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Subject: Re: Re : "Honor among Thieves"
From: Ann Feeney <[log in to unmask]>
Reply-To:Ann Feeney <[log in to unmask]>
Date:Mon, 13 Jul 1998 18:48:58 -0500

TEXT/PLAIN (44 lines)

Tom's point would be a lot more effective if the pirates weren't paid for
their copy--once--just the opera house is paid just once for the pirate's
ticket (or receives the sponsor's money once for the broadcast.)

So isn't copying the pirate CDs and selling them the logical conclusion
of pirating?  After all, the opera house (which is the original source) is
paid for one person to be seated.  That person creates a copy, multiplies
it and sells it, without paying the opera house further for the services
involved in getting the singers/orchestra/crew/operating staff. The
justification is that the opera house was already paid, all singers
everywhere adore the practice, and that art should be shared.  Then
another person pays for one copy, multiplies it, and sells it, without
paying the original recorder further for the services of the
engineers/operating staff. If the opera house wasn't compensated more than
once, why should the person who compensated the house no more than once
expect to receive renumeration beyond the price of that one copy,
equivalent to that one ticket? After all, the opera house was already
paid, all singers everywhere adore the practice, and art is being shared!

Ann Feeney [log in to unmask] (312)269-1189

On Mon, 13 Jul 1998 [log in to unmask] wrote:

> In a message dated 7/13/98 3:05:59 PM EST, [log in to unmask] writes:
> Well, sorry--but Ed has a very valid point. When he issues a "pirate
> recording, he goes to a great deal of trouble to get everything right--or at
> least to get it as right as possible. And he starts from "scratch"--a tape.
> And many of his recordings are tremenous public services--the Caballe
> Parisina, the Carreras Don Carlos and Roberto Devereux,  the Leech Dom
> Sebastien,  the Vanzo Robert le Diable, the Merritt-Carreras Juive, the coming
> Marino Faliero,  etc. etc.
>  But, of course, he can't copyright his or otherwise protect his work. Gala
> just takes someone else's work and sells it at a much lower price. And, yes,
> if I have a chance, and see them, I do sometimes get Galas--the Del Monaco
> Norma or the Corelli Huguenots for instance. I think they may also have the
> Lauri-Volpi Trovatore (not the one with Mancini), and if I see it, I may well
> get it (in spite of the soprano).
> Cheers
> Tom

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