Canadian “Ring”

Originally from Canadian “Ring,” Lang Lang, Divans, Something American

Nothing makes sense here.

Of course, I heard it. (September 19, 2006) Four Directors Give Toronto a Many-Splendored ‘Ring’

It’s been years that I gave Mr. Tommasini all the valuable information about how to analyze music, by listening to relationship between the voices, between the instruments, and between the voice and the instruments. How come this dumb critic is writing an article like this? Does he really not know the reason of his writing?

My analysis has always been simple and the keyword has always been Waltraud Meier. How WM sounds like today and why does WM sound like WM of today? Who sounds like WM? Who wants to imitate WM, while they possess better talent than WM? Whether talented or not, who wants to follow WM and why? Who are playing for WM and why? What about the recording system, which is designed to catch WM’s voice? What costume looks hot enough to be monopolized by WM’s voice? What about the photographic technique, which fails to catch animated moments of talented diva but works terrific for MW’s sexism?

It sounds stupid even to me, but to everyone’s surprise, I was able to prove almost everything by using this keyword. The only thing missing here is that it was impossible to discover all those legendary voices and their fabulous music while prowling around the forums with the keyword, Waltraud Meier. While the intelligent critics elsewhere were being deaf chained by their professionalism and their ego, the forumites, especially Barenboim-lovers, just seemed to ignore Meier’s fame and its trashy voice whenever commenting on their favorite voices, which had been buried long time ago.

I cannot accept this, too. If they were truly Barenboim-lovers, if they really wanted to hear more music from their Barenboim, they should have criticized their maestro more harshly with the exact words so that he could drink a fresh cup of coffee every morning. It can’t be their excuses that their favorite Tristan or Parsifal could sound quite average even with funny female voice and it could contribute to the sold-out concert. Because Barenboim’s Wagner with a true female voice can mean falling in love with Barenboim.

If they truly loathed watching a fat, ugly piece screeching in their Wagner-show, they should have criticized Meier’s trashy voice as well as Meier’s ‘beloved’ rivals, who are only allowed to perform with Barenboim. Because singing muscles with only fat can never produce their favorite Wagnerian dramatic high voice: That Meier’s sexy Wagner sounds rubbish is one issue. That I’ve never heard of fat female singers concentrating on each note, seriously enough to be heard as a hot interpretation is another issue. Not only their voice sounds obese, their music sounds casual or even lazy.

I am done, anyway. Now it’s his turn to analyze why this Canadian Wagner sounds like what he heard. I read it, and know why Mr. Tommasini was lost in his article. So I had to find another one to go further. (August 2, 2006) A ‘Ring’ at Bayreuth, as Beauty Shines Through Newness

Is the conductor Barenboim aware of that Waltraud Meier is scared of her juniors soaring over the Green Hill? All the conductors seem to know it and I’m pretty sure that they enjoy watching Barenboim crash into deaf. We are living in a highly competitive world, aren’t we?

No sooner had the keyword, Elena Bashkirova, disappeared from the Google search engine than Waltraud Meier announced her Barenboim-schedule.

It’s been more than ten years since my first writing and there has been no hint of change in my opinion/analysis. Now, Barenboim is toward seventy and almost the end of his professional career. I don’t understand why folks still believe that they can play games with me, who has no interest in who will be the winner or loser. I want to spend the rest of my life with my favorites only, from music to person.

When this fucking voice proudly announced her Barenboim-schedule, Waltraud Meier also knew when to finish it, because this time, I don’t plan to answer her failing fame. What I feel funny is that even Barenboim seems to believe that my jealousy is involved in this affair rather than facing the fact that Meier is using Barenboim’s faulty misjudgment about my Meier-writings to block her Bayreuth rivals to sing for Maestro Barenboim.

Therefore, I will wait. I will wait till Barenboim’s Wanger performances blossom with proper voices. Waltraud Meier will let me know.

 I invite everybody to watch this show. How long will it take for Barenboim to be sick of this voice? If his reason is to realize his Furtwangler dream with this voice, I recommend Waltraud Meier to have him and fuck him. Legally and forever, I mean.

Of course, I will keep my plan. Whether I follow my instinct or not, I want to finish my plan. I just opened my Gmail account. How long will it take? I need to finish my present project first, making a vocabulary book for my kids. (I found couple of good books at the store, yet they still don’t sell this kind, weird.)

Just in case, I become part of You-Know-Who’s history, I promise that I will never give up chasing Elena Bashkirova, to check if Barenboim-Gang is still behind supporting her professional career, and to figure out who are boasting about their relationship with Barenboim after their trash ensemble business with this fucking pianist. In the end, Bashkirova would have to deal with Meier’s begging for her accompaniment.

If folks’ primary concern is to support Bashkirova’s professional career behind the scene, I will do this job in an open place. Don’t worry about her future, please. I will make this pianist an international celebrity, for whom Jerusalem or Tel-Aviv is too small. I believe her sincere audience would welcome her pianism more if they knew all the facts about her prostitution. It seems that, using her Jewish fame, she’s already found her fans in other places, rather than Jerusalem. Why not more? She shall become a commercially valuable entertainment jewel for her management company. I promise.

I will let you know when I open my blog, but I don’t know when my next official writing will be. Only Daniel Barenboim and Waltraud Meier would know.

Sincerely yours,


P.S. 1. Concerning Lang Lang’s Beethoven,

P.S. 2. Concerning Divans’ Tchaikovsky No. 6 at the Lucern Festival,

P.S. 3. Concerning Something American,

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