A RESTRAINED CRITIC

There is no need for Martin Bernheimer to explain or defend his recent review of Luciano Pavarotti at the Bowl (“The Critic and His Critic: A Long-Preying Dialogue” Sept. 21 and Calendar Letters, Sept. 28).

In reporting that event, Bernheimer was a model of critical restraint, even though he was given every reason not to be.

Many strange and puzzling things happen in the musical world that can be accepted, excused and even, perhaps, understood, but replacing Joan Sutherland with a minor, marginally competent soprano (Madelyn Renee) before a huge audience which, in one of the largest and most important cities of the world, is paying up to $250 a ticket, will never be one of them.

Leopold Langspiel may be right to criticize Bernheimer about other things, but not about this.

WALTER J. KELLY

Glendale