Trekklock A Mini-Opera Seria Music and Libretto by Tyler Harr Characters: Trekklock-Soprano Queen of the Queps, an evil alien race General Robert Brown-Baritone Military Officer for the Galactic Forces Confederation Lieutenant James Brown-Tenor Robert's younger brother Extreme Domination Devices-Chorus Robots fighting for the Galactic Forces Confederation Qui Qui and Qui Quo the Queps-Non-singing Personal servants to Queen Trekklock Contents: Preface Cast and Crew List Scene Breakdown Vocal/Piano Score Basso Continuo with Figured Bass Reflection BibliographyPreface This work is a parody on traditional Italian Opera Seria. “Trekklock” is the story of an evil alien queen who finds love, but it is found unrequited. This tragic love story takes place on earth during an alien invasion. The human race has only two hopes of winning this war, General Robert Brown and his brother Lieutenant James Brown both working for the Galactic Forces Confederation. The brothers, with help from the Extreme Domination Devices, are the only hope left for the world. They are both in hot pursuit of killing the alien queen, Trekklock, Her ultimate love for the general causes her to kill him an all that he cares about, bringing destruction to the world. Instead of Greek gods and Italian war heroes, this plot brings Opera Seria into the 21* century with aliens, robots, and other modern features. The aliens are similar to the Greek gods, because they do not exist, but there is a large amount of folklore and legends concerning them. War heroes are common characters within Opera Seria. Trekklock also includes a chorus of robots, which was more common in the early opera days of Monteverdi. There are also the Queps, a non-singing chorus who are personal servants to their queen. The plot is very serious and deals with the loss of family, lovers, and the noble pursuit of love and war. To learn about some of the basics of Opera Seria read these articles by MeClymonds and Heartz' as well as out music history textbook” 1 Marita P. McClymonds and Daniel Heartz. "Opera seria," Grove Music Online. Oxford Music Online, Oxford University Press. 2 Mark Evan Bonds, A History of Music In Western Culture. (Upper Saddle River, N. Education Inc,, 2013), 224.In the high baroque style, this Opera begins with a French Overture. Although this is an Italian work, the Overtures were typically done in the French style?. These overtures began with slow dotted rhythms, This portion of the overture ends in a Half Cadence, leading into the faster imitative section. This movement features a four measure fugue-like theme that gets repeated until the first few measures come back leading to a small section of cadential material. Overtures in this time period did not include melodie material from the Opera itself, but has melodic material that is unique to itself, For more information on Overtures check out this article by Graham Pont! that specifically looks at baroque overtures for the keyboard instruments. After the Overture, the Opera can truly begin. Opening on the two brothers coming back together after a battle, both distraught. They ‘exclaim that there are too many aliens to win this fight. This section moves the plot forward with recitative: The use of syllabic text setting, through composed, parlando singing, and free rhythmic structure imitate traditional Italian recitative. This recitative is interrupted with the entrance of the robots Their ritornello is very monotone, like actual robots, then Robert tries to encourage his brother leaving him behind, letting him reflect with an aria. This aria uses the Da Capo convention, but with written out ornamentation in the repeat. The B section features tonicizations of the relative major key, a common feature in baroque opera music. The next scene opens on Trekkock commanding the Queps to help her around, Through this recitative we learn about her plans for world domination and death. After this the Queps get a short dance number. After a long day of commanding people around, when she is left to 3 George Gow Waterman and James R. Anthony. "French overture," Grove Music Online. Oxford Music Online. Oxford University Press. 4 Graham Pont. “Overtures at the Keyboard: The Handel Tradition,” Early Music, 35, No.2 (2007): 271-288,herself, she learns that she needs love in her life, specifically romantic love. When she goes back ‘out to the battlefield, she notices two men that peak her interest. In this recitative, it begins with Trekklock aside from the brothers, but slowly approaching them. Once James notices the aliens surrounding him, he freaks out and is not sure what to do. During this time the Queps are battling Robert, and he ends up killing them. In this scene Trekklock captures Robert and brings him to her lair. Inside of her lair Trekklock is angry that Robert will not fall in love with her, so cue her rage aria. In many operas, anger, as well as sadness, love and any other emotion, are expressed through an aria*. This aria uses the da capo convention as well as a small ritornello structure that frames out the aria. This aria also features sections where the piano drops out, a feature that is used in later baroque opera seria, For more information on aria conventions and compositional techniques see these articles by Westrup et al® and Robinson’. She ends up freezing him solid in a block of ice where he will stay trapped in her clutches. After Trekklock gets her moment to shine, we see outside her door, where James is waiting to get revenge on his brother. He then enters and finds that his brother is still alive, just frozen solid. Threatened, Trekklock eats James to save the love of her life, This leads Robert to sing about his sadness of his brother's demise. This aria is similar to the previous using the Da capo feature. This one is amusing because he is still partially frozen in ice, then leaves for his exit convention. In the last recitative, Trekklock is still convinced that he loves her while she watches him. unfreeze, In her attempt to embrace him, she gives him an alien parasite, which ends up killing 5 McClymonds 6 Jack Westrup et al. "Aria," Grove Music Online. Oxford Music Online. Oxford University Press 7 MF. Robinson. “The Aria in Opera Seria,” Proceedings of the Royal Musical Association, 88 (1961-1962): 31-43,Robert, She then laments that she will never find love. Overall this opera embraces many aspects of Italian Opera Seria. The leading actress gets the most amount of arias, the repetitiveness of recitative, and following other plot conventions. There are some aspects missing, such as the deus ex machine, or other royalty that save the day, but I enjoyed writing this tragic ending. Following is the vocal and piano score for the Opera, succeeded by cello parts with figured bass symbols, and reflection of the writing process. Enjoy the tragic tale of “Trekklock”Cast and Crew List Kathryn Fenton- Producer Kathryn M. Fenton holds a BMus, Hons from McGill University, an MA from the University of Notre Dame, an Interdiseiplinary Certificate in the Rhetories of Inquiry from the University of Iowa, and a PhD in musicology from The University of Western Ontario. Prior to coming to EIU, Professor Fenton taught at both The University of Western Ontario and The University of Iowa. At Eastern Illinois University she teaches a range of music history courses at the undergraduate and graduate levels, as well as an introduction to music research course for graduate students. She sees music history courses as an opportunity to not only give students a sense of how individual works fit into a network of historical and cultural contexts and to expand their musical literacy, but also as a chance to encourage students to develop their critical thinking and writing skills. Tyler Harr- Director, Composer, Librettist, Piano Tyler Harr is a junior music education major and plays trombone and piano. He also enjoys playing the bassoon and juggling. He was very excited about writing, directing, and performing in this Opera. He wants to give a special thanks to his cast and crew, without them this show would not have been possible! Haley Altgilbers- Trekklock Haley Altgilbers is junior from Mt, Carmel, Ilinois and is currently a music education student at Eastern Illinois University where she studies voice and flute, Haley sings in the Concert Choir and Camerata Singers and plays the flute in the Wind Symphony. Her hobbies include crocheting, baking, and loving puppies. She was last seen as Lilly in James Joyce's The Dead and is glad to be making her opera debut in Tyler Hart's Trekklock as the title character. Mr. Timothy M. Renner- General Robert Brown ‘Timothy Renner, a native of Northern Virginia, joined the voice faculty at Eastern Ilinois in 2014. A man of many talents, Timothy is an active singer, pianist, vocal coach, pedagogue, and choral conductor. At ETU, he teaches applied voice, directs the University Mixed Chorus, and serves as director of musical theatre/opera. Timothy is gradually making a name for himself as a professional performer, having sung the baritone solos for Carmina Burana with the Eastern Symphony Orchestra at Eastern Illinois University in April 2013, conducted by Dr. Richard Rossi. In March 2013 he sang the bass solos in St. Matthew Passion with the Sinfonia da Camera, conducted by Fred Stoltzfus. He has sung in various private recital settings in recent years as well, and already has an opera engagement to perform in South Carolina in 2016. He also greatly enjoys being involved in community theatre. Recently he has served as music director for You're a Good Man, Charlie Brown and Mary Poppins with the Champaign-Urbana Theatre Company, and last summer he sang the role of Javert in Les Misérables. He is also instrumental in the music ministry at his church, First Baptist of Danville, IL, serving as choir director and leader of worship.Ty Tuttle- Lieutenant James Brown ‘Ty Tuttle is a junior music major at Eastern Illinois University, There, he aecompanies and sings in the EIU Concert Choir. He also assists the Casey-Westfield High School Choir, with whom he has served as Music Director for productions of Mary Poppins and Bye Bye Birdie. Ty has been playing piano for ten years and accompanying for eight. He is grateful to have had many great musical theatre experiences. Favorites include Clue: The Musical(FOBP), Little Shop of Horrors (CWHS, EIU), The Music Man (CISCo.), and A Minister's Wife (Station Theatre) starring Mr. Renner, Thank you to all that made this experience possible! Tia Cowger- Qui Qui the Quep Raised in rural Wheeler, Illinois, Tia Cowger is quite used to the quiet life and the smell of farm animals. This is her debut performance, though she does not speak, and serves only as, comic relief. She is a third year student at Eastern Illinois University, pursuing a music degree, studying the flute under Dr. Rebecca Johnson, and her minors include creative writing, studio art, and entrepreneurship. Tia is very excited to be a part of the “Trekklock” cast! Alison Stangel- Qui Quo the Quep Alison is a junior music major who plays the flute, piccolo, and saxophone. With hopes of playing woodwinds for musical theater productions in the future, itis only right that she makes her stage debut as well. She is very excited to play the role of Qui Quo alongside one of her best alien friends! Fall "1S Music History Class- This class meets Monday, Wednesday, Friday at 9:00 throughout the semester. After learning about Opera Seria in the Baroque Era they are very excited to be a part of this production! (Although they were not really given a choice)Scene Breakdown Overture Scene 1: Recitative: Brother, Brother James, Robert ‘Chorus: Attack, Attack Extreme Domination Devices, James, Robert Aria: Death is Sure to Come James Scene 2: Recitative: Hey, You! Trekklock, Queps Dance: The Dancing Queps Trekklock, Queps Aria: Oh, Love Trekklock Scene 3: Recitative: The Robots are Dead James, Trekklock, Robert, Queps Aria: Fie, Fie, Fie Trekklock Recitative: She Took my Brother James, Trekklock, Robert Aria: I Have no Hope Robert Recitative: Look at Him Unfieeze Trekklock, Robert Aria: Woe is Me TrekklockRecitative: The Robots are Dead Tyler Harr su ‘Trekklock James Robert 7 5 Trekklock Who are these men I see? ‘Who is that James — The rob-ots are dead! Robert = = but don't give up wud = ] : Ssman I see? He is sure-ly handsome, ‘There's no hope! Brother we're all thats eft! n lead ‘Trekklock James Whatis that I hear? Robert are you list-en ing? Pno:‘TrekKlock James aliens! al-i-ens! | all a-round us al- i-ens! Robert, Pho: ‘Trekklock James Fi al-i-ens! | all a-round us al- tens? Robert all avound us al-iens! | Theres one! Pno:‘TrekKlock James all around us al - i-ens! al - i-ens! Robert all around us al - i-ens! One more! Pno ‘Trekklock Tm in lover |So in love! James all around us al- tens! aliens Robert all a-round us al ‘That's the queen!29 Trekklock I must have him 35 James Robert a conting af-er me! Pno ‘Trekklock come here! 35 James brother! Robert Abhtt! Pno: Kill her now!36 “ u“ ‘Trekklock Will you love me? James = Robert — Pnos —_Aria: Woe is Me Tyler Harr 2-80 ‘Trekklock Woe is me! Tost my love | my on-ly love ‘Trekklock Tlost mylove | my on-ly love ‘Trekklock sver will 1 [fall in love a - | gain Pno:‘Trekklock Ne-ver will [ [fall in love a - {gain Ne = ver will 1 Pno: TrekKlock fallin love a - [gain Woe is met (oN Pho: ‘Trekklock Tost mylove | myon - ly love Pno:‘Trekklock Tost mylove | my on-ly loveChorus: Attack Attack Basso Contiuo Tyler Harr d=120Reflection Reflecting on this Opera writing process I learned many different things. First of all, I really enjoyed coming up with an overall plot. Originally I was planning on following the traditions of the time period and have the plot be based on Greek mythology. Deciding to find a more modern alternative provided many other options. In the thinking process there was the possibility of doing a western, but I thought they were not high brow enough characters. Other brainstorming suggestions led to other ideas such as Pocahontas, Dr. Who, and other models for my Opera. Spinning off of Dr. Who and other science fiction, Trekklock was born. Coming up with other characters to interact with the alien queen was next, So in Opera Seria style, why not have the whole world in peril? So this alien invasion tumed into a battle with the human army with some robots fighting on their side, Then the idea of having a robot of the main protagonist seemed like a v option, but I decided against this, due to the monotone nature of robots. The robots were not left out, but given a monotone ritornello in the first scene. After the Robot main character was out, through some research, I discovered that war heroes were often in the forefront of these plots. So a human war hero versus and evil alien queen, the battle for the fate of the whole world! Inspired by Handel’s Opera, Rinaldo, my favorite aria revolved around a characters loss of love, and decided that Trekklock needed to have a love plot between the characters. With unrequited love as the theme in a Romeo and Juliet sort of way, Trekklock fell in love, a forbidden and strange love. Then I also decided that love between family can be just as strong, and thought if there was a family tie to the protagonist, then the sting of death would be twice as strong. Although many examples of Opera Seria do not end with death of the entire cast, many do have very tragic endings, I struggled trying to get a plot that would keep the audience's interest, but not be too complex. I think Trekklock has enoughcharacter development to make them seem real, but still simple enough to let the opera be a vehicle for the singers. With a basic idea of the plot, next was to start writing the music, The recitatives were the most challenging to write. I would start with writing the text that the singers would be speaking. I worked as librettist, and later on composer. Trying to figure out a way to make the plot move on and introduce enough information to explain what is going on. Getting the recitatives to sound baroque was extremely challenging. On most of them I am not sure I ever really got to this point. We have analyzed baroque works in theory and analysis classes, but writing one was a whole different story. Trying to use sequences and other compositional techniques, I hope I achieved recitatives that are written in a close cnough style. In some of my research, I found out performance techniques in singing recitative. Singing very parlando, or almost in a speaking style should be the overall goal, I would say the lines of text to myself and try to figure out the contour of the line and emulate that in the melodic line. Through this process the plot could develop through the recitatives. I found Trekklock’s recitative to herself to be very challenging, but through the staging I think I found a way to make this movement come alive. ‘The arias on the other hand provided their own challenges. The text seemed easier, because there could be fewer words, and more melismas and long notes used. Although the text is not the most sophisticated, it think it captures the essence of what baroque arias are: a vehicle to express one of the characters emotion, and let the singer show off. I am excited to stage the show and perform it with the exit convention, Although we have been taught about them, it will be an educational to experience an exit convention from the point of view of the audience member.