get with it, NYC, says M.C. Hammer-bee

New York City Skyline


Though a long-time blogger, normally, I’m not a ranter. Snarky, yes. But ranter, no.         

But I have a honeybee in my hard hat, and I need to let it out before it stings me. (Swollen isn’t my best look.)         

M.C Hammer-bee


Seattle Opera, Portland Opera, San Francisco Opera, San Jose Opera, Atlanta Opera, Minnesota Opera, Fort Worth Opera Festival, Opera Theatre of Saint Louis, American Lyric Theatre of NYC–all donated prizes to Operaplot 2010. These fine companies were joined by many from around the world–Canada, Europe, and Australia. The grand prize, and a sweet one at that (honeybees know what sweet is!) for one lucky opera plotter, was donated by Opera Theatre Company from Dublin:         

* A pair of tickets to The Marriage of Figaro (7th May to 2nd June)
* 3 nights accommodation, including at least 2 nights in Dublin at an O’Callaghan Hotel
* Up to 1000€ to cover flights.         

Wow, what a  prize! They must really love their opera in Dublin and their opera lovers. They’re even providing air fare–a symbolic and powerful way of embracing the worldwide opera community.         

Wow, besides the American Lyric Theatre, where are the prizes from New York City’s other premier opera houses? Which houses would that be, you ask? Oh, I don’t know. One or two come to mind.         

Lincoln Center, NYC


I follow the Tweets of these opera companies, the giant and the near-giant of Lincoln Center. Does anyone at the Met or New York City Opera ever log on to Twitter and follow real Tweets from real Tweeps?          

Or do they merely load a week’s worth of Tweets into HootSuite on Monday morning, set it, and say, “Well, glad that’s done with, eh”?         

“I mean, fuhgeddabout responding or replying to opera lovers in the Twittersphere who follow us. We’re number 1 and 2. We have important things to do.”         

I know what you’re thinking. You can’t pick on the Met, Gale. They only have–let’s see, 225 productions x 3,500 seats per production = 798,000–almost 800,000 tickets to offer yearly.         

How could they possibly spare a pair of tickets for a Twitter-based contest that only engaged the worldwide opera community, in which four out of the five big winners hailed from New York City.         

So, why are you so conspicuously absent,  New York? Were you sleepwalking while this vital, organic micro-plotting operafest was taking the opera community by storm? Were you asked to donate prizes but declined?         

As an American and someone who both lived in and loves New York City, I am puzzled and embarrassed by the conspicuous absence of support for Operaplot plotters from other New York City opera houses.


Filed under 21st Century Opera, Classic Opera, Classical Music, Opera Marketing, Rant