Archive for February, 2010

Figaro, Figaro, Figaro

A Saturday night at Opera Colorado’s performance of The Barber of Seville was helped along by an ingenious iPhone app.  Almost any event held at Denver’s Ellie Caulkins Opera House both benefits and suffers from the features of its seats, to wit, the incredibly uncomfortable seats (which could only have been selected because the folding chair manufacturer was out of stock)  along with the clever electronic seatback titling system called, appropriately, Figaro. Since few of Denver’s opera fans are either fluent in Italian (or French and German) or have an intimate knowledge of the sung libretto, the English translation provided by the pale blue OLED displays makes the performances much easier to follow. Such translation titling in America’s opera houses was once viewed as hayseed – a reflection of the lack of sophistication of US audiences – but has grown to be adopted by other country bumpkin facilities in Milan, Barcelona, London and Vienna.

Figaro Titling at the Ellie Caulkins Opera House

Suffice it to say that none of row D’s occupants had working Figaro’s to accompany Figaro, creating a less than optimal experience and quite a bit of griping to the helpless ushers during intermission. Having seen Barber staged, albeit close to 20 years earlier, I recalled that Act II has a large amount of sung character narrative that propels the action; in other words, it’s pretty hard to follow what’s going on without some type of libretto. So what to do? In the age of the iPhone could there be an app to bail the casual opera fan out? Indeed there is. A quick search of the App Store revealed that the good folks at Intermundia had an app that contained not only an English/Italian libretto, but an adjustable slider that would allow the text to move at a speed consistent with the performance – brilliant. So while the rest of my row scratched their heads through to the conclusion, I was more able to enjoy the chaos of Rossini’s comedy.

Opera App Saves the Evening

As to the performance? Opera Colorado’s production of one of music’s most beloved comedies turned out to be great fun. Director David Gately has staged this warhorse 30 times before utilizing a broadly comic reading that includes plenty of sight gags, cartoonish versions of the Bartolo and Basilio characters and a silly slow-motion brawl that ends Act I that would make fans of The Matrix proud. Rosina was beautifully sung by Isabel Leonard (remember that name as she may the next great young mezzo-soprano), her debut performance in the role. The opening night “talk back” session held by General Director Greg Carpenter and Director of Artistic Planning Brad Trexell was a welcome chance to gain insight into the production planning and thought process of the company.

A hearty Bravo to the cast – and to the inventiveness and ingenuity of the iPhone app.

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Streaming The Splinternet

The rapid rise of social network tools like Facebook and Twitter present businesses with significant challenges; from the standpoint of understanding the dozens of available platforms and their relative effectiveness to what, if any, direct value these specific tools represent to the basic goals of driving revenue, acquiring new customers, mitigating costs and supporting distribution channels. These popular tools share two themes that are becoming rapidly adopted by millions of users – 1) distribution of content in real-time (The Stream) and 2) the movement toward ever more segmented content for different and exclusive delivery platforms.

As marketers have begun to embrace the potential of utilizing what falls under the big umbrella of “social networks” and budget and staff activities for this new channel, it is becoming evident that the web is evolving toward becoming a more fragmented and challenging place to manage than ever. Fast.

One of the most important aspects of Facebook and Twitter (as well as hundreds of other applications like  is the practical actualization of the real time Web. Until very recently, the Web operated on what amounted to a traditional publisher model, albeit on a vastly accelerated origination and distribution schedule. The act of posting to a Facebook wall or tweeting now creates content on the fly – designed for consumption in the moment. Erick Schonfeld wrote of The Stream and how the Web is quickly becoming organized around not just the subject but rather how current that content is.

The social media channel is not a wide pipe but a bundle of very specific channels acting as conduits for content exchange and user interactivity aligned around communities of common interest, subject matter, context and media type. Josh Bernoff, co-author of “Groundswell” calls it the Splinternet. His recent blog post paints a dire picture of a future where dozens of different devices interact (or don’t) with dozens of different content walled-gardens, i.e., the end of Internet ubiquity where pretty much everyone can see the same thing, regardless of hardware or connection type. Bernoff posits that tools like Facebook keep most of their content behind user logins and passwords, have their own unique formats, ad platforms, standards and applications that serve to keep search engines and users that don’t reside inside of their social ecosystem out. In other words, a sort of Balkanization of the Web where publishers establish their own delivery platforms and can restrict access based upon the type of device or payment scheme. The NY Times plans to introduce a metered access model next year that will restrict access – presumably specific hardware platforms will work with this model in a variety of ways. Perhaps an Android mobile device or the new iPad will grant access through separate subscription deals or as a part of a bundled wireless phone plan. Marketers will no longer be able to develop for and manage for a standardized internet but for specific distribution paths – browser, mobile, iPad, Facebook, etc. Perhaps the notion of a standard and open Internet has always been something of a myth – it’s too simple and ethereal to be real. At any rate, that unicorn is an endangered species.

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