You can click on them to reveal their identities. Once again, here are some of their predecessors.
Singers doing a splendid job of telling this story with no props costumes or lights and a minimum of movement. #nycosi #losingjobsecurityNow Canty has directed the opera six times and knows it intimately, so it stands to reason that he could easily follow the drama without all those extras, but the truth is that someone new to opera could hardly be expected to make much sense of things. In fact, at one point, after a fast-paced recitative scene had been run, Jennifer turned to the audience and asked optimistically, "you could all follow what was going on there, right?" She seemed a little surprised to see many heads shaking left to right, but this is the way music so often goes for us musicians. Once you're on the inside and know the works intimately, it's hard to imagine how they wouldn't make sense to anyone.
(I wonder if the long GILDAAA distracted people from the brilliance of the opening, which could be a perfect tagline for the opera - at least, perfect if the opera were a comedy. Perfectly executed plays on "hunch" and especially "daughter in the sack"; in far less than 140 characters, it actually summarizes the gist of the plot remarkably well. My favorite of 2010.)
(OK, this summarizes very little, but it makes me laugh every time I see or say it. It's especially satisfying because the opera itself is so long. I'm proud to say that I helped midwife this one into the competition; it arose from a discussion among two plotters, one of whom mentioned how much this opera reminds him of reality shows such as "America's Got Talent." The other responded with the line above, and I suggested that's all that was needed.)
(I don't even understand parts of this one, but it stands out for sheer kookiness, and it somehow fits Alberich perfectly. Was even converted into a LOLcat.)
(Maybe the best of the song parodies. Easy to hear Barry Manilow crooning this.)
(Hey, look at that; two rhyming Britten plots about creepy characters named Peter, back to back. Both very elegantly and efficiently done.)
(I actually found myself working at one point on something about the coincidence of Mimi stopping by - never got anywhere with it, but this Bogart homage captures it perfectly.)
(Note that the two above are not for the same opera. The "there's more to me than a homicidal clown" line is killer. I may need that for a bumpersticker.)
(nbrockmann has probably turned out more great operaplots than anyone, often featuring clever social commentary; too bad she didn't have enough characters to add "decadent Wagnerian chromaticism" to that grim list.)
(I like the bonus meta-layer provided here by using this operaplot to comment on the self-awareness of the plot.)
(Of course, I like the rhyming ones, of which there were many entered, but meter too often ends up suffering. This one flows along perfectly and integrates the required hashtag most cleverly.)
(It's likely I wouldn't have had the skillz to imagine how this should sound on my own, but fortunately its author supplied the breakout hit of Operaplot 2010: Listen here.)
(It manages to do so many things. It reads first a bit like a scientific abstract, which turns out to be a lovely way of capturing the culture clash at the center of this story; it's clever and humorous; but, best of all, unlike just about any of the other operaplots I've seen, it genuinely captures the poignancy of the story. It's pretty easy to make fun of opera in all its silliness and excess, but this one actually reminds us that we care about the characters. It's actually sad.)