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Opera Lyra Ottawa Study Guide Series

Turandot
Puccini

Young People’s Opera Matinee


September 17, 2010 11:00 am
National Arts Centre, Southam Hall
Table of Contents

To The Teacher
Welcome. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Using the Study Guide. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

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

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

All About Opera


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

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

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

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

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

Opera Lyra Ottawa Study Guide Series – Turandot 1


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.

Authors
Alison Kenny-Gardhouse, Connexionarts, Inc.
Catherine West, Connexionarts, Inc.
Britta Obern, Connexionarts, Inc.

Illustrator
Richard Peachey, Goodness Graphics, Inc.

Graphic Design
Paul Kelly, gecko graphics inc.

© Connexionarts Inc., 2010


www.connexionarts.com

2 Opera Lyra Ottawa Study Guide Series – Turandot


Welcome
Opera 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.
Photo: Marc Fowler

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 Guide


The 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.

Opera Lyra Ottawa Study Guide Series – Turandot 3


Performance Information

What to Expect at the Opera Did you know…


Opera Lyra Ottawa performs on the stage of Southam The National Arts Centre is built in the shape
Hall in the beautiful National Arts Centre in downtown of a hexagon. Architect Russell Thompson
Ottawa. Your students will be interested in the striking
took his inspiration from the land the NAC
architecture of the building so it will be helpful to review
was to be built upon, the intersection of
the information provided below.
Canal Street and the Rideau Canal. This
The opera begins at 11:00 am. There will be an intermission intersection forms a sixty-degree angle
after the 1st act and students will have half an hour to eat and thus the idea for building in a hexagon
lunch* in the foyer. The 2nd act will follow lunch and the shape (a hexagon has six sides with sixty-
opera will finish at approximately 1:45 pm. degree angles). The hexagon theme is
carried through inside the building as well.
*Students should bring a packed lunch. There is insufficient
When you come to the opera, look for the
time to leave the building to purchase food.
familiar honeycomb shapes in the ceiling
Please arrange for your students to use the washrooms treatments.
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 Centre


Until 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.
Photo: André Dubreuil

4 Opera Lyra Ottawa Study Guide Series – Turandot


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

The Chorus
It’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.

Opera Lyra Ottawa Study Guide Series – Turandot 5


What in the world is a

The Silver Cast


sitzprobe??
While the principals are rehearsing, another group of people Pronounced “zits-probe” this
are in the room observing and taking notes. These are
members of the Silver Cast and they are the performers you German word is not what you
will be hearing perform some of the main roles when you may think! It is the name given
attend the student matinee. They are usually young singers
at the beginning of their professional careers. Singing at the to the type of rehearsal that is
student matinee gives them the opportunity to learn and held the first day of moving on
perform a major role in a large house, with an orchestra.
This is a major stepping stone for a young singer. to the main stage. For the first
One of the members of the Silver Cast is highlighted for you
time, the principals and chorus
on the next page. are together with the Maestro
and the orchestra. The entire
opera is sung through without
Did you know… any costumes or blocking.
There are two parties on Opening Night. This gives everyone a chance
The official one is a reception hosted by to check the ensemble and
the sponsor and is held at the NAC. It is by
balance between the singing
invitation only and includes the principals,
the key music staff (such as the conductor,
and the orchestra (remember,
chorus master, répétiteur), key office staff up until now rehearsals have
members (such as the General Director and been accompanied by piano.)
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.
The German word sitzprobe does NOT mean what you may think.

6 Opera Lyra Ottawa Study Guide Series – Turandot


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
What’s on she doesn’t, saying that her
travel experience is based
Mariateresa’s iPod? more on the opera she is
performing rather than the
“Ella Fitzgerald, Billie Holiday, city itself. “Being in this field
Cesaria Evora, Chick Corea, truly expands your knowledge
Paco de Lucia, The Eagles, of the world,” she says, and notes that larger cities always have many
Sting, Annie Lennox, Prince, places where an artist can stimulate their creativity, such as museums
or historical sites. “As an artist, you always have to keep yourself open
Billy Joel, Phil Collins, Alanis for inspiration, so that you continue to grow and add to your pool of
Morissette, Leonard Cohen, inspiration because it is a great resource for learning a role and the music
Jann Arden and Michael Bublé one performs.”
– it really just depends Her opera experiences include
on my mood!” both serious and comedic operas, A Little Woman?
both of which she enjoys. She
loves the laughter that happens Mariateresa recently played
during rehearsals for the more comedic operas, but also doesn’t the role of Beth in the Canadian
back down from the challenge of performing a serious role, which
premier of the opera Little
she says can reveal levels of emotion that can be “quite exciting to
experience”. Women. Beth, much like Liù, is
Performing in many languages doesn’t intimidate her either. a character who never reaches
“Languages are something that as singers we learn to deal with at the her full potential as a human
beginning of our training in school.” While the formal education being because death arrives too
most singers receive in languages and phonetics is hugely helpful,
soon. Mariateresa describes the
Mariateresa says, “performance anxiety is always there on different
levels. Each artist just learns to deal with it as best they can.” focus of the opera as “a circle
Determination is another quality of Liù’s that Mariateresa admires, of love among sisters and the
as well as the servant girl’s quiet, inner strength that is also apparent importance of the bond that is
in Mariateresa’s resolve to follow her dream of becoming an opera formed over time in family.”
singer. Her advice is to “work hard and do your best.”

Opera Lyra Ottawa Study Guide Series – Turandot 7


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

During this time Puccini met and fell in love with Elvira, the wife
Celebrity Watch! 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
Puccini was one of the first composers
the following year and Elvira remained Puccini’s mistress until she
to become a major celebrity, and photos was able to marry him when her husband died nineteen years later.
of him were often published in the
Puccini had many hobbies and was an avid outdoorsman. His
Italian newspapers. Anything he did was
guaranteed to draw the attention of thelove of hunting, hiking, motoring and boating is thought by
some to have distracted him from getting more operas written.
press. When Puccini got into a major car
Elvira turned out to be an intense and demanding girlfriend as
accident with his wife and was seriously
well, and Puccini began to travel a lot. This lead Elvira to believe
injured, photographers raced to the that Puccini was cheating on her and she soon became
scene. The next day he convinced he was having an affair with their servant girl,
was headline news and Doria. Elvira made the girl’s life miserable, and Doria
the papers were filled eventually committed suicide. A coroner’s report revealed
that Doria was a virgin and had never had a physical
with multiple pictures of relationship with anybody. Doria’s grieving family sued
Puccini being carried out Elvira for defamation of character. They held Elvira
on a stretcher. 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.

8 Opera Lyra Ottawa Study Guide Series – 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
Puccini at his piano. 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
The Age of Romanticism
music bursts with emotion and is intensely personal. Puccini grew up in an age of
In Puccini’s work we hear the early influences of
Verdi (whose performance of Aida he walked 21
romanticism – the valuing of emotion
kilometers to see), and also the effects of the modern and intuition over reason as the key to
music of his time - composers like Schoenberg and understanding the world. The Romantic
Webern. His music is a startling blend of traditional sees the truest and best expression
and modern.
of human nature in the expression of
As popular and successful as he was in his day, strong emotion, extreme situations,
Puccini was not without detractors. He was the exotic, the fantastic. The Romantic
sometimes accused of not contributing to the hero or heroine is often someone who
tradition of Italian opera, and for some, Puccini’s
financial success made him suspect. One critic, is a misunderstood, suffering loner
Fausto Torrefranca, wrote an entire book denouncing who must seek answers outside of
Puccini as a composer and as a person. Luckily, society, not within it. Many of Puccini’s
Puccini managed largely to ignore these types of plots, featuring isolated protagonists,
criticisms, writing in a letter to a friend that he didn’t
care what the critics thought, as long as the public extreme situations and exotic locations
liked his music. are excellent examples of romanticism.
What elements of romanticism can you
find in the story of Turandot?

Opera Lyra Ottawa Study Guide Series – Turandot 9


Puccini’s Times: A World of War and Turmoil
For Europeans like Puccini, life was very privileged. leading to respect for the less privileged and a sense
The affluent middle and upper classes had servants of self-worth amongst cultural groups who would
who maintained their very comfortable lifestyle, and only have seen themselves as ‘peasantry’ in the past.
often they were sustained by private wealth that
passed from generation to generation; many did Unfortunately nationalism was also linked to
not have to go out to work – income tax had not yet less beneficial effects, for this was also an age of
come into existence. They had the time to create art, militarism and imperialism. The Franco-Prussian
write music, do volunteer work, engage in scholarly War of 1870-71 gave rise to a powerful German
research and so on, and this was a time of wonderful state, and led to the creation of multiple complex
achievements in all of these areas. Of course, many alliances amongst all the European nations as they
of the privileged were less productive, and led lives jockeyed for power and self-protection, and built up
we would now regard as very idle. huge stockpiles of armaments. By 1914, the battle
lines were drawn between the members of the Triple
For the less privileged, increasing industrialization Entente (France, the United Kingdom and Russia)
was changing the way people lived and made their and the Triple Alliance (Germany, Austria-Hungary,
livings, throwing many out of work, and creating Italy) and it took only a tiny incident to spark the
vast numbers of people on the move, seeking better beginning of the First World War. At the same time
lives in new countries, including Canada. The late these countries were carving up the known world
19th century also saw the growth of nationalism into colonies under their conflicting spheres of
as peoples all over Europe asserted their right to influence, particularly Africa, often exploiting the
self-determination based on their cultural identity. people in those countries with little regard for their
Artists began to explore folklore – stories, songs, welfare.
games, and traditions - as a rich source of artistic
inspiration. Puccini sought out authentic examples Meanwhile Italy – Puccini’s home - was in the thick
of Chinese folk song for the score of Turandot – an of the European turmoil, and in a state of change
impulse Mozart a century earlier would never have itself, evolving from a series of small nation states
had. This aspect of nationalism was largely beneficial, under the control of other European powers to

1858 1861 1867 1890 1901


Giacomo Slavery in
Puccini is born United States
December 22. is abolished.
Italy becomes Confederation
united as of Canada The Franco- The first Nobel
a country Prussian Prizes are
under King War ends The London awarded.
Emmanuel II. Underground, The First Peace
Scientist the world’s first Conference
Charles subway, opens. in Hague is
Darwin signed
publishes
“Origin of
the Species”.

1859 1865 1871 1899


10 Opera Lyra Ottawa Study Guide Series – Turandot
become, in 1861, a country under King Victor ranks of the employed in factories and the military,
Emmanuel II, although many were disappointed earning real wages for the first time, and they did
that the new country was a monarchy instead of a not return to household service jobs. Income tax
republic. Basic rights and freedoms were granted required the wealthy to share with the rest of the
only to those with property; the uneducated and populace whose work had generated the money,
poor were not given a vote. Subsequent governments starting to erase boundaries between social classes.
were despotic, corrupt, and militaristic, but also Women had worked during the war in factories and
progressive in some respects, making education at the front, and now demanded the right to self-
compulsory, and gradually expanding the vote to determination, and the vote. The post-war world was
more people. not, however, an optimistic one. In general, people
had a lack of faith in the future and a belief that
The First World War (1914-1918) was a devastating civilization itself was declining.
conflict for both sides. It is now seen as a terrible
example of a war where generals and politicians Puccini, although cocooned from much of the
threw away human lives without concern. On the turmoil by a privileged lifestyle, was influenced
western front, particularly in northern France, by the political aspirations and social change
both sides dug themselves into trenches and the surrounding him, and in his operas we are aware of
engagements that occurred over months and years the public world, with all its issues, just outside the
achieved little and killed many. The invention of lives of the characters. Writing Turandot in 1920,
poison gas, military tanks, aircraft and submarines a time of unprecedented national cynicism, and
caused more loss of life and dreadful suffering. personally in the grip of a deadly illness, it is little
Politically the war did not resolve the tensions that wonder that he struggled to create the triumphant
had caused it, which re-emerged soon after as the optimistic finale to the piece, and highly symbolic
World War II (1939-45). that he had to ‘pass the torch’ to another man for
this task. Perhaps in the end his awareness of all
By the end of World War I, the time when Turandot the doomed and maimed young men, disappointed
was composed, an entire generation had been republicans, exploited workers, and unwilling
scarred by the devastating number of deaths and migrants made it impossible for him to believe in a
injuries, and vast social change had taken place. The world where love could conquer all.
serving class of men and women had left to join the

1904 1908 1914 1922


Canadians
Worldwide Frederick
The Titanic Spanish Banting and
sinks on influenza Herbert Best
The teddy its maiden pandemic discover
bear, named Henry Ford voyage. World War I strikes, killing insulin.
The Wright after President develops the begins. millions.
brothers take Theodore first Model T
their first Roosevelt is automobile. Puccini
flight at Kitty introduced. Albert Einstein dies from
Hawk, North proposes his complications
Carolina. Theory of due to throat
Relativity. surgery
November 29.

1903 1905 1912 1917 1924


Opera Lyra Ottawa Study Guide Series – Turandot 11
Everything You Wanted to Know About Opera

Q: What is opera? Q: What about all those voices? They all sound so
different.
A: A story that is told through singing, acting,
and staging. 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
Q: What kind of story? for the voice categories.

A: One music critic suggests that most opera plots Female Voices
Coloratura Soprano highest
boil down to a soprano and tenor wanting to
hook up but being prevented from doing so by Soprano high
the baritone! While that’s not always the case, Mezzo-Soprano medium-high
the theme of unrequited love does turn up in Contralto low
opera frequently. Most of all though, the stories
Male Voices
of opera are the human stories of love, loss,
triumph and hope. Countertenor highest
Tenor high

Q: Are these people singing all the time? Baritone medium-high


Bass low
Don’t they ever get to talk?

A: Not in a Puccini opera they don’t. This opera Q: What does it take to be a great opera singer?
is through-composed. You will notice that the
music continues non-stop. This is different
from a Mozart opera for instance, where there A: You need a big voice that is distinctive, an
is something called recitative that sounds understanding of at least four different
more like people talking, followed by an aria, languages, incredible musical skills, deep
followed by an end to the aria and some space artistry, a healthy body, and a strong work
for the audience to applaud. Puccini likes to ethic. Most important…you have to love opera
keep the drama flowing and does away with and being on stage.
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.

12 Opera Lyra Ottawa Study Guide Series – Turandot


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


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

was sparked after The task fell to a younger composer, Franco Alfano

reading the play of the same name by Carlo Gozzi. to complete the opera based on Puccini’s last

Puccini first began composing Turandot in 1919 with sketches and under the watchful eye of the famous

librettists Giuseppe Adami and Renato Simoni and and influential conductor Arturo Toscanini. Both the

was almost done five years later, except for the final publishing company and Toscanini forced Alfano to

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.

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

Opera Lyra Ottawa Study Guide Series – Turandot 13


Introducing Turandot

revise the ending numerous times so that it followed Turandot continues to be performed around

Puccini’s sketches more closely. However, on opening the world with Alfano’s ending, although other

night, April 25, 1926 the orchestra rested in the composers have attempted rewrites. Despite the

middle of Act III, two measures after the words, “Liù, initial controversy surrounding the ending, Turandot

poesia!” Toscanini put down his baton, turned to is still considered to contain one of opera’s most

the audience and announced, “Here the opera ends, sophisticated orchestral scores and one of the most

because at this point the maestro died.” He never lavish, colorful and elaborate of its time.

conducted a performance of Turandot again.

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

14 Opera Lyra Ottawa Study Guide Series – Turandot


Synopsis of Turandot

Act 1 Timur, his long lost father (“Padre! Mio padre!”).


Timur was a king but was defeated and driven out of
The opera opens in the splendid Imperial Palace in
his kingdom – Calaf has not seen him in many years
Peking. A crowd gathers to hear a royal official read
and believed him dead.
out the law the Princess Turandot has made: any
prince who wishes to marry her must answer three The crowd waits impatiently for the moon to come
riddles correctly (“Popolo di Pechino”). If he fails, he out, the signal for Turandot’s appearance and the
will be executed. execution to proceed. (“Gira la cote!”) The mood
changes to one of pity for the victim as the moon
The Prince of Persia, the most recent of the
appears (“Là sui monti del l’est”) but Turandot
unsuccessful suitors, is about to be executed. The
cannot be moved to mercy. The execution proceeds
bloodthirsty crowd surges forward and is beaten
and Calaf has his first glimpse of the Princess. He
back by the guards (“Indietro, cani!”) In the chaos,
falls in love with her beauty, and Liù despairs.
an old, blind man is knocked down. His servant
(“Signore, ascolta”!) Calaf strikes the gong to
girl Liù cries out. Calaf, the exiled Prince of Tartary,
declare his intention of trying for Turandot’s hand in
comes to their aid and recognizes the old man as
marriage. (“Ah! Per l’ultima volta!”)

Opera Lyra Ottawa Study Guide Series – Turandot 15


Synopsis of Turandot

Act II
Three 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.

16 Opera Lyra Ottawa Study Guide Series – Turandot


Synopsis of Turandot

Act 3
Everyone 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.

Opera Lyra Ottawa Study Guide Series – Turandot 17


Turandot At-A-Glance

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.

18 Opera Lyra Ottawa Study Guide Series – Turandot


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.

Opera Lyra Ottawa Study Guide Series – Turandot 19


Listening Guide

Track Excerpt Storyline

1 “Popolo di Pechino” (People of Peking)


Mandarin, People
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
“Indietro, cani!” (Back, dogs! Back!) has been unsuccessful in answering the riddles and will be executed when
Guards, People, Liù 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
“Padre! Mio padre!” (Father! My Father!) servant girl, cries out that her frail, blind master has fallen. Calaf comes to
Calaf, People, Timur, Liù 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!)
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.
People, Liù Executioner’s Men

3 “Là sui monti dell’Est”


(Over one the Eastern Mountains)
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.

Boys

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

Liù

5 “Ah! Per l’ultima volta!”


(For the last time please!)
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
Timur, Liù, Calaf, Ping, Pang, Pong, out Turandot’s name three times, picks up the gong and strikes it three times.

20 Opera Lyra Ottawa Study Guide Series – Turandot


Listening Guide

Musical Detail Listening Strategies and Activities


The opening calls for attention and communicates a sense of urgency. Ask: What is the effect of not starting with an overture?
The xylophone pattern played with wooden mallets is described by one Listen: There is a repetitive xylophone part. Try notating it.
critic as sounding like “rattling bones”.
Listen: Identify the gong. It will be a significant instrument throughout the
The mood changes with the entry of Liù and sweeping phrases lead into opera.
the strong tenor line, full of emotion.
Ask: Can you guess what emotion Liù is expressing when she sings the
The return of the chorus is driving, the xylophone still sounds threatening, high B flat pianissimo to Calef? (love of course! He has asked her why she
and bass voice of Timur is noticeable contrast. Note the warmth of singing has cared for his father and she explains that it is because one day at court,
between father and son when Timur and Calif are reunited. Calef smiled at her.)
The excerpt ends on a beautiful high B flat pianissimo from Liù. See Lesson One: The Plot: Magnificent Obsessions

The conversation goes back and forth. Several thematic melodies emerge. Listen: The voices frequently return to a short melodic theme on the words
One theme is rhythmically driving and is followed by staggered entries “dove regna Turandot”. This continually reminds us that Turandot is the
of descending voices. Accompanied by glockenspiel, it has a fragmenting character driving all the action.
effect and contributes to the feeling of chaos. The ending jabs of chords See Lesson Six: The Role of the Chorus
are hard hitting.

Listen for the boy’s chorus first heard from off stage. The effect is ethereal. Ask: Who is singing? (boys).
The score calls for the melody to be doubled by two alto saxophones Discuss: Describe how the voices of boy sopranos are different from the
played off stage. adult sopranos.
The melody sung by the children is a traditional Chinese folk tune. 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 Ask: What feeling do you think the composer wants you to have towards
harp towards the end of the aria to underscore Liù’s words that she can Liù?
bear no more. Listen: Towards the end of the aria you will hear the harp. What effect does
The aria ends with a show of determined strength on a high B flat. it have?
See Lesson Three: Soprano-land

The scene starts with the voices of the principles (singing back and forth in Listen: This is Calaf’s big moment of decision. See if you can hear when he
a 9/4 metre) and later grows to include the chorus. sings “Turandot!” three times, and then strikes the gong three times. There
The trumpets, horns and trombones are very noticeable. Puccini has is no turning back for him now!
given score directions that they are to be playing from back centre stage See Lesson Four: Puccini – Master Dramatist - Master Composer
“behind a practical gauze painted like a veil.” After Calaf strikes the gong, See Lesson Six: The Role of the Chorus
the brass reprises the melody of the Chinese folk tune heard earlier
(Jasmine Flowers)

Opera Lyra Ottawa Study Guide Series – Turandot 21


Track Excerpt Storyline

6 “Olà, Pang! “
(Hello 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
Ping, Pong, Pang spend their time attending executions.

“O China, che or sussulti”(1:20)


(Oh China, how thou art troubled)

Ping, Pong, Pang

7 “In Questa Reggia”


(Within this palace)
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.
Turandot For this reason she, Turandot, must take revenge.

8 “Il terzo enigma”


(The third riddle)
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
Turandot him to surrender. Instead Calaf gives the answer, “Turandot!”, and when the
answer is revealed by the Wise Men, Calaf is confirmed as correct.
“La terza riposta”
(The third answer)

Calaf

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

10 “Tu che di gel sei cinta”


(You who are wrapped in ice)
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
Liù without revealing Calaf’s identity.

11 “Padre augusto”
(Noble father)
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
Turandot, People stranger’s name, and “it is love!”.

22 Opera Lyra Ottawa Study Guide Series – Turandot


Musical Detail Listening Strategies and Activities
Several different motives of Chinese origin are heard. The xylophone lends Listen: Describe the voices you hear. What vocal ranges are they? (baritone
a comical note and the three males singing a farewell to the China of old and two tenors).
is somewhat reminiscent of the impoverished artists garret scene in La Discuss: What is the dramatic purpose of Ping, Pang and Pong? (sometimes
Boheme. comic relief, sometimes filling in the back detail of the plot)

The aria begins with a calm almost chant-like line. This quickly becomes Listen: Turandot is telling the story of her ancestress Pincess Lou-Ling. Note
more agitated and it is interesting to note the modulation that takes when the chorus comes in. They fill in the details of her story, saying that it
Turandot from D major, to F sharp minor, the key of the executioner. 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 Discuss: Describe how Puccini builds the tension as Turandot asks the riddle
the descending strings pacing under her outbursts. and then waits for the answer.
The melody of Jasmine Flowers returns this time with the victorious words Ask: What instruments carry the melody of Jasmine Flowers, just after
“Glory to the Conqueror”. Notice the prominence of the brass – once again Calaf’s answer has been declared correct? (trumpets and trombones)
Puccini has placed them onstage with the singers.

“Nessun dorma!” is centered in the key of G+. Beautifully lyrical, it is Ask: What makes this so beautiful?
definitely a challenge to sing. The tessitura is high throughout. Although See Lesson Five: World’s Greatest Tenor Aria
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!
This haunting aria uses the full soprano range and demands a voice that Describe: Describe Liù’s voice and how it conveys her sadness and love.
is both strong and warm. Puccini uses the darkness of the woodwinds and Listen: Notice the beating of the timpani as Liù reaches out to grab the
full strings to create a mood of deep sadness. 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 Consider: At the very end, notice the pullout of the orchestra, leaving the
full orchestra and chorus. voices naked for a split second.
This is the music that was written after Puccini’s death. Franco Alfano had Why might Alfano have used this technique?
the task of being held to the musical outlines left by Puccini. While there Ask: Do you think that Franco Alfano did a good job in finishing Puccini’s
are differences in the style of Alfano’s orchestration, he manages to bring opera? Why or why not?
the opera to a spectacular close.
See Lesson One: The Pot: Magnificent Obsessions
See Lesson Six: The Role of the Chorus

Opera Lyra Ottawa Study Guide Series – Turandot 23


Lesson One  The Plot: Magnificent Obsessions

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

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

Lesson Map
I. 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:
ūū 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!

24 Opera Lyra Ottawa Study Guide Series – Turandot


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 Persia


Those 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!

Opera Lyra Ottawa Study Guide Series – Turandot 25


Lesson Two  Jasmine Flowers

Objectives Did You Know?


Students learn an authentic Chinese melody Puccini used
in the opera, and explore the pentatonic tone set which There are many parts for children and
gives it its Chinese character through listening, playing and children’s choruses in operas. The sixteen
singing. They also learn how Puccini adapted the original children in the Opera Lyra Ottawa
material to his own musical language, and play his bass line production range in age from eight to
accompaniment on classroom instruments. fourteen years old. Most already sing in
choirs from the Ottawa area, including St.
Mathew’s Boys Choir, Cantiamo Girl’s Choir
Materials of Ottawa, and the Ottawa Children’s Choir.
Track # 3, “Là sui monti dell’est”, CD Excerpts from Children’s opera choruses usually include
Turandot boys whose voices have not yet changed,
Student copies of “Là sui monti dell’est” (see attached) and girls up to about age 16. In Puccini’s day
the singers were all boys.
(Optional) Student copies of “Molihua” (see attached)
(Optional) Student copies of bass line to “Là sui monti The young performers have to be every bit
dell’est” (see attached) as reliable as the adults on stage. Arriving
to rehearsal on time and with their music
learned is just the beginning. They get
Lesson Map used to long rehearsals and late night
I. performances in a hurry!
»» Play Track # 3 (“Là sui monti dell’est”) asking students Some of the parents of these children sing
to predict what part of the opera it might come from, in the Turandot chorus as well. Opera is very
who might be singing, and what the mood of the piece much a family affair!
is.
»» Ask one student to read the following:
ūū 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:
ūū 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.

26 Opera Lyra Ottawa Study Guide Series – Turandot


»» (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:

E flat Pentatonic

F Pentatonic

»» 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).

E flat Mixolydian

F Mixolydian

»» (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!

Opera Lyra Ottawa Study Guide Series – Turandot 27


28 Opera Lyra Ottawa Study Guide Series – Turandot
Opera Lyra Ottawa Study Guide Series – Turandot 29
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.)

30 Opera Lyra Ottawa Study Guide Series – Turandot


Lesson Three  Soprano-land

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

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

Lesson Map
I. Listening and Describing
»» Share with students:
ūū 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 sound Darker, heavier sound
Silky Strong lower range
Warm Impressive top range needed for the big drama
Often used for a sympathetic character moments
High 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.

Opera Lyra Ottawa Study Guide Series – Turandot 31


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?

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
The role of Turandot was played by Rose Raisa impossible. William Berger, author of “Puccini
in the 1926 production.
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”.

32 Opera Lyra Ottawa Study Guide Series – Turandot


Character Study of Liù and Turandot
Read 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

Opera Lyra Ottawa Study Guide Series – Turandot 33


First Arias Sung By Liù and Turnadot
Read 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! “In questa reggia” – Within this palace
My Lord, hear me! Within this palace many thousand years ago
Oh hear, my lord! a desperate cry rang out.
Liù can bear no more, And down the generations that cry has found
her heart is breaking! refuge in my heart!
Alas how many miles I have walked Princess Lou-Ling,
with your name in my heart, My ancestress sweet and serene, who ruled
with your name on my lips! in silence and pure joy
But if your fate defying the abhorred tyranny of man
tomorrow be decided, with constancy and firmness,
we shall die on the path of exile today you live again in me!
He will lose a son… People
I, the remembrance of a smile, It was when the King of the Tartars
Liù can bear no more! Unfurled his seven standards.
Ah! Turandot
At that time, -‘tis known to all,
war brought horror and the clash of arms.
The Empire was conquered and subdued
and Lou-Ling, my ancestress, dragged away
by a man like you, like you
a stranger, in that cruel night
when her young voice was stifled!

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

How are the two arias musically different?

34 Opera Lyra Ottawa Study Guide Series – Turandot


Lesson Four  Puccini : Master Dramatist – Master Composer

Objectives
Students 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.

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

Lesson Map
I. Examining Point of View
»» Remind students of this part of the storyline:
ūū 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:
ūū How many different vocal parts are there? (eight)
ūū 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)

Opera Lyra Ottawa Study Guide Series – Turandot 35


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

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

36 Opera Lyra Ottawa Study Guide Series – Turandot


Opera Lyra Ottawa Study Guide Series – Turandot 37
38 Opera Lyra Ottawa Study Guide Series – Turandot
Opera Lyra Ottawa Study Guide Series – Turandot 39
Lesson Five  World’s Best Tenor Aria!

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

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

Lesson Map
I. 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:
ūū 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:
ūū 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.

40 Opera Lyra Ottawa Study Guide Series – Turandot


»» Share the following:
ūū 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.
ūū BBC Italia ‘90 World Cup title sequence (YouTube)
ūū Opening ceremony 2006 Winter Olympics Turin Italy (YouTube)
ūū The Killing Fields (movie)
ūū 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:
ūū The Three Tenors (YouTube or DVD available at Ottawa Public Library)
ūū Jeff Beck, guitarist (YouTube or iTunes)
ūū 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?
Puccini at the movies
In Bend it Like Beckham, Jess Bhamra
V. Extension has been forbidden by her family to play
with her local girls’ soccer league, but her
»» After hearing the aria performed in a variety of
skill at the sport has caught the attention
genres, students may want to try their own unique of a recruiter who promises to show up at
interpretation of “Nessun dorma!”, either as a vocal solo, their final game. Jess sneaks out from her
duet, trio, or as an instrumental piece. 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)

Opera Lyra Ottawa Study Guide Series – Turandot 41


42 Opera Lyra Ottawa Study Guide Series – Turandot
Opera Lyra Ottawa Study Guide Series – Turandot 43
44 Opera Lyra Ottawa Study Guide Series – Turandot
Opera Lyra Ottawa Study Guide Series – Turandot 45
46 Opera Lyra Ottawa Study Guide Series – Turandot
See-Feel-Hear Listening Template

Opera Lyra Ottawa Study Guide Series – Turandot 47


Lesson Six  The Role of the Chorus

Objectives
Students 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.

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

Lesson Map
I. 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:
ūū 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.
ūū 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?

48 Opera Lyra Ottawa Study Guide Series – Turandot


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:
ūū 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.
ūū 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:
ūū 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 you
who dare to challenge love.
In darkness, alas, is written
your 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.

Opera Lyra Ottawa Study Guide Series – Turandot 49


From Turandot, Act I
EXECUTIONER’S ASSISTANTS
Grind and sharpen, sharpen till the shining blade with blood is dripping!

CROWD
Sharpen! Oh sharpen!

EXECUTIONER’S ASSISTANTS
Grind and sharpen! Grind and sharpen!

CROWD
Grind and sharpen! Sharpen!

EXECUTIONER’S ASSISTANTS
We are never slack or idol…

CROWD
Sharpen! Sharpen!

EXECUTIONER’S ASSISTANTS
….in the realm of Turandot!
We are never slack or idol…

CROWD
Sharpen! Sharpen!

EXECUTIONER’S ASSISTANTS
….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!

EXECUTIONER’S ASSISTANTS CROWD


Kill him! Kill him! Kill him! Ha-ha! Ha-ha! Ha-ha! Ha-ha!

ALL
Ahhhhhhhhh!!!!!

50 Opera Lyra Ottawa Study Guide Series – Turandot


Turandot Curriculum Connections
This curriculum supports the delivery of the following expectations from the music strands of The Ontario
Curriculum Grades 1-8: The Arts (2009), Grades 9-10 (2009 DRAFT), Grades 11-12 (2009 – DRAFT).
The complete documents are available at http://www.edu.gov.on.ca/eng/teachers/curriculum.html.

Grade 7 and 8

Puccini’s Life
Puccini’s Music
Puccini’s Times
Lesson One: The Plot:
Magnificent Obsessions
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

Creating and Performing


C1.1 sing and/or play, in tune, from musical notation, unison music and music in two or more parts • •
from diverse cultures, styles, and historical periods
C1.2 apply the elements of music when singing and/or playing, composing, and arranging music,
using them for specific effects and clear purposes • •
C1.3 create musical compositions in a variety of forms for specific purposes and audiences

C1.4 use the tools and techniques of musicianship in musical performances
• •
C1.5 demonstrate an understanding of standard and other musical notation through performance
and composition • •
Reflecting Responding and Analysing
C2.1 express analytical, personal responses to musical performances in a variety of ways • • • • • •
C2.2 analyse, using musical terminology, ways in which the elements are used in the music that they
perform, listen to, and create • • • •
Exploring Forms and Cultural Contexts
C3.1 analyse some of the social, political, and economic factors that affect the creation of music • • •
51 Opera Lyra Ottawa Study Guide Series – Turandot
52 Opera Lyra Ottawa Study Guide Series – Turandot

ALC10/ALC20 – Grade 9/10

Puccini’s Life
Puccini’s Music
Puccini’s Times
Lesson One: The Plot:
Magnificent Obsessions
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

ALC1O/ALC2O (Grade 9/10) Creating and Presenting


A4.2 demonstrate an understanding of and apply appropriate standards, conventions, and practices
associated with the preparation, promotion, and presentation of art works, including integrated art • • • • •
works/productions, for a variety of purposes
ALC1O/ALC2O (Grade 9/10) - Reflecting, Responding and Analysing
B1.1 identify and communicate their initial reaction to works from a variety of arts disciplines, using • • • • • •
various strategies and modes of communication
ALC1O/ALC2O (Grade 9/10) - Foundations
C1.1 use appropriate terminology related to elements, principles, and other key concepts when • • • • •
creating, analysing, or presenting various types of art works
C1.2 demonstrate an understanding of elements, principles, and other key concepts associated
with the various arts disciplines • • • •
AMU10/AMU20 (Grade 9/10)

Puccini’s Life
Puccini’s Music
Puccini’s Times
Lesson One: The Plot:
Magnificent Obsessions
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

AMU1O/AMU20 (Grade 9/10) – Creating and Performing


A1.1 apply the creative process when performing notated and/or improvised music •
A1.2 apply the creative process when composing and/or arranging music •
A2.1 apply the elements of music and related concepts appropriately when interpreting and
performing notated music • • •
A2.2 manipulate the elements of music and related concepts appropriately when improvising
melodies and rhythms •
A2.3 apply the elements of music and related concepts appropriately when composing and/or
arranging simple pieces of music • •
A3.1 demonstrate technical skill when performing notated and/or improvised music • •
A3.2 apply compositional techniques when composing and/or arranging simple pieces of music • • • •
AMU1O/AMU20 (Grade 9/10) - Reflecting, Responding and Analysing
B1.1 listen to selections that represent a variety of musical styles and genres, and identify and • • • • • •
reflect on their personal responses to them
B1.2 identify and describe the use of elements and other components of music in a variety of
selections, including their performance repertoire • • • • • •
AMU1O/AMU20 (Grade 9/10) - Foundations
C1.1 demonstrate an understanding of the elements of music, particularly through practical
application and aural recognition, and use appropriate terminology related to these elements • • • • • •
(e.g., describe scales and scale patterns...)
C1.2 demonstrate an understanding of, and use proper terminology when referring to, fundamental • • •
C1.3 reproduce or identify accurately, from notation and/or listening, simple melodic, rhythmic,
and harmonic examples •
C2.2 identify and describe shared and unique characteristics of types of music from around the world • • • • • •
53 Opera Lyra Ottawa Study Guide Series – Turandot
54 Opera Lyra Ottawa Study Guide Series – Turandot

AEA3O/AEA4O (Grade 11 or 12)

Puccini’s Life
Puccini’s Music
Puccini’s Times
Lesson One: The Plot:
Magnificent Obsessions
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

AEA3O/AEA4O (Grade 11 or 12) - Creating and Presenting


A2.2 research how artists have modified existing art works to create new art works • • • •
AEA3O/AEA4O (Grade 11 or 12) - Reflecting, Responding and Analysing
B1.1 describe their initial reaction to works from a variety of arts disciplines, and explain the reasons • • • • • •
for their reaction
B1.2 identify and describe the elements and principles used to create integrated art works, and
analyse the methods used to combine these elements and principles into unified art works • • • •
B 1.3 interpret a variety of art works using the critical analysis process and reflect on and explain how
their interpretation of specific art works has changed over the course of this process • • • •
AEA3O/AEA4O (Grade 11 or 12) - Foundations
C1.1 use, appropriately and correctly, terminology related to elements, principles, and other key • • • • •
concepts from all the arts disciplines when creating, analysing, or presenting various types
C2.2 research, reflect on, and explain how common themes (e.g., love, war, heroism, death, joy,
work, nature) are addressed in a variety of past and present art works from various cultures • • •
AMU3M (Grade 11)

Puccini’s Life
Puccini’s Music
Puccini’s Times
Lesson One: The Plot:
Magnificent Obsessions
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

AMU3M (Grade 11) – Creating and Performing


A1.1 apply the creative process when performing notated and/or improvised music • •
A1.2 apply the creative process when composing and/or arranging music • •
A2.1 apply the elements of music and related concepts appropriately and effectively when
interpreting and performing notated music • •
A2.2 manipulate the elements of music and related concepts appropriately and effectively when
improvising melodies in a variety of musical forms •
A2.3 apply the elements of music and related concepts appropriately and effectively when
composing and/or arranging music in a variety of forms • •
A3.1 demonstrate technical skills when performing increasingly complex notated and/or
improvised music •
A3.2 apply compositional techniques when composing and/or arranging music • •
AMU3M (Grade 11) – Reflecting, Responding and Analysing
B1.1 deconstruct the elements and other components in musical works through score study and • • • • • •
purposeful listening
B1.2 listen in a purposeful way to selections from a wide variety of musical styles and genres, and
analyse and reflect on their responses to and interpretation of them • • • • • •
AMU3M (Grade 11) - Foundations
C1.1 extend their understanding of the elements and other components of music, particularly
through practical application and aural recognition, and use appropriate terminology related to • • • • •
these elements
C1.2 demonstrate an understanding of, and use correct terminology related to, the concepts of
notation in a variety of activities • •
C1.3 accurately reproduce, notate, or identify melodic, harmonic, and/or rhythmic examples • •
55 Opera Lyra Ottawa Study Guide Series – Turandot
56 Opera Lyra Ottawa Study Guide Series – Turandot

AMU4E (Grade 12)

Puccini’s Life
Puccini’s Music
Puccini’s Times
Lesson One: The Plot:
Magnificent Obsessions
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

AMU4E (Grade 12) – Creating and Performing


A1.1 apply the creative process when performing music and composing and/or arranging music • •
A1.2 use applicable stages of the creative process when developing aspects of a variety of music
related productions •
A2.1 demonstrate the ability to effectively apply and/or address the elements of music and related
concepts when performing music and/or creating a musical production •
A2.2 apply the elements of music and related concepts appropriately when composing and/or
arranging music • •
A3.1 demonstrate technical skill in a variety of music performance and/or production situations •
AMU4E (Grade 12) - Foundations
C1.1 demonstrate an understanding of the elements of music, through practical application in
musical performance, composition, and production, and use appropriate terminology related to • • • • • •
these elements
C1.2 demonstrate an understanding of, and use correct terminology related to, the concepts of
notation in a variety of performance and/or composition activities • • •
AMU4M (Grade 12)
AMU4M (Grade 12) – Creating and Performing
A1.1 apply the creative process when performing increasingly complex and difficult notated • •
and/or improvised music
A1.2 apply the creative process when composing and/or arranging increasingly complex
musical works •
A2.1 apply the elements of music and related concepts appropriately and effectively when
interpreting and performing increasingly complex and difficult notated music • •
A2.2 manipulate the elements of music and related concepts effectively and with increasing skill
and creativity when improvising melodies in a wide variety of musical forms • •
A2.3 apply the elements of music and related concepts effectively and with increasing skill and
creativity when composing and/or arranging music in a variety of forms • •
A3.1 extend their technical skills when performing increasingly complex and difficult notated
and/or improvised music •
A3.2 apply compositional techniques with increasing skill and creativity when composing
and/or arranging music •
AMU4M (Grade 12) – Reflecting, Responding and Analysing
B1.1 deconstruct with increasing skill and insight the elements and other components of music • • • • •
through score study of and purposeful listening to increasingly complex musical works
B1.2 listen to and reflect on selections from a wide range of musical styles and genres, including
their own performance repertoire, and analyse and reflect with increasing insight on their responses • • • • •
to and interpretation of them
AMU4M (Grade 12) – Foundations
C1.1 extend and deepen their understanding of the elements and other components of music,
particularly through practical application and aural recognition, and use appropriate terminology • • • • •
related to them
C1.2 extend their understanding of, and use correct terminology related to, the concepts of notation
in a variety of activities • •
C1.3 accurately reproduce, notate, and identify increasingly complex melodic, harmonic, and/or
rhythmic examples • •
57 Opera Lyra Ottawa Study Guide Series – Turandot
Who Does What at Opera Lyra Ottawa?

General Director
Elizabeth Howarth

Artistic Director and Principal Conductor


Tyrone Paterson

General Administrator
Isabelle Dubois

Opera Studio Manager


Judith Ginsburg

Production Manager and Technical Director


Rick Banville

Director of Marketing and Communications


Tara Lapointe

Marketing and Communications Associate


Joelle Patry

Development Manager
Tricia Johnson

Box Office Manager


Laura Beks

Strategic Communications and Outreach Manager


Sheilagh D’Arcy McGee

Volunteer Coordinator
Patricia Blute

Intern
Justine 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 Ottawa


Attn: Isabelle Dubois
2 Daly Avenue, Suite 110
Ottawa, Ontario
K1N 6E2

58 Opera Lyra Ottawa Study Guide Series – Turandot

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