At 08:36 AM 6/11/2003 -0500, Karl Miller wrote:
>On Mon, 9 Jun 2003, James L Wolf wrote:

>I would wonder if that notion could be applied to broadcast performances.
>While the Boston Symphony has gone after any unauthorized issues of
>BSO broadcasts, that has not been true for other organizations like the
>New York Philharmonic. And while the Metropolitan Opera has been more
>careful in recent years, I can recall many bootlegs of their performances
>in the past.
>Anyone out there have any insight on this?

I think that the Met situation is a matter of U.S. versus international
law. I believe the Met is keeping the traceable pirates off the U.S. market
by appealing to common law and its embodiment in state law as in the
Capitol case. Naxos dealt with it (probably by agreement with the Met) by
not selling their transfers in the U.S. - you have to "import" them from
Canada, Europe or anywhere that the law is reasonable. In those countries,
the fifty-year limit is applied. The Met has always gone after pirates
distributed in the U.S.

Interestingly, the Met gift shop sells pirates from everywhere else, but
not from the Met. The "Metropolitan Opera Guide to Recorded Operas" covers
all the pirates but its own.

[log in to unmask]