Pay as an opera 300 years
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The Country
Wednesday, May 4, 2011
How To Write Message On Book
A Vicente Martin y Soler that took away focus to Mozart in the eighteenth century theaters. From Vienna to Venice swept his opera buffa
Tree 
Diana. Today if you want to represent the opera at 230 years old have to pay property rights. This is very common in the world of opera, where the owners of the original scores of centuries ago have been amended so as to renew the 80 years of protection and still receive income succulent.
Diana. Today if you want to represent the opera at 230 years old have to pay property rights. This is very common in the world of opera, where the owners of the original scores of centuries ago have been amended so as to renew the 80 years of protection and still receive income succulent. Most operas are still not public domain. It is one of the abuse of intellectual property. And what of "abuse" says the National Commission of Competition (CNC), which for more than a year another law claims. "There is no control over the rates fixed entities," says the National Competition Commission. "We will end only playing Vivaldi" predicts Caisedo Felipe, Valencia's Palau de les Arts. "We want to choose between the public and the revised score" begs Juan Carlos Matellanes, Opera XXI, the association of English theaters and opera festivals.
rights Tree Diana are not the heirs of Martin and Soler, but the management companies and the Complutense Institute of Musical Studies (ICCMU) created for "the restoration of heritage and the dissemination of English and Latin American music." So recovers music as forgotten as that of Martin y Soler and then pass the tray for the review. The spokesman of the SGAE, Antonio Rojas, defends the collection: "The ICCMU recovered manuscripts, original material that would be impossible to represent today. And new construction is considered legally."
"The current legal system is ineffective because it fails systematically abuses at both ends: by the consumer and by agencies of the authors, "he argues Joaquím Badia, the Liceu in Barcelona lawyer." Exgae [platform that raises another way to manage copyright] and music publishers are two ends of a broken system. "
How can that represent La Cenerentola or any Rossini opera, died in 1868, paying 240,000 euros a theater? Rojas of the SGAE, explains: "This is a recurring complaint, but is also the case that an adaptation of Shakespeare. And they charge a percentage of box office.
"The publishers to keep alive intellectual property rights of their scores and avoid passing into the public domain, create new issues that arise on the new rights, forcing theaters to keep paying. This is explained in April Lawyers in a report commissioned by Opera XXI.
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