persia in Turandot doesn’t

have one as well!

Did You Know?

There are many parts for children and children’s choruses in operas. The sixteen children in the Opera Lyra Ottawa production range in age from eight to fourteen years old. Most already sing in choirs from the Ottawa area, including St. Mathew’s Boys Choir, Cantiamo Girl’s Choir of Ottawa, and the Ottawa Children’s Choir.

Children’s opera choruses usually include boys whose voices have not yet changed, and girls up to about age 16. In Puccini’s day the singers were all boys.

The young performers have to be every bit as reliable as the adults on stage. Arriving to rehearsal on time and with their music learned is just the beginning. They get used to long rehearsals and late night performances in a hurry!

Some of the parents of these children sing in the Turandot chorus as well. Opera is very much a family affair!


Lesson Two Jasmine Flowers

ObjectivesStudents learn an authentic Chinese melody Puccini used in the opera, and explore the pentatonic tone set which gives it its Chinese character through listening, playing and singing. They also learn how Puccini adapted the original material to his own musical language, and play his bass line accompaniment on classroom instruments.

MaterialsTrack # 3, “Là sui monti dell’est”, CD Excerpts from TurandotStudent copies of “Là sui monti dell’est” (see attached)(Optional) Student copies of “Molihua” (see attached)(Optional) Student copies of bass line to “Là sui monti dell’est” (see attached)

Lesson MapI.

» Play Track # 3 (“Là sui monti dell’est”) asking students to predict what part of the opera it might come from, who might be singing, and what the mood of the piece is.

» Ask one student to read the following: ū This song comes from near the beginning of the story. The crowd has just finished a bloodthirsty

call for the execution of the doomed Prince of Persia (CD # 2 “Gira la cote!”), when all goes quiet in anticipation of the Princess Turandot’s appearance. The people long for the moon to appear, and with it, the Princess. The song you have just heard comes from far away – the singers are children who gradually approach more closely. Knowing what you know about Turandot, why is the moon used as her symbol?

» Distribute student copies of the words, and sing along with the CD, in Italian, English or both languages.

» Does the song sound Chinese to you? Students will probably hear that the song has a Chinese sound to it – they may or may not know that this is because of the scale it uses – the pentatonic scale.

» Share the following: ū Puccini did a great deal of research into Chinese music while writing this opera and this melody

is one of at least eight authentic Chinese folk songs he included in Turandot . The original song is called Molihua (Jasmine Flowers), and is affectionately known as the unofficial anthem of China. A version of it was used for the medal and closing ceremonies at the Beijing Olympics of 2008; it was arranged by the composer Tan Dun.


» (Optional) Distribute student copies of the original song to sing and/or compare with Puccini’s version. You may wish to access a recording through iTunes.

» Sing or play a pentatonic scale with the students in Eflat or F major:

» Try it out! One or two students play a steady beat on an F on a low instrument. Now another player improvises a melody on the notes of the pentatonic scale above, using a higher pitched instrument. Take turns improvising your own melody and playing the bass part. Add some gentle metal percussion sounds such as triangle, finger cymbals, hanging cymbal, or wind chime to create a magical atmosphere like Puccini’s.

» Sing and listen to the recording again – Puccini makes one alteration and includes a note that does not belong to the pentatonic scale. Can you hear where it is? (The Aflat in bar 21 on the word “mil-le/thousand”.)

» As we have seen, Puccini was inspired by, but did not limit himself to, the melodic language of the original song. In fact he uses a completely different scale for most of the accompaniment – the Mixolydian mode. (If you play all the white keys from G to G on the piano you are playing in the Mixolydian mode.) Play the scales below for the students, asking them to identify the ‘funny-sounding’ note (the D flat in E flat, or the E flat in F).

» (Optional). Learn to play the outline of Puccini’s bass line in E flat (as in the opera) or F. Combine with a performance of the song, which can be sung and played on instruments available in your class.

» As you listen to the music of Turandot, you will hear many examples of pentatonic melodies – see how many you can spot!

F Pentatonic

E flat Pentatonic

F Mixolydian

E flat Mixolydian




Puccini’s (mostly) Mixolydian Bass Line for

Là, sui monti del l’est(Select most convenient key for your ensemble. The original is in E flat.)


Lesson Three Soprano-land

ObjectivesStudents will compare the character traits and voice types of the two female protagonists in Turandot .

Materials Track # 4, “Signore, ascolta!, CD Excerpts from TurandotTrack # 7, “In questa reggia”, CD Excerpts from TurandotStudent copies of the SynopsisStudent copies of Character Study of Liù and Turandot (see attached)Student copies of First Arias Sung By Liù and Turnadot (see attached)

Lesson MapI. Listening and Describing

» Share with students: ū In Turandot there are two main female roles: Liù, a slave girl, and Turandot, a princess . Both are

sopranos . One is what we call a “lyric soprano” and the other is a “dramatic soprano” . Let’s listen to the lyric soprano first – I won’t be mentioning just yet whether it is Liù or Turandot – but let’s see if we can come up with a few words to describe what we hear .

» Play Track # 4, “Signore, ascolta”. Ask students to describe the vocal qualities heard. Chart on the board under the heading “Lyric Soprano”.

» Repeat using Track # 7, “In questa reggia” and list the descriptive words under the heading “Dramatic Soprano”.

» Ask: what differences are there between the lyric and dramatic soprano sound? (Note: this isn’t always easy to hear at first! Take some time to dig for the answers.)

» Compare student answers with the following information:

Lyric Soprano Dramatic Soprano

Lighter soundSilkyWarmOften used for a sympathetic character

Darker, heavier soundStrong lower rangeImpressive top range needed for the big drama momentsHigh drama roles, often physically demanding to sing

» Take a few suggestions about which role in Turandot is the lyric soprano (Liù) and which is the dramatic (Turandot). Ask students to explain their reasoning and then confirm the roles with voice types.

Doh? Dot? Doat?Just how do you pronounce Turandot’s name anyway? In the original Persian, the princess’ name appears as “Turandokht”. According to Rose Raisa, the first to portray the title character, Puccini never pronounced the “t” at the end. Dame Eva Turner, one of the most renowned singers to have portrayed Turandot, agrees. One Puccini scholar, Patrick Vincent Casali notes that although the “t” at the end should be pronounced, singing it that way is nearly impossible. William Berger, author of “Puccini Without Excuses”, argues the case for the ending to be pronounced with a proper Italian accent, as “doat”. These days it seems that the final word on this goes to Simonetta Puccini, the composer’s granddaughter who declares that it must be pronounced with the “t”.

The role of Turandot was played by Rose Raisa in the 1926 production .


II. Describing Character Traits » Distribute student copies of the Character Study of Liu and Turandot along with the supporting

documents (synopsis, first arias translations). » Have students work in pairs to complete the Character Study chart and First Arias charts. » Share findings with whole class.

III. Synthesizing » Listen to the arias again. How are the two arias musically different? What was Puccini’s desired effect? » Ask: Do you think Puccini made the right choice in writing Liù as a lyric and Turandot as a dramatic

soprano?


Character Study of Liù and TurandotRead the Synopsis and use the chart below to note what traits Liù and Turandot do and don’t share.

Look at the images of the two women. What does their dress tell you? Note in the chart below.

Liù Shared Traits Turandot


First Arias Sung By Liù and TurnadotRead the translations of the first arias sung by each soprano. What are their driving beliefs? Add to the Character Study chart.

Listen to the arias again. How are the two arias musically different? What was Puccini’s desired effect?

Liu’s first aria Turandot’s first aria

“Signore, ascolta” - My Lord, hear me! My Lord, hear me! Oh hear, my lord!Liù can bear no more, her heart is breaking!Alas how many miles I have walked with your name in my heart,with your name on my lips!But if your fate tomorrow be decided,we shall die on the path of exileHe will lose a son…I, the remembrance of a smile, Liù can bear no more!Ah!

“In questa reggia” – Within this palaceWithin this palace many thousand years agoa desperate cry rang out.And down the generations that cry has found refuge in my heart!Princess Lou-Ling, My ancestress sweet and serene, who ruled in silence and pure joydefying the abhorred tyranny of manwith constancy and firmness, today you live again in me!PeopleIt was when the King of the TartarsUnfurled his seven standards. TurandotAt that time, -‘tis known to all, war brought horror and the clash of arms.The Empire was conquered and subduedand Lou-Ling, my ancestress, dragged awayby a man like you, like youa stranger, in that cruel nightwhen her young voice was stifled!

What is Liù’s driving belief? What is Turandot’s driving belief?

How are the two arias musically different?


Lesson Four Puccini : Master Dramatist – Master Composer

ObjectivesStudents explore the dramatic challenge faced by Puccini of presenting many points of view at once, and building a fitting climax to the first act. They analyse a score excerpt for evidence of Puccini’s choices and listen to the music.

MaterialsTrack #5, “Ah! Per l’ultima volta!” CD Excerpts from Turandot Student copies of the score excerpt pp. 138-140 (see attached)

Lesson MapI. Examining Point of View

» Remind students of this part of the storyline: ū Prince Calaf has been reunited with his aged and feeble father, the deposed King Timur. His loyal

slave Liù has looked after Timur, and she is ecstatic to be with Calaf again, whom she loves from afar. To the dismay of Timur, Liù, the government officials, and the crowd, Calaf is completely bewitched by Turandot’s beauty, and declares his intention to win her hand. Everyone tries to dissuade him, but he advances to the gong, and strikes it three times, thus issuing the challenge to Turandot. She herself is a silent and icy presence.

» Create an inner and outer circle of partners. The inner circle takes the role of Timur, and the outer circle takes the role of Calaf. Timur tries to dissuade Calaf from attempting the riddles. After a couple of minutes rotate the circle and switch roles. After a short time, switch roles, and change Timur into Liù – how will her arguments be different? Continue rotating and switching roles, substituting Ping for Liù.

» Debrief. What were the main reasons Calaf offered in defence of his behaviour? What arguments were brought forward by Timur, Liù and Ping?

II. Thinking Like a Composer » Create small groups. Give each a piece of chart paper and marker. Each group creates an outline of

how they would present this scene in the opera so that each character’s point of view is represented, and the whole scene is as exciting as possible. Consider whether the characters should sing solos, duets, or larger ensembles, and what should be happening in the orchestra and chorus.

III. Analyzing the Score » Distribute student copies of the score pages 138-140. This is the moment just before Calaf strikes

the gong. Analyse the score, using the following prompts: ū How many different vocal parts are there? (eight) ū Are some of the parts grouped together or are they all singing separately? (The two chorus lines –

Soprano and Tenor – work together, as do Ping, Pang and Pong.) How is this indicated on the score? (Brackets)

A scene from the 1926 production of Turandot at Teatro Scala .


ū What unusual orchestral resources are brought in at this point? (Trumpets, horns and trombones come on stage.)

ū What dynamic markings do you see? What other instructions are written in? (Prince Calaf frees himself with “frenzied violence”. The dynamic for the brass instruments is ff – very loud. The words incalze cresc . sempre on the orchestral line, mean “pressing forward, always getting louder”).

» Listen to track #5, identifying the place where the score excerpt begins and ends (1:21-1:40). Listen to this part several times, tracking the different voices, then listen through to the end of the selection. Help students to hear that this is the moment when the chorus joins in the singing, making the sound much bigger.

» Can you hear a repeated melody? Who sings or plays it? (The orchestra repeats this theme many times, and the chorus reinforces it, building a sense of inevitable doom.)

» What choices did Puccini make in arranging this scene to create the greatest drama? Compare these choices to the ones charted earlier – are some the same? What surprises were there?

IV. Reflecting » Students draw a quick sketch or create a tableau of how this scene might be staged at the moment

in the score excerpt. Compare these later on with what you actually see at the Opera Lyra Ottawa production.





Lesson Five World’s Best Tenor Aria!

ObjectivesStudents learn the famous tenor aria “Nessun dorma!” and examine its presence in popular culture.

MaterialsTrack # 9, “Nessun dorma!”, CD Excerpts from TurandotSee-Feel-Hear Listening Template (see attached)“Nessun dorma!” score (see attached)(optional) DVD Bend it Like Beckham (optional) DVD The Killing Fields

Lesson MapI. Listening

» Play the recording of “Nessun dorma!” asking students to notice what images the music brings to mind, how the music makes them feel and what they are actually hearing. As they listen they should jot down their thoughts on the See-Feel-Hear Listening Template.

» Discuss, paying particular attention to the images students describe (they may have been influenced by the use of the aria in media, which is pertinent to the conversation later in the lesson).

» Ask students to guess at what the text of the aria might be about. What is the overall mood of the aria? » Did they pick up any of the Italian? (i.e. principessa/princess; vincerò/win). » Share with the students:

ū This is the very famous tenor aria from Turandot. Called “Nessun dorma!”, it is sung by Calaf, the prince who has come to win the hand of Turandot. He is the twenty-seventh suitor to accept the challenge of answering the three riddles, and the first to win. At this point the entire city is awake by Turandot’s command, and faced with the threat of death if they fail to discover the name of the stranger who has solved the three riddles. Only Calaf is calm, believing without doubt that he will succeed in winning the heart of Turandot.

II. Singing » Share the following:

ū The role of Calaf is usually sung by a dramatic tenor. Dramatic tenors have powerful, ringing voices that are capable of a wide emotional range. A dramatic tenor usually has a range from the octave below middle C to the octave above.

» Have students try singing the two octave range. Ask the males in class to notice when the top notes start to feel more difficult.


» Share the following: ū The voice on the recording you have just heard is that of the Spanish tenor Plàcido Domingo, one

of the great dramatic tenors of this century. (Equally well known and admired was Italian tenor Luciano Pavarotti, who passed away in 2007.) The Sesame Street character Plàcido Flamingo was modeled after Domingo, who was a frequent guest on the show.

» Distribute copies of the aria and sing it, either with piano accompaniment or with the CD. » Ask students what they notice about singing this aria – what is hard or easy about it?

III. Influence on Popular Culture » “Nessun dorma!” has been used commercially in both movie sound tracks and promotional television

clips. Choose a few examples from the following list for students to view and discuss. Ask students how the aria connects with the new context and what effect it has. ū BBC Italia ‘90 World Cup title sequence (YouTube) ū Opening ceremony 2006 Winter Olympics Turin Italy (YouTube) ū The Killing Fields (movie) ū Bend it with Beckham (movie)

IV. Interpreting » Ask students to do a net search to view how the aria has been interpreted by a variety of artists,

including the following: ū The Three Tenors (YouTube or DVD available at Ottawa Public Library) ū Jeff Beck, guitarist (YouTube or iTunes) ū Aretha Franklin at the 1998 Grammys (YouTube)

» In class discuss the different performances heard. What qualities did they share with the Plàcido Domingo version you heard? How were they different?

V. Extension » After hearing the aria performed in a variety of

genres, students may want to try their own unique interpretation of “Nessun dorma!”, either as a vocal solo, duet, trio, or as an instrumental piece.

Puccini at the moviesIn Bend it Like Beckham, Jess Bhamra has been forbidden by her family to play with her local girls’ soccer league, but her skill at the sport has caught the attention of a recruiter who promises to show up at their final game. Jess sneaks out from her sister’s wedding, makes it to the game and scores the winning goal. The sounds of “Nessun dorma!” play in the background as she has flashbacks of missed shots and the disapproving faces of her family. She overcomes her doubt and sends the winning goal soaring into the net as tenor Tito Beltan hits the high B of the aria. Vincerò! Vincerò!

(Scene 28, 1:28:45-1:30:09)







See-Feel-Hear Listening Template


Lesson Six The Role of the Chorus

ObjectivesStudents examine Puccini’s use of the chorus in Turandot by developing a spoken performance from a short chorus scene, and by listening to and analyzing several of the choruses from the opera.

MaterialsStudent copy of script excerpt from Act I (see attached)Track # 2, “Gira la cote!”, CD Excerpts from TurandotTrack # 5, “Ah! Per l’ultima volta!”, CD Excerpts from Turandot

Lesson MapI. Script Reading

» Have a quick read through of the script excerpt from Act I. Where in the plot do you think we are? (Near the beginning of the opera when the crowd has heard that the most recent suitor is going to be executed.) What’s the mood of the crowd at this point? (bloodthirsty, agitated)

» Divide the class into two groups. Within each of the two groups, students decide who will take on the voices of the Executioner’s Assistants and who will be in the crowd.

» Have the groups practice their lines, as they are written. Then, encourage students to experiment with voicings, expression and tempo. For example: ū Feel free to experiment with how you use the voices of the crowd . You may want to have all the men’s

voices together once, then the women’s . You can also repeat words, have them echo, or stagger their entries . What about the pace of what you are saying? Maybe you want to slow some parts down, speed other parts up . And don’t forget about dynamics . Is there room for an amazing crescendo or accent somewhere?

» Allow sufficient time for students to rehearse. » Share the performances and discuss: What did you notice? Which performance strategies had the most

impact? » Turn the focus from the script to putting the words to music.

ū If you were Puccini about to set this text to music, what would you be considering? How would you use your high/low voices? What kind of tempo is going to work best? What about the orchestra – are there any particular instruments that might help set the mood and support what the singers are saying? etc .

» Listen to Track # 2, Gira la cote!”. Listen the entire track, then listen specifically from 1:44 to 2:26. This is the section that corresponds with the text that the students have just worked with.

» Ask students to describe what they have heard, and discuss how Puccini used the elements of music to create the mood of the bloodthirsty crowd.

» Ask: Where any of the ideas that you came up with in your group performance, similar to those of Puccini’s?


II. Learning About the Opera Lyra Ottawa Chorus » Read about the chorus from the About Opera Lyra Ottawa section of the guide and the following:

ū Turandot is a big chorus show. Many voices are needed and the chorus is on stage for long stretches. Director Tyrone Patterson is wisely taking advantages of this by staging things so that the chorus can help with all the set changes.

ū For the Opera Lyra Ottawa production, the chorus ranks will be swelling to sixty voices from its usual size of forty or less. Some of the first sopranos (those singing the highest soprano parts) have opted to move to second soprano because of the demand for a sustained high C sharp (high at the best of times for sopranos and even higher if you have to do it continually!).

III. Examining the Role of the Chorus » Share:

ū Not all operas have choruses and those that do, don’t always have the large size of chorus that is needed for Turandot . What’s the purpose of the chorus in Turandot? Why did Puccini write for such a large chorus and how does he utilize the chorus’ time on stage?

» Discuss these questions referring back to what students learned from their work on “Gira la cote!” . What was the role of the chorus in this instance? (creates atmosphere, builds tension, moves the plot along).

» Listen to Track # 5, ‘Ah! Per l’ultima volta!” (review the storyline in CD Excerpt Listening Guide chart). The chorus enters at 1:22, singing:

We are already digging a grave for youwho dare to challenge love.In darkness, alas, is writtenyour cruel fate.

» What is the role of the chorus here? (In addition to creating more tension, the chorus also sweeps into the now familiar strains of the Chinese folk song “Là sui monti del’Est” and moves the conclusion of Act I to an emotional finish.)

» Listen to Track # 11, “Padre augusto”, the final scene of the opera where Turandot embraces Calaf and declares her love. Notice that the famous “Nessun dorma!” melody returns. Can you imagine this last number without the chorus??

» Prompt: Write a letter in role as Puccini, describing to your producer what your plans for the chorus are and justify the huge expense it will add to the production.


From Turandot, Act I

EXECUTIONER’S ASSISTANTS

Grind and sharpen, sharpen till the shining blade with blood is dripping!

CROWD

Sharpen! Oh sharpen!


Grind and sharpen! Grind and sharpen!

CROWD

Grind and sharpen! Sharpen!


We are never slack or idol…

CROWD

Sharpen! Sharpen!


….in the realm of Turandot! We are never slack or idol…

CROWD

Sharpen! Sharpen!


….in the realm of Turandot!

ALL

In the realm of Turandot, in the realm of Turandot! We are never slack or idol, in the realm of Turandot!


Kill him! Kill him! Kill him! CROWD

Ha-ha! Ha-ha! Ha-ha! Ha-ha!

ALL

Ahhhhhhhhh!!!!!

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Lesson Two: Jasmine Flowers

Lesson Three : Soprano-land

Lesson Four: Puccini: Master Dramatist – Master Composer

Lesson Five: World’s Best Tenor Aria!

Lesson Six: Role of the Chorus

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echn

ique

s whe

n co

mpo

sing

and

/or a

rran

ging

mus

ic•

•A

MU

3M (G

rade

11)

– R

eflec

ting

, Res

pond

ing

and

Ana

lysi

ngB1

.1 d

econ

stru

ct th

e el

emen

ts a

nd o

ther

com

pone

nts i

n m

usic

al w

orks

thro

ugh

scor

e st

udy

and

purp

osef

ul li

sten

ing

••••••

B1.2

list

en in

a p

urpo

sefu

l way

to se

lect

ions

from

a w

ide

varie

ty o

f mus

ical

styl

es a

nd g

enre

s, an

d an

alys

e an

d re

flect

on

thei

r res

pons

es to

and

inte

rpre

tatio

n of

them

••••••

AM

U3M

(Gra

de 1

1) -

Foun

dati

ons

C1.1

ext

end

thei

r und

erst

andi

ng o

f the

ele

men

ts a

nd o

ther

com

pone

nts o

f mus

ic, p

artic

ular

ly

thro

ugh

prac

tical

app

licat

ion

and

aura

l rec

ogni

tion,

and

use

app

ropr

iate

term

inol

ogy

rela

ted

to

thes

e el

emen

ts

••

•••

C1.2

dem

onst

rate

an

unde

rsta

ndin

g of

, and

use

corr

ect t

erm

inol

ogy

rela

ted

to, t

he co

ncep

ts o

f no

tatio

n in

a v

arie

ty o

f act

iviti

es•

•C1

.3 a

ccur

atel

y re

prod

uce,

not

ate,

or i

dent

ify m

elod

ic, h

arm

onic

, and

/or r

hyth

mic

exa

mpl

es•

•55

Op

era Ly

ra Ot

tawa S

tudy G

uide S

eries

– Tu

rand

ot

AMU

4E (G

rade

12)

Puccini’s Life

Puccini’s Music

Puccini’s Times







AM

U4E

(Gra

de 1

2) –

Cre

atin

g an

d Pe

rfor

min

gA1

.1 a

pply

the

crea

tive

proc

ess w

hen

perf

orm

ing

mus

ic a

nd co

mpo

sing

and

/or a

rran

ging

mus

ic•

•A1

.2 u

se a

pplic

able

stag

es o

f the

cre

ativ

e pr

oces

s whe

n de

velo

ping

asp

ects

of a

var

iety

of m

usic

re

late

d pr

oduc

tions

•A2

.1 d

emon

stra

te th

e ab

ility

to e

ffect

ivel

y ap

ply

and/

or a

ddre

ss th

e el

emen

ts o

f mus

ic a

nd re

late

d co

ncep

ts w

hen

perf

orm

ing

mus

ic a

nd/o

r cre

atin

g a

mus

ical

pro

duct

ion

•A2

.2 a

pply

the

elem

ents

of m

usic

and

rela

ted

conc

epts

app

ropr

iate

ly w

hen

com

posi

ng a

nd/o

r ar

rang

ing

mus

ic•

•A3

.1 d

emon

stra

te te

chni

cal s

kill

in a

var

iety

of m

usic

per

form

ance

and

/or p

rodu

ctio

n si

tuat

ions

•A

MU

4E (G

rade

12)

- Fo

unda

tion

sC1

.1 d

emon

stra

te a

n un

ders

tand

ing

of th

e el

emen

ts o

f mus

ic, t

hrou

gh p

ract

ical

app

licat

ion

in

mus

ical

per

form

ance

, com

posi

tion,

and

pro

duct

ion,

and

use

app

ropr

iate

term

inol

ogy

rela

ted

to

thes

e el

emen

ts

••••••

C1.2

dem

onst

rate

an

unde

rsta

ndin

g of

, and

use

corr

ect t

erm

inol

ogy

rela

ted

to, t

he co

ncep

ts o

f no

tatio

n in

a v

arie

ty o

f per

form

ance

and

/or c

ompo

sitio

n ac

tiviti

es

•••

56

Opera

Lyra

Ottaw

a Stud

y Guid

e Seri

es –

Tura

ndot

AMU

4M (G

rade

12)

AM

U4M

(Gra

de 1

2) –

Cre

atin

g an

d Pe

rfor

min

gA1

.1 a

pply

the

crea

tive

proc

ess w

hen

perf

orm

ing

incr

easi

ngly

com

plex

and

diffi

cult

nota

ted

an

d/or

impr

ovis

ed m

usic

••

A1.2

app

ly th

e cr

eativ

e pr

oces

s whe

n co

mpo

sing

and

/or a

rran

ging

incr

easi

ngly

com

plex

m

usic

al w

orks

•A2

.1 a

pply

the

elem

ents

of m

usic

and

rela

ted

conc

epts

app

ropr

iate

ly a

nd e

ffect

ivel

y w

hen

inte

rpre

ting

and

perf

orm

ing

incr

easi

ngly

com

plex

and

diffi

cult

nota

ted

mus

ic•

•A2

.2 m

anip

ulat

e th

e el

emen

ts o

f mus

ic a

nd re

late

d co

ncep

ts e

ffect

ivel

y an

d w

ith in

crea

sing

skill

an

d cr

eativ

ity w

hen

impr

ovis

ing

mel

odie

s in

a w

ide

varie

ty o

f mus

ical

form

s•

•A2

.3 a

pply

the

elem

ents

of m

usic

and

rela

ted

conc

epts

effe

ctiv

ely

and

with

incr

easi

ng sk

ill a

nd

crea

tivity

whe

n co

mpo

sing

and

/or a

rran

ging

mus

ic in

a v

arie

ty o

f for

ms

••

A3.1

ext

end

thei

r tec

hnic

al sk

ills w

hen

perf

orm

ing

incr

easi

ngly

com

plex

and

diffi

cult

nota

ted

an

d/or

impr

ovis

ed m

usic

•

A3.2

app

ly co

mpo

sitio

nal t

echn

ique

s with

incr

easi

ng sk

ill a

nd c

reat

ivity

whe

n co

mpo

sing

an

d/or

arr

angi

ng m

usic

•A

MU

4M (G

rade

12)

– R

eflec

ting

, Res

pond

ing

and

Ana

lysi

ngB1

.1 d

econ

stru

ct w

ith in

crea

sing

skill

and

insi

ght t

he e

lem

ents

and

oth

er co

mpo

nent

s of m

usic

th

roug

h sc

ore

stud

y of

and

pur

pose

ful l

iste

ning

to in

crea

sing

ly co

mpl

ex m

usic

al w

orks

•••••

B1.2

list

en to

and

refle

ct o

n se

lect

ions

from

a w

ide

rang

e of

mus

ical

styl

es a

nd g

enre

s, in

clud

ing

th

eir o

wn

perf

orm

ance

repe

rtoi

re, a

nd a

naly

se a

nd re

flect

with

incr

easi

ng in

sigh

t on

thei

r res

pons

es

to a

nd in

terp

reta

tion

of th

em•••••

AM

U4M

(Gra

de 1

2) –

Fou

ndat

ions

C1.1

ext

end

and

deep

en th

eir u

nder

stan

ding

of t

he e

lem

ents

and

oth

er co

mpo

nent

s of m

usic

, pa

rtic

ular

ly th

roug

h pr

actic

al a

pplic

atio

n an

d au

ral r

ecog

nitio

n, a

nd u

se a

ppro

pria

te te

rmin

olog

y re

late

d to

them

••

•••

C1.2

ext

end

thei

r und

erst

andi

ng o

f, an

d us

e co

rrec

t ter

min

olog

y re

late

d to

, the

conc

epts

of n

otat

ion

in a

var

iety

of a

ctiv

ities

••

C1.3

acc

urat

ely

repr

oduc

e, n

otat

e, a

nd id

entif

y in

crea

sing

ly co

mpl

ex m

elod

ic, h

arm

onic

, and

/or

rhyt

hmic

exa

mpl

es•

•57

Op

era Ly

ra Ot

tawa S

tudy G

uide S

eries

– Tu

rand

ot


Who Does What at Opera Lyra Ottawa?

General DirectorElizabeth Howarth

Artistic Director and Principal ConductorTyrone Paterson

General AdministratorIsabelle Dubois

Opera Studio ManagerJudith Ginsburg

Production Manager and Technical DirectorRick Banville

Director of Marketing and CommunicationsTara Lapointe

Marketing and Communications AssociateJoelle Patry

Development ManagerTricia Johnson

Box Office Manager Laura Beks

Strategic Communications and Outreach ManagerSheilagh D’Arcy McGee

Volunteer CoordinatorPatricia Blute

InternJustine Gratton

We love to get letters! Please write and tell us what you thought of the opera. We can be reached at the following address:

Opera Lyra OttawaAttn: Isabelle Dubois2 Daly Avenue, Suite 110Ottawa, OntarioK1N 6E2

Documents

Turandot Study Guide