Schools Programme – Primary & Second Level

Opera and Classical Music for Children and Students

‘DISCOVER OPERA’ and ‘DISCOVER SINGING’ 

‘Discover Opera’ and ‘Discover Singing’ are brand new schools programmes in partnership with Music Generation Waterford for children from local primary schools across Waterford. The projects allow children and their teachers to dive into the curious and creative world of opera. With the support of the Tomar Trust, ‘Discover Opera’ and ‘Discover Singing’ include a series of online and classroom workshops, culminated in exciting new opera trails and projects, for participating schools at Lismore Castle Gardens during our annual festival. Participating schools in 2021 included Scoil Mhuire Tallow, Modeligo National School, Fews National School, St. James’s National School in Stradbally and Portlaw National School. Demand is high, so applications are encouraged as early as possible. 

 

CLASSROOM OUTREACH

Our festival is committed to fostering a love of music and opera in the next generation through our education and outreach initiatives. We run a thriving schools programme based on our commitment to fostering a real passion for music in young people today. BVOF collaborates with Music Generation Waterford and Mobile Music Machine to run classroom workshops with access to performance music education for local primary school children.
Music Generation Waterford (MG Waterford) is part of Music Generation, Ireland’s National Performance Music Education (PME) programme. The programme is co-funded by Waterford and Wexford Education and Training Board and Waterford City and County Council. Nationally, initiated by Music Network, it is co-funded by U2, the Ireland Funds and the Department of Education and Skills. 

 

PERFORMANCES FOR SCHOOLS

Completely free to students and teachers from participating schools, the BVOF Schools’ Night performances for schools programme enables second level students to attend opera dress rehearsal performances. Teachers and care assistants from participating schools within the Blackwater Valley region are also invited to attend with students for a magical night of opera. In 2012, we were honoured with the presence of President Michael D. Higgins at our very first Schools’ Night at a memorable evening that marked the inauguration of the BVOF schools programme.  

Each year we are also pleased to reserve limited places for schoolchildren to attend the Dromore Yard recital double-bill, treating the participating primary school children to performances by some of Europe’s finest emerging classical musicians on the banks of the Blackwater River. All elements of this musical feast are met with the children’s firm approval, not least the pizza and ice cream! What’s not to love!

To find out how to register your school and for more information on how to get your child’s school involved in our amazing schools programme – please get in touch with your details here.

Five Tips Before Going to Your First Opera – BVOF Schools Programme

1. What is opera?

Opera has been around for hundreds of years but that doesn’t make it old news. Opera is an exciting display of incredible singing, costuming, scenery, and plots filled with life, death, love, tragedy, and so much more. “Opera” is plural for the word “opus” which means work, and opera is the blending of multiple works: music, text, costumes, dance, staging, scenery, emotion. Regardless of what your interest is, you can always find something that you can relate to. While this art form is full of tradition, it is easily accessible and meant to be enjoyed by all, regardless of operatic knowledge.

 

2. Opera singers are athletes

When you’re watching these singers on stage, remember that they are performing a multiple hour production from memory. They have not just memorized the text but also the entire score (music), they are singing in a different language (with correct pronunciation), acting, while covered in makeup, wearing heavy and elaborate costumes, performing under hot lights, and singing over an entire orchestra without any form of amplification.

 

3. Forget what you think you know about opera and try it!

There are a lot of stereotypes about opera performances and opera audiences that do not match the experience at the Blackwater Valley Opera Festival. Yes, there is an orchestra and the story is primarily told through singing, but there is a full plot to follow, dynamic scenery and costumes – all of the performing arts at once! And while you may see an elegantly dressed couple enjoying an evening out at the opera, you’re also likely to see young hipsters, multi-generational families, and many other types of people at performances.

 

4. Come prepared

A little background before attending helps you enjoy the performance better. Don’t worry about spoiling the ending! Arrive a few minutes early, read the synopsis in the program to become familiar with the plot, and enjoy the whole opera experience. It’s also a good idea to listen to a few of the “greatest hits” from the opera (easily found on YouTube) so that you recognize some of the melodies and it feels familiar while you’re sitting in the audience. You might even surprise yourself with how much you already recognize!

 

5. Opera is about the whole experience

The whole evening should be enjoyable. Take advantage of the intermission that allow you to stretch your legs, read the program notes, use the restroom, check out the orchestra, and reflect on what you’ve just experienced in the opera. It’s about enjoying the whole experience; being in the gardens and at the stables of Lismore Castle, people watching, being absorbed in the drama and music, wrapping yourself up in the excitement of the entire event.

The Essential Four Elements of Opera – BVOF Schools Programme

Opera, at its core, is a way to tell a story through music and singing. Since its invention in the late 16th century in Italy, it has continuously evolved, becoming the universal art form known today. Drama, poetry, visual arts and sometimes dance interact with music to create a unique alchemy that changes show after show, production after production. An opera is composed of four essential elements: the text (‘libretto’) and the music, the singing and the staging.

1. The libretto    

The libretto is the ‘script’ of an opera. It can be an original creation, sometimes written by famous poets or novelists (as Hugo von Hofmannsthal and Stefan Zweig for Richard Strauss’s works), but often is an adaptation of plays (Shakespeare was a great source of inspiration for librettists), tales or novels. The subjects developed in libretti are various: forbidden love, infidelity, revenge, craving for power, war, ancient myths or historic events…

All human passions are represented in opera. Love, Tragedy and Death are often at the heart of the plot. The characters, sometimes torn between their feelings and their duty, are confronted with extraordinary situations and are carried away by their heightened feelings. Love at first sight, sacrifice, enchantment, courage, suicide or murder: all extremes can happen. Some characters are punished for their crimes, other find redemption or are stricken with remorse… and sometimes there is a happy ending!

2. The music

Music is a necessary and inextricable component of opera, but it is surprising nowadays to think that it has not always played the lead role. For the first composers, who were inspired by Greek tragedy, it was ‘Prima le parole, dopo la musica’ (‘The words first, the music after’). Throughout history the libretto and music have alternately claimed primacy, although in reality they complete and exalt each other, intensifying the passions of emotions of the actions and the characters.

Composers exploit the extraordinary suggestive power of music in order to create particular atmospheres that lyrics or staging cannot create. Some authors use recurrent musical motifs to represent a character, an emotion or a concept. In Tristan and Isolde, Wagner extensively uses motifs to indicate for example Tristan’s sorrow, the arrival of dawn, the sea or the Love Potion which damns the lovers to love each other in perpetuity. The opening chords of the opera introducing the lovers’ impending fate resonate several times throughout the opera until they find a resolution in its very final moments.

3. The singing

Unlike other kinds of music, operatic singing is very structured and has different types of voices associated with different types of roles.

There are different voices classified in six principal categories, from the highest pitched to the lowest: soprano, mezzo-soprano, contralto for women; and tenor, baritone and bass for men. Moreover, voices are characterized according to their power and agility: they can be light, lyric or dramatic. A light voice is not very powerful but can easily reach the high notes and vocalises, unlike a dramatic voice which is powerful but less agile.

Each voice type is traditionally associated with particular roles, be them heroes or villain. In Bizet’s Carmen, Carmen is a wild seductress who has experience of the world: so she is played by a mezzo-soprano with a dark and warm voice. Gilda in Verdi’s Rigoletto is a lyric soprano: her clear and high-pitched voice symbolizes her purity, innocence and naivety.

4. The staging 

Before the 20th century, the theatrical dimension of an opera performance was left on the side. The staging became important when the programming of opera houses became more focused on the existing repertoire than on new creation.

This does not mean that going to the opera was in any way less entertaining in the past. Opera stages have always been an extraordinary place, with spectacular visual effects and big machinery. The possibilities of staging have benefited from technical progress, and now special effects, digital technology and image projections are used in many productions.

A staging is not a simple illustration of a work: it carries a new concept or meaning. The director proposes a new reading of an opera. This view may be close to the libretto and the author’s conceptions or a more personal interpretation of the work. Some directors transpose the action to another era, in another situation or in a timeless and immaterial context.

These transpositions bring out certain dimensions of the works and enrich their significance by disclosing some of their unknown aspects. For example, in a modern production, the themes developed in a baroque opera can be treated as very actual. These perspectives adopted by directors change the way that audience sees and understands the works. Opera recreates and reinvents itself constantly. Before the rise of the curtain, nobody knows what will happen on stage.  That is what makes opera so exciting.