Study Guide

Student Dress Rehearsal | February 23, 2022

Orpheum Theater
 INSIDE THE OPERA
TABLE OF CONTENTS

The Work/Creative Team 3

Cast 4

Who’s Who 5

The Story of Sweeney Todd: The Demon Barber of Fleet Street 6

Director’s Notes 8

Conductor’s Notes 9

The Origins of the Demon Barber 10

Opera Vs. Musical Theater 11

About the Composer: Stephen Sondheim 12

Guiding Questions 13

OPERA 101
Opera Omaha 14

What is a Working Dress Rehearsal? 15

Who Are the People Behind the Tables? 16

Behind the Scenes—Jobs at the Opera House 17

The Language of Opera 19

Guide to the Voice Parts and Families of the Orchestra 22

RESOURCES & FURTHER READING 23

REFERENCES & WORKS CONSULTED 23

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INSIDE THE OPERA
THE WORK

SWEENEY TODD
The Demon Barber Of Fleet Street
A Musical Thriller
Music And Lyrics By Stephen Sondheim
Book by Hugh Wheeler
From an adaptation by Christopher Bond
Originally Directed on Broadway by Harold Prince
Orchestrations by Jonathan Tunik
Originally Produced on Broadway by Richard Barr, Charles Woodward, Robert Fryer, Mary Lea Johnson, Martin Richards, in
Association with Dan and Judy Manos

Performed in English with English supertitles

New Production and Company Premiere

• A musical in two acts, sung in English.

• Music by Steven Sondheim and book by Hugh Wheeler.
• Opened on Broadway in 1979 and tLondon’s West End in 1980.
• Based on the play of the same name by Christopher Bond.

CREATIVE TEAM
CONCEIVED AND
CONDUCTOR DIRECTED BY CHOREOGRAPHER
Hal France Susan Clement* David Neumann*

WIG & MAKEUP

SET DESIGNER LIGHTING DESIGNER DESIGNER
Martin Marchitto* Pablo Santiago Ronell Oliveri

ASSOCIATE ASSOCIATE
SOUND DESIGNER COSTUME DESIGNER CHOREOGRAPHER
Bill Kirby* Carole Zacek Courtney Cairncross

FIGHT DIRECTOR ASSISTANT DIRECTOR

Ezra Colon* Barry Carman II*

*Opera Omaha debut

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CAST

Zachary James*
Ashley Emerson
SWEENEY TODD Emily Pulley Jonathan Johnson*
JOHANNA
(BENJAMIN MRS. LOVETT ANTHONY HOPE
BARKER
BARKER) (mezzo-soprano) (tenor)
(soprano)
(baritone)

Katy Lindhart*
Rod Nelman* Michael Kuhn Jason Ferrante
BEGGAR WOMAN
JUDGE TURPIN TOBIAS RAGG BEADLE
(LUCY BARKER)
(baritone) (tenor) BAMFORD (tenor)
(mezzo-soprano)

Barry Banks* Shae’Kell Butler*

Adolfo Pirelli Joans Fogg/ Bird
(tenor) Seller

*Opera Omaha debut

Ensemble | Sean Kelly, Chorus Director

The Omaha Symphony

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CHARACTER VOICE TYPE THE LOWDOWN

INSIDE THE OPERA

The owner of a barbershop on His real name is Benjamin
Sweeney Todd London’s Fleet Street, formerly Baritone Barker. Let’s just say it’s not
imprisoned in Australia beef in those pies…

Cheerful and talkative but

The owner of the meat pie
Mrs. Lovett Mezzo-soprano completely amoral, she is
shop below the barber
enamored with Sweeney Todd

A beautiful young woman, she

Johanna Barker Sweeney Todd’s daughter Soprano was raised by Judge Turpin as
his ward

A sailor who rescued Sweeney Young and naïve, he falls in

Anthony Hope Tenor
Todd love with Johanna Barker

Corrupt to his core, he is

obsessed first with Lucy
Judge Turpin A judge Baritone
Barker and then Johanna
Barker

A simple-minded man, he has

Tobias Ragg Mrs. Lovett’s employee Tenor a deep distrust for Sweeney
Todd

Like his boss the Judge, he is

Beadle Bamford Judge Turpin’s right hand man Tenor
fundamentally corrupt

She was Benjamin Barker’s

Lucy Barker A beggar woman Mezzo-soprano
wife!

Sweeney challenges Pirelli to a

Adolfo Pirelli A rival barber Tenor
shaving contest

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THE STORY OF SWEENEY TODD

PART ONE

PROLOGUE
A man steps forward and invites the audience to attend the tale of Sweeney Todd, joined by
the full company.
ACT ONE
It is 1845, and Anthony, a young sailor, has just arrived home to London. He is accompanied
by a man he rescued drowning off the coast of Australia, Sweeney Todd. As they disembark,
they are accosted by a beggar woman who alternates between begging for alms and soliciting
sex, but seems to recognize Sweeney.
Anthony is thrilled to return to London, but Sweeney is not—he tells Anthony the tale of a
young barber who was sent into exile by a powerful man with designs on the barberʼs beautiful
wife. Sweeney enters a pie shop on Fleet Street and is immediately accosted by the owner Mrs.
Lovett. She bemoans the hard times, and the scarcity of meat (and the speedy cats). Sweeney
asks about the empty apartment upstairs, and Mrs. Lovett tells him about the barber Benjamin
Barker who was falsely accused by Judge Turpin so that the Judge could exploit Barkerʼs wife,
Lucy. The Judge and Beadle Bamford lured Lucy to the Judgeʼs house so he could torment and
rape her. Sweeneyʼs anger confirms what Mrs. Lovett has suspected – that he is indeed Benjamin
Barker.
Mrs. Lovett tells Sweeney that Lucy poisoned herself, and that his daughter Johanna is now
a ward of Judge Turpin. Mrs. Lovett returns a set of silver shaving razors to Sweeney, who
vows to use them to get his revenge. In Judge Turpinʼs house, Johanna sits at a window,
admiring the singing of caged birds. Anthony happens to wander by and immediately falls in
love with the beautiful young woman. Threats from the Beadle Bamford only strengthen his
resolve to save her. As the Judge tells Sweeney about his impending marriage, Sweeney
shaves him, enjoying the anticipation of his revenge. But before he can slit the Judgeʼs
throat, Anthony bursts in and blurts out his plan to save Johanna. The Judge storms out,
declaring that he will lock Johanna up and never come to the barber shop again. Sweeney
swears to kill as many people as possible, punishing the rich and corrupt and freeing the
poor from their saddened state. Mrs. Lovett sees an opportunity—they can dispose of the
bodies by using the meat for her pies—and so a new enterprise is born.
Tobias (Toby) Ragg, barber Signor Pirelliʼs assistant, hawks a miracle elixir that regrows hair.
After exposing the elixir as a hoax, Sweeney challenges Pirelli to a shaving contest, which
Sweeney wins easily. Beadle Bamford judges the contest and is impressed—Sweeney invites
him to come in for a complimentary shave. Anthony, not knowing that Johanna is Sweeneyʼs
daughter, asks the barber for help—he intends to rescue Johanna, and wants to use the shop
as a safe house. Pirelli arrives to pay Sweeney a visit. Mrs. Lovett takes Toby downstairs for a
pie. Pirelli drops the accent and reveals that he used to be Benjamin Barkerʼs assistant. Instead
of giving in to blackmail, Sweeney kills Pirelli.
Johanna is terrified because the Judge intends to marry her on Monday, but Anthony
has a plan to help her escape. Meanwhile, the Beadle suggests that the Judge clean up a
bit to be more attractive to Johanna and sends him to Sweeney Todd. As the Judge tells

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 INSIDE THE OPERA
Sweeney about his impending marriage, Sweeney shaves him, enjoying the anticipation of
his revenge. But before he can slit the Judgeʼs throat, Anthony bursts in and blurts out his
plan to save Johanna. The Judge storms out, declaring that he will lock Johanna up and
never come to the barber shop again. Sweeney swears to kill as many people as possible,
punishing the rich and corrupt and freeing the poor from their saddened state. Mrs.
Lovett sees an opportunity—they can dispose of the bodies by using the meat for her
pies—and so a new enterprise is born.

ACT II

Mrs. Lovettʼs pie shop is now bustling, and Toby helps with customers. Sweeney has a brand
new chair, with some special modifications. When Anthony discovers that the Judge has locked
up Johanna in the asylum, he gets Sweeney to help him plan an escape—Anthony will go to the
asylum pretending to be a wigmaker looking for hair from the inmates. Seeing an opportunity to
lure the Judge back to his shop, Sweeney writes a letter, warning him of Anthonyʼs plan, and
that Anthony and Johanna could be captured at the barber shop.
Toby has begun to suspect that there is something awry at the pie shop and tries to warn Mrs.
Lovett. Mrs. Lovett distracts him and sends him down into the bakehouse. She returns upstairs
to find the Beadle waiting— he has been sent to investigate the strange smells and smoke coming
from her chimneys. Sweeney comes in and offers the Beadle his free shave. Toby is still in the
basement when the Beadleʼs body tumbles down, and he runs off.
Fogg, the asylum owner, tries to stop Anthony from rescuing Johanna. She shoots Fogg,
leaving the rest of the inmates to wander through the streets of London. Sweeney and Mrs.
Lovett search for Toby. Back at Sweeneyʼs shop, Johanna hides to avoid the beggar woman, and
Anthony goes looking for Sweeney. When Sweeney arrives and finds the beggar woman in his
parlor, he slits her throat. The Judge arrives. Sweeney lures him into the chair before revealing
his true identity and killing the Judge. Johanna comes out of hiding and barely escapes
Sweeneyʼs razor.
Mrs. Lovett struggles with the bodies in the basement. Sweeney arrives, and in the ovenʼs light
finally recognizes the beggar woman—it is his wife Lucy. Mrs. Lovett only let him assume that
the poison killed his wife out of love. Sweeney takes Mrs. Lovett in his arms for a dance, but
then shoves her into the oven.
Sweeney kneels on the floor, holding Lucy. From behind him, Toby approaches and slits
Toddʼs throat just as Johanna, Anthony, and the police enter.

Courtesy of San Francisco Opera

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DIRECTOR’S NOTES
by Susan Clement

My Friends!
I am so incredibly grateful to be able to share our
production of Sweeney Todd with you. What an
extraordinary time to be creating and experiencing live
performance. The joy of gathering together to watch these
phenomenal artists at play is even more poignant and
powerful now, when so much is uncertain. The chaos of
these last two years has shaped and informed bringing this
most operatic of musicals to life. Bringing order out of this
chaos and being able to engage with Sondheim’s work for
such a long period of time was a mind-bending gift. The
collaborative spirit and flexibility of the assembled artists,
creative team, and Opera Omaha staff has been absolutely
critical and nothing short of awe-inspiring. ‘The show must
go on’ means something entirely new now.
Swing those razors high!
More hot pies!

— Susan Clement
DIRECTOR

Susan Clement director

Director SUSAN CLEMENT has served as BLUEBARN Theatre’s Producing Artistic Director since 2002. She has
directed dozens of productions at the BLUEBARN, beginning with The Night Larry Kramer Kissed Me in 1993 and
most recently, Indecent, Red Summer and A Very Die Hard Christmas. During her tenure, the BLUEBARN has received
the Governor’s Award for Organizational Achievement in 2012 and seen its productions lauded with over a
hundred awards by the Theatre Arts Guild and the Omaha Arts and Entertainment Awards. In 2015 Susan saw the
BLUEBARN’s dream of building its own stand-alone facility fulfilled as it moved into its new home on 10th and
Pacific. Susan has been honored with Best Play or Best Director awards for her work on Indecent (2019), The
Resistible Rise of Arturo Ui (2017), The Christians (2016), Our Town (2015), 33 Variations (2014), Red (2013), The 39
Steps (2012), Three Tall Women (2011), Rabbit Hole (2010), The Goat, or Who is Sylvia? (2009), The Pillowman (2007),
The Dresser (2006), Five Women Wearing the Same Dress (2003), A Piece of My Heart (2003), and Wit (2001). Susan
holds a BFA in Theatre/Film from the State University of New York at Purchase Conservatory.

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CONDUCTOR’S NOTES

INSIDE THE OPERA

by Hal France

The 1979 musical Sweeney Todd was the final work of an

extraordinary decade of achievement in musical theatre history.
In the 70s, Stephen Sondheim’s series of five groundbreaking
musicals changed the landscape of Broadway. The shows were
each unique and totally different and yet each bore the
indisputable signature of this American master. A creative force
that never stopped reaching.
Company in 1970 and Follies in 1971 brought the psychology of contemporary relationships into
view. Two years later, the same impeccable insight into the human psyche combined with
romantic nostalgia in A Little Night Music. In 1976 he marked the American Bicentennial with a
critical look at western imperialism in Pacific Overtures. Sondheim’s evocative musical palette
infused each story with its own sound. From the delightful spinning waltzes of A Little Night
Music to the energetic Japanese inspired melodies of Pacific Overtures, the pulsing of the city in
Company to the stylish grace of Follies, Sondheim’s music is a marvel.
This brings us to Sweeney Todd! The music for Sweeney Todd almost never stops. Its vocalism
calls equally for power and subtlety. Almost immediately as it came on the scene, the debate
started: was it an opera or a musical? Though interesting to consider, the conclusion is simple.
The deftness and clarity of intention in Sweeney Todd is pure theatre. It’s story, themes and
characters would tempt any opera composer. All said, a more convincing dramatic universe is
difficult to imagine than the one Sondheim created. The curtain rises to the strains of a dark
organ as the orchestra and cast spin the melancholy tale. Theatrically brilliant numbers like Mrs.
Lovett’s The Worst Pies in London and God That’s Good mingle with the poignant ballads Pretty
Women, Not While I’m Around and Johanna. There are too many great songs to mention, but
every single moment of this score has its purpose, time, and place.
For all of us involved, whether on stage, behind the scenes or in the pit, we are grateful to work
on Sweeney Todd and thank Opera Omaha for bringing us together for the new production by
Susan Clement. We proudly perform Stephen Sondheim’s masterful work for you and celebrate
this monumental composer, lyricist and artist who gave the American theatre so much to chew
on.

Hal France, conductor

Maestro Hal France returns to Opera Omaha after last conducting the 2018 production
of Falstaff. In 2019 Hal France joined the UNO Theatre faculty as Instructor of Musical Theatre
in the School of the Arts and College of Communication Fine Arts and Media, and is currently involved in building
an undergraduate program in musical theatre at UNO. Maestro France has served as Artistic Director of Opera
Omaha, Music Director of the Orlando Philharmonic, Resident and Associate Conductor for the Houston Grand
Opera, Music Director of the Mobile Opera and Lake George Opera Festival. He made his conducting debut in
1981 at the Kennedy Center working with the legendary Hal Prince, John DeMain and Carlisle Floyd on the World
Premiere of Willie Stark. His ongoing work with new opera and musical theatre includes American and world
premieres for Opera Theatre of St. Louis, Santa Fe Opera, and New York City Opera. Maestro France has worked
extensively at opera companies around the country including Houston Grand Opera, Central City Opera, Kentucky
Opera, Opera Theater of St. Louis, the New York City Opera, Orlando Opera, Cleveland Opera, Madison Opera,
Calgary Opera and Utah Opera. In the spring of 2021, he joined the BLUEBARN’s Susan Clement and Jill Anderson
in creating Sunset to Starlight: A Celebration of American Musical Theatre.

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 THE ORIGINS OF THE DEMON BARBER
INSIDE THE OPERA

PENNY DREADFULS
The character of Sweeney Todd was not first invented by Steven Sondheim and Hugh Wheeler.
The musical was directly based on the play of the same name, written by Christopher Bond in
1973, but the origins of the story go back over a century earlier. The cut-throat barber on
London’s Fleet Street first appeared in a series of weekly stories called The String of Pearls, which
was published between 1846 and 1847 in England. These stories were part of a genre called
‘penny dreadfuls’ which told sensationalized tales of detectives, criminals, and supernatural
beings, and were sold weekly at a cost of one penny (equivalent to roughly one dollar in today’s
money). Penny dreadful stories like Sweeney Todd were wildly popular in Victorian England and
were one of the earliest forms of mass-produced popular culture aimed at young people in the
country. Sweeney Todd was not the only popular character to emerge from these books –
highwayman Dick Turpin was made famous through penny dreadfuls, and many of our tropes
about vampires, such as sharpened teeth, also originated in these stories.

FROM SHORT STORY TO BROADWAY MUSICAL

The story of Sweeney Todd went through many
iterations between the version in The String of Pearls and
the musical you will see on the Orpheum Theater stage.
Before the initial run of The String of Pearls had even
finished, it had been transformed into a play despite
audiences not yet knowing how the books would end. By
1852 an American version of the play has been written
and by the 1870’s the character was familiar to most Brits
and Americans.

Over the course of the following 150 years, the story has
been adapted and retold countless, times, including in
more than 4 film adaptations, numerous songs, and even
a ballet version. As mentioned above, the musical as you
will see it in Omaha is adapted directly from Christopher
Bond’s 1973 play. The play introduced a more Sweeney Todd murdering one of his victims,
sympathetic side to Sweeney Todd that was not found in from the original The String of Pearls penny
most other versions. He is actually called Benjamin dreadful series

Barker, and was wrongfully imprisoned in Australia before

he escaped and returned to London as Sweeney Todd. The first intends to kill the crooked Judge
Turpin in revenge, but when this fails he takes out his anger on the whole world instead by
turning his barbershop’s clients into pies.

A SMASH HIT ON BROADWAY

Sweeney Todd: The Demon Barber of Fleet Street opened on Broadway in 1979 and the following
year in London’s West End. An immediate smash hit, it received both the Tony Award for Best
New Musical in America and the Olivier Award for Best New Musical in the UK. The gruesome
tale that had started in a series of cheap Victorian short stories had now taken over the world!

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OPERA VS. MUSICAL THEATER

INSIDE THE OPERA

What is the difference between opera and musical theater? Spirited debate around this question
has been happening for over a century. In some ways, the forms are very similar – they both tell
a story on stage through singing and acting after all – but there are also some important
differences that are usually identified between the two.

KEY DIFFERENCES
One of the most identified differences is that in musical theater, the words are typically the
driving force, while in opera, music comes first. Relatedly, operas and musicals generally employ
vastly different styles of vocal performance – opera singers are required to project their voices
over large orchestras with no microphone to help them, while musicals are typically amplified.
However, performers in musicals are often required to perform a show up to 8 times a week,
something that is inconceivable to most opera singers. Most operas are also ‘through-sung’,
meaning every moment is set to music, while musical theater typically intersperses spoken
dialogue with musical numbers. Due to when and where they were composed, the most popular
operas are usually performed in languages other than English, frequently Italian. Regarding
subject matter, operas historically have never shied away from portraying tragedy (for example
Puccini’s Madama Butterfly), while musicals often conclude with a happy ending, regardless of
whatever tragic events have occurred during the rest of the story.

A BLURRY LINE
Of course, these are all just guidelines. Elements of opera bleed into musical theater and vice
versa. Sweeney Todd breaks several of these rules; it is primarily through-sung like most operas,
and some roles require a more traditionally operatic style of singing. Other musicals that straddle
the line include Les Misérables and West Side Story, the latter of which was composed by Leonard
Bernstein, who is mostly known for his works of classical music, with words by Stephen
Sondheim, who also composed Sweeney Todd.

Operas from throughout history have also included elements of what we would consider musical
theater today. The famous composer Wolfgang Amadeus Mozart wrote several operas in a
genre called ‘singspiel’ in which, like musical theater, songs are interspersed with spoken
dialogue, in this case in German. American opera librettists writing today typically write in English
or Spanish rather than Italian; one example is Proving Up, written by composer Missy Mazzoli
and librettist Royce Vavrek, two of the most popular young artists creating opera today. Opera
Omaha staged Proving Up in 2018. The opera tells the tragic story of a young family in Nebraska
in 1868 as they struggle to acquire land to live on after the passing of the U.S. Homestead Act.

The genre of operetta also melded aspects of both opera and musical theater. It initially
developed in France as a descriptor for lighter, less ambitious, yet still opera-like works. In the
1930’s operetta largely gave way to musical theater as we know it today, but the works of some
operetta composers like the famous duo Gilbert & Sullivan are still regularly performed today.

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INSIDE THE OPERA

ABOUT THE COMPOSER: STEPHEN SONDHEIM

Stephen Sondheim, the composer and lyricist of Sweeney Todd,
is one of the most important figures in the history of 20th
century musical theater and is often credited with having re-
invented and rejuvinated the form. He has won numerous
awards including an Academy Award (the highest award in the
American film industry), eight Tony Awards (the highest award
in the theatre industry), eight Grammy Awards (the highest
award in the music industry), a Pulitzer Prize, and the
Presidential Medal of Freedom. Apart from Sweeney Todd, he
also composed music for hit musicals including A Little Night
Music, Sunday in the Park with George, and Into The Woods, the
last of which was adapted into a popular movie in 2014. He
also wrote lyrics for West Side Story and Gypsy.
Stephen Sondheim (1930-2021)
pictured in 1976
BACKGROUND
Like many of the world’s most popular musicians and entertainers, Sondheim began his musical
journey in school in the 1930’s. He became an accomplished organist and pianist at a young age,
and studied with another important composer in musical theater, Oscar Hammerstein II, who
had already written many popular musicals including Oklahoma!, South Pacific, and The Sound of
Music.

Sondheim got his start in the entertainment industry writing scripts for television shows in
Hollywood in the early 1950’s,but made his first significant mark on Broadway by writing the
lyrics to the musical West Side Story in 1957. His first musical for which he wrote both music
and lyrics was 1962’s A Funny Thing Happened on the Way to the Forum, which told the story of
a enslaved man in ancient Rome who tries to gain his freedom by helping his enslaver win the
affections of the girl next door. This musical marked the beginning of a streak of popular musicals
from the 1960’s to 1990’s, of which Sweeney Todd is one. Alongside his incredible career in
musical theater, Sondheim also continued to compose music for non-musical stage productions,
film, and television.

SONDHEIM’S LEGACY
Sondheim is regularly credited as one of the most important figures in 20th century musical
theater. His musicals tackle a broader range of themes and ideas than had been the case in
musicals in the first half of the century, and he has been praised for addressing the “darker, more
harrowing elements of the human experience” with his lyrics. Musically, he pulls from a wide
array of influences, including 19th century classical composers like Brahms, the experimental
music of the 20th composers like Arnold Schoenberg and Igor Stravinsky, as well as sounds of
the Broadway music by composers like his mentor Oscar Hammerstein II. In this way he
diversified the palette of sounds open to musical theater composers who succeeded him.

Without a doubt, Sondheim has written some of the most popular musicals of all time and his
influence can be felt in just about every show playing on Broadway today.

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GUIDING QUESTIONS AND ACTIVITIES

INSIDE THE OPERA

The musical Sweeney Todd and its film adaptation are the most popular versions of this

narrative, but they are not the first.

▪ Where did the story of Sweeney Todd originate? How did it grow in popularity in

Victorian England?

▪ Though which mediums has the story of Sweeney Todd been told in the last 150

years? How has the story changed between the original version in The String of Pearls

and Sondheim’s musical version?

▪ Why do you think this story has remained so popular in American culture in the last

century?

Opera and musical theater are closely related, but also have some important differences.

▪ What are some of the most important differences that are usually identified between

opera and music theater?

▪ How has musical theater adopted aspects of opera? Conversely, which elements that

one usually associates with musical theater can also be seen in some operas?

American composer and lyricist Stephen Sondheim is widely considered as one of the most

influential figures in musical theater in 20th century .

▪ Briefly summarize Sondheim’s musical background. How did he start learning music?

How did he get his big break in the 1950’s?

▪ Why has Sondheim had such a substantial impact on musical theater? How was he

innovative in both the lyrical and musical aspects of his work?

▪ Can you think of any other musicians, composers, playwrights or other artists who

have also had a profound impact on their own art forms? Why do you think these

artists in particular have had such a lasting impact?

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 OPERA 101
OPERA 101

OPERA OMAHA HISTORY

For over 60 years Opera Omaha has brought audiences outstanding production quality, artistry and
educational opportunities. A strong blend of traditional and innovative programming will continue to
ensure the excitement of opera in Omaha.

Opera Omaha began in 1958 as the Omaha Civic Opera Society, an all-volunteer community opera
association. By the early 1970s, the company became fully professional, and its name was changed to
Opera Omaha. In 1975, Opera Omaha moved performances to the historic Orpheum Theater, opening
with Lucia di Lammermoor starring Beverly Sills.

Since the 1990s, the company has continued its commitment to high production standards, and in 1998
returned to the development of new works with Libby Larsen's Eric Hermannson's Soul, based on a story
by Willa Cather. Opera Omaha has also presented educational and engagement programming in schools
and communities throughout the region for the last three decades.

Since 2006, Opera Omaha has commissioned numerous new productions utilizing innovative production
techniques and engaging visual artists such as Jun Kaneko. These productions have garnered interest from
other opera companies and have raised Opera Omaha’s artistic profile nationally and internationally.

In August 2011, Opera Omaha welcomed Roger Weitz as the new General Director of the
organization. Weitz quickly adopted the strategic business plan established by the Board of Directors and
advanced a vision for the company that includes a balanced program of operas annually with an expansion
of the company's civic footprint beyond the doors of the Orpheum Theater.

Since then, programs associated with Opera Omaha’s main stage productions have more than doubled,
and the number of audience members reached through community engagement activities has tripled.
Opera Omaha has also significantly grown the number of partners with which it collaborates. Through its
extensive programming, Opera Omaha serves individuals from eastern Nebraska, western Iowa, Kansas,
Missouri, and the southeastern Dakotas, while also drawing national visitors.

MISSION STATEMENT
Opera Omaha's mission is to enrich the quality of life in our community by creating professional opera
and music theater, which uniquely combine the visual and performing arts to express humanity's deepest
emotions and highest aspirations. This mission is achieved through the presentation of main stage
productions with the highest artistic standards and through customized education and community
programs designed to inspire people of all ages and backgrounds, regardless of prior exposure to the
arts. Embracing the collaborative nature of the art form, Opera Omaha forges opera's rich storytelling
power, historical significance, and cross-cultural relevance into an array of activities. The vision of Opera
Omaha's Community Engagement program is to enrich people's lives through opera; to help individuals
from all walks of life and degrees of artistic exposure find the personal, social or historical resonance
inherent in opera; to stimulate an understanding and interest in the classical arts and opera among new
audiences and students in schools; and to use opera to inspire individuals to overcome personal obstacles
and attain their highest aspirations.

14
WHAT IS A WORKING DRESS REHEARSAL?

OPERA 101
Whether an opera is an original Opera Omaha production, a co-production with one or more
companies, a rental from another company, or a revival or remount of an Opera Omaha
production, each production must be adjusted for the Orpheum Theater stage. While each
department works independently to learn and produce their aspect of the show, it takes
tremendous coordination and expense to run through the show with everyone involved.

The final working dress rehearsal is the last time all the elements of the production are brought
together before the opening night performance, and the final opportunity for the staff and cast
to make adjustments to the on-stage performances, orchestration, sets, costumes, lighting and
other technical aspects of the opera. When you attend a dress rehearsal you will see some of
the artistic, production, and administrative staff stationed behind computers and other
equipment in the seats in front of the orchestra. Occasionally they may stop the performance
to give notes to the singers, coordinate with the orchestra conductor, or address a staging or
technical concern.

Another characteristic of a working dress rehearsal is that singers sometimes “mark” portions of
their vocal parts. This means the singer may not sing out completely through the entire rehearsal.
This could be because he or she wants to preserve his/her voice for opening night. In most
cases, however, if the dress rehearsal is open to the public, the singers treat the occasion as a
performance for the audience present.

On the day of the dress rehearsal, the staff sits in the theater and monitors the performance.
Each department is responsible for specific aspects of the production, but there are basic skills
that are important for everyone:

Time management—planning well and using time efficiently to accomplish one’s goals
A strong work ethic—the desire to work hard and do well in one’s job
Lifelong learning—continued study in one’s chosen field
Creative thinking—the ability to solve problems as they arise

15
 WHO ARE THE PEOPLE WORKING BEHIND THE TABLE?
OPERA 101

Artistic Staff—This could be the producing director and the artistic planning staff. They act in a
supervisory role, in case something goes wrong and a problem needs to be solved.

Stage Director and Assistant Director —The stage director is responsible for the dramatic
interpretation of the opera. He or she will give notes to the assistant director about anything
that needs to be changed and will refer to the notes in communicating with the performers.

Production Stage Manager—The production stage manager communicates all the cues
throughout the production including lighting changes, the movement of set pieces, and when
the performers enter the stage.

Technical Staff—The technical director and his or her staff supervise the physical elements on
stage, such as sets, lights, sound, communications, and video.

Lighting Designer and Assistant Lighting Designer—As with the directors, the lighting designer
oversees the lights and gives notes to the assistant lighting designer, who is also communicating
with the follow spot operators. There are usually two or three lighting interns observing the
process.

Costume Staff—The costume director and wardrobe assistants are present to make any last-
minute costume adjustments.

Music Staff—Because the conductor is working and cannot tell how the orchestra sounds from
outside the orchestra pit, one or more music assistants are seated in the theater to monitor the
sound and balance from within the house.

Effects and Animation—If the production has special visual effects, there will be staff to oversee
those elements as well.

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BEHIND THE SCENES – JOBS AT THE OPERA HOUSE

OPERA 101
Opera is one of the most popular forms of art in the world and is growing in popularity in the
United States—particularly among young people. The combination of spectacle, music, and
drama continues to thrill audiences even now. Opera is truly an international art form. While
each company has its own orchestra and chorus, or group of singers, opera companies all over
the world share opera productions (the sets and costumes of opera), and singers travel all over
to sing the roles that made them famous. But there is more to opera than famous singers,
orchestra, and spectacle. Many people work hard behind the scenes to make each opera
performance happen. Opera companies employ administrators and production personnel who
are responsible for the productions you see. You might wish to explore careers in the arts. Here
are some professions at an opera company that might interest you.

Conductor—Opera companies may have their own resident conductor or may invite guest
conductors to conduct specific operas. Conductors are accomplished and highly trained
musicians, who often play several instruments and must be able to read music with the fluency
of their native language. Not every conductor wants to conduct opera; conducting for the voice
is a highly specialized skill. Conductors also specialize in different kinds of music; some
conductors are known for early music, others specialize in composers, like Mozart or Rossini,
while some are skilled in conducting contemporary or new music. The conductor may have an
assistant who accompanies in rehearsals. A chorus master works with the chorus, conducting
them in rehearsals and supervises them while they learn the music.

Stage Director—The director is responsible for the overall concept of the production, for the
performers’ interpretations of their roles, and for moving the action on the stage. Directors are
usually hired for a specific production, and like conductors, they specialize in different styles.
Opera directors often work internationally. The director often works with an assistant who,
among other duties, takes staging notes during rehearsals.

Set Designer—The set designer works closely with the director to create the look of the opera.
The director determines where and when the opera will take place (many directors choose to
update operas in a more recent time), and the designer will sketch the locations. He or she might
do this after extensive research. A set designer must know a great deal about construction and
materials, for the set must be created to be lightweight, sturdy, and practical. He/she must also
know about light, for the colors for the set must work with the lights illuminating the stage.

Costume Designer—The costume designer works closely with both the director and set designer
to create the costumes for every character in the opera. The costume designer will draw his
ideas for each character. Costume constructors build (or sew) the costumes. Some characters
change their costumes many times—a young girl in Act One may be portrayed as an old woman
in Act Three—and the designer must develop specific details, down to the kind of fabric to be
used, for each costume.

Lighting Designer—The lighting designer must be knowledgeable about electricity, color, and
theater techniques to create a design that will work for the opera. A lighting designer must be a
good draftsman, for he or she will draw the “light plot,” a rendering of every light to be used and

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 its placement in the theater. The lighting designer creates mood, atmosphere, and locale through
OPERA 101

the clever use of light and color.

Technical Director—The technical director oversees all the technical aspects of the company’s
production. She or he works with the designers and with the stage crew to make sure the sets,
props, and lights are effective and work together.

Costume Director—The costume director supervises all aspects of costumes working with the
costume designer to make sure all requests are met. They also supervise construction of
costumes or arrange to buy or rent costumes the company doesn’t make, make sure all the
costumes fit the singers, and supervises the wardrobe staff who ensure the costumes are kept
clean and in good condition.

Production Manager—The production manager supervises all other aspects of the production,
including the stage management staff (see below), wig, make-up, rehearsal schedules, and more.

Stage Manager—Stage managers are responsible for “calling” the show; during the rehearsals
and performances, she tells the person who controls the lights when to change them; she tells
the person who opens and closes the curtains when to do their job; she tells the performers
when to enter and exit stage. She is the boss of the production during performances.

Wig and Make-Up Master—Just like in the movies, opera singers wear make-up on stage.
Sometimes the make-up is elaborate (a young singer must be made-up to look old, for example)
and sometimes it is simple. In order for the singers’ faces to be seen under bright lights and in a
large auditorium, all must wear make-up. Wigs are often used, even when the singers’ own hair
will look fine, because it is easier for the wig master to set the wig than it is to set the singer’s
own hair.

Administrative Staff—Opera companies are usually headed by General Director as well as a

Managing Director who oversees marketing and fundraising. Other members of the staff include
the Producing Director and Artistic Director who cast singers in their roles and negotiate with
their agents, the Marketing Director who is in charge of advertising, public relations, and selling
tickets, the Development Director who is in charge of raising money (operas are very expensive
to produce—ticket sales cover less than half of the what it actually costs!), the Finance Director
who oversees budgets and money, and the Engagement Programs Director who is in charge of
programs for schools and the community.

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THE LANGUAGE OF OPERA

OPERA 101
Acoustics The science of sound; the qualities of sound in an enclosed space.

Ac t Main sections of a play or opera.

Aria A song for solo voice in an opera used to express feelings or comment on the story.

Baritone The middle male voice; often cast as kings, priests, and villains. This voice type is higher
than a bass but lower than a tenor.

Bass The lowest male voice; often cast as comic roles and older men.

Bel Canto A genre and style of opera most popular in the early 19th century that has long flowing
melodies and lots of vocal embellishment.

Bravo Italian meaning “well done”; opera tradition calls for the audience to shout “bravo!” at
the end of an excellent performance.

Choreography A dance or the making of a dance; some operas include dance sequences.

Chorus A group of singers usually divided into sections of sopranos, altos, tenors, and basses;
the opera chorus often represents the general community, who comments on the story
and sometimes voices the thoughts, fears and suspicions of the audience.

Composer The person who writes the music of an opera or other musical compositions.

Conductor As the musical director of the opera, the conductor leads both the orchestra and the
singers.

Contralto The lowest female singing voice.

Cover A replacement for a singer in case of illness; an understudy.

Crescendo Meaning “growing,” used as a musical direction to indicate that the music is to get
gradually louder.

Director The person responsible for the dramatic interpretation of opera.

Duet A song for two voices.

Dynamics The degree of loudness and softness in music.

Grand Opera Popular from the 19th century through the present, grand opera combines chorus and
ballet with other elements of spectacle.

Ensemble A French word that means “together”; a group performing together.

Finale The ending segment of an act or scene, often very lively.

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OPERA 101 Forte (f) Italian for “strong” or “loud.” An indication to perform at a loud volume, but not as
loudly as fortissimo.

Fortissimo (ff) Very loudly. The trombones love this.

Leitmotif A recurring musical theme, often a short melody (but also can be a chord progression
or rhythm), associated with a particular character, place or idea.

Libretto The text of an opera; literally, “a little book.”

Librettist The person who writes the libretto.

Intermission A break between the acts of an opera. The lights go on and the audience is free to
move around.

Melody A succession of musical tones (i.e., notes not sounded at the same time), often
prominent and singable.

Mezzo-soprano Middle range female voice.

Musical A staged story told by interweaving songs and music with spoken dialogue.

Opera A play which is sung.

Opera Buffa A comedic style of Italian Opera that dominated the early 18th century.

Opera Seria The noble and “serious” style of Italian opera that rivaled the less-serious Opera Buffa.

Operetta A light opera, whether full-length or not, often using spoken dialogue. The plots are
romantic and improbable, even farcical, and the music tuneful and undemanding.

Orchestra The group of musicians and trombonists who, led by the conductor, accompany the
singers.

Orchestra Pit The sunken area in front of the stage where the orchestra plays.

Overture An introduction to the opera played by the orchestra.

Play A staged story told through spoken dialogue.

Pianissimo (pp) Very softly. The trombones usually ignore this instruction.

Piano (p) Meaning “flat,” or “low”. Softly, or quietly, but not quite as much as pianissimo.

Pitch The highness/lowness of a sound or tone.

Prima donna The leading woman singer in an operatic cast or company.

Plot The story or main idea.

Production The set and costumes.

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Proscenium The architectural “frame” of the stage space. The areas hidden from the audience’s

OPERA 101
view, behind the proscenium are called the “wings”.

Recitative A sung speech that moves the action along by providing information.

Score The written music of the opera or other musical compositions.

Set The structures, furniture and decoration on stage.

Solo Music sung by one performer.

Soprano Highest female voice.

Tempo The speed of the music.

Tenor Highest male voice; young men and heroes are often tenors.

Timbre Quality of a tone, also an alternative term for “tone-color.”

Tone-color The characteristic quality of tone of an instrument or voice.

Trio Three people singing together; a song for three people.

Verismo A type of “realism” in Italian opera during the late 19th and early 20th centuries, in
which the plot was on a contemporary, often violent, theme.

Volume A description of how loud or soft a sound is. The trombones do not understand this.

Zarzuela Popular Spanish opera style that mixes dialogue with music, similar to American musical
theater.

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 A GUIDE TO VOICE PARTS & ORCHESTRA FAMILIES
OPERA 101

VOICE PARTS
SOPRANO
Sopranos have the highest voices, and usually play the heroines of an opera. This means they
often sing many arias and fall in love and/or die more often than other female voice types.

MEZZO-SOPRANO, or MEZZO
This is the middle female voice, and has a darker, warmer sound than the soprano. Mezzos
often play mothers and villainesses, although sometimes they are cast as seductive heroines.
Mezzos also play young men on occasion, aptly called “pants roles” or “trouser roles.”

CONTRALTO, or ALTO
Contralto, or alto, is the lowest female voice. Contralto is a rare voice type. Altos usually
portray older females, or witches.

COUNTERTENOR
This is the highest male voice, and another vocal rarity. Countertenors sing in a similar range as
a contralto. Countertenor roles are most common in baroque opera, but some contemporary
composers also write parts for countertenors.

TENOR
If there are no countertenors on stage, then the highest male voice in opera is the tenor.
Tenors are usually the heroes who “get the girl” or die horribly in the attempt.

BARITONE
The middle male voice. In comic opera, the baritone is often a schemer, but in tragic opera, he
is more likely to play the villain.

BASS
The lowest male voice. Low voices usually suggest age and wisdom in serious opera, and
basses usually play kings, fathers, and grandfathers. In comic opera, basses often portray old
characters that are foolish or laughable.

FAMILIES OF THE ORCHESTRA

STRINGS violins, violas, cellos, double basses
WOODWIND piccolos, flutes, oboes, clarinets, bassoons
BRASS trumpets, trombones, French horns, tubas
PERCUSSION bass drum, kettle drums, timpani, xylophones, piano, bells, gongs, cymbals, chimes

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RESOURCES & FURTHER READING

OPERA 101
Opera Curious: Opera vs. Musical Theater, from Trills & Trouble:
https://trillsandtrouble.com/2018/08/03/opera-curious-opera-vs-musical-theater/

Take Me to the World: A Sondheim 90th Birthday Celebration , from Broadway.com:

https://youtu.be/A92wZIvEUAw

REFERENCES & WORKS CONSULTED

Wikipedia. Sweeney Todd. https://en.wikipedia.org/wiki/Sweeney_Todd

Lyric Opera of Chicago. What is the difference between an opera and a musical?
https://www.lyricopera.org/about-lyric-opera/ask-roger/opera-vs-musical/

Shaw Roberts, Maddy. What’s the difference between an opera and a musical?
https://www.classicfm.com/discover-music/periods-genres/opera/difference-between-opera-
and-musical/

Encyclopedia Britannica. Stephen Sondheim. https://www.britannica.com/biography/Stephen-

Sondheim

For more information, please contact Opera Omaha’s Director of Engagement Programs
Lauren Medici at 402-346-7372 or at [email protected]

2022

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