Ask anyone who writes in any forum how they would react to find that their work was copied and plagiarised without due credit and the response would be icy. When COMMANDOpera determined to be involved in the discussion of the art form of Opera, one was advised by no one less then Parterre and Opera Chic regarding how to utilize another author’s work within one’s own venue. They both were clear: you LINK to the original article within your own work, or credit the original author through quotation. That is not to say that different venues who discuss Opera will touch on the same topics daily: this happens frequently particularly where The Metropolitan is concerned. Any global venue which does not discuss the ongoing movements of The Metropolitan cannot be taken seriously if such a glaring omission existed. The same goes for the Teatro alla Scala or The Royal Opera House to name a few. Those who write on the art form and have established a global following, achieved this via the quality of writing or the fact they are well connected within specific theatres. COMMANDOpera as an informational venue is obliged to maintain a significant network within every aspect of the global Opera community in order to author the articles which appeal to it’s readership. It has taken a great deal of perseverance and work to finally be accepted into the very top tier circles as a trusted source.
Perhaps the most rewarding ongoing series COMMANDOpera has authored is the 2010 2011 glittering season announcements from the theatres around the world. Today COMMANDOpera published both the Opéra National de Paris 2010 2011 and The Royal Opera House 2010 2011. Also today, virtually the entire Royal Opera House season was screen capped from my venue and pasted onto an article on this venue. Feel free to compare the COMMANDOpera article with the plagiarised work. This particular venue has behaved in the shabbiest manner towards The Royal Opera, and could not enjoy the slenderest of hope to ever be included as a serious media venue within the ROH database. This reality is underlined by what this venue perpetrated on COMMANDOpera today. Does such eregious behaviour oblige COMMANDOpera to begin watermarking articles? No. Will COMMANDOpera call out a nobody like this moronic fool when such underhandedness takes place? Every single time.
The Art of Being a NOBODY
Ask anyone who writes in any forum how they would react to find that their work was copied and plagiarised without due credit and the response would be icy. When COMMANDOpera determined to be involved in the discussion of the art form of Opera, one was advised by no one less then Parterre and Opera Chic regarding how to utilize another author’s work within one’s own venue. They both were clear: you LINK to the original article within your own work, or credit the original author through quotation. That is not to say that different venues who discuss Opera will touch on the same topics daily: this happens frequently particularly where The Metropolitan is concerned. Any global venue which does not discuss the ongoing movements of The Metropolitan cannot be taken seriously if such a glaring omission existed. The same goes for the Teatro alla Scala or The Royal Opera House to name a few. Those who write on the art form and have established a global following, achieved this via the quality of writing or the fact they are well connected within specific theatres. COMMANDOpera as an informational venue is obliged to maintain a significant network within every aspect of the global Opera community in order to author the articles which appeal to it’s readership. It has taken a great deal of perseverance and work to finally be accepted into the very top tier circles as a trusted source.
Perhaps the most rewarding ongoing series COMMANDOpera has authored is the 2010 2011 glittering season announcements from the theatres around the world. Today COMMANDOpera published both the Opéra National de Paris 2010 2011 and The Royal Opera House 2010 2011. Also today, virtually the entire Royal Opera House season was screen capped from my venue and pasted onto an article on this venue. Feel free to compare the COMMANDOpera article with the plagiarised work. This particular venue has behaved in the shabbiest manner towards The Royal Opera, and could not enjoy the slenderest of hope to ever be included as a serious media venue within the ROH database. This reality is underlined by what this venue perpetrated on COMMANDOpera today. Does such eregious behaviour oblige COMMANDOpera to begin watermarking articles? No. Will COMMANDOpera call out a nobody like this moronic fool when such underhandedness takes place? Every single time.