Chivalrous. Respected. Erudite. Wise.

The Master Class

Make It Out of Town With EVE


EVE is perhaps the most brilliant rapper of all time in the opinion of this venue, for no one rawks it out so consistently like this artist. Unlike other rappers, EVE has penned a number of socially conscious hits which have become mainstream simply because her message knows no borders. Recently EVE released Make it Out of This Town which has a strong anti bullying message of support for those who know abuse at high school.


Brava EVE!

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IMAN the Alpha Female


COMMANDOpera will remove intentionally form the art form to look at one of the greatest stars of another. The supermodel Iman has been reappearing with greater frequency over the past few years to resume her position as an untouchable celebrity of the very highest echelon. Iman, who arrives from Somalia, literally became an overnight sensation on the catwalk which she ruled until her retirement in 1994. The daughter of a career diplomat, Iman spoke seven languages and was already the toast of east African society, when she was ‘found’ by photographer Michael Beard in Nairobi. Upon her arrival to New York City, she was immediately engaged by the famed Wilhelmina modelling agency, and the story was spun by her handlers that Iman was the simple daughter of a goat herder (something which did not sit particularly well with this rather educated person). That wee fabrication quickly evaporated, and the rest is history. Iman never missed any opportunity she could turn into gold, and invariably became an extraordinarily wealthy woman within a few years (it is she who did not get out of bed for less than $50,000 each day). Both her fame and fortune somehow seemed as though predestined. On the Internet, COMMANDOpera found a 38 second clip which tells anyone who is curious, all they need to know to understand Iman.

From the moment Iman appears on the catwalk, there is no doubt as to who is the star in the room. And with good reason. The second she appears, the model who is currently sashaying towards the back must move to the right to avoid Iman who determines to take the centre of the runway. As Iman glides to the front of the catwalk in flats, she is focused, moving in perfect harmony to the beat of the music yet smiling here and there as a token to certain admirers (always maintaining the centre of the runway). The moment she arrives to the front, it is impossible to not read her mind that the second she turns around to head back, she knows another model will also be on the catwalk. She turns crisply to face her nemesis, hands quickly clasped behind her her back, then immediately removed as she returns 1/3 down the runway before undertaking a complete rotation. In doing so, her left hand moves to her hip, she then proceeds to face her prey and continues her return moving her right hand to her right hip in a fully aggressive, challenging mode. Iman maintains her position at the critical centre of the runway, obliging the other model to move to the other side as they meet, where they briefly stop. Iman looks straight ahead ignoring the other model, who is now glaring at her: pure theatre. The other model is obliged to move around Iman after this tiny interlude (Iman will remain still a split second longer before moving on).

Vincitrice.

COMMANDOpera has often expounded the merit of the rule ‘centre of attention’, and the history of the rule, however Iman takes the whole concept to an entirely new level. For those who are intent on being a success of huge proportion in the art form of their choice, it is always game on when your in the game. 24/7.

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A Savvy Way For Opera Revival


Traditionally  in any global theatre, the best and most expensive seats in the house typically are located in the balcony, orchestra section or near front and center. The Broward Center for the Performing Arts intends to add a new section to that exclusive list: Club Level, a VIP area with wider seats inside the hall, and private access to a soundproof lounge with flat screen TVs, a full bar and food service — reminiscent of the luxury boxes fans pay top dollar for at sports venues.


Brilliant.

COMMANDOpera has long believed one should know their roots before successfully realising their crown. Centuries ago, those who went to attend theatrical performances intended the evening to be a complete night out: dinner baskets, vintages for quaffing, and cards to name a few were the norm to be included. Is it possible that by removing such characteristics over time has been the underlying reason for for the slow death of classical theatre over time? It just might be a perspective worth considering. COMMANDOpera has long been on record against the dumbing down of Opera for the sake of maintaining the rinse set. Younger audiences are sufficiently intelligent and curious to seriously appreciate more interesting works, however this demographic requires more to draw them in. For a more edifying experience, theatres should perhaps consider longer intermissions with other essentials beyond the two or three tacky bars offered everywhere (who really wants to chug a beer in ten minutes or down horrid wines in the same short period?). The art of relaxation and leisure should be instituted once more into any evening out for classical theatre. A night out today should be no less than a night out in the time of Haendel.

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The Oldest Colour Film Found

COMMANDOpera found this extraordinary video which was just released on YouTube one hour ago from the National Media Museum in Bradford England. When one speaks of rare, this footage is the rarest of the rare as it is the oldest known moving film colour footage in existence dating from 1902. Here is what the Museum writes:

‘Lee and Turner’s invention has always been regarded by film historians as a practical failure but it has now been ‘unlocked’ through digital technology, revealing the images produced by the process for the first time in over a hundred years.

Turner developed his complex three-colour process with support, first from Lee and then from the American film entrepreneur, Charles Urban. Using a camera and projector made by Brighton-based engineer Alfred Darling, Turner developed the process sufficiently to take various test films of colourful subjects such as a macaw, a goldfish in a bowl against a brightly striped background and his children playing with sunflowers, before his death in 1903 aged just 29. Urban went on to develop the process further with the pioneer film-maker George Albert Smith which resulted in the commercially successful Kinemacolor system, patented in 1906 and first exhibited to the public in 1909. Sadly, Turner’s widow never received a penny from her husband’s invention.

On discovering the film, Michael Harvey, Curator of Cinematography at the National Media Museum, worked with film archive experts Brian Pritchard and David Cleveland to reconstruct the moving footage in colour following the precise method laid out in Lee and Turner’s 1899 patent. They turned to experts at the BFI National Archive who were able to undertake the delicate work of transforming the film material into digital files, and so the team were able to watch these vivid colour moving pictures for the first time, over one hundred years since they had been made’.

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Maestro Alexander Shelley


COMMANDOpera attended the media call for the Opera Lyra Ottawa La Boheme which stars American tenor Michael Fabiano as Rodolfo and Miss Joyce El-Khoury as Mimi. COMMANDOpera will attend the opening night along with a number of other significant players from the realm of North American Opera. Although this venue video recorded ‘O soave fanciulla’ which was offered by the principals for media taping, it will not be released at this time. Global readers may rest assured both artists sang magnificently, and own HUGE, golden timbered instruments.

Maestro Alexander Shelley who will conduct the performances was also on hand for the media, and COMMANDOpera made a point of not wasting such an opportunity. Maestro Shelley who at 32, is the chief conductor of the Nuremberg Symphony Orchestra, and is rather busy enjoying a meteoric rise in Europe conducting leading symphonic orchestras. For those who are curious as to precisely this personage, here is an excerpt from his professional biography;

In recent seasons Shelley has performed with, among others, the BBC Symphony, Royal Philharmonic, Philharmonia, Rotterdam Philharmonic, Simon Bolivar Youth Orchestra in Caracas, Mozarteum Orchestra Salzburg, Frankfurt Radio Symphony, MDR Leipzig, Komische Oper Berlin, Stockholm Philharmonic, Gothenburg Symphony, Swedish Radio, National Arts Centre Orchestra in Ottawa, Seattle and Houston Symphony Orchestras, City of Birmingham Symphony, Royal Liverpool Philharmonic, the English, Scottish and Zurich Chamber Orchestras, the Orchestre National de Bordeaux and the Melbourne, Malaysia, New Zealand, Seoul and Singapore Symphony Orchestras.

Forthcoming highlights include debuts with the Gewandhaus Orchestra Leipzig, the Konzerthausorchester and Deutsches Sinfonie Orchester Berlin, NDR Radiophilharmonie, Sapporo Symphony, Netherlands Radio Philharmonic, the symphony orchestras of Luxembourg, Monte Carlo and Montpellier, an extended tour of Germany with the Bundesjugendorchester and, in February 2013, four performances of Verdi’s Requiem with the Mozarteum Orchestra at the Festspielhaus Salzburg.’

While his calendar is solidly booked, he did manage to fit COMMANDOpera in for a one hour interview over coffee tomorrow. Given the tenor of the dialogue with the Maestro today, global readers are in for a brilliant read this week-end when COMMANDOpera goes live with a no holes barred interview based on Maestro Shelley’s unique perspectives on all things musical.

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James Valenti New Website


Globally ranked American tenor James Valenti has just launched a new and very atmospheric web presence. COMMANDOpera took a look around and has nothing but applause for this web presence. Coolly elegant, not over the top, but quietly muscular, it seems very much like the man himself. A favourite section would have to be ’About Me’, where Mr. Valenti talks about his rise to super-stardom in a first person presence. It reads as though a short novella and take you within his mind very tellingly. Mr. Valenti is soon to jet off to Sydney to make his debut on that stage in Lucia di Lammermoor, and the press over there are embarking upon to a level of ‘Valentimania’ it seems.

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Mr. Evans Mirageas Interview


Mr. Evans Mirageas, the Harry T Wilks Artistic Director of the Cincinnati Opera will speak with COMMANDOpera this week in an exclusive interview which will go live on Friday. COMMANDOpera has spent a number of years surveying the American Opera scene, and has noticed certain trends to be consistent where importance is concerned. Does a theatre routinely engage the correct vocal talent, ranking or otherwise? Are the seasons annually interesting and intelligently thought out? What other corresponding involvements are ongoing with a theatre? If such criteria are positively met, global readers may rest assured there is a great mind at work sitting at the Artistic Director desk  and chair of that theatre. The Cincinnati Opera is populated with an inordinate amount of excellent back of house talent, however one suspects the key to this company’s startling brilliance rests with Mr. Mirageas.

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Conrad Black Returns to Canada


COMMANDOpera welcomes a distinguished Canadian gentleman home. Bravo Signore.

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EXCELLENT

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An Out of Date Courtesy


COMMANDOpera feels behooved to categorically pronounce on a vexing matter prerogative which concerns both theatres and artists. The question which must be updated and resolved, regards the critical notion of who announces first.

Only a few weeks ago, COMMANDOpera was speaking with a regional American theatre which mounts five productions annually. During conversation, the individual at the theatre animatedly advised that since a particular artist had already gone public regarding their participation in an unannounced production, the theatre had better put together a release immediately. COMMANDOpera guards the traditions of the art form most aggressively, and was rather put out upon hearing this subservient perspective from the theatre (this venue has on more than a few occasions admonished managements for permitting artists such trespass on this understood, historic etiquette). The history of theatres around the globe announcing their seasons each year on an appointed day in a blaze of publicity, is far too long to attempt consideration. Global readers who have long followed COMMANDOpera will clearly recall the fervent public battles with gossip oriented social media venues who have betrayed theatres by leaking seasons in advance. Imagine then if you will, what goes on in private when COMMANDOpera picks up the phone: words are not minced.

Yet upon contemplation of the matter over the intervening days, COMMANDOpera has wrestled with the wisdom of continuing with this tradition in its current state. When the fortunes of theatres are dwindling to all time historic lows, all matters are on the table including the notion of historic courtesies. The art form requires every word of publicity it can manage in today’s extremely crowded Internet environment where more consumer friendly entertainments enjoy the lions share of space. The necessary argument in favour of an artists early announcement runs concurrent with an intelligent approach to marketing strategies utilizing the Internet. As a parallel, take the use of meta tags which are inserted into the back end of a correctly built website. Meta tags are key words which search engines such as Google recognise first in narrowing pre eminence in results. Ergo, the more tags which are incorporated, translates into first view prominence. It logically follows then that the more often a theatre is mentioned through any web based source, the more legs this theatre owns and therefore knows improved prominence.

If one is to considers the above argument, there remains no other option than to revise this courtesy. An artist goes live in the ‘Engagement’ section of their website in advance with future performances to advise their constituents of where they will appear next (and to show other interested theatres of their rising public stature). The spin off fortune to theatres cannot be ignored, and is in fact a blessing when one considers the proposition of seats being reserved in advance when the name of the artist is known on the unannounced ticket. Not to mention the invaluable extra period of time each production will have to develop ‘legs’. These rationales prove more than sufficient to offset the realignment of the old courtesy, for everyone will always look forward a theatres season announcement (if only now to additionally confirm various constituents interests).

COMMANDOpera is aware of how very slowly Opera reacts to change, however this is a tradition which this venue will no longer support. Noting COMMANDOpera is a must read by all ranking houses globally, it is to be predicted that the argument written here on this tradition will now be digested over the next few years. One recognises all theatres protect prerogatives, yet are wise enough nowadays to more easily move forward with the times, thanks in no small part to having to work through the ramifications of the Internet. It is to be understood, that while this tradition is to be relaxed where artists engagement announcements are concerned, woe be to those media venues who continue to leak any theatres season in advance.

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