creating the libretto - utahfestival.org · write the libretto for the first sentence together as a...

Creating the LIBRETTO –

A group adaptation project! Introduction: Your class has created an original story from scratch or has found a copyright-free story (fairy tale, folk tale, legend, myth, urban legend, etc.) and has rewritten it into a new story version. Now the class is ready to make it into an opera libretto! This will take some time (about 2-3 hours divided into short sessions.) With the story already finished your task as a teacher is simply to continue as facilitator and ask your students what different characters “say” based on the Needs, Emotions, Wants, and Underlying Beliefs (NEWUB) of the characters. As the class makes consistent choices based on their previous decisions it enables the libretto creation process to go smoothly. Objectives: Students will be able to adapt their story into a libretto that will later be put to music. They will know and understand the following terminology: recitative, libretto, scene, action, aria, duet, trio, quartet, and chorus. They will be able to use these words in appropriate context in discussion and in creation of their libretto. They will also understand the words, “minimal” and “simple” as they apply to the libretto for their opera. They will understand and demonstrate through their creative efforts how opera librettos are formatted with recitative (dialogue), songs and parenthetical action descriptions. They will learn the process of editing. The final libretto will be approximately 3 total pages. Libretto Recipe: Students must UNDERSTAND that their story is going to change by creating the actual words, and action that the characters will sing and act out on stage. Everything is written in present tense. It is not narrative in style. There are three types of words that you will need to create for the libretto: Action:(What the characters DO which the audience watches, and a brief description of the setting--always written in parenthesis! “What is the core word in ACT ion?”) Songs:(Memorable tunes, easily repeated, bringing familiarity to the audience. They stop the action and reveal emotion or important information, express ideas in the fewest words possible in poetic form with meter. Songs can be Arias (solos), Duets, Quartets, and Choruses. They don’t need to rhyme but may. “What commercial ‘jingles’ do you know?”) Recitative (Recit): Conversations the characters sing. Recit moves the story forward and is a through line for the plot. (“Sing a conversation with me!”)

Creating the Libretto

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PROCESS: Opera is dramatic, so you will need action. In opera, we DO things rather than tell about them. We SHOW action rather than sing about it. REMEMBER THESE TWO IMPORTANT THINGS as we go through the process: 1. Know the Story

First, ensure your students are very familiar with the story. You should have a good beginning, middle and end with interesting and fun characters.

2. Know the Characters The class should know who the characters are, where they are, and what they are doing. Have your students try some simple dramatic actions as the

different characters. At this point focus on character groups and main characters. (Later, each student will need to be specific about his own character within that

group.) The more a class exaggerates the characters and their differences, the easier writing your libretto for the opera will be. Go crazy and have fun as you create NEWUB’s for the main characters! You can use other mediums, such as artwork, for exploring characters. Have each student draw or paint a specific character. Making consistent choices helps to tell the story and many times is what adds humor. Knowing and defining character continues through the staging process as each student will add more detail and create NEWUB’s for their character. Character Description Example: Wolf = He is goofy, stupid, but mean. He

always says, “Ooooow! My, my, my!” Pig #1 = He wants to play on the computer, loves doing a little dance all the time. He is lazy. Pig #2 = He wants to impress the sows. He is always worried about his hair and if his ears are “lean and mean.” Pig #3 = He is an artist. He takes his time and does things right. He

loves to suddenly break out and sing about how everything in nature is beautiful.

Townsperson #1= A cobbler (shoemaker) who is scared of everything. Writing the Libretto: Start at the beginning and go through each scene (a scene is simply a complete unit of thought. Scenes often change when someone enters the story, or if the story's place or setting changes). These scenes will match up with your 5 sentence structure if you have written the story with this format.

Creating the Libretto 39

Write the libretto for the first sentence together as a class


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Model the libretto format and help the students understand the difference between song, recitative, and how action is included. Write on the white or black board the

setting and action (a brief description of the scenery and “the routine of the characters”) in parenthesis as stated in the first sentence.

If they are able, have the students write down the libretto in their opera journals while you are writing on the black or white board. They will be slower, but you can tell

them just to do their best, and that you will take all of their notes, put them together and make the final copy of the libretto. They can also draw pictures of what is being created. Have someone who writes quickly record the libretto, too (a student aid or parent volunteer would be helpful in the younger grades)!

: Will be able to keep complete records of the libretto.

Do Start With a Song: Begin by writing an opening SONG! The beginning introduces and describes who, what when and where. Ask “What will the characters sing to begin the opera?” “What are they doing?” “How do they feel?” Write a list with the student’s answers (listed below in bold): Example: They clean the town because they love it. (What do they love about it?) We welcome visitors! (What would you say to visitors?) We have ducks and cows. (How will this fit the rhythm?) There are boys and girls. (Do you want this to rhyme?) Now have the class find ways of putting the comments listed into action words by asking the questions in the parenthesis above, and then ask if there are any words you can repeat for importance or to help the rhythm? Clap the rhythm as you chant the words together as a class. Example results below: Opening Song Example: Chorus: Welcome to our town. Welcome to our town. It's peaceful here so please sit down. It's peaceful here so please sit down. We have our cows. We have our ducks. We have bad times and then good luck. We have our girls. We have our boys. Solo: Hey what is that? What is that noise? Chorus: It's Mamma pig and she is sad. Well what is wrong? Solo: I want my dad!

The example below demonstrates an introduction to set the stage for the story. See how by using SONG, YOU CAN REVEAL FEELINGS AND SITUATIONS. In this case, they are the community’s feelings.

Refer to your previous discussion during the story writing process about the perfect places for songs. Review: To create the songs, look

for places within each scene where characters (or character) express STRONG EMOTION or has the POTENTIAL to express how they feel. This is especially important for chorus characters (those characters that are not the main characters). Emotional revelation is a good place to put arias and songs (as opposed to recitative). Songs are great for revealing character’s NEWUBs. Here is an example for a chorus:

: NEWUBs can be created in great depth with this age group. Younger OBC students will have very simple NEWUBs.

Chorus Example: Chorus: This house is gone. It's just a mound. Will ours be next? It's been blown down. This house is gone. That wolf is bad! Protect the town! Solo: I want my dad! Other good times for songs are at the climax, major events, as well as for things like: lullabies, working, or other times when folks naturally sing, and at the end (What happened

and/or a moral). Refer to the story recipe in “Writing the Story” which illustrates places in the 5 sentence structure for songs at “UNTIL”, “BUT”, and “AND” found in the outline.


: Have a harder time with solos than the younger students. Try to avoid them as they create the libretto.

Ask Specific Questions Once the “song” is written—ask, “What do the characters say to each other as they

do their normal activity?” “What do the characters say to each other as they discover the problem?” Then, create a problem song. Focus on “SONGS”! Connect

each song with brief recitative (the short conversational sentences that move the story forward). It is not necessary for recitative to rhyme. In fact, avoid rhyming except in songs. Your class should create approximately two songs and about 4-5 lines of recit for each sentence; a good ratio. It is a good idea to repeat the lines back to the students as they create them in a dramatic manner (to model good acting) or by singing (which reminds them that the opera will be sung). You are also repeating as a way to confirm that you have recorded it accurately. Try to have the class reveal a bit of each character whenever they speak (sing).

Recitative Example: Mama: Oh dear, oh dear. I can't believe you're leaving. I will miss you!

Simple dialogue


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Pig #1: Yeah, well. That's life, Ma. I can't wait to get computer games for my new house!

Pig #2: How's my hair, Ma? Are my ears lean and mean? Pig #3: It's okay, Ma. We'll come and visit you often. Won’t we guys?

No rhyme

Handling Action in the Libretto:

Since you are showing and doing rather than telling take descriptive action and put it into parentheses to make it a stage direction. You may choose, occasionally, to have the characters comment on what they are doing and how they feel about it. If you have trouble with this, as an exercise, try turning your story into pure pantomime (acting without words). Then your class can see just how much can be SHOWN instead of talked (sung) about. If the story cannot be communicated in

pantomime, it may be too reliant on the words. In the example below, note how the audience really doesn't need Pig #1 to say anything at all. They could simply watch him as he builds his house and play his computer game in pantomime. But note how the lines add depth and a sense of fun to the character. The information in parentheses is not sung, but is necessary for the performers to realize what they will be doing. Action Example: From the ORIGINAL (five sentence) story: “The first little pig built his house. He set up his computer and started playing his favorite game, Barn Raider.” CHANGED to Libretto: (The first little pig builds his house by throwing a few pieces of straw. The Chorus then “builds” the house by revealing the scenery) Pig #1: Wow. This is hard work. (Grunts) I'm glad I'm building my house out of straw. I'll have more time to play my computer! (He sets up his computer) Great! It's plugged in! I love playing Barn Raider, my favorite game! (He takes the game control and starts to play the game)

Avoid Narration: Notice how we do not have any narration in our script so far.

Narration is good to AVOID whenever possible. Instead, we are focusing on doing and showing. Narration focuses on telling. If you must use narration, try to use

it in the context of action. The following example shows how the same information is being given, but in the context of characters expressing their

fears, so we are SHOWING the characters’ feelings. We also reveal information, but it is disguised as revealing their emotions.

While narration might sound like this:

Narrative Example: Chorus: The Wolf came into town. He was mean and hungry!

Now look at the same action using the Chorus as real characters, who are singing in the “first person, present tense”. It is much more exciting, but still makes your point in a fun, dramatic way:

Action might sound like this:


SONGS and Simple recitative!

Action Example: Chorus: Look out! The Wolf! He's coming! He's mean and hungry. He'll eat us up if we don't hide.

REMIND THE STUDENTS TO STICK TO THE SIMPLE STORY (THEIR ORIGINAL 5 SENTENCES) THROUGHOUT THIS PROCESS. THIS IS NOT A TIME TO ADD LOTS OF DETAILS THAT WERE NOT IN YOUR ORIGINAL STORY. (During staging, many fun details can be added!) Finishing the Libretto:

After doing the first scene together as a class, you may continue to work together or you may choose to divide the class into groups and have each group work on a different scene (sentence). Divide your class into three (or four) groups. Groups should be limited to 6-8 students. Each group should

have a scribe. Young classes may be divided according to available adult scribes. Each group should be in charge of writing libretto for one sentence (assign sentence #’s 2, 3, and 4). #5 is a good sentence to bring back into a whole class effort, but can be assigned to a group if necessary. Bring the groups back together to share, in sequence, the libretto portions they created. It can be read by a spokes person or acted out as a group. Overlaps or gaps in the action are sure to occur. Synthesizing or multi voting are two ways of dealing with the overlap and oversight. The libretto can be created as a whole class, but working in very short time periods over a number of days works best with this approach.

Finding Important Lines:


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As your class crafts lines for your opera, look for lines that are very important - those lines that are vital for the audience to understand so they can comprehend the story. You may want to have the chorus REPEAT THESE LINES. This makes it very clear to the audience what is going on, and it also involves the chorus more.

Repetition Example: Wolf: Oooow! My, my, my. I'm hungry. I want a pig! Chorus: He's hungry. He's hungry. He wants a pig! Edit the libretto: Make additions, deletions, or changes the group feels necessary. Remember that you can also dramatize scenes to get a better feel for how they will perform on stage. Read your script through to make sure it sounds good, flows, tells the story, and that the class likes it. Length: If your libretto is more than 3-4 pages, it may be too long; see where you can edit by making cuts of unnecessary recitative Or consider: “Can the same thing be said in a four line song?”. You can count on about 3-4 minutes of performing time per page, depending on how much action is performed without recitative. Most operas will be about 10 to 15 minutes in length. KISS (Keep it Simple Sweetie): Review and ensure the lines are short. Do not write in paragraphs. When the music specialist helps your class develop melodies with rhythm, some of your words for recitative and songs will likely change, but if your lines are short, this will be much easier and the lines will change much less. Formatting: You will ultimately need a neatly printed copy of the libretto for the music specialist. See the example libretto for formatting. Adjust your script as necessary, and you are ready for the Music Specialist! Perhaps you have a way to approach this process that is unique and valuable to your class. Great! Keep in mind, that the general process shown in the steps above will always be similar regardless of the method. And above all, keep this the student’s work, not yours; that is very important! On the following pages is a formatting guide that demonstrates the role of song, action, and recitative. Refer to it as you create your libretto. Note it shows optional places for songs and to show how recit needs to be minimal and is not to be used in any way except for reference.


Libretto Template Use for review during sessions number four, five, and six (For Sentence #1) TITLE OF THE OPERA Class LIBRETTIST information: Teacher Name and Grade of the class /Year/School →(Describe the setting and the routine action the characters are involved with as the curtain opens) (Character group name here)___: →→ “OPENING SONG” for the opera To introduce the “routine” Written in poetry form Keep it simple, keep it short Brings the story to a great start! (Other Character/s)___: Begin a short conversation demonstrating the normal routine. (Other character/s)___: Short simple sentences in reply. (Characters)___: But only a few lines to move the plot forward to the “UNTIL” discovery of the situation or character that causes the problem. ALL: Characters involved with the problem sing about it! ALL: →→ Create a “PROBLEM/CONFLICT” SONG Written in poetry form Keep it simple, keep it short Shows we were fine “UNTIL” Puts the Problem into focus! (Sentence #2) (Character/s)___: Have a short conversation reacting to the problem. (Other character/s)___: Short simple sentences creating an idea to FIX the problem. (Character/s)___: But only a few sentences to move the plot forward to a “First Attempt” to fix the problem. ALL: Characters involved with the FIRST ATTEMPT sing about it! ALL: →→ Create a “FIRST ATTEMPT” SONG Written in poetry form Keep it simple, keep it short Brings the Attempted fix for the problem into focus!


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(Character/s)___: “But” it does not work so those involved react with a few lines of recit about the failed attempt. →→ or a “REACTION SONG” Written in poetry form Keep it simple, keep it short A little SONG About “But” it did not work. (Sentence #3) (Character/s)___: Have a short conversation about the problem. (Other character/s)___: Short simple sentences creating an idea to FIX the problem. (Character/s)___: But it only takes a few sentences to move the plot forward to a “Second Attempt” to fix the problem. ALL: Characters involved with the SECOND ATTEMPT sing about it! ALL:→Create a “SECOND ATTEMPT” SONG Written in poetry form Keep it simple, keep it short Brings the Attempt to fix the problem into focus! (Character/s)___: “But it does not work” and those involved respond in a few sentences of recit →→ And/or a “REACTION SONG” Written in poetry form Keep it simple, keep it short “BUT” shows just how the characters feel! (Sentence #4) (Characters)___: Have a short conversation reacting to the problem. (Other character/s)___: Short simple sentences creating an idea to FIX the problem. (Character/s)___: But only a few sentences move the plot forward to a “Third Attempt” to fix the problem. ALL: Characters involved with the THIRD ATTEMPT sing about it! ALL: →→ Create a “THIRD ATTEMPT” SONG Written in poetry form Keep it simple, keep it short “AND” Brings the Attempt to fix the problem to a RESOLUTION!

(Sentence #5) (Character/s)___: All involved with climax sing in reaction to the SUCCESSFUL attempt respond in a few sentences of recit →→ And if appropriate another “REACTION SONG” or “New ROUTINE “song ALL CHARACTERS LEARN FROM the Events of the opera and can sing a few lines of reaction recitative and DEFINITELY a: “FINALE/MORAL SONG” ---The Grand Finale!!!! The Second Draft

Now your class has completed the first draft of the libretto, congratulations! You have covered your bones with the “muscle and skin”! This will naturally expand with repeats and other elements as music is created—“getting fully dressed”. Three pages of libretto are perfect (UFO-YP—a bit longer). You may want to consider this as you have an editing session when everyone is refreshed and ready to take another look at their work. Don’t let too much time pass; a day or two later they will be ready to

continue creating a masterpiece! There is the possibility of 9-10 places for songs. You may have as few as five and as many as ten. Whatever the number, it is important to have more songs than recitative! It is good at this point not only to read through the libretto, but also to act it out. This helps to clarify anything that may be missing or is redundant. Opera is a LIVE art. In the end it will be performed. Unless you act it out now —you may not catch problems until it is too late to doing something about them. However, you can add a spoken line if you need it after the music has been created and your class is into the staging process when they identify a need for it. Once your class is completely satisfied with the content and flow of the libretto they are ready to create the melodies! Remember, that during the music process the libretto will change as the musical elements are added. You need to keep an accurate record of those changes for your music specialist.

Sample FIRST DRAFT Libretto {*With UFO staff edit and expansion suggestions in brackets}:



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Karate Cow Caper Miss Turpin’s Fourth Grade Class ‘04-‘05 Adam’s Elementary Characters: Pioneer 1 Chief Whitehorse Pioneer 2 American Indians Pioneer Prankster Boy 2 Warriors Pioneers Karate Cows:- Sour, Strawberry, and Chocolate (At rise: pioneers are busy doing their daily chores around town and in a stable milking the cows) Pioneer 1: In the stables of Sanpete County… Pioneer 2: There was a gang called the Karate Cows. We Are the Karate Cows Karate Cows: (Do Karate Moves) Verse 1- We are the Karate Cows My name is Chocolate. Mine is Strawberry, and I’m Sour. And we live in Sanpete County. Chorus- We hate being milked by the pioneers. They don’t even know it hurts our ears. Because we cry from all the fear Of them being so near. (A pioneer boy plays a prank on the cows in pantomime) Verse 2- There was a young boy that pulled a prank on us While we were being milked. He tied cans to our tails. When we walked away we got the shock of our lives. Repeat the chorus- Verse 3- We went out yonder to the hills. With our hooves we drew some pictures, Now folks call them Painted Rock. Oh, what can we do about the pioneers? Repeat the chorus- Choc: I’m tired of being milked all the time. Straw: I know what you mean.


Sour: Let’s do something about it. Straw: Let’s keep them so busy they won’t have time to milk us. Choc: I have a brilliant plan. Straw and Sour: What is it? Choc: Let’s steal the Indians horses and make them think the pioneers did it. Sour: Uh…. I don’t get it. Choc: Because they will start a fight of course. Straw: Like a war you mean? Choc: Yes, you’ve got it! (Pantomime traveling to steal the livestock, and they step on a prickly pear.) Sour- Ouch! That hurt! {Could add a Crying Song and it could become a format—and melody- used each time they create a land form, etc. Chorus repeats} Pioneer 1: The Karate Cows had stepped on prickly pears. Pioneer 2- They cried until they created a river. Both: The Colorado River (The American Indians are doing their daily chores in their camp and settle down for the night.) {There could be a song that the AI sing as they do their chores and create a song for the pioneers about doing chores with similar words and use the same melody this would illustrate that they are not so different from each other.} Song: Stealing the Cows Class wants this, but still needs to be written. {Ask them how they do it- that will become the song—repeat with chorus} (Pantomime warriors checking the horses, discovering they are gone, and going to the chief.)


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Warrior 1: Oh no, the horses are gone! 2 Warriors: Chief, the horses are gone. Chief Whitehorse: It must be the pioneers. (He goes to his people and they all gather) Go; get the pioneers so they won’t bother us anymore! Song- The War Verse 1- sung by American Indians We must go get the pioneers and fight. I sure hope they don’t hit, kick, or bite. We must fight them with our greatest might. Let’s fight, fight, fight! (Pantomime attacking the pioneers) Verse 2- sung by pioneers Come on everybody get your armor on. We’ll fight ‘til dawn. We’ve got our pistols and guns. They’ve only got bows and arrows. {Use the format of the crying song to make a riding song- the audience will be signaled of the tall tale element} Pioneer 2- They traveled the trail 89 times trying to catch each other. We like to call it Highway 89. Indians: We want our horses back. Pioneers: We don’t have them. {Create a shooting song which uses the same format of the crying song and the riding song} Pioneer 1: And they shot at each other but missed and hit the rocks; Which is now Arches National Park. Pioneer 2: Meanwhile back at the stables . . . Song- We’re So Hungry Verse 1- The hay takes too long to grow, The alfalfa was too short, it had to go. We are vegetarians, we don’t eat meat. Chorus- We’re so hungry we must find something to eat.

If we can’t find something to eat we’ll croak over and fall off our feet. We’re going to die but we can’t eat pie. Thinking of it makes us cry. Let’s drink our milk so we don’t die. {You are almost there! What you have is great! Just keep working to the end of your story where the cows correct their wrong and have a great lesson learned--the finale song- the prankster pioneer boy could also learn a lesson! Find more places for the Pioneers and Indians to sing!}

• *Your first year in the OBC program you receive a drama mentor who will

assist you as you facilitate your class creating the story and libretto. She will model the process and assign you and your class homework in finishing each step. This is a sample of the type of feed back you will receive after you have completed your homework!

• You will see in the “Sample Opera Score” that the students took some of the suggestions and not others. They are the ones making all the decisions; however, you should give them options and be a facilitator in their decision process.

• You can see how the libretto expands on details and relies on the NEWUB’s of the main characters and groups.

• You can email or call the Opera by Children Staff anytime for editing and expansion suggestions if you do not have a drama mentor!


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