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Subject: Re: With typos fixed, and thoughts expanded
From: Simonel Pietraru <[log in to unmask]>
Reply-To:Simonel Pietraru <[log in to unmask]>
Date:Sat, 23 Sep 2017 17:02:48 -0400

text/plain (115 lines)

Regarding "what's up" with Divina's plans to publish the BJR archive, I 
asked Robert E. Seletsky online a few years ago and he responded: 
"Divina is not Pablo Berruti's full-time job, and I believe his enthusiasm 
has been seriously dampened when other labels like Myto stole a few of 
his brilliant transfers." 

Regarding the rest of your post, your arguments are pathetic excuses for a 
hack job. It's clear from your review you did not even sample even short 
excerpts from most of the operas. I think my post is clear that I compared 
all of them. If you do not have several releases of each of these live 
operas you are not qualified to write this review. Dragging young people in 
that need education is again, pathetic, and repeating something you 
picked up somewhere "interpolated an astounding E-flat at the end of the 
Triumphal Scene" is hardly helpful for the uninitiated. 

And since you didn't bother to actually listen to the 1951 Aida you could 
not have noticed what a treasure it is, and this in a magazine devoted to 

I hope there are no typipos. 


On Sat, 23 Sep 2017 11:50:24 -0700, Jason Victor Serinus 
<[log in to unmask]> wrote:

>Several things might shock the critics of the critics, in addition to this
>critic's egregious typos.
>The first is that not every critic owns every Callas reissue. Happily,
>given the internet, aficionados, spurred on if not downright eager to
>refute published reviews, are free to chime in with their two cents, or
>even their dollars worth. Hey, they can even post comments on reviews.
>The second, and this is even more shocking, is that there are far more
>people in the world than those on Opera-L. Some of those people are 
>and haven't a clue as to whom Maria Callas was, let alone why respect 
>her artistry has increased as the initial debates over her voice and
>behavior have subsided (somewhat) with the passage of time. (There are 
>music lovers who never heard of a Broadway show entitled "Master 
>have never set foot in New York City, or who don't know banana from
>Bellini.) Hence, some reviews are purposefully constructed to educate 
>I appreciate information about transfers past and future. What continues 
>disturb me, however, is that some - not all - have posted about the
>superiority of other transfers without actually performing the 
>Then again, we do live in an age where facts matter less and less... to
>I also have a question about the Divina transfers. In 2009, Pablo 
>that they now had in their possession all of the BJR Mexico City acetate
>masters, and were planning to work on them for release. Over eight 
>later, they have yet to appear on their website. Anyone know what's up? 
>wrote them days ago, and never received a reply.
>jason victor serinus
>Jason Victor Serinus     Whistler
>Extraordinaire: **The Voice of Woodstock • The Pavarotti of Pucker**
>Music and audiophile critic: Seattle Times, Port Townsend Leader,
>Stereophile, Listen, San Francisco Classical Voice, Bay Area Reporter, 
>City News, American Record Guide, Classical Voice North America, 
>Live, Opera Now, Copper, and more
>"Neutrality helps the oppressor, never the victim. Silence encourages the
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to stand
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>Rally in Port Townsend, WA
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