Houston Grand Opera’s Post

These posts from Guy Spier and Vitaliy Katsenelson, CFA, are very interesting. Both are full of truth. Envy, often accompanied by vainglory, can only lead to a sad life of not enjoying life, it's like living without life, never satisfied. I don't like to invest in luxury companies either. I prefer simplicity, quietness and humbleness, and Berkshire provides me with it. #luxury #quietinvestment

The richest man in Europe and possibly the world is Bernard Arnaud. He is the driving force behind LVMH. The French luxury behemoth. Their brand portfolio is unparalleled - including Louis Vuitton, Moët Hennessy, Tiffanys and numerous others. It's a powerful business model. A money making machine. Luxury brands are exclusive - not just because of their quality, but because of their special heritage. And LVMH drives demand by building on that heritage and creating further perceptions of exclusivity in the mind of the consumer. Just open the Financial Times weekend colour supplement and the first three pages are often LVMH brands: Lionel Messi adorned in Louis Vuitton luggage. Alicia Vikander wearing their jewellery. Lewis Hamilton with his RIMOWA luggage. The ROLEX company is also a masterful marketer: Look at the back of the The Economist magazine, and invariably there is an advertisement for a ROLEX watch - featuring a famous brand ambassador - like Roger Federer, or Tiger Woods. This drives desire and creates pricing power. And, unlike most things, luxury products are what economists would term a Giffin good. Meaning that when you raise prices, demand actually goes up. And it's not just LVMH and ROLEX. Ferrari, BREITLING, Zegna, Van Cleef & Arpels, Montblanc and many others doing it as well. However, Charlie Munger points out an important downside to investing in luxury brands: These are companies that don't just create demand. The stoke envy. Enormous amounts of it. And they are really good at it. But an envious society is not the best possible society. That's why we are commanded - in the 10 commandments - not to covet the possessions of our neighbours. Even though it's a huge part of human nature. I've always thought of the business of luxury as being harmless to society. Certainly less harmless than tobacco or gambling. But if one takes Charlie Munger's point seriously, it's not entirely harmless. It frays the fabric of society. Perhaps this is why Berkshire Hathaway has seems to have never invested in these businesses. And perhaps this is also why Berkshire never took Borsheims in the same direction that Bernard Arnaud took Tiffanys. If I want to own companies that build the civilization, Luxury might not be the place to be as an investor. Charlie Munger may not be with us any more. But with this clip - kindly shared by my friend Vitaliy, he has given me food for thought. Curious to hear what you think. #luxury #businessofluxury

What does the song Bohemian Rhapsody, by Queen, teach us about leadership? 🎙 Leadership is inviting the sound of a voice other than your own. Harmony gives music the potential for new ideas and variety. It brings distinct notes and voices that, when played together, deliver a sound that resonates and moves us. This song pushed boundaries of harmony and sound. As you think of it now, you can hear the voices come together in various key changes, an ode to opera, followed by an instrumental piece that has you wanting to head bang as they did in the movie Wayne’s World. It’s intense, yet, beautiful sound made it memorable. As you enter this week, make what you create with others memorable. 🎶 Start by: Listening to understand, leaning into curiosity, and, giving space for others to be heard. It is not about one voice – it is a blend of all voices. As you solve problems, make decisions, and strategize this week, remember to ask yourself: Who else can I invite to this conversation? #growthmindedmonday

Proud to be part of this conference: "Although there is clearly demand for new work, there is next to no institutional context to learn the skills necessary for new opera development. For example, Germany produces around 80 new works annually; yet in the entire country there isn't a single degree or certificate-granting program for training future opera creators. How are these artists – whether composers, librettists, directors or conductors – supposed to hone their craft to produce successful new pieces? NOD5 "OPERAtion education" aims to bring together artists, professors, and opera houses to take this problem head-on." #newoperadialogues #NOD5

Imagine the human body as a grand Opera, each system and organ a musician playing a crucial role. Within this symphony, data emerges as the silent conductor, harmonizing diverse elements to create a masterpiece of excellence. Every beat, every neuron, every process is orchestrated by data’s silent power. Organizations must embrace data as their conductor, guiding strategic decisions, operational efficiency, and every note contributing to the grand composition of success. #the_mastery_within

Transforming Classics into Modern Masterpieces No, I don’t want to fall in love 💔… Chris Isaak’s “Wicked Game” in an Italian 🇮🇹 classical remix 🔄 I’m excited to share my latest project where I blend the haunting melody of Chris Isaak’s “Wicked Game” with the rich, emotive elements of classical Italian opera. This remix brings a fresh perspective to a beloved classic, showcasing the timeless beauty of both genres. For my fellow professionals: How do you incorporate classic elements into your modern projects to create something unique/impactful?

Friday Arts … Something other than today’s headlines about former US Prez’s… Point of Difference. What is it that separates Springboard Opera from a hundred other small arts organisations? And why would anyone pay attention to this little band of Arts Adventurers from Brisbane? What is The Springboard Thing? (Apart from the fact that Brisbane is WHERE IT IS AT in the Oz Arts Scene…) The answer is this… We are doing The Arts differently. Having no baggage to carry, we start with a clean slate. And picking up the best of everything that we see. If we can use it to get us to our goals, it is fair game. We do not say that the artists are at the centre of everything, or that the business model is at the centre of everything, or that funders are our key focus. For us everything is connected and so… Everything is at the centre of Everything. Very Quantum Multiverse and Dr Who – we’ll accept that – but it does open up a universe of possibilities for Springboard. To Transform the Opera Idea, probably in ways that no-one has imagined yet. And that is the Springboard Point of Difference. The dusty old paradigm that is Opera needs to be busted wide open and re-built. From Back to Front and Top to Bottom. And in the process, create a sustainable and viable path for emerging Queensland Opera Artists. Who have that Springboard Thing going on… This is Springboard Opera. If The Springboard Thing grabs your interest, come and see it in action! We are going public on 29 June in the heart of Brisbane with a fabulous and stylish Opera Gala. Get all the details here -->> https://lnkd.in/getQSPPu But being The Springboard Thing, it would be best to park your prior expectations outside… #Future #TransformationalLeadership #LeadershipDevelopment #Directors #Technology #Performingarts #YourNetworkForLife

On June 24, 1935, two planes collided on the runway at Las Playas Airport in Medellín, Colombia. Among the fatalities was the tango singer Carlos Gardel. While tango is an integral part of Argentine culture, just as Argentines have embraced cumbia, Colombians have always considered tango a part of their own cultural heritage. I grew up listening to Gardel in my grandparents' billiard halls. Gardel was a genius of his time, surrounded by countless curiosities. For instance, he couldn't pronounce the letter 'N'. But of all the fascinating details about his life, there's one that stands out to me. Gardel was the first artist to perform duets with himself 🤯. I have no idea what inspired him to do this, and it's likely that Carlitos simply wanted to try something different. However, I like to think he had two reasons: Firstly, musical collaborations (featuring) serve as an example of the network effect and can spark curiosity about the unfamiliar voice when listening to a known artist. I wonder if any of this was on Gardel's mind in the 1930s... Secondly, could it have been an A/B test? Two different output interfaces for the same product, to see which one the audience preferred 💡 As I mentioned before, he was probably just trying to be different 😆. But it's clear that when you have talent, it's easier to experiment and discover new ways to attract an audience (listeners, in his case). For those of us who might not have the same level of talent, we just have to keep trying.

"🎵 Explore the Timeless Anthem: 'Teenage Dirtbag' 🎸 Dive deep into the legacy of "Teenage Dirtbag" by Wheatus with chatterlane.com! From its raw emotion to rebellious fervor, this iconic track has etched its place in music history, resonating with audiences worldwide. In our comprehensive blog, we unravel the origins, evolution, and enduring impact of this beloved song. Dive into its poignant lyrics, infectious melody, and its profound influence on listeners. Let's navigate the recent updates and ongoing legacy of 'Teenage Dirtbag,' a musical masterpiece that continues to shape the landscape and resonate with souls far and wide. 🌟 #TeenageDirtbag #MusicHistory #IconicAnthem"

Leonard Cohen said the discipline of rhyming allows one to go through one’s inventory of words. Meaning, the right rhyme is secondary to the right word. So in this case, a rhyming dictionary, which I use, is a kind of Thesaurus. This is one example where limitations (the discipline of rhyming) can lead us to more creative choices, using words we might not have considered otherwise. Coal Mine Theatre has built a solid reputation with this approach of using limitations to their advantage. The current production of Dion: A Rock Opera could not have been created anywhere else. The limitations make it what it is: an alternative to the conventional rock opera. In another theatrical space, perhaps one that is more conventional, it would be a very different show. All this to say, how pleased I am to have witnessed this incarnation. Whatever might come next, in whatever venue, will benefit from the unconventional approach that took the show to this point. I hope that is something we can build on.