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THE SCORPIONS’ STING: AN EGYPTIAN MYTH

Opera in Schools Tour Study Guide

February and March 2015 | www.calgaryopera.com

PRESENTS CALGARY OPERA ON TOUR FEBRUARY 2015

http://www.calgaryopera.com/

1 Calgary Opera Study Guide: The Scorpions’ Sting: An Egyptian Myth

Adopt an Artist patrons Terence & Judith Dalgleish

Monica Sloan & John Evison

Andrea Brussa & David Lyons

Cos & Eleanor Gabriele

Marian Williams

We acknowledge the generous

support of the

Dr. R.G. (Bud) Williams Emerging

Artist Scholarship Fund

The Scorpions’ Sting: An Egyptian Myth was commissioned by the Canadian Opera Company for their

school tour in 2006. Set in the midst of an Egyptian sandstorm, the opera follows the time-travelling

adventures of Professor Hornsby and his students. When Professor Hornsby is stung by a poisonous

scorpion, his students must find the cure hidden in ancient hieroglyphics in the Lost Temple of Iset. In an

effort to save their professor, the students use Iset’s ancient wisdom and learn the power of

forgiveness. Originally produced for the Canadian Opera Company, we thank the COC for permission to

reproduce elements of their Study Guide to share with you.

This year’s tour begins in Calgary and the surrounding area February 23 - March 20, including stops in

Bragg Creek, Penhold, and Airdrie. The final week of the tour sees the production head north to

Northern Alberta, visiting schools in Athabasca country, including First Nations schools in Wabasca, and

public and separate schools in the towns and communities of Lac la Biche, Bonnyville, Goodfish,

Ardmore, and Irma.

We hope that this guide will assist you with making opera connections in your classroom in fun and

interesting ways, and to use The Scorpions’ Sting as a point of departure for their learning. Exposure to

performing and fine arts helps students develop critical analysis and problem solving skills,

perseverance, and a drive for excellence. The creative skills students develop through the arts carry

them toward new ideas, new experiences and new challenges.

Thank you for giving your students this special opportunity.

Emily Forrest,

Education and Outreach Coordinator

Calgary Opera

Phone (403) 802-3404 | [email protected]

Community Outreach sponsor

Emerging Artist Development Program Sponsored by


THE STUDENT OPERA EXPERIENCE

The more students are prepared for this experience, the more they will get out of it. Knowing the story, the

life and times of the composer and the music is very important to make their opera experience a

sensational one.

Before the Opera

Review the study guide, including the suggested preparation and learning activities, before

deciding on which will be the best fit for your students. Some of the activities/discussions should

be started prior to seeing the opera. Preparing students ahead of time gives them a chance to

view the opera with understanding i.e. history, reviewing, character studies, discussions, etc.

Read the enclosed Scorpions’ Sting synopsis, which provides a background and helps familiarize

students and teachers with the story.

Read the history of the opera, composer and director, and familiarize your group with opera

terms (all items in the guide can be reproduced).

Familiarize students with the characters and their corresponding opera voice types (i.e. soprano,

mezzo-soprano, bass, baritone, and tenor.) This enables students to identify them during the

opera.

Discuss the characters and plot, and engage students in discussion around the suggested themes.

You may wish to assign students to write a review on the opera – a guideline for writing reviews

is included in this study guide.

You may assign some students to report on singing, characters, orchestra, costumes, scenery etc.

after the dress rehearsal.

During the Opera

› Turn off all cell phones, iPods, and other electronic devices. The use of cameras or recording devices is

strictly forbidden.

› Think about what makes a good audience member

› Leave food and drinks at your class, and don’t bring them with you to the gymnasium.

› Applaud the cast as they take their bows after the performance - if you feel one person did an

exceptional job, it is permissible to shout “Bravo!” for a man, “Brava!” for a woman, and “Bravi!” for the

whole performance (most people say “Bravo!”).


ACTIVE LEARNING ACTIVITY #1

Writing Activity

The picture on this page shows several patrons and

famous opera characters on their way to attend an

opera at the theatre. Now picture yourself in their

shoes. On a separate piece of paper, write a story as

if you are one of these people. Think about your trip

to the performance. What will the opera be like?

What will you wear? How will you and your

classmates act? At what time will you meet your

classmates? How many classmates will attend? Will you have a special dinner before the opera? If so,

where? Will the opera be exciting and entertaining? Share your thoughts here and compare your stories

with your classmates.


ACTIVE LEARNING ACTIVITY #2

Write a Review or Critique of the Performance One of the best ways to encourage critical thinking of a performing arts production is to encourage students’ honesty and draw out detailed opinions. A productive evaluation session - spoken, written, visual or dramatized - should follow this basic ‘how-to’ outline below. On the internet, students can find many reviews from other opera companies’ performances to use as a guideline or example. Guidelines for writing a review When writing an opera review you can focus on many different elements, but keep in mind the acting, singing, technical aspects, orchestration, and the overall view of the performance. Performance of the Singers The acting and singing are probably the most important aspects of the opera. It is a good idea to familiarize yourself with the opera and its characters before you go see it. Make sure you know all of the characters’ names and the singers who are playing them; the study guide or the Calgary Opera website is an ideal place to find all this information. Did they bring the music to life? Could you see and hear the emotion while they sang? Did they interact well with others on stage? Did any particular performer stand out to you and why? How did the singer communicate his/her character? Did you feel that the singer’s character was believable? Sympathetic? How well are they giving and taking focus?

Technical Aspects It has been said that if the technical aspect of the performance becomes noticeable, then it is not effective. Keep in mind that the sets, lights, sound, make-up, and costumes are there to enhance the performance. Were the costumes appropriate to the time period? Did they enhance the characters? Did the lighting design communicate time of day and/or mood? Did it cast unflattering or distracting shadows? Was the set complex or simple? How did this help or hinder the production? What do you notice about the make-up worn by the singers on stage that differs from what people might wear out in public? Did it age a singer? Make them appear more youthful? Was it done well? Musical Aspects Reviewing the musical performance is a tricky thing, and most reviewers continue to develop their ear for the music and knowledge of the art form their entire lives. Did you enjoy the music? Did you feel that the singers performed it smooth and effortlessly? What was your favourite musical moment? What part did you feel had the power to move you emotionally? So in conclusion, remember the singing, acting, music, the technical and the overall view, and you’ll have written a successful theatre review. Try to keep in mind that to be a theatre critic you often have to be critical, so if you feel that something was badly done include that in your review. Constructive criticism can be helpful. Keep these things in mind when writing your review and it will be great. Have fun!


The Language of Opera Act - Main sections of a play or opera.

Aria - A solo song sung in an opera.

Audience - People who watch a performance

and sit in the “house” or auditorium.

Ballet - Dance set to music within an opera.

Blocking - Action on stage.

Character - Person who is part of the opera’s

story.

Chorus - Music composed for a group of singers

or the name of a group of singers in an opera.

Conductor - Person who rehearses and leads

the orchestra.

Duet - A song performed by two singers.

Libretto - the words of the opera.

Opera - a musical work in one or more acts,

made for singers and instrumentalists.

Opera Buffa - Funny, light opera.

Opera Seria - Serious, dramatic opera.

Orchestra - A group of musicians who play

together on various musical instruments.

Overture - A piece of instrumental music played

at the beginning of an opera.

Program - Booklet that contains information

about the opera, composer, performers, and

the opera company.

Recitative - Words that are sung in the rhythm

of natural speech.

Rehearsal - Time when singers/actors practice

with or without the orchestra; time when

musicians practice together with the conductor.

Scene - Segments of action within the acts of an

opera.

Types of Singers

Soprano - Highest pitched female voice.

Mezzo-Soprano - Female voice between

soprano and contralto.

Contralto – Lowest pitched female voice

Tenor - Highest pitched male voice.

Baritone - Male voice between tenor and bass.

Bass - Lowest pitched male voice.


ACTIVE LEARNING ACTIVITY # 3

Connect the terms

1. Opera Seria

2. Baritone

3. Opera

4. Ballet

5. Orchestra

6. Libretto

7. Duet

8. Aria

9. Soprano

10. Chorus

11. Act

12. Contralto

13. Tenor

14. Opera Buffa

15. Recitative

16. Bass

17. Overture

A. Dance spectacle set to music.

B. Highest pitched woman’s voice.

C. Dramatic text adapted for opera.

D. Low female voice.

E. Comic opera.

F. A dramatic or comedic musical work in which singing is the essential factor; very little is spoken.

G. Opera with dramatic and intense plots.

H. Music composed for a singing group.

I. A song written for two performers to sing together.

J. A group of musicians who play together on various musical instruments.

K. Highest pitched man’s voice.

L. A musical style in which the words are spoken in the rhythm of natural speech.

M. Male voice between bass and tenor.

N. A piece of music originally designed to be played before an opera or musical play.

O. Deepest male voice.

P. Elaborate solo in an opera or oratorio.

Q. Main division of a play or opera.


Characters and story

MAIN CHARACTERS

Name Voice Type

Professor Hornsby/Set Tenor

Sally Smith/Iset Soprano

David Sands/Osiris/The Scorpions Baritone

Molly Brown/Nephthys/Tahemet Mezzo-Soprano

SYNOPSIS

A blinding sandstorm in the Egyptian desert. A group of weary

archaeology students, led by their professor, search for the

mythical Lost Temple of Iset. Against the advice of his students,

the old professor sits down for a brief rest and is stung by a

scorpion. Unsure what to do next, the students carry their

teacher into a cave. Upon entering the darkness they realize

that this is no common cave – they have stumbled upon the

Lost Temple itself. In a desperate attempt to help the professor,

Sally remembers Iset was known as the Goddess of Healing and

that her knowledge might provide the answer. Perhaps the

clues lie in the ancient hieroglyphics on the temple walls, telling

the story of Iset, Osiris (her husband), Nephthys (her sister), and

Set (Osiris’s brother). Molly and David don’t believe in the spell

and leave Sally alone. After examining the hieroglyphics, Sally

decodes a portion of the legend of Iset... something about a cure for scorpion stings.

The story tells of a great rivalry between the king of all Egypt, Osiris, and his jealous brother Set. Set wishes

more than anything to become the one ruler and tricks his wife, Nephthys, into laying a trap for the king. At a

royal banquet in honour of Osiris, Set unveils a beautiful gold chest. Whoever fits perfectly into the box will

become its owner. Guest after guest lines up to win the prize, but only Osiris is the correct size. This was Set’s

scheme all along, as the box had been crafted for this purpose. The lid is slammed shut on Osiris and the box is

thrown in the river Nile. Set is now king. Good Osiris is dead and his wife Iset is banished to the unforgiving

desert.

Iset spends her days in despair. Her beloved husband is gone and she is alone. Nephthys appears and Iset at

first rebukes her for her involvement in the scheme, but she soon realizes that Nephthys was tricked as well.

The two sisters reconcile and sing to invoke the memory of Osiris. Nephthys gives Iset Osiris’s magical sistrum

that will summon the scorpions to lead her out of exile in the desert. Upon shaking the sistrum, the seven


scorpions appear and, led by Tefen, escort Iset out

of the desert to a town, where they eventually

come to the door of Tahemet, a rich woman. The

woman is horrified at Iset’s bedraggled

appearance and the seven frightening scorpions,

and turns them away. The scorpions are enraged

by the actions of Tahemet. “How dare she turn

away the Queen of Egypt!” they cry out, and hatch

a revenge plan. The scorpions give all of their

poison to Tefen who will sting the rich woman’s

baby. Moments later, the woman runs into the

street crying that her baby has been poisoned. She

cries for help, but no one will come to her aid.

“Scorpions, did you do this?” Iset scolds them.

“The child is not to be blamed for the actions of a

thoughtless mother.” Taking the child in her arms,

she begins to cast a spell, naming each of the

scorpions in turn:

“Poison of Tefen and Befen appear on the earth. I take away your sting. Poison of Mesetet and Mesetetef

release. I take away your sting. Poison of Petet and Tjetet and Matet retreat. Come forth! I take away your

sting! I take away your sting!”

The baby is saved.

Back in the Temple of Iset, the students, by working together, realize that they have not only uncovered the

cure for a scorpion sting, but a new sense of understanding and respect for one another. The professor is saved

and they begin the triumphant journey home.


Meet the Composer and Librettist

Dean Burry

Dean Burry was born in St. John’s, Newfoundland in 1972, but grew

up in the small town of Gander. As both his parents’ families came

from small outport communities, he spent a great deal of time by

the ocean and out in his father’s boat. Music is in the blood of

Newfoundlanders, and it was in this environment that Burry began

his own artistic journey. Early piano lessons were not completely

satisfying, and it wasn’t until a teacher encouraged his desire for

composition, at age 10, that music became a passion. Theatre was

another great interest and soon he was writing plays and music for

the school drama club. His first produced script, Good Gods, won

first place in the local drama festival in 1987.

Following high school, Burry enrolled in the bachelor of music

program as a saxophone major at Mount Allison University in

Sackville, New Brunswick. Looking for ways to combine his love of

theatre and music, he began composing operas and musicals. In his

first three years at university, he wrote, produced and conducted three major dramatic musical works: The

Resurrection, Joe and Mary Had a Baby and Unto the Earth: Vignettes of a War. His studies in music continued,

and Burry completed his master of music in composition at the University of Toronto in 1996. Shortly

afterwards, Burry began working in ticket services at the Canadian Opera Company while composing incidental

music for small theatrical productions. Working for the COC enabled Burry to immerse himself in the Canadian

opera world. His own curiosity and interest in opera drove him to spend a lot of time at the opera company

outside of working hours, observing rehearsals and learning a great deal about the ways to create successful

opera. In 1997, Burry was hired to develop and run the COC’s After School Opera Program, a community

program designed to introduce children to all the elements of opera. The program is still vibrant today and

celebrated its 15th anniversary last year.

In 1999, while working as an educator with the COC, Burry was commissioned to write The Brothers Grimm, a

new opera for the annual school tour. The opera premiered in 2001 and received rave reviews from teachers

and students alike, putting the composer on a national stage. Since its premiere in 2001, The Brothers Grimm

has been seen by over 160,000 school children across Canada, the United States and Europe. In December

2012, The Brothers Grimm celebrated its 500th performance, making it the most performed Canadian opera in

history.


Meet the Cast

LAURA BRANDT – SOPRANO

Soprano Laura Brandt is thrilled to be returning for a second season as an Emerging

Artist. Upcoming performances include Frasquita (Carmen) with Calgary Opera's

mainstage and Governess (The Turn of the Screw) at Opera on the Avalon. Past

performances with Calgary Opera include Gretel (Hansel and Gretel) and Female Chorus

(The Rape of Lucretia). Recent highlights for Ms. Brandt include Parasha (Mavra) with

Metro Youth Opera, Contessa (Le nozze di Figaro) with the Centre for Opera Studies in

Italy, Sprechstimme in Pierrot Lunaire with the New England Conservatory

Contemporary Ensemble, and Donna Anna (Don Giovanni) with NEC Opera. Ms. Brandt

is supported by the Nova Scotia Talent Trust and has a Master of Music in vocal performance from the New

England Conservatory. As a member of the Emerging Artist program, she sang the role of Aurore in The Portrait

of Manon (2014).

VANESSA OUDE-REIMERINK – SOPRANO

Born in Ontario, Soprano Vanessa Oude-Reimerink completed a Master’s Degree at the

Schulich School of Music at McGill University under the direction of Professor Sanford

Sylvan. Her roles include Tytania in A Midsummer Night’s Dream, Susanna and Barbarina

in Le Nozze di Figaro, Pamina and Papagena in Die Zauberflöte, Miss Wordsworth in

Albert Herring, Clara in The Light in the Piazza, Rapunzel in Into the Woods, and the

Canadian premiere of Volpone by John Musto, Ms. Oude-Reimerink has received

training from Centre d’Arts Orford, COSI, Opera NUOVA, Opera on the Avalon, the St.

Andrews Opera Workshop, and Western University. She sang the role of Aurore in The Portrait of Manon

(2014), and appeared on Calgary Opera’s mainstage as Barbarina in The Marriage of Figaro (2015).

BESTE KALENDER – MEZZO-SOPRANO

Turkish native Mezzo-Soprano Beste Kalender has been named Jeunes Ambassadeurs

Lyriques du Canada for a second time in 2014. She has won the Prix Jeune Espoir du

Centre Français de Promotion Lyrique 2013, has recently done her French debut and

represented Canada in France with Les Chorégies D’Orange in Marseille. Ms. Kalender’s

repertoire include roles such as Carmen and Mercedes in Carmen, Fox in The Cunning

Little Vixen, Zerlina in Don Giovanni, Cherubino in Le Nozze di Figaro, Third Lady in The

Magic Flute, Ellen in Three sisters who are not sisters and Tancredi in Tancredi. Ms.

Kalender holds an M.A. degree from the Department of Psychology at the University of

Toronto and an Artist Diploma in voice from The Royal Conservatory’s Glenn Gould School. She has also

received training at The International Vocal Arts Institute in Montreal, Opera On The Avalon, CoOPERAtive

Program at Westminster and The Music Academy of The West Summer Music Festival. As a member of the

Emerging Artist program, she sang the role of Jean Moncert in The Portrait of Manon (2014).


STEPHANIE TRITCHEW – MEZZO-SOPRANO

Mezzo-Soprano Stephanie Tritchew recently completed her Opera Diploma at the

University of Toronto, under the tutelage of Wendy Nielsen. She holds a Bachelor of

Music and a Masters of Music from the University of Western Ontario. Roles include:

Nancy (Albert Herring), Mrs. Grose (Turn of the Screw), Cherubino (Le nozze di Figaro),

Prince Orlovsky (Die Fledermaus), and Mère Marie de l’incarnation (Dialogues des

Carmélites). On the concert stage, Ms. Tritchew performed Bach’s Mass in b minor and

Handel’s Messiah with Chorus Niagara, soloist with the Niagara Symphony Orchestra’s

Christmas POPS! series, and was a Sidgwick Scholar with the Orpheus Choir of Toronto. She is a contemporary

music enthusiast and has performed several times with Tapestry New Opera. Ms. Tritchew was a semi-finalist

in the 2014 Eckhardt Gramatté competition and this past summer she toured with The Bicycle Opera Project, a

company that focuses on bringing Canadian contemporary opera to communities across Ontario. Recently, Ms.

Tritchew made her Calgary Opera debut as Madeleine Audebert in the Canadian premiere of Silent Night

(2014), and appeared as Jean Moncert in The Portrait of Manon (2014).

MATTHEW BRUCE – TENOR

Matthew Bruce’s love for music was inspired from an early age. His foundation and

appreciation for the performing arts was formed through his parents’ influence, both of

whom are professional musicians. Mr. Bruce’s passion for performing inspired him to

relocate to Victoria, BC to study voice, acting, and dance at the Canadian College of

Performing Arts. Upon graduating, Mr. Bruce continued his vocal training at the Victoria

Conservatory of Music where he performed in the Opera Studio program. Mr. Bruce

recently performed the role of Jonathan Dale in the Canadian premiere of Silent Night,

played the lead role of Candide at Opera in the Village, Canada’s only summer outdoor opera festival, and is

currently participating in his second year of the Emerging Artist Program. He last performed as Tiberge in The

Portrait of Manon (2014).

KEVIN MYERS – TENOR

Tenor Kevin Myers was born and raised in Deep River, Ontario and studied voice there

with Peter Morris. He completed his undergraduate and graduate degrees at McGill

University, where he studied with Stefano Algieri and Sanford Sylvan. Highlights from his

time at McGill include many roles with the opera program; namely Lysander in Britten’s

A Midsummer Night’s Dream and Tamino in Mozart’s Die Zauberflöte. He was lucky

enough to study with renowned coaches Louise Pelletier, Esther Gonthier and Michael

McMahon. In 2012, Mr. Myers was selected as a laureate of the Jeunes Ambassadeurs

Lyriques and toured China performing opera in concert with that organization. In 2013

he performed the role of Nemorino in Donizetti’s L’elisir d’amore with Opera NUOVA in Edmonton, and in 2014

he won the grand prize at the Festivale de Musique du Royaume. As a member of the Emerging Artist program,

he last performed as Tiberge in The Portrait of Manon (2014).


AARON DIMOFF – BASS-BARITONE

Bass-Baritone Aaron Dimoff made his Calgary Opera debut last season singing Imperial

Commissioner in Puccini’s Madame Butterfly as a member of the Emerging Artist

program. He also sang the role of Father in Hansel and Gretel for the Opera in Schools

tour and at Opera in the Village, Collatinus in The Rape of Lucretia, as well as Des Grieux

in The Portrait of Manon. Returning for a second year in the Emerging Artist program,

Mr. Dimoff will also perform on the mainstage as Zuniga in Carmen. Concert

appearances last season included Sciarrone in Puccini’s Tosca with the Calgary Philharmonic Orchestra, as well

as excerpts of Haydn’s Creation and Mendelssohn’s Elijah with The Festival Chorus Calgary. Most recently he

appeared on Calgary Opera’s mainstage as Antonio in The Marriage of Figaro (2015).

DAVID DISTON - BARITONE

Baritone David Diston is a 2014 Masters graduate in Opera Performance from the

University of Toronto. Mr. Diston’s performance credits include Mr. Gedge (Albert

Herring), Dr. Dulcamara (L’Elisir d’amore) and Dr. Malatesta (Don Pasquale) all with the

UofT, Don Giovanni with Opera NUOVA, Guglielmo (Così fan tutte) with Toronto

Summer Opera Workshop, Falke (Die Fledermaus) and Count Almaviva (Le Nozze di

Figaro) with Western University, and Don Alfonso (Così fan tutte) and Leporello (Don

Giovanni) with the Accademia Europea Dell’Opera in Milan. In concert Mr. Diston recently made his Toronto

Symphony Orchestra debut as the baritone soloist in C. Nielsen’s Symphony No. 3. Mr. Diston recently joined

Calgary Opera as an ensemble member in Candide as a part of their summer season, Opera in the Village, and

appeared as De Grieux in The Portrait of Manon (2014).

Meet the Creative Team

STAGE DIRECTOR – AARON COATES Aaron is a director, writer, actor, and the co-artistic director of Trepan Theatre. He

studied acting at Mount Royal College and at École Philippe Gaulier in Paris. With Trepan

Theatre, he has created and performed in La Mexicaine de Perforation, The Cat Lady

Show, Matadora, and SHE. Directing credits include: Hannaraptor (Calgary Opera), La

Bohème, The Phantom of the Opera Sing-Along, The Sound of Music Sing-Along

(Cowtown Opera), The After Party, The Way of All Fish (Lunchbox Theatre), Dying City

(Pangloss), The Old Neighborhood (Rogues Theatre), Iraq and Back (Ghost River

Theatre), and The End of the Rope (Vertigo Theatre). Aaron is also the co-artistic

producer of Dirty Laundry, Calgary’s live improvised soap opera. For Calgary Opera he last directed Hansel &

Gretel at Opera in the Village (2014).


MUSIC DIRECTOR – MEL KIRBY

Mel Kirby brings to his role of Coordinator of Calgary Opera’s Emerging Artist

Development Program over 30 years of professional experience as a performer, teacher,

conductor and highly respected member of the Calgary music community. He joined

Calgary Opera in 2006 creating the curriculum and goals for the Emerging Artist Program

which oversees the annual post-graduate training and transition to a professional

working career of an ensemble of young singers from across Canada. Mel has also

served as Artistic Director of The Festival Chorus since 1991, conducting performances

of major works with orchestra by J.S. Bach, Handel, Haydn, Mozart, and Brahms.

PIANIST – EVAN MOUNCE Evan Mounce has most recently been music director for The Sound of Music (Cowtown

Opera), Anne of Green Gables (Central Memorial), and Oliver (Ernest Manning), and

pianist for Hansel and Gretel (Calgary Opera). He accompanies and coaches voice

students at U of C and Ambrose University College, and is the organist at St. Matthew’s

United Church. Evan attended the collaborative piano programs at Opera NUOVA, the

Centre for Opera Studies in Italy, and the Vancouver International Song Institute, and

will work as an apprentice coach at St. Andrews by the Sea this summer. He holds a

Master’s degree in Music from the University of Toronto. Mr. Mounce was last worked with Calgary Opera as

Repetiteur for The Portrait of Manon (2014)

STAGE MANAGER – CANDACE MAXWELL

Candace is a native of Winnipeg who likes to travel to follow her passion of Stage

Management. Some selected credits include Aida, Carmen (Manitoba Opera); Les

Contes D’Hoffmann, Aida (Edmonton Opera); Nutcracker (RWB); The Boys in the

Photograph (Mirvish Productions/RMTC); A Christmas Story, Fiddler on the Roof

(RMTC); Bingo!, Munscha Meeya (PTE). Ms. Maxwell attended The Banff Centre for the

Professional Theatre and Opera as Theatre Programs. Banff Centre credits include Pride

and Prejudice (with Citadel Theatre), Siren Song, and La Tragedie de Carmen. Candace

attended the University of Winnipeg. Recent credits include Calgary Opera’s school tour of Hansel & Gretel as

well as its public performances at Opera in the Village (2014), and La Bohème with Manitoba Opera.


The Story Behind The Scorpions’ Sting

Almost every ancient culture had its own mythology that helped its people explain the mysteries of life, death

and nature, and formed an important part of religious and daily life. Our knowledge of the mythology of

various cultures comes from a variety of sources. The writings of Homer, a famous Ancient Greek poet and

storyteller, are one of the ways that scholars learned the stories of Greek myths. The mythology of Native

North American tribes has largely been passed down orally from generation to generation. We have been able

to learn of Egyptian mythology (as well as their culture and language) through their hieroglyphics.

The composer and librettist of The Scorpions’ Sting, Dean Burry, is very interested in Egyptian mythology, and

was very excited when he discovered the story of The Scorpions’ Sting as described on the Metternich Stela, a

stone tablet. He said about the opera:

“What I find most interesting about the potential of this piece is that much of the myth, including the actual

recitation, comes from tomb walls, papyrus writings and statue bases.”

The Stela contains many stories of Iset, Osiris and their son Horus, and includes recitations intended to be used

against serpents and scorpions. The incantation that Iset sings in the opera to cure Tahemet’s child is an

interpretation of the actual writings from the Stela.

The original: “Poison of Tefen, come, go out to the earth, do not go about and do not penetrate: Poison of Befen, come, go out to the earth, I am Iset divine, mistress of magic, exercising magic, magical in speaking, effective of words. Every biting snake obeys me. Fall down, poison of Mestet, do not run. Poison of Mestetef, do not rise, Poison of Petet and Tjetet. Fall down, mouth of the biting one, at the words of Iset divine, great magic among the gods, to whom Geb has given his magic power in order to avert the poison in its power. Yield, recede, flee, backwards, poison, do not jump up, at the words of the beloved Ra, the egg of the sun-bird and who has come forth from the sycamore.”

In the opera: Poison of Tefen, appear on the earth, do not advance. Come forth. Poison of Befen, appear on the earth, do not advance. Come forth. I take away your sting. Poison of Mesetet, halt! Poison of Mesetetef, release! Poison of Petet and Tjetet and Matet retreat! Come forth! Come forth! I am Iset. I take away your sting. I take away your sting! Other elements of the story and libretto come from various sources. The Hymn to Osiris is based on words found in the Book of the Dead, an ancient Egyptian text that was normally placed in a coffin or burial chamber as part of the ritual thought to help the dead pass into the afterlife. Part of the Book of the Dead describes the second life of Osiris.


What to Look for

About the Design of The Scorpions’ Sting: An Egyptian Myth

The set for The Scorpions’ Sting was designed by Brent Krysa. Brent’s design serves to evoke both the mystical

world of Iset in ancient Egypt and a present day, barren Egyptian desert in which Professor Hornsby, Sally,

David, and Molly find themselves in peril.

USE OF COLOUR

In Ancient Egypt, colour could be used to symbolize an integral part of a person’s nature. Different colours had

specific meanings, and colour used in combination with hieroglyphs intensified the meaning of the symbol.

Colours were often paired. For example, silver and gold were considered complementary colours because they

formed a duality of opposites, like the sun and moon. Two colours stand out in Brent’s set, costume and prop

design: gold and blue.

Blue was considered a divine colour, appropriate for sacred places. Dark blue or “Egyptian blue” was the colour

of the heavens and water, and it represented creation, life and re-birth.

Gold (or yellow) designated the eternal and the indestructible, also considered to be qualities of the sun.

Statues of the gods were either made of gold or were goldplated to symbolize their eternal life.

THE EYE OF HORUS

The Eye of Horus (also known as the Udjat or Wadjet) is painted on the centre panel of the set piece. The Eye is

the symbol of Horus who is the son of Iset and Osiris, and is one of the oldest and most revered deities in

Ancient Egyptian religion. Brent chose to depict the Eye of Horus on the set piece because it is a powerful

symbol believed to have healing and protective power. In Ancient Egypt, it was frequently represented in

jewellery to ensure the safety and health of the person who wore it. Will the Eye of Horus bring its protective

and healing powers to the Professor and his students?

COSTUME CHANGES

The singers in this opera play dual roles, meaning they each play two or more different characters. The singer

who plays Sally Smith, for instance, also plays the Ancient Egyptian Goddess, Iset. One way this is represented

is through changes in costume. Sally wears modern-day clothing that is well-suited to the climate of present

day Egypt, while her secondary character, Iset, dons draped white linens and a golden crown. See if you can

spot the other characters’ transformations. Do they act differently? Sing differently? What subtext do these

different costumes give to the story?


Set and Costume Sketches by Designer Brent Krysa


Hieroglyphics

WHAT IS HIEROGLYPHICS?

Hieroglyphics was the Ancient Egyptians’ formal writing system. Although many hieroglyphs (characters) look

like drawings, hieroglyphics is a very complicated system, and a drawing that looks like a bird doesn’t

necessarily stand for the word “bird.” Linguists, archaeologists and historians were stumped by hieroglyphs and

the Ancient Egyptian language until the discovery of the Rosetta Stone in 1799.

The Stone is carved with a decree written in two forms of Egyptian hieroglyphs and also Ancient Greek: by

comparing the Greek text with the hieroglyphs, scholars began to decipher Egyptian writing. In 1822 French

scholar Jean-François Champollion published a full translation of the Rosetta Stone text. Our understanding of

Ancient Egyptian language, mythology and culture has grown from this first amazing discovery.


Music in Ancient Egyptian Ritual

THE SISTRUM

Percussion has been a part of most cultures from

our earliest history, starting with hand clapping

and sounds created by stomping on the earth.

There is pictorial evidence that Ancient Egyptian

musical culture included both pitched instruments

(for example flutes, harps, and trumpets) and non-

pitched instruments (for example cymbals, drums,

and rattles). Rhythmic music was at the core of

Egyptian religious practices and was always used in

ritual processions.

One instrument that was used in rituals associated

with Iset was the sistrum. The sistrum, called

seshesht in Egyptian, was a type of shaker and

considered sacred to Hathor, goddess of the sky,

love, beauty, and music. The instrument originally

consisted of cut papyrus stems, but evolved into a

more advanced and decorative metal rattle. The

sound that it produced was thought to attract the attention of the gods.

Over time, percussion music from Egypt and the Middle East continued to play an important role in the

religious, military, and cultural life of the region, and even began to influence the music and culture of other

areas in the world. In fact, the use of percussion instruments in European orchestras today can be traced to the

influence of a particular style of Turkish military music played by “Janissary bands.” Janissaries were a kind of

percussion band associated with the Turkish military and the personal bodyguards of Turkish Sultans. The

music is characterized by its use of extra percussion instruments, including the bass drum, cymbals, triangle

and one instrument that is similar to the sistrum: the crescent. The Turkish crescent is a handheld stick with

lots of bells and jingles hanging from crescent-shaped crossbars. During the 18th century, military bands all

over Europe copied the Janissary style, and imported the instruments used by the Janissary bands. By the end

of the century European composers had begun using percussion instruments such as the bass drum, cymbals,

and triangle in their orchestral compositions.

DID YOU KNOW? In Ancient Egypt, most of the highly trained percussionists who performed for the entertainment of wealthy and noble people were women.


Lesson Plan: Myths and Hieroglyphs

OVERVIEW

In this lesson students are introduced to the concepts of myths and hieroglyphs, and explore the mythology of

other cultures through personal or group research. Students use reading comprehension skills to analyze a

myth and identify selected characters, concepts and vocabulary. Visual art and language skills are used in

creating and defining their own hieroglyphs.

MATERIALS Chart paper and markers/chalkboard and chalk for discussion (optional)

The Scorpions’ Sting: An Egytian Myth Study Guide

Research materials (library, books, computers, etc.)

“Myth and Hieroglyphs” table

(Group lesson /discussion) See Study Guide article The Story Behind The Scorpions’ Sting for information

about mythology and hieroglyphs, and types of world mythology.

SUGGESTED CLASS DISCUSSION TOPICS:

What is the difference between a myth and a fairy tale (story)?

Why do you think myths would be important for a culture?

What are some of the characters/stories/themes you would expect to find in a myth? (e.g. heroes,

gods and goddesses, creation legends, etc.)

In our world, we use symbols to tell us something without letters, like hieroglyphs – what are some

examples? (e.g. men’s and women’s bathroom signs, wheelchair access, no smoking, recycling, etc.)

ACTIVITIES Researching World Mythology

As a class, in groups, or as individuals, students choose a type of world mythology to research (see Study Guide

article for examples – topic can also be assigned by the educator). Students will choose one particular myth

from this culture to focus on.

For younger grades, do the activity as a class or group project, with a myth assigned by the educator

and discussed in class.

Telling a Story with Hieroglyphs

Using the “Myths and Hieroglyphics” worksheet, students identify one major character, one object, one action,

and one emotion from the myth they are studying, and create a corresponding hieroglyph, explaining why they

have created that particular symbol.

For older grades, have them retell the story, inserting their hieroglyphs in the appropriate places

Assessment Students can be assessed on overall participation and research, and submit the worksheet

for grading.


Create a Sistrum

WHAT IS A SISTRUM? A sistrum is an Ancient Egyptian metal shaker used extensively in religious and royal ceremonies.

SUMMARY/OBJECTIVE OF ACTIVITY Students will research the role of music in Ancient Egypt. What are some examples of instruments

people played in Ancient Egypt? On what occasions was music played, and why? Students will create their own sistrum as seen in the opera The Scorpions’ Sting: An Egyptian Myth out

of found materials. Students will demonstrate an understanding of basic rhythm patterns.

INPUT 1. A week in advance, ask students to bring in toilet or paper towel rolls from home that they will use to

construct a sistrum. 2. Read the synopsis of the opera to the students or have them take turns reading aloud. Pay special

attention to the banquet for Osiris. 3. Teach students to distinguish between beat and rhythm in a simple song. Identify different tempi

(faster and slower speeds), and identify examples of dynamics (loudness and softness) and discuss how they are achieved.

4. Create a template for students to work from and give instructions for how to create the sistrum. 5. Upon completion, work as a group to experiment with different rhythm patterns, tempi and dynamics

with your new instruments.

HOW TO MAKE A SISTRUM Materials (per student)

Three pieces of wire (at least 22 gauge) cut into pieces 10 cm in length Six paper clips Duct tape or stapler Strip of Bristol board (3 cm wide, 30 cm long) One toilet paper roll

What to do

Bend the strip of Bristol board into an oval shape and staple or tape it to the toilet paper roll so that it is in the shape of a tennis racket.

Attach the three pieces of wire horizontally inside the oval shape by poking a hole through the sides of the Bristol board strip and bending the wire ends on the outside to secure.

Attach two paper clips on each wire (two on each line, six in total). The sistrum is ready to be used in percussion-based activity.


Percussion Activity - create a soundscape OBJECTIVE

Identify examples of dynamics in their environment and in music.

Produce a specific effect using various sound sources.

Identify examples in their environment and in music.

Identify different tempi in their environment and in music.

Perform a soundscape or sound collage based on a theme or topic.

INPUT

1. Have students sit in a circle facing each other. Tell them that they are about to become an orchestra

called “Sounds of a Desert Oasis.” What is a desert oasis? Brainstorm what kinds of sounds you might

hear in a desert oasis.

2. Distribute some found objects, e.g. scrap paper, fabric.

3. Give students a few minutes to think of a unique sound they would like to produce, e.g. blowing

through their hands might sound like the wind, paper rustling together might sounds like palm leaves

in the breeze, fabric flapping might sound like cranes flapping their wings.

4. Tell the students you are going to be the conductor for their sounds.

a. When you move your hands (palms up), their sounds get louder. When you lower your hands

(palms down) their sounds get softer.

b. When you move your hands in a wave-like motion quickly, they are going to speed up their sounds.

When you wave slowly, they slow down their sounds.

5. Discussion: How did the loudness/softness, fastness or slowness of their sounds change the

soundscape? Did it connote a different feeling or mood?

EXTENSION Have students come up and be the conductor. Divide the students into two groups. Designate two conductors.

Have them each conduct their own group. How does this change the sound?

Alternatively, divide the students into two groups and have each group follow a different hand with different

commands. As a group, brainstorm the different types of sounds that a group of archaeologists might hear

while exploring an Ancient Egyptian tomb. Make a new soundscape based on this idea. Some examples of

sounds include the tomb door opening, the sound of footsteps, the sound of a chest opening slowly. This could

be an add-on activity post-performance.

Attempt to create the soundscape without using visual communication. Instead of looking to a conductor for

instructions, tell students to close their eyes. The conductor taps students once on the head to indicate that

they should begin to make their individual sound. A second tap turns the sound “off.” A touch on the right

shoulder means “get louder.” A touch on the left shoulder means “get softer.” Depending on the size of the

group, you can experiment with having more than one conductor at a time.

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