Comprehensible input: the rest of the summer - Advanceds translate for Beginners. Note that German easily uses present tense to cover the future, especially if time phrases are included.
Advanceds: narrate your own rest of the summer. Beginners: translate. Try these: 1) echo the German (if you're Novice High; 2) translate into English for the Advanced to confirm your comprehension.

Review of yesterday: 1) Where do you stand, etc., and sing in relation to the stage and your fellow performers?

Model: In der "Zauberflöte" singe ich mit dem Karl / ihm und mit der Katie / ihr.
Maybe refer to the parts of the opera: Im zweiten Akt / Für die Arie "X" stehe ich… (NOTE THE WORD ORDER!!)

2) So what hurts today, and why? (Day 6 body part list has been expanded to include what came up yesterday)

Wie, bitte? Kontext 7: Getting train tickets, finding out the track number (Berlin? Gleis 6), and correlating distance with travel time in the German-speaking world (and maybe car time in Oregon/ USA)

The voice: caring for it; related vocabulary (much more info in German: http://de.wikipedia.org/wiki/Stimmlippe)

*"sich" with a verb indicates it is "reflexive" - it has to be accompanied by a "self" word. Sometimes English and German are parallel: Ich möchte mich erschiessen. = I'd like to shoot myself. Sometimes they are not parallel and you just have to learn it. Here are examples of various persons for "sich schnäuzen": Ich schnäuze mich = I blow my nose; du schnäuzt dich; you blow your nose, etc.

**To avoid making the brand name sound identical with a German obscenity, Vick's Coughdrops are marketed in the German-speaking world as "Wick Hustenbonbons"

Wie pflegen wir unsere Stimmen? How do we care for / coddle our voices?

schonen = preserve, go easy on; flüstern = whisper; gargle = gurgeln

Words that include "stimm": die Kopfstimme = falsetto;die Stimmausbildung = vocal training (Gehörausbildung = ear training); stimmhaft = voiced (consonant, etc.); stimmlos = voiceless (consonant); stimmen = to tune or voice (a harpsichord, etc.); gestimmt = in tune; verstimmt = out of tune; sich verstimmen = go out of tune (Meine Geige verstimmt sich schnell. = My violin goes out of tune quickly.); Das stimmt (nicht) = That's (not) true / consistent. / That jibes / doesn't jibe. (literally: is in harmony).

Rule 5 of German grammar: Statements have 5 parts

The "normal" position for the subject is position #1. An entire idea is being presented, and - as is usually the case - we are most interested in the subject - the person or thing that is carrying out an action. If we want to emphasize some other piece of information (time, destination, the object of an action), we can put it in postion #1, but then it has to receive HEAVIER vocal emphasis too (see capitalized phrases above). This sets up the expectation of a contrast:

NACH PORTLAND fahre ich morgen. / I'm driving to Portland tomorrow. (NOT, as you were assuming, to Seattle)

Review what you can do

1) Talk about yourself, family, friends (generally; as musician). 2) Get simple food & drink. 3) Get simple shelter. 4) Negotiate scheduling. 5) Negotiate simple transportation. 6) Talk about tempo, pitch, score, and musical notation (much more info in German: http://de.wikipedia.org/wiki/Partitur). 7) Health & habits. 8) Spatial relationships, including the stage (much more info in German: http://de.wikipedia.org/wiki/Bühnenbild).

Formally introducing yourself and your musical piece

Ritual expressions (general; related to musical performance)

*Can be accomponanied by gestures:1) Index fingers overlap thumbtip, with fists closed. 2) The wisher presses the thumbs of the wish-ee.

How to document your German proficiency

In North America: ACTFL Proficiency Guidelines (simplified version on your WB disk, in folder "media:WB_pdf_2008) and at this link.
In Europe (and, increasingly, in North America): EU "Language Passport" (Sprachenpaß): self-evaluation sheet with cover letter & chart for your languages (English; German)

Schubert, "Der Leiermann" - text comments and grammatical analysis

Farewells and your post-workshop support promise (email me at fischerw@pdx.edu); link to our course website: http://web.pdx.edu/~fischerw/courses/astoriamusicfestival2012/

Core Texts of German Literature and Culture of Opera Singers

If you read only one modern poem, make it "Todesfuge" ("Death-Fugue") by Paul Celan, which is regarded by many as the greatest poem written in German in the 20th Century. Its theme is the Holocaust, and a central image in it is the orchestras of inmates in the concentration camps. Can be read by a serious student who has had a year of German and uses a dictionary for a few words.
On the subject of music and the Holocaust: do a search for "The Defiant Requiem", a re-enactment of Verdi's "Requiem" as performed by inmates in the Terezin (Theresienstadt) concentration camp. Done in Portland in 2002 by Portland musicians under the direction of Murray Sidlin.
If you read only one short story, make it one by E.T.A. Hoffmann, who wrote the "Tales of Hoffmann" and the source text for The Nutcracker ballet.
If you read only one modern novel, make it Doktor Faustus: Das Leben des deutschen Tonsetzers Adrian Leverkühn, erzählt von einem Freunde / Doctor Faustus: The Life of the German Composer Adrian Leverkühn, Told by a Friend, (1947), by Thomas Mann.
For the intersection of music and German literature, read Verbal Music in German Literature, by Steven Paul Scher (Yale, 1968).