December the second was the 90th birthday of poor Maria Callas. The encomiums of hysterics appear on the opera lists. Isn’t that a bore? Let’s forget that most of the people on those lists are idiots; let’s also forget that most of our American Musical Journalists are idiots too. Even when one trips in the dark that is arts commentary in Fecund America Today (as Emerson put it) and finds somebody with half a brain, it’s still a bore. Like the elderly tenorino, Placido Domingo, who lately cracked on a high note while trying to sing the Verdi baritone role of The Count di Luna in Il Trovatore, Callas has become an over sold, tired commodity, a testimony to the empty existence of opera lovers, and the pointlessness of opera in today’s world. Oh yes, Domingo in a disgusting display of “Let’s help the hype” told the ridiculous Anna Netrebko that she was “like Callas”. So Callas has become a decorative robe for whichever nonentity the whore house of the music business is pimping out. In all the Internet commentary that followed the crack and the comparison, few mentioned that Domingo is awful in general. He’s not a baritone, not even in the limited way he was a tenor. He’s just a puppet of media, a tenor preposterously compared to the very good he could never match and even to the greatest tenors, beside whom he sounded like a singer of bit parts. Now he’s an elderly footnote with too much ego to retire and spend hours on his knobby knees thanking Mammon for being able to fool so many people for so long. On Netrebko’s recent ghastly CD devoted to destroying Verdi arias, she committed musical atrocities that Callas could hardly have conceived of, let alone have been willing to put on something as durable as a CD. So the only real world use of poor Maria is to puff up every fraud that dances along the yellow brick road to sell out the enormous Metropolitan Opera. Even a fake baritone who was a second string talent like Domingo can use Maria as a bandwagon. And everybody’s happy, except maybe the ghost of Maria Callas.That is to say, the above should have caused us neither surprise nor repulsion had it appeared on an independent blog. But it didn't. It appeared in a blog post on a blog sponsored and published by no less than the venerable and widely read music journal Musical America; a blog and blog post written by one Albert Innaurato, the dependably bitter, angry, and foulmouthed Rumpelstiltskin of the opera world's yakking class. How Musical America could permit these near-libelous comments in a blog they sponsor and publish is beyond our understanding. That Mr. Innaurato is more than occasionally an idiot, his almost encyclopedic knowledge of non-Wagnerian opera and the non-Wagnerian opera world notwithstanding, is well known. Musical America sponsoring and publishing Mr. Innaurato's "Musical America Blog" containing this sort of clearly inappropriate, over-the-top content makes us wonder whether Musical America is occasionally given to the idiotic as well.