Tag Archives: #operaplot 2010

“best of” countdown #2 – 2010 #operaplot entries for ‘Don G’ sparkle

(first published May 3, 2010)

For opera-involved (-crazed, -cranked, -obsessed, etc.)  individuals, the Twittersphere was crackling with entries last week in #operaplot 2010, or, how to reduce the plot of an entire opera to a Tweet–140 characters including a hashtag and the word #operaplot.      

This brainy battle of the curt, terse, and pithy is organized by Toronto music critic Marcia Adair, aka Miss Mussel, classical music’s champion of the short and sweet.  Since “Operatoonity” wouldn’t  exist in the blogosphere without Mozart’s Don Giovanni–the opera that inspired my novel DEVILED BY DON–with Miss Mussel’s permission, I thought I would share all the entries this year for Don G:      

Don Giovanni (Mozart)
Vankan0 – it 640 de 231 fr 100 tr 91 es 1003. Kill father. Dress up as servant. Seduce farmer girl. Supper with ghost. Go to hell.
Gerrit Theule – A rake’s progression goes from woman to woman to woman to hell. His poor servant, left to explain things, escapes at least.
Gerrit Theule – Three strikes and the Don’s out. The Commendatore wins every time. Except at the beginning. He doesn’t fare so well there
Patrick Swanson – I tell ya, Leporello-life is good. Bangin hot chicks, breakin hearts. Pass the butter. *knock knock* Who’s there? Oh shit.
Paul JZ – The Don’s Hectic Calendar: Seduce. Rape. Duel. Kill. Flirt. Lure. Flee. Regroup. Accuse. Swap. Fool. Invite. Revel. Refuse. BURN!
Paul JZ – “Questo è il fin di chi fa mal!” So, don’t seduce, rape, accuse, fool, desert, lure, beat, or kill, lest you be dragged to hell!
Thos Carpenter – A cautionary tale for serial rapists everywhere: never invite a walking, talking statue from hell to a dinner party.
MMmusing – Cad kills Commendatore. Conquests cataloged, courts country cutie. Cry creates chaos. Cast Commendatore comeback cues comeuppance.
MPR Mike – 1003 in Seville is plenty.
Paul JZ – I’m too sexy for amor—too sexy for Seville. I’m a charmer—I shake my lil tush on the piazza. I’m too sexy for this opera. *burns*
Fabtab – Man leaves Playboy mansion to compete for a virgin; sings a rap so filthy even the Pope digs it.
Oliver JMC – By some miracle, he didn’t experience any burning sensations until after the 1003rd.
Eric Mahlzeit – Cunning Spanish nobleman murders, seduces, serenades, and throws one hell of a dinner party.
Where’s Runnicles – How many? I don’t believe you. Seriously, I made a list. Where do you think you’re dragging me off to and why is it so hot there?
CTMCC – Go to hell Don G says mad woman, sad woman, nearly-bad woman, their menfolk and many many others.
MPR Mike – In which our hero learns that, in Spain, he should have stopped at 1003.
Pattyoboe – He’s made a long list, checked it more than twice. Everyone knows he’s naughty, not nice. Dinner time for Statue & Don.
Otterhouse – Leporello: “Drink wet cement and really get stoned.”
Shevinka – Hi lep, remember that old dude we killed? Well he got me b4 the stds did! give your wife *one* for me :p, see you in hell xx
Lattavanti – No reference from former boss because he went to Hell for killing some chick’s dad. Here’s a list of other gfs—see, he trusted me
Henri Drost – I can’t get no satisfaction tho I’ve tried 2066 times. No no no says Leporello but I’d be damned to decline an invitation.
Le Boyfriend – Kissed the girls and made them cry. Stabbed one’s dad and watched him die. Offered chances to repent, he opted to be Hades sent. Men!      

Aren’t they all fantastic? Which is your favorite?  I  can tell you mine. Drumroll, please . . .      

Henri Drost gets my first-place blue ribbon. I love how he added up all the conquests from Leporello’s “Catalogue Aria.” Very clever!!     

Second place goes to Paul JZ  for the I’m too sexy for amor . . . I’m too sexy for this opera. *burns*

Third place goes to MMmusing  for the totally alliterative entry.  

Honorable mention goes to Pattyoboe for her “Santa Claus is Coming to Town”-inspired Tweet.

Read all of this year’s entries (almost a thousand based on more than 200+ different operas) at The Omniscient Mussel.      

The overall contest winners judged by Jonas Kauffman [were] announced on May 7!

Addendum to original post from The Omniscient Mussel: 

Runners Up as selected by Jonas Kaufmann

Name: Stephen Llewellyn (@LeBoyfriend) Portland, OR, was named a runner-up for his Don G entry.
Tweet: Kissed the girls and made them cry.Stabbed one¹s dad and watched him die. Offered chances to repent,he opted to be Hades sent. Men! [Don Giovanni]

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Filed under 21st Century Opera, Best of Operatoonity, Don Giovanni, favorites

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.

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meet a winning operaplotter–Daniel John Kelley!

It was like Christmas in springtime or watching an online Oscar ceremony (only more entertaining). Today, the winners of the 2010 Operaplot contest selected by tenor Jonas Kauffman were announced on The Omniscient Mussel and regaled on Twitter, of course, and many other places in cyberspace.
 
This was an enormous mini-contest celebrating not the masterplot but the microplot–only 140 characters with “#operaplot” included! More than 900 entries representing 200+ different operas had to be read, sorted, alphabetized, and categorized, etc., at Tweetning-fast speed. Entries had to submitted last Friday. The final complement of winners were announced today.
 
(“Miss Mussel can move mountains”; “Miss Mussel for president,” the masses clamor.)

Browsing through the alphabetized entries is the most healthy, cognitive fun I’ve had in a year! Thank you, Miss Mussel, and thank you, contestants for oodles of operatically-themed entertainment. I think everyone who entered is a winner.                  

A 2010 Operaplot winner--Daniel John Kelley

 

Since I’m a student of creative writing, I saw a kindred creative-arts spirit among the winners’ circle announced today, playwright Daniel John Kelley, creator of the children’s theatre series Monster Literature, and invited him to be a guest on “opera-toonity.”                  

Here is Daniel’s prize-winning #operaplot, which he Tweeted using his sardonic Twitter identity @FunWithIago:      

So I wrote this guy this EPIC love letter & he’s like “No thanks”, but now I’m married & rich & he’s all “OMG I LURV U!!” WTF? [Eugene Onegin]                  

Pretty clever, eh?

Earlier today, I dashed off my questions, and Daniel responded with gusto and good grace for your reading pleasure.                  

Daniel, is this the first time you’ve entered #operaplot?
Nope. I was part of the contest last year, but didn’t win anything at all.

How many entries did you submit to #operaplot 2010?
I entered 4 this year.                   

Did you have a favorite–yours or anyone else’s?
I thought Brian Rosen’s Oedipus Rex rap #operaplot was brilliant. Probably made more brilliant by the fact that he recorded it: http://blog.musicvstheater.com/2010/04/30/operaplot-madness/                  

(I agree that Brian’s rap was an inspired effort. You have to listen to the recorded version.)                  

How much time did you spend coming up with entries?
Mostly it was at my day job and on the subway, so probably like twenty minutes each.                   

Do you have a favorite opera?
 I love Verdi’s Otello– I have like 14 recordings of it. For me, as an opera, it’s the perfect combination of music and drama. I feel like the music really does a great job of psychologically following the characters in each scene, and I find it to be one of the most powerful works in the canon.  But I also feel bad saying it’s my favorite, considering the lead role is still done in blackface all over the world. I can’t invite people to see it with me who don’t know the opera or are familiar with opera, because all they see is a man in blackface and they’re like “Dude, WTF?” Understandably. I read that the UK had their first black Otello…last year. I don’t know that there’s ever been one in New York. If folks want to bring opera into a new century (like maybe the 20th century?), forget twitter, let’s start with that.                   

Iago, from San Francisco Opera's Otello, 2009

 

How did you arrive at your Twitter username, @FunWithIago? Funwithiago has been my internet handle forever– it used to be my livejournal name when people did such a thing. It’s from the villain in Shakespeare Othello (and Verdi’s opera). His name is hardly synonymous with “fun”, given how things end up for him and everyone else in the play, and fourteen-year-old me thought that was hilarious.                   

How long have you been Twittering? Why did you start Tweeting?  I started tweeting late last year. Actually, my dad (@rpmkel) got me into it. I was like, “This looks stupid.” And then I did it, and found the great opera and theatre communities on twitter. And it was awesome.                   

Thanks Daniel, and congratulations on your selection for a top prize! Oh, and if you interview Daniel, he sends his answers already hyperlinked. What a cyberhip and accommodating guy!                  

To find out what prize he selected, visit  “The Omniscient Mussel” website and view the official winners here, including the Operaplot Side Pot winners.                  

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