La Voce del Loggione: Daniel Barenboim from 20051227 to 20071105

JIWON: I wanted to start my writing with Barenboim’s interview about the difference between something German and Italian, but I could do nothing until finishing reading this huge place. The blog called “La Voce del Loggione” started two years ago. I think it’s better to introduce these Italian reviewers after showing another group of comments. (08 December 2007) Barenboim sings again :

Comment 1: This insightful critique confirms the notion that nowadays, unfortunately, for certain operas there’re not strong singers around to do justice to the vocal score. I’m not a Wagnerian per se, but in my mind I have conceptualized Wagner’s operas as classical heavy metal symphonic music written for orchestra and voices which add to the orchestral drama. And Barenboim, more than anybody else, can extract drama from any orchestra. I hope, vocally, Met’s T & I does better. I’ll see T & I, live at the movies, hoping for a miracle.

Comment 2: I found the review very interesting and I think it describes truly what the production was. (……) I hope he will find the right singers for these operas if they exist today. Very awful was the Brangaene of Michelle De Young, I just couldn’t stand her ugly voice and her horrible technique.

Comment 3: I am just shocked that an Italian opera house would even attempt a sophisticated work such as Tristan. I think Italian houses should stay within their limitations and mount those shlocky post-Puccini operas that don’t demand intellectual rigor from the musicians or the audiences. Afterwards they should all drink chianti together and break the bottles over TKLogan’s head.

Comment 4: this is a shame about the scala prima…especially since it is going to be broadcast in theaters. It just seems so unwise to open a season with a way-past-her-prime isolde and inaudible tristan. What exactly were they thinking? and is meier really going to sing sieglinde next year at the MET?

Comment 5: The marvelous Operachic’s review has much in common with this one. I can’t imagine the difficulties casting this work. In my lifetime I hope to hear a good production.

Comment 6: I am listening to a taped radio broadcast of 19 Nov 1998 from Bern, Switzerland (…) Sadly, mezzo-turned-soprano W Meier didn’t rise to the challenge two nights ago in Milan.

Comment 7: in Milan 1978 the cast was not well received by the critics who admired Kleiber but not the singers. Ligendza, who sang Arabella before Tristan, never appeared again at La Scala after her Isolde.

Comment 8: Meier’s voice has always seemed unappealing to me – somehow both matronly and shallow. I saw her do Leonore in Valencia last year and it was on the level of a superannuated house soprano (and she was never a soprano to start with). Her acting on that occasion was cliche-ridden too, although she has a reputation for charisma and commitment. Still, apparently she gives a great blowjob.

Comment 9: If you want a reliable critique of Meier’s blowjob ability, ask JV – lord knows her received enough of them from her. As for Tristan, so we had a performance notable for the orchestral playing, with the retched singing being negligable – how is this different from most Wagner we hear today, and for that matter, why is Wagner considered opera at all anymore, when it’s just one big symphonic concert at this point?

JIWON: One forumite mentioned the limitation of Italian opera house, its musicians and its audience. Curiously, my opinion had been no different from his until I found “La Voce del Loggione.” I was shocked, so shocked that I had to search all the comments on Barenboim’s Milan concerts. Using Google’s Language Tool, it was such a headache job… (Dec. 27, 2005) Barenboim e una Nona speciale

JIWON: Are there any comment on music? (16 maggio 2006) Barenboim nominato “maestro scaligero”

JIWON: All the comments are valuable to read. Who is Gino Vezzini? What means the president of Friends of the Gallery of Teatro alla Scala?

Comment #3: The problem was that, after two decades of “one man show”, the orchestra did not want a director omnipresent, omnipotent and “exclusive” as what the last year has in fact driven.

Comment #5: Barenboim is a great pianist (news beautiful future full of Sonatedi Beethoven), a great director (albeit in a cutting interpretive tradition), and especially a person of great humanity and open-mindedness.

JIWON: Don’t they certainly know that “a person of great humanity and open-mindedness” has functioned as a mere puppet when his emotional brain had no CEO’s mind, when his workaholic heart only wanted to love-love-love music-music-music, and when his thin ears were surrounded by snobbish followers? Barenboim’s directorship showed the worst case. Don’t they really know what really happened in Barenboim’s Berlin or Chicago? It was in fact worse than Muti’s case, which was called “one man show.” (1 settembre 2006) Daniel Barenboim / West-Eastern Divan Orchestra

Comment #1: For all this, manco to say, our enlightened newspapers report has been given least minimized (Courier) or zero (The Republic). It vergognino.

Comment #2: … More than signature-gathering “against”, perhaps it is time to be felt “pro” and not just our complaints. I think newspapers – as demonstrated-that fans of classical music are few and ignorant little critically.

Comment #6: (JIWON: Which concert are they talking about???)

JIWON: For the first time in my life, I read what was exactly the same as my opinion about those divans, who are hardly young and whose professional mind has nothing to do with the Middle East Peace. Now, I feel like I am really sane, and I don’t have to feel guilty about criticizing the wrong relationship between Barenboim the music-director and Said the quasi-musician. But do they know that the real headmaster of Divan Orchestra is neither Barenboim nor Said, but Matthias Glander and his Berlin fellows, including Waltraud Meier, whose Staatskapelle wants to hire Barenboim for nothing? Do they also know that the worst sounds of the Divans are just like their leaders from Berlin? Do they certainly know that those fellows from Berlin take advantage of Barenboim’s real patriotism to let Barenboim conduct for their favorite music? This has been how Barenboim achieved so little despite of his workaholic daily life, despite of all my hard working. And now, those fucking inferior musicians, aka Divans, joined “Glander & Co.,” which has been the worst sound in any of Barenboim’s performance and hardly followed their maestro. (07 gennaio 2007) Nel cinquantesimo anniversario della morte di Arturo Toscanini (Beethoven Sym. No. 3)

Comment #27: (JIWON: They are talking about Barenboim and music. What means early Alzheimer Baremboim?)

Comment #34-37: (JIWON: So… Did Barenboim make his kind of boring Beethoven again? Or was one of reasons due to the acoustic problem as they pointed out? Or was there another specific reason? It is also amazing to find that their reason of praising Barenboim is “Un’intepretazione dal passo comodo ma non slentato, dal suono pieno, rotondo, mai aggressivo.. (Nr. 33)” And it was followed by sharp criticism of Barenboim’s tendency to sloppiness whenever he lost his ears, which workaholism wants to taste all kinds of sound, including the dull & dead one. I know he is not Barenboim-hater, since I read all his comments about Barenboim and others. This is amazing.) (28 maggio 2007) Daniel Barenboim

JIWON: Hum… If Danny boy reads them, this mama’s boy would betray his mom to become Loggioni’s boy. So… Mehta was as usual and destroyed Barenboim’s pianism, didn’t he? What means Comment #10? Maestro Maurizio Pollini was in public??? (9 novembre 2007) Requiem alla Messa da Requiem

JIWON: I gave up reading after Comment #30-something. But I followed all the comments on Barenboim and Lissner, including the Interview with Lissner (Comment #57). It only contributed to my headache… This is beyond my ability and I don’t think there is anything Barenboim can do as La Scala’s Something-Title, “Maestro Scaligero.” Is there something he can contribute? If so, please let me know. (4 settembre 2007) The Israel Philharmonic Orchestra with Zubin Mehta

JIWON: After reading the Loggioni’s comments on Barenboim, I didn’t expect something unusual from this thread. But there was something more in this place; the exact description about Rattle’s BPO… After reading comments about Barenboim’s Israel ensemble, I thought about Mehta’s recent behaviors in Tel Aviv. It seems that he enjoys the present starving situation of Israeli music society and regards the IPO as his private possession. Or how can I interpret the reason of Mehta’s music business inside Barenboim’s Israel? No talented musician can survive in this situation, and then, Mehta will remain as a King; an absolute, but generous King. Forever…

Comment #23: Ho incontrato più tardi Lissner in strada, dopo cena, e vi faccio grazia del commento… (5 Novembre 2007) Daniel Barenboim with Lang Lang

JIWON: I dropped my jaw while reading the comments. Well… I was not the only one who was against Lang’s technical showmanship protected under the umbrella-Barenboim. They seem to prefer the same concert by pianist Barenboim and conductor Boulez, if they have to pay the same amount of money. Or they want to invite more qualified pianist, if young. It surprised me… BTW, what means Comment #13?

Comment #25: I also heard some Wagner (in practice last night, instead of hearing berciare to five at a time the usual political known Ballarò, I replayed the concert Monday evening with Celibidache, Karajan and, in spite of Marco Viz., With Mravinsky his Tannhauser, some ‘duretto actually risentirlo, especially compared to Celibidache). I came to the conclusion that what seems somewhat lacking ‘in Wagner of Barenboim is the poetry … The sound effects abound and sometimes are committed to wind unreliable, it is certainly a noble attempt to make an epic Wagner, , but always lyrical little martial and the funeral march of Sigfrido may come to mind Marche funèbre et solennelle Berlioz (great trombonata) or the singing of where Priam returns home the body of Hector, depending on how it performs … Homer knew also be lyrical, when required, and Wagner is a bit ‘of the Homer. Maybe I go out of the sown, but I would like to say to friends and Leonardo Luciano what I write, and also applies to other friends of blogs, is simply sincere. If there is to praise Lissner Barenboim or award them, if I have to criticize them critically. Then not a musicologist, but a simple fan, I can also write silly little things like that, but sincere.

JIWON: After Comment #30-something, I lost my way… I wish… I could read them in their original language. BY THE WAY, all the Loggioni, including Barenboim supporters, seemed to be disappointed at Barenboim’s “Toscanini Concert.” May I add more to their contribution? The fact that I consider myself as a Toscanini-disciple is well-known. I had to study Furtwangler only because of Barenboim, who seemed to be the only one left with a willingness to save my hopeless student life when my American boss, Dale Clevenger, decided to kick me out of his territory after his more powerful position was secured in the Chicago Symphony Orchestra, where all the members of Solti’s band were knocked out by my writings. Now, I am studying Furtwangler all by myself and my sole reason is that unlike other pros who admire bla-bla-bla of Furtwangler, from tempo fluctuation (sic!) to whatsoever depth (sic!) of dark sound, the only thing I hear from his interpretation is that there exists a precision in his music, and that his precision always wants to go somewhere, to unknown but better place. Then I want to study more, because I know, unlike other precise, strict music, what a difficult job it is to achieve this kind of music making.

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