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Bertelsmann spokeswoman Liz Young said the company had no immediate comment umusic Since the 2001 shutdown, other file-swapping services such as Kazaa and LimeWire have gained popularity â€â€?â€â€?â€â€? On the Net: Universal Music Group: http://www Last month, Universal Music and EMI sued Hummer Winblad Venture Partners, the venture capitalists who backed Napster, claiming they contributed to the copyright violations by millions of the song-swapping service's users Universal Music Group is a unit of Vivendi Universal SA, the European media giant that includes the USA and Sci-Fi cable channels and Universal Pictures The suit did not mention specific artists or pieces of music The lawsuit did not ask for a total amount but requested at least $150,000 for each copyrighted song that was shared under Napster, which was shut down by a federal judge in California in 2001 By the time Napster went dark, Bertelsmann had facilitated "millions upon millions of separate acts of infringement by millions of Napster users," said the suit, filed in Manhattan federal court bertelsmann Last fall, software maker Roxio bought what was left of Napster's assets for about $5 million Universal's artists include Counting Crows, Shania Twain, Erykah Badu and Limp Bizkit, while Bertelsmann touts Christina Aguilera, TLC and the Dave Matthews Band Universal Sues Bertelsmann Over Napster May 13, 7:24 AM EST Universal Media Group sued Bertelsmann AG on Monday, claiming the German media giant's backing of the Napster song-swapping service led to copyright infringement "millions upon millions" of times com com Bertelsmann AG: http://www Napster was the dorm-room brainchild of college student Shawn Fanning, who started it as a system for computer users to share music The suit complains that Bertelsmann tried to take control of Napster by sinking $85 million into it in 2000 and 2001, even after Bertelsmann's BMG recording unit had joined a music-industry lawsuit to stop the service Universal warned that file-swapping services take money away from music companies and ultimately recording artists themselves, drying up the industry's resources for finding new talent It became wildly popular in 2000 but was attacked by the music industry as theft "The ultimate result is that the public's access to a continuing and wide variety of high-quality musical recordings is sharply curtailed," the 16-page lawsuit warned â€â€?â€â€?â€â€? On the Net: http://www As Anna, soprano Anja Harteros confirmed the strong impression she made at her debut last fall as the Countess in another Mozart opera, "The Marriage of Figaro In the next scene, the Don stares into the eyes of Donna Anna as if to kiss her His pleasant light tenor seemed too thin for the vast house, and the strain showed several times Phillip Ens brought powerful low notes to the role of the Commendatore Apart from these intimate moments, however, her direction was less effective Baritone Thomas Hampson has long specialized in the title role, and he showed why, with his powerful, mellow voice The Commendatore appears in a giant mirror, and when Don Giovanni reaches out to touch his hand, his own hand becomes frozen to the image For instance, in the famous seduction duet, "La ci darem la mano," instead of having Don Giovanni put the moves on the peasant girl, Zerlina, Keller had the title character sit still while Zerlina inches toward him, overcome by his magnetism metopera The crowd scenes, in particular, had a somewhat listless, almost perfunctory air about them Her volume rose to Wagnerian dimensions at times, but she was also capable of subtle shadings " Elvira can sometimes seem a thankless role, but not when sung by soprano Christine Goerke, who threw herself into the part with fearsome abandon that never sacrificed accuracy If there was a weak link, it was tenor Gregory Turay as Anna's faithful lover, Don Ottavio Anna, whose father has just been slain in a duel by a masked assailant, reels away in horror â€â€? not just because she has recognized her father's killer, but also because she finds him so attractive The best thing about Keller's work at Monday's opening was some unusual interplay among the characters, an erotic charge and menace that's often lacking in this tale of the serial womanizer who remains defiant and unrepentant as his crimes are gradually exposed org Met artistic director James Levine led an ebullient performance by the orchestra, and was as usual especially attentive to the singers so that the many ensembles came together crisply and cleanly The mirror then descends beneath the stage, carrying him along somewhat awkwardly, as snow inexplicably drifts down from the ceiling If the staging left something to be desired, the singing did not His patter in the "Catalogue" aria, enumerating all the Don's conquests to a humiliated Donna Elvira, was letter perfect, and his clowning throughout was most adept As the Don's manservant Leporello, bass Rene Pape, already much admired in somber Wagner roles, showed how light and flexible he can be both in his voice and on his feet Hei-Kyung Hong made a delectable Zerlina, and her bumpkin fiance Masetto was well sung by bass Ildar Abdrazakov (husband of mezzo Olga Borodina, who is currently starring in a Met revival of Rossini's "L'Italiana in Algeri") Retiring a grandiose, 14-year-old Franco Zeffirelli version that was dominated by huge, columned sets, the Met brought in director Marthe Keller New Cast Shines in Met's 'Don Giovanni' Mar 2, 4:56 PM EST It was out with the pillars and in with the brick walls as the Metropolitan Opera premiered its latest production of Mozart's "Don Giovanni," a subdued affair enlivened by an exceptionally talented cast She staged the action amid sliding brick walls designed by Michael Yeargan, for a slightly warmer and more intimate effect And her handling of the climactic scene was disappointing too, as the Don is dragged down to the underworld by the ghost of the Commendatore, Anna's father " Never simpering in her sorrow, she brought elegance to her difficult final aria, "Non mi dir |
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