...personages seeking to be the patrons of its world premiere. Would you like to be involved yourself?
Opera is all about communication, as you may already be aware, dear reader. Artistically appropriate forms of communication are amongst the highlights of living. To interact with the enlightened minds of others is a privilege and a pleasure on most of the occasions within which it is possible. Are you able to think of a few examples from your own experiences?
The highest human achievement in the arts is the collaboration of many minds, many hearts, and many lives. Such achievement can take many forms, communicating with us across many centuries and long distances. You are probably able to identify a few examples from architecture, as well as many other arts.
I have written extensively on the subject of communication. Some of the most recent examples can be found within this blog pamphlet:
Twaklin in Tandanya
The real Adelaide, the best Adelaide, the most important Adelaide
Cool
Raising the standard
Cheerful Adelaide, cheerful world
My opera is, of course, set in Adelaide, hence the importance of expressing some views about the place I consider to be the arts and news capital of planet earth. You may also wish to devote some time to perusing another of my blog pamphlets, one that you will find is totally dedicated to this important topic:
Adelaide Adagia
Now, though, I shall continue with my Adelaide Zone Twaklin communications:
A special meaning
Avoiding confusion
Capturing the essence
Whether you wish to reflect upon my writings in the context of Adelaide, or opera, or life in general, is your own choice, wherever you may be at present, and whatever your cultural preferences. I am sure you are capable of making such decisions as appropriate.
It may also have come to your attention that I have invited you to enjoy tea and conversation with me in the virtual parlour at a mutually convenient moment. Professor de Montaigne may join us if he is not too busy elsewhere. Have you read any of his essays recently, especially the one concerning repentance?
The Enlightened Library
I am not one of those ladies who believes books to be just for display, especially in a parlour. Nor are arias. However, I am of the opinion that narratives should always reflect truth, hence my own literary endeavours, with and without musical accompaniments.
And on that note, I shall resume my reflections on communications:
Adelaide news
Creatively reflecting on the past, present and future
18th century Adelaide
How to have an enlightened understanding of this blog pamphlet
I do not know if you believe, as I do, that music is the most abstract of art forms. At its highest, music is meant to be a reflection of the absolute, with or without words. This is why so-called program music is always a fallacy. Any sort of program or programme always relies on word-filled narratives in relation to the composers' intentions, rather than a higher, ethereal, ineffable transcendence.
If you are a supporter of an absolute appreciation of music, you may wish to explore my blog pamphlet about the ultimate expression of it, namely:
Mozarty
Should you wish to audition for my opera, I do hope your character is in harmony with your talents, and my own. Queen Adelaide and I are usually disapproving of unpleasantness in the behaviour of musicians, especially those who have spent some time in the village of Adelaide itself, or even those who have worked in Queen Adelaide's original home town of Meiningen.
No matter how beautifully you may sing, or how accomplished you may be on the bassoon, or how much of your wealth you may wish to transfer for my use, please be aware that I am unlikely to be impressed by anyone who imitates the manner of Mr Hans von Bülow when interacting with others. A courteous approach to communication is an essential prerequisite for good conduct, if not good conducting.
All music, like all words, and, for that matter, all opera, is ultimately a matter for individual audience members to experience in a way that is compatible with their own artistic instincts. This same point of view may also be applied towards matters requiring informed and elegant civic participation:
Making yourself at home
Sculptural Adelaide
In the know
Twaklin's studio
Social commentator and cultural critic
An eye on local politics
Adelaide philosophers
Twaklin on Twitter
Why free ranging is better than freelancing
You may be aware, dear reader, that I am frequently compared with a variety of operatic characters, especially the more important ones. Which character in an opera do you believe to bear a striking resemblance to me? Does she have the characteristics of a woman of some importance?
Women of Some Importance
Well, I do hope you are still following the plot of this blog pamphlet posting. It is very important that you have a thorough familiarity with my work, life and opinions if we are to collaborate in an artistic way. How may I gain more familiarity with your most relevant characteristics? And which operatic character is most like you?
Do you consider yourself to be just another face in the crowd? Are you already well known for something worthy? Have you no idea about how to be part of the 21st century Enlightenment?
Well, I am very hopeful that you will manage to answer these questions accurately, perhaps with the assistance of Professor de Montaigne. He is usually very helpful.
But now, please let me continue:
Just another Adelaide blogger writing a blog
Topics of interest to Twaklin
Train off the raillery
Twaklin's Facebook coterie
The gardens of Adelaide
Communities
Twaklin needs you
Thank you my dear visitors
You may find that this blog pamphlet posting is as long as many operatic performances, even those composed by Mr Richard Wagner. Are you enjoying a cup of tea and a piece of cake with it?
Much of my time during 2011 will be devoted towards auditions, rehearsals and promoting my opera. My staff and ethereal assistants will be taking on many of my other duties on a temporary basis. You may wish to volunteer some time to fulfill a few of those duties yourself and this is something I intend to commend most highly.
The past year has been an especially busy one for me in the political and literary fields, as I am sure you are aware:
Creative Adelaide
A bowl of cherries
Twaklin's new Google profile
Social networking limited editions
How might you participate in my opera? Do you expect to be paid? How should I be paid for my own contribution?
I approve of all forms of excellent creativity, except for creative accounting. How may you contribute, in any art, craft, professional or commercial propensity, towards an enlightened 21st century opera?
What do you believe to be the qualities of a relevant and enlightened opera, of any era?
Two ear opera
Read all about it
Not-for-profit Twaklin
The perfection of Australia?
You may wish to know something about the plot of my opera. You already know its geographical setting. What else would you like to know about it?
Well, the plot is unlike that of any other opera you have ever seen, or any book, film, play or poem.
This blog pamphlet posting may give you some indication of what to expect.
Influential networks
Socrates, Kant and Twaklin
The real Adelaide
Reasonably selective
The merits of Saturday elections
Politicians and other performing artists
You will have gathered by now, dear reader, that many of my blog pamphlet postings are in some way connected with the topic of communication, and hence opera. If a blog pamphlet or an opera fails to communicate, it is a failure.
Should it communicate on a purely emotional level, or on an intellectual one, or in some other way? How might such communication be valued and appreciated by readers and audience members?
Some of my own relevant opinions may be found here:
How to have good taste
Good management
Knowing your place (especially if you are a servant)
How to write an opera - part two
Contemporary parliaments are meant for parlour maids
Revolutionary stirrings - part one
Revolutionary stirrings - part two
History is full of great literature, although great literature is sometimes not a great work of history. Do you believe that reading great literature should be like listening to the music of Mozart? Should any experience of great art be compared with any other type of experience, whether artistic or not, or is a great work of art beyond all comparison?
I do hope that my blog pamphleteering duties may be compared favourably with other forms of literary endeavour. Literature should always be just as important in an opera as the music itself, as Mr Mozart has been at pains to point out. It is a pity many other composers lack his awareness, either in the literary field or the musical one, or both.
My good fortune is that I am able to provide a plot without too much concern for censorship. You may require some form of translation service to understand my words, or at least a dictionary, but there is no need for encryption here, just description:
La fête nationale pour tous les Australiens
Revolutionary stirrings - part four
Arts policy
The winter campaign
Social media web 2.0 Twaklin
A true horse race in a very peculiar election
One of the most important points to make about my opera is that it does not contain any material children or other such unreliable creatures, whether of the two legged, four legged or eight legged varieties. My horses are quite disappointed, of course. Ethereal personages with various talents will be represented in some way, I am sure, but I shall only be auditioning mature, material ones in the coming months.
The reason for the above is that ethereal persons are more suitably occupied in online activities, and in books, films, recordings and other archival sources. Opera is opera because it relies on the foibles and shortcomings of living persons, however well trained they may be. For example, I am yet to meet a singer who has a 100% reliable immune system. They are susceptible to viruses even more so than my computational machine.
Unlike digital devices, all humans, at least in their material form, require regular endorsement of their uniqueness. How do you usually desire your own uniqueness to be endorsed?
True hard working Australians
Our broadband wagon
Twaklin tackles tax
Shock, horror, scandal, world exclusive
Mozarty Party how-to-vote carts
A stunning victory
I am sure you will, by now, be feeling assured that I will provide you with a stunning opera in the not-too-distant future. Should you wish to be an audience member at the premiere, rather than a performer, production person, or even amongst the most prestigious of patrons, do let me know. As you may already be aware, enlightened audience members are the most important people in any operatic performance.
How much are you willing to pay for a seat, or even a cushion on the floor? Would you also be able to pay for a suitable costume, wig, jewellery, shoes, make up and other props, for yourself and at least one cast member?
The world premiere will take place in Adelaide, regardless of who the premier of South Australia may be at that time. My orchestral requirements are not yet fixed, though I do have a preference for suitable quantities of bassoonists, regardless of the availability of broadband options.
Do you play at least one instrument to at least a Mozartian standard? Are you able to travel to Adelaide under your own steam, and at your own expense, unless you manage to obtain direct funding from an appropriately generous source?
The cultural heartland
The importance of enlightenment
Australian apparitional culture
Non-evanescent employment
Sublime notes and Siena cakes
A selection of connections
The past few weeks have been an exceedingly busy time for me and I hope that the next few weeks will be an exceedingly busy time for you as you rehearse your role. What sort of role would you like, dear reader? I have provided many options here for you to consider.
Will you just be a passive audience member? Will you be an attentive and appreciative audience member? Will you be a demanding and annoying audience member? Will you be a supportive and enlightened patron? Will you be inviting along your bewildered friends and family members?
Will you be a suitable person to employ behind the scenes in the production, and/or in the administration? Would you like to be involved in creating the scenes but not in making a scene? Could you design and create the costumes so that they are serenely yet stunningly suitable and not likely to be considered obscene?
If you wish to be on the stage at some stage in my opera, I should point out that you will not be required to wear anything that may be more suitable to be served to a lion. However, you may be fed to a lion or a tiger or some other large feline if you try to sing like a cat, dress like one, act like one, or admit to watching the Eurovision Song Contest or MTV without the mute button switched on.
Who are your most inspiring influences?
Nuisances
Elegant editors and proper publishers
Mere mortals
Without insularity
Luminiferous networks
My own unique talents are well known in the ethereal world and have only recently been discovered in the material realm. I am the opposite of many artists in one way, however:
Artists are either appreciated or ignored in the material realm while they rely upon that realm for their livelihood. After they become ethereal beings, they may still be appreciated or ignored in either realm.
Those artists who are appreciated in the material world once they have become ethereal often find that their works increase in material value. This is most unfortunate indeed.
What is your relationship to the ethereal and the material?
The sublime secretariat
Enlightened professors
Cherries in Cancún
Vichyssoise diplomacy
Are you capable of singing solo without a microphone? Can you sing with and without accompaniment, and with and without a score? Can you sing in a duo, a trio or above a large chorus? Can you sing in a chorus? Can you dance, juggle, do acrobatics, and pretend to be a divine being, even in a wig and high heels, all at the same time?
Opera can be a very challenging profession, whatever role you wish to play in it. Can you conduct, direct, rehearse sometimes repetitively, enjoin perfection on cast and crew, as well as be nice to me no matter how difficult the music and plot may be to perform?
The lady with shallots
Hero of the moment
Whatever role you may be called upon to fulfill in 2011, anywhere in the world, it will probably require you to have the technical ability, if not the musicality. This is especially so if you are a teacher, a doctor, a legal expert or a financial one. Whatever your technical ability, I am sure that you will find a suitable way to be involved in the Cabbage of Figure Row, or the Cabbage Rose of Adelaide, or whatever the final name of my opera may be.
Perhaps its main sponsor should have the naming rights. Could that sponsor be you?
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