San Diego Opera Opera for Kids...By Kids

Hansel and Gretel

Supplementary Materials for

Classroom Teachers

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What is this OPERA stuff anyway?? Most people think opera is some big lady, wearing horns, singing in a really loud voice. While sometimes that is the case, like in Wagner’s Die Walküre, opera is SO much more than just the fat lady in horns! Opera is a story told through music. The music is accompanied by an or-chestra. Opera singers have a special timbre (color or quality) to their voices that makes them able to project their voices over an orchestra. They do not use microphones! Opera singers train for many years in order to be able to sing like this. And, most opera singers are in excel-lent physical shape. Opera began in Italy when a group of artists formed a group called the Florentine Camerata. Over the last few centuries, opera has evolved throughout the world. It is probably so popular and exciting because it is an art form that combines visual art (sets, costumes), drama (the story, acting), dance (sometimes even a full ballet) and music (the orchestra, the singing). Op-era stories are based on myths, folk tales, great works of literature, Biblical stories, fantasy, and real-life stories. Operas are written in many languages; the most popular are Italian, German and French. Operas are also written in English, Czech, Russian, and Mandarin Chinese. Most opera houses use supertitles, which are like captions for opera. Even if you don’t speak the language of the opera, you will know what is going on by watching the supertitles above the stage. Singers who perform in operas have different voice types. For women, these types are So-prano (high), Mezzo-soprano (medium), and Contralto (low). For men, Tenor (high), Bari-tone (medium), and Bass (low) are the names of voice types. Principals are the singers who have “named” roles such as Pamina in The Magic Flute or Mimì in La Bohème. The group of singers who assist the action are called the Chorus. Sometimes, a children’s chorus helps to tell the story (Carmen, Turandot). Most operas also use Supernumeraries or “supers”. These actors do not sing but serve an im-portant purpose on stage. Singers and Supers aren’t the only important participants in an op-era. The stage director and the music director or conductor are needed to help the singers with the music and tell them how to move on stage. A costume designer creates and builds the costumes that the singers, dancers and supernumeraries will wear. The set designer creates what the set will look like and the lighting designer helps create the desired mood or effect us-ing special lights. All of the designers work as a team to help to create an opera. Opera is special because it takes so many people to make it work. All of these elements put together make opera a spectacle for your eyes AND ears.

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Opera Vocabulary

Aria: A song that is sung by one character. Baritone: A lower male voice that is typically used for older characters and villains but is sometimes a funny character. Ja Rule is a baritone. Bass: The lowest male voice, often plays the father, comedic character or a villain. Lance Bass from *NSYNC is a bass. (In music, b-a-s-s is pronounced base, not bass like the fish) Bravo: Italian for “Excellent”. This is sometimes shouted at the end of the opera if the performance was very good. (Say “Brava” if it is a female singer, say “Bravi” if it is a group of singers) Chorus: A group of many voices singing together. “Be Our Guest” from Beauty and the Beast is an example of a chorus singing. Conductor: The musical leader of the opera. He or she conducts the orchestra as well as the singers from the orchestra pit. Coloratura Soprano: (koh-low-rah-TOO-rah) An Italian term used to describe a quick fluttering voice that goes up and down the scale. A coloratura soprano is the highest female voice. Singer Mariah Carey is a Col-oratura Soprano. Composer: The person who writes the music for the opera. They often work with a Librettist who writes the words. Mozart is a composer. Duet: A song that is sung by two people at the same time. “A Whole New World” from Aladdin is an example of a duet. Ensemble: A group of individuals singing together. This group is usually smaller than a chorus. Lyric Soprano: A high female voice. She usually plays the Princess or the heroine of the opera. Cinderella, from the Disney animated film, is a lyric soprano. Maestro: An Italian word meaning “Master”. This is the title given to the conductor of the opera. Mezzo-Soprano: A lower female voice, usually plays a comic or evil character and sometimes even plays a boy! Hilary Duff is a mezzo-soprano. Orchestra: The group of musicians who accompany the singers. They play strings, brass, woodwind and per-cussion instruments. Opera: A story that is sung. Overture: A piece of music that is played by the orchestra alone (no singing) before the opera begins. It sets the mood of the opera. Singspiel: A “song-play”. An opera that uses spoken dialogue to advance the plot. Tenor: The highest male voice. He usually plays the hero, Prince or romantic lead of the opera. Justin Tim-berlake is a tenor.

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Stage Vocabulary

Audition: the tryout process for acting, singing and dancing. Blocking: the movements of the actor which are set by the director during rehearsals. Callback: a second audition, usually for a specific role. Character: a person involved in the action of a play or musical. Cheating out: when an actor turns towards the audience while appearing to be focused on another person onstage. Choreographer: the person responsible for creating the dances within the play or opera. Costume Designer: the person who designs and, with a team of craftspeople, creates the costumes for the play or opera. Cue: a word, move or technical change which signals the actor to move to his/her next line or movement. Diction: pronunciation and clear and proper formation of words. Dressers: people who assist actors with their costumes before the show and between scenes. House: also known as “The House”, the auditorium or seating area of the theater. House Right refers to right side of the house when looking at the stage, House Left, the reverse. Lighting Designer: the person responsible for creating and implementing the way lights are used to assist with the de-sired effect of the story. Projection: the act of controlling column, clarity, and distinctness of the voice so the audience can hear and understand every word. Props: articles handled or carried by the actor on stage, such as a bag or cup. Rehearsal: a practice session which allows the directors to develop and set the play or opera prior to the performance. Set/Scenic Designer: the person who designs and oversees the creation of the sets to create the scenes for the play or opera. Sets: the scenery used for a particular show or scene. They can be constructed and free standing or painted onto fabric or other materials. Stage Director: the person who holds the primary artistic responsibility for the play or opera. In the opera, he or she works collaboratively with the Conductor (Maestro) and the array of designers. Stage Directions: directions for the actors to follow on stage. Downstage moves toward the audience, Upstage moves to the back of the stage, Stage Left is to the actor’s left, Stage Right is to the actor’s right. Stage Manager: the person in complete control of performances after the final dress rehearsal. The stage manager “calls” or directs all of the actions on stage. Wig and Make-up Designer: the person/people responsible for designing and overseeing the creation of wigs and make-up effects for the characters.

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Hansel and Gretel Synopsis of the opera by Engelbert Humperdinck

ACT I: In the house of a poor broom-maker deep in a German forest, Hansel and Gretel have been left by their parents, who are off in town trying to sell their wares. Gretel sings a folk song while she mends her stockings but Hansel interrupts with cries of hunger. She shows him a pitcher of milk hidden in the cupboard, but will not let him drink it. To distract him, she teaches him a lit-tle dance and they dance wildly about the house. Suddenly the door to the hut springs open and Gertrude, their mother, comes in and angrily scolds them for their horseplay. When Hansel laughs at Gretel's punishment, his mother chases him around the hut; in a flash the milk pitcher falls to the floor and smashes to pieces. Furious, Gertrude chases both children out of the house, sending them into the wood to find wild strawberries. Exhausted and upset, she puts her head down on the table just as the voice of her husband Peter is heard in the distance. He shows Gertrude all the food he has bought and joyfully tells her that he sold his brooms to a wedding party for the best price he has ever received. Ready to celebrate their good fortune he asks where the children are. When Gertrude tells him that they have gone to the woods, he is horri-fied. He tells her about an evil Witch who lives there and who bakes children into gingerbread, gobbling them up for dinner. Terrified, the parents rush off in search of their children. ACT II: In a forest glade, Gretel is making a wreath of wild flowers as Hansel picks the last of the wild strawberries. He offers his basket to Gretel, who eats one; as they start to leave, a cuckoo calls, and the children echo the bird's call, eating strawberries all the while. As darkness falls, they realize they cannot refill the basket, and worse, that they are lost. Their fears multiply as they think they see wild animals behind every tree, just as a mysterious old man carrying a large sack and lantern appears. He quiets them by scattering golden sand and promises them restful sleep. When the Sandman leaves, the two children kneel to say their prayers and quickly fall asleep. The glade is filled with golden light as Fourteen angels surround the sleeping children, standing guard through the night. ACT III: As dawn breaks, a Dew fairy, sprinkling dewdrops around her, awakens Gretel, who then tries to drag the sleepy Hansel to his feet. As it becomes lighter and lighter there appears a candy house, with rows of gingerbread children forming a fence on either side. When Hansel breaks a piece of cake from one of the windows, he hears a voice from inside the house. An ancient witch comes out and grabs the children by their arms. She tells both of them that she is Rosina Dainty-mouth; when they refuse her treats, she puts a spell on them and claps Hansel in a large cage. Gretel is released to go into the house to set the Witch's table, and a huge oven comes into view. To show her joy about the prospective banquet, the Witch jumps on her broomstick and rides all around, laughing as she flies. Gretel has overheard the Witch's plan to bake her, and while the Witch feeds Hansel raisins to fatten him up, Gretel whispers the Witch's magic words, which break the spell on Hansel. Hungry for Gretel, the Witch calls her to the oven. Gretel cleverly asks the Witch to show her how to make the oven work. As the Witch leans in, Gretel frees Hansel and they push the Witch in the oven and slam the door. Suddenly, they hear the gingerbread fence calling to them. Hansel and Gretel see that they have become real children again, but are still under a spell. Hansel recites the Witch's spell and the children spring to life. As Peter and Gertrude rush in and embrace their children, a huge gingerbread of the Witch is found in the oven. Before eating, all join in giving thanks for their deliverance.

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Engelbert Humperdinck Composer of Hansel and Gretel

Engelbert Humperdinck was born on September 1, 1854 in Sieburg, Germany. He studied piano from a very early age and composed his first work, a piano duet at age seven. He continued to compose works throughout his life including the sing-spiel Perla and Claudine von Villa Bella at age 13. He completed his schooling at Theodorianum Gymnasium in Paderborn where he was a chorister. He showed great musical talent in his youth, but his parents did not approve of his studying music. In 1871, he was made to study architecture by his parents, but after a year he was allowed to change to music at Cologne Conservatory under the guidance of Ferdinand Hiller. He studied piano, organ, and music theory (counterpoint and harmony). It was also during his conservatory days that he first heard the operas of Richard Wagner. He was awarded the Frankfurt Mozart Prize in 1876 which allowed him to study in Munich and the Berlin Mendelssohn Prize in 1879 which gave him the opportunity to study in Italy for a year. It was at this time that he met Richard Wagner and became his assistant for the original produc-tion of Parsifal. It was Humperdinck’s work with Wagner that influenced the rest of his composing career. In 1883, he traveled to Spain, Gibraltar, Morocco and Tangiers and developed an interest in Arabian and Moorish culture. He continued to compose and meet many famous composers including Richard Strauss. In 1890, he began work on a piece that would become his most famous work, Hänsel und Gretel. His sister, Adelheid Wette, served as the librettist for the opera. He presented the first version of the work to his fiancée, Hedwig Taxer, as a Christmas and engagement gift. The final version of the opera was produced in December 1893 at Weimar with Richard Strauss serving as conductor. He continued to compose throughout his life, being influenced by Wagner, Strauss, Hugo Wolf, and Ermanno Wolf-Ferrari, all good friends. He had great success both in Europe and the United States, where he traveled in the early 1900s with his daughter, Edith. He took ill from a stroke in 1912, but continued to compose. When he suffered a second stroke in 1921, he remained semi-active until he was taken ill with a heart attack, suffered from pneu-monia and died in September. He was buried on October 1, 1921 in Berlin and a memorial production of Hänsel und Gretel was performed at the Berlin State Opera.

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Hansel and Gretel

by

The Brothers Grimm

Find the Original Version of Hansel and Gretel by The Brothers Grimm from these sources: ONLINE http://www.pitt.edu/~dash/grimm015.html http://www.surlalunefairytales.com/hanselgretel/ http://www.angelfire.com/va/hanselgretel/2000ENindex.html http://www.ivyjoy.com/fables/hansel.html http://www.ucs.mun.ca/~wbarker/fairies/grimm/015.html http://web.ukonline.co.uk/archer/hanselgretel.html BOOKS Marshall, James. Hansel and Gretel. Puffin Books, 1994 (ISBN 0140508368) Thee, Christian. Behind the Curtain: Hansel and Gretel. Workman Publishers, 1994 (ISBN 1563055252) Lesser, Rika. Hansel and Gretel. Putnam Publishing Group, 1996 (ISBN 0698114078) Moerbeek, Kees. The Diary of Hansel and Gretel. Little Simon, 2002 (ISBN 0689846029)

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Questions for Discussion and Writing Prompts

Hansel and Gretel

• When Hansel and Gretel went into the forest to pick strawberries with only baskets, it became night and they were lost. What could they have done to keep them out of this situation? What would you take into the forest if you were going out?

• Father sells brooms at the marketplace, similar to a farmer’s market or flea

market. Have you been to a farmer’s or flea market? What did you see there? Draw a picture of what you saw there. If you haven’t been there, ask a friend or your teacher to describe it to you and draw a picture of it.

• Why do you think Rosina Dainty-mouth (the witch) has become such an evil

person? What made her decide to turn little children into gingerbread? • Hansel and Gretel are helped along the way by a series of people and things,

the animals, the sandmen, and the dew fairies. Have you ever had people help you out of tough situations? How did they help? Could you have made it out without their help?

• The Opera for Kids...by Kids version of Hansel and Gretel is slightly different

than the original opera. Read the synopsis of the Engelbert Humperdinck and compare the two. You can also compare the opera version to the original fairy tale.

• What have you learned from your opera experience? How did your “job” fit

your personality? Did you learn something new? What did you learn about the production process from your participation? Would you be part of another production? In the same job or a new job?

• What did you like best about the opera? What would you have changed?

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Recipes for Gingerbread

Gingerbread Men 1/2 cup of shortening 1 egg 1/2 cup of brown sugar 1 1/2 cup flour 1 pkg. instant butterscotch pudding mix 1 1/2 teaspoon of ginger 1/2 teaspoon of cinnamon 1/2 teaspoon of baking soda Favorite frosting Raisins and Candies Cookie Cutter Mix together egg, shortening, and brown sugar. Add remaining ingredients. Roll out dough and cut into gingerbread men shapes with a cookie cutter. Bake for 10 minutes at 350 degrees. Decorate men using favorite frosting and candies. (You can decorate them as Gingerbread Women too!!)

Chocolate Gingerbread Cookies

1/2 cup butter 2/3 cup white sugar 1/2 cup molasses 1 teaspoon baking powder 2 (1 oz.) squares of unsweetened chocolate 1/2 teaspoon baking soda 2 1/2 cups all-purpose flour 1 teaspoon ground ginger 1/4 teaspoon salt 1/4 cup of milk 1/3 cup of granulated sugar for decoration (or frosting, candies etc.) Combine butter, molasses, and unsweetened chocolate in the top of a double boiler. Heat until chocolate melts. Stir until smooth. Sift together flour, 2/3 cup sugar, baking powder, baking soda, ginger, and salt. Stir in melted chocolate mixture and milk. Mix well. Chill until firm. Roll dough into 1 inch balls. Roll balls in sugar. Place on an ungreased cookie sheet. Bake at 375 for about 10 minutes.

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EXPLORE

1. Have students use the character map worksheet to define the character from their own point of view. This worksheet has them use a variety of methods to describe their chosen character. 2. Re-group by character name and discuss what the students have devised. 3. Use the character map to write a three-part essay about the character that includes the following elements: Who is the character? Why did I choose the character or why was I chosen? How would I change the character if I were the director? 4. Proceed through the writing process with the students.

SUMMARIZE

Review how characters can be defined and all of the different elements in character development.

EXTEND

Choose a friend or classmate and do a “character” analysis on them. Use the interview process to help. Interview the friend, classmates, and the teacher to obtain information.

Opera for Kids, By Kids

Hansel and Gretel

Character Study

sbt 2004

WARM-UP 1. Review the names of the characters in Hansel and Gretel. 2. Separate the students into small groups based on their character. Have them discuss the singing voice (high/low) that the character uses, some basic traits, etc. 3. Present students with the character map worksheet. Discuss the different elements to the sheet.

Materials and Time

• Character worksheet for each student • Classroom space to work in small groups One class period plus time for writing.

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What a Character: Hansel and

Gretel

Name of the Character: Voice Part in the Opera: Profession (Job) and What they do in the opera:

CIRCLE YOUR CHOICE: Does the character seem real to you? YES NO Do the character’s action fit their person-ality? YES NO Does the character_______? Stay the same Change for the good Change for the bad

NAME:_____________

USE THE CHARACTER TRAITS BOX BELOW TO ANSWER THE FOLLOWING QUESTION. MY CHARACTER IS: _______________________________________________________

_______________________________________________________

_______________________________________________________

_______________________________________________________

_______________________________________________________

_______________________________________________________

_______________________________________________________

_______________________________________________________

_______________________________________________________

My Character’s Portrait

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Materials and Time

• Copies of Grimm and Opera versions of Hansel and Gretel • Fairy Tale graphic organizer

LAUNCH

1. As a class, make a list of as many fairy tales students can name as possible. 2. Identify where the students know these titles. (ex. Reading them in school, seeing the movie ver-

sion) 3. What elements of the stories make them a fairy tale?

EXPLORE 1. Read the Grimm’s Fairy Tale version of Hansel and Gretel. As a class or in small groups, read the

Synopsis, taking note of the characters, the conflict, the actions and the resolution. 2. Repeat the process with another commonly known fairy tale such as Cinderella or Snow White.

(You can find these online: http://www-2.cs.cmu.edu/~spok/grimmtmp/) 3. Create a Graphic Organizer that draws each of the elements together. (see example) 4. Questions to consider. Who is the Heroine? Who is the Hero? Who is the villain? What is the

conflict? What is the setting? How has the story been recreated (i.e. movie, opera)? 5. As a class, read the synopsis of Hansel and Gretel, the opera. Are there similarities? Differences?

SUMMARIZE

1. Review the elements that Fairy Tales have in common. 2. Review and Clarify the characters, actions and solutions in Hansel and Gretel.

HOMEWORK

1. Have the students read a familiar fable and create a one-page journal entry depicting the differences between a fairy tale and a fable.

Opera for Kids...By Kids

Hansel and Gretel

Fairy Tales

Sbt fall 03

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FAIRY TALES

CHARACTERS

VILLIANS

Main Characters

HAPPY ENDINGS

OLD TALES FROM TRADITION

HEROES

MAGIC KINGDOMS

The Prince kisses Snow White and she

wakes up The children defeat the witch and return home. Gretel

(Hansel)

Snow White

The Seven Dwarfs

The Witch

The Evil Queen

Castles Magic Forest EMOTIONS

and VALUES

True Love Compassion

Purity Anger

and Spite

FAIRY TALES Hansel and Gretel compared with Snow White

Brothers Grimm

Perrault

Faith

MADE INTO SOMETHING

ELSE

Opera

Movie

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FAIRY TALES

CHARACTERS

VILLIANS

STARS

HAPPY ENDINGS

OLD TALES FROM TRADITION

HEROES

MAGIC KINGDOMS

EMOTIONS and VALUES

FAIRY TALES Hansel and Gretel compared with Snow White

MADE INTO SOMETHING

ELSE

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http://www.sdopera.com Check out the Operapaedia section to learn more about Opera. Teachers should check out the In the Classroom section for comprehensive, standards-based classroom ac-tivities. http://www.operaamerica.org A good place to find information about the business side of opera like the top ten operas performed every year and interesting opera news. It also has a complete North American opera company list with links to each company. http://www.bohemianopera.com/ This site offers a comprehensive list of operas used in movies. It is pretty neat. http://www.metopera.org/synopses/ The Metropolitan Opera’s synopsis list. (Stories of the Opera) http://www.clevelandopera.org/tour/now.html Cleveland Opera’s Education Pages, includes material on The Magic Flute http://www.dogstar.dantimax.dk/magflute/mflinks.htm This website includes various libretti in multiple languages. http://www.sfskids.org San Francisco Symphony’s kids pages. http://www.classicsforkids.com/index.asp Classical music learning from WGUC radio station (NPR) in Cincinnati, Ohio. A great site with interactive features. http://www.naxos.com Good information about composers.

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Dear Teachers and Administrators, The following is a comprehensive list of the California content standards that are addressed through various components of the Opera for Kids...By Kids program. Some of these standards are directly applicable through the opera creation and performance process, others are applied through use of the Study Guide. It is the intent of this program to bring cross-curricular, arts-infused learning to the classroom. We encourage you use the activities in this study guide, as well as your own great ideas to implement as many content standards in your classroom.

CALIFORNIA CONTENT STANDARDS HANSEL AND GRETEL

Visual and Performing Arts Music 2.1: Sing a varied repertoire of music, including rounds, descants, and songs with ostinatos and songs in two-part harmony, by oneself, and with others. 3.1: Describe the social functions of a variety of musical forms from various cultures and time periods (i.e. folk songs, dances). 3.2: Identify different or similar uses of musical elements in music from diverse cultures. 4.1: Identify and analyze differences and tempo in contrasting music selections. 4.2: Develop and apply appropriate criteria to support personal preferences for specific musical works. 5.1: Explain the role of music in community events. Theatre 1.1: Use the vocabulary of theatre, such as sense memory, script, cue, monologue, dialogue, protagonist, and antagonist, to describe theatrical experiences. 1.2: Identify the structural elements of plot (exposition, complication, crisis, climax, and resolution) in a script or theatrical experience. 2.1: Participate in improvisational activities to explore complex ideas and universal themes in literature and life. 2.2: Demonstrate the use of blocking in dramatizations. 2.3: Collaborate as an actor, director, scriptwriter, or technical artist in creating formal or informal theatrical performances. 3.3: Analyze ways in which theatre, television, and film play a part in our daily lives. 4.1: Develop and apply appropriate criteria for critiquing the work of actors, directors, writers, and technical artists in theatre, film, and video. 4.2: Describe devices actors use to convey meaning or intent in commercials on television. 5.1: Use theatrical skills to dramatize events and concepts from other curriculum areas. 5.2: Identify the roles and responsibilities of performing and technical artists in theatre, film, television, and electronic media. Visual Arts 2.2: Create gesture and contour observational drawings. 2.6: Use perspective in an original work of art to create a real or imaginary scene. 5.2: Identify and design icons, logos, and other graphic devices as symbols for ideas and information. Dance 1.1: Demonstrate focus, physical control, and coordination in performing locomotor and axial movement. 1.2: Name and use a wide variety of movements (i.e. Isolations/whole body). 1.3: Demonstrate a greater dynamic range in movement utilizing space, time, and force/energy concepts. 2.1: Create, memorize, and perform complex sequences of movement with greater focus, force/energy, and intent. 3.1: Describe how and why a traditional dance may be changed when performed on stage for an audience. 4.3: Identify the special and challenging characteristics of the experience of dancing for an audience. 5.1: Describe how historical events relate to dance forms. 5.2: Describe how dancing requires good health-related habits.

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Reading and Language Arts Reading 1.1: Read aloud narrative and expository text fluently and accurately and with appropriate pacing, intona-tion, and expression. 1.5: Understand and explain the figurative and metaphorical use of words in context. 2.3: Discern main ideas and concepts presented in texts, identifying and assessing evidence that supports those ideas. 2.4: Draw inferences, conclusions, or generalizations about text and support them with textual evidence and prior knowledge. 2:5: Distinguish facts, supported inferences and opinions in text. 3.1: Identify and analyze the characteristics of poetry, drama, fiction, and nonfiction and explain the ap-propriateness of the literary forms chosen by an author for a specific purpose. 3.2: Identify the main problem or conflict of the plot and explain how it is resolved. 3.3: Contrast the actions, motives, and appearances of characters in a work of fiction and discuss the im-portance of the contrasts to the plot or theme. 3.4: Understand that theme refers to the meaning or moral of a selection and recognize themes in sample works. 3.5: Describe the function and effect of common literary devices. Writing 2.2: Write responses to literature. a. Demonstrate an understanding of a literary work. b. Support judgments through references to the text and to prior knowledge. c. Develop interpretations that exhibit careful reading and understanding. Written and Oral Language Conventions 1.1: Identify and correctly use prepositional phrases, appositives, and independent and dependent clauses; use transitions and conjunctions to connect ideas. 1.2: Identify and correctly use verbs that are often misused, modifiers, and pronouns. 1.4: Use correct capitalization. 1.5: Spell roots, suffixes, prefixes, contractions, and syllable constructions correctly.

Please note that these standards are grade level specific to grade five. Additional standards connections are available by contacting Cynthia Stokes, Curriculum Specialist, San Diego Opera on 619/232-7636. Further standards information can be found on the web through the California Department of Education: http://www.cde.ca.gov/ci/

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The 2006-2007 San Diego Opera Ensemble Tour is made possible by a generous gift from

THE MAXWELL H. GLUCK FOUNDATION

The San Diego Opera Ensemble Music Director's chair has been generously endowed by

MERLE AND TERESA FISCHLOWITZ

Support for the Ensemble's Pierson Fellows has been generously provided by

PATRICIA AND JAY LYNCH AND FAMILY IN LOVING MEMORY OF DR. A. CHAD PIERSON

THE AUDREY AND JOHN MORAVA YOUNG ARTIST

position has been generously endowed by the Morava family

GOVERNMENT SPONSORS City of San Diego Commission for Arts & Culture County of San Diego Community Enhancement Program County Supervisor Pam Slater-Price County Supervisor Bill Horn National Endowment for the Arts City of Chula Vista California Arts Council San Diego Arts Education Partnership

FOUNDATION SPONSORS The Maxwell H. Gluck Foundation The James S. Copley Foundation The James Irvine Foundation The San Diego Foundation The San Diego Women’s Foundation The Favrot Fund Mandell Weiss Charitable Trust Georges & Germaine Fusenot Charity Foundation The Weingart-Price Fund Samuel & John Henry Fox Foundation Beyster Family Foundation The Pratt Memorial Fund