JIWON: Dear Italian Government & Richard Wagner Foundation

Daniel Barenboim’s Italian Government: (I include Italian Media in this mailing list in case Italian Politicians treat this mail as a political trick or a mere computer virus.)

Daniel Barenboim’s Richard Wagner Foundation: (I don’t know how to contact Richard-Wagner-Stiftung Bayreuth. According to what I read so far, WoWa has one vote on a 24-member board, die Gesellschaft der Freunde von Bayreuth e.V. has two, and the rest come from German, Bavarian and Upper Franconian officials. So, I decide to include German Federal Government, Bavarian State Government, die Gesellschaft der Freunde von Bayreuth e.V., and German Media in this mailing list. WOW… Surprise to know that there is NO Federal Minister for Culture! So, I had to study more to go to German Parliament and include Committee of Cultural and Media Affairs. What a headache!)

Daniel Barenboim’s Israeli Government & Media & Simon Wiesenthal Center: (As expected, there is NO ministry of Culture in Israel. I hate to include Jewish Media in this mailing, but I know I have to. I believe, if they are Real Jewish Hearts as I used to evaluate, they will allow their time to read everything I wrote and find their name at the end of this mail. If they are Simply-Jewish-Pigs as Mehta’s Bashkirova used to prove, they will want to ignore most of the contents until their name appears. Pigs are pigs, whether Jewish or German, who never listen to the voices around them and think of their interest only, selling the name of Holy God whenever to justify their stealing ALL fortunes of their poor neighbor. Why don’t they directly click Dear Barenboim’s Israeli Government & Simon Wiesenthal Center?)

February 12, 2008

Dear Sirs,

I’m wondering how many of YOU went to La Scala’s Tristan und Meier on Dec. 7, 2007 to actually enjoy music of WAGNER.

I’m wondering if any of YOU actually had a specific opinion about this Italian Wagner-Performance before having a specific name in your mind as a Music Director of La Scala. (Am I correct when I call it Music Director?)

If Daniel Barenboim has ever been in YOUR list, please visit My Blog: The Art of Criticism and read the messages. It is more interesting than your Muti-Scandal. Though fun to read, it will give you much more headache, I promise.

Who am I? I am not Elena Bashkirova-Kremer-Barenboim. I am called JIWON.

I believe the members of “La Voce del Loggione” already know ME, so no one needs to contact Daniel Barenboim on this issue.

I started My-Latest-Message even before YOU entered La Scala to listen to Barenboim’s Wagner Concert, and it took more than two months to finish it. It will take more time for YOU to decide what is best for your future and your National Treasures; German Bayreuther Festspiele and Italian La Scala. I hope my writings to help YOUR decision.

Honestly speaking, the utmost respect is the only thing in my heart while sending this message to the government of “La Voce del Loggione.” But I’ve never trusted any human being ever since my joining professional music society. I’ve been living my life, and this has been my life. Besides, part of my heart still whispers, “Maestro Barenboim is not that cheap. Though looks tiny, this guy is a big shot, especially when IT stands erect…♥”

My-Latest-Message started like this:

http://www.awmadrid.es/?p=24 (27 de Enero de 2008) ENTREVISTA: WALTRAUD MEIER Soprano dramática: La cantante alemana de ópera, máxima especialista en la obra de Wagner, llega al Teatro Real de Madrid para representar el papel de Isolda, con el que triunfó recientemente en la apertura de temporada de la Scala de Milán. (…) “Tristán e Isolda no es antigua ni moderna, es eterna”, asegura esta cantante, para muchos, la más grande intérprete wagneriana que puede verse hoy encima de un escenario. (…) Creo que hay que luchar día a día por mantenerlo. O mejor que luchar, que es un poco fuerte, esforzarse para que no muera. Trabajar por ello. Los italianos, por ejemplo, confunden el amor con la pasión, yo no creo que sea lo mismo. Tampoco Wagner lo veía así. Para él existía un estadio del amor que producía un auténtico placer en la compenetración de formas de pensamiento, en la manera de ver la vida. [P. ¿El orgasmo intelectual?] – R. Eso es. Así es. (…) [P. En Alemania, ¿conserva Wagner el peso que ha tenido históricamente?] – R. En mi país, Wagner se está desdibujando. No se le entiende con profundidad en muchos casos. Me encontré una señora en el metro en Múnich que me reconoció y me dijo que ya no se le entendía bien. Le propuse que escribiera una carta al director de la ópera y me contestó que ya lo había hecho y que le habían contestado lo siguiente: “Señora, estamos muy satisfechos de que no le guste a todo el mundo”. ¡Hay que ser arrogante y engreído!

(…)

JIWON: Since some time ago, I’ve discovered interesting news of Barenboim from the bloggers and have followed them. The reviews of the loggionisti? So, I started my searching. I dropped my jaw… and then something was happening to me. There was no clue about bagherini, though.

(…)

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…

Want to read? Please click La Voce del Loggione.” – Daniel Barenboim from 20051227-20071105

JIWON: 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.

(…)

JIWON:

If you want to read the entire text, please visit My Blog: The Art of Criticism .

I know this deal will be a long shot, but worth trying.

Therefore, I will contact ALL the orchestras and opera houses with the same message so that all the participants could decide the best qualified Music Director in their future, after the ensemble members actually experience the baton-technique of Daniel Barenboim. Open-minded directorship paired with a firm CEO’s mind is also a part of baton-technique, I believe. Frankly, Barenboim is still not on this level. (Sigh…) But then, who else is proving this? ♥

One week later, My Blog: The Art of Criticism will be open to the public so that anyone who has been interested in Daniel Barenboim could read all my writings, including this one; my mail to Italian Government. Then, I will start my mailing business to all the possible organizations; from all kinds of Journals to the Orchestras, the Opera-Houses, the Wagner-Societies, the Music-Schools, and so on…

It would be terrific if my mailing business could win YOUR approval. But my life has been… Heaven knows that I will start my mailing business no matter what, whether YOU support my mailing business or not. So, if any of YOU no more wants to be contacted by ME, please leave your message in Mail-Recipients.

Even if I fail to get YOUR approval, it will help the other organizations to find the best qualified Music Director in their future, for Maestros-Elsewhere have been dilegently forwarding my previous messages to their friends. (SIC!)

However, no matter what, I am begging your reasonable mind to permit this mailing business. Once again, I start to hear trashy music elsewhere Bashkirova-musicians, part of whom even despise Barenboim’s Divans’ social status, pick up their instruments and brag about their relationship with Barenboim. I clearly know everything is up to Barenboim, and his ultimate choice will be those Angels once he makes the best use of my writings. I never understand why on earth those pigs always sound/look much worse than my expectation whenever I do regular checkup of their big mouth.

If you allow me, Orchestras, Opera Houses, Wagner-Societies, and Music Schools are the only institutions, which will receive my message under YOUR auspices. I will take care of other mailing businesses by myself.

Now, time for Barenboim’s Israeli Government or Simply-Jewish-Pigs,

This message will be anyway long, so please click for the entire text

This is for the sophisticated Italian politicians only,

If anyone knows how to answer one of my questions in QUIZ, please don’t hesitate to leave your message in QUIZ. Thanks

Q-4: What is it? I wrote in My-Latest-Message, “This orchestra (La Scala) has the same problem as the one that Toscanini was supposed to conduct in America. When the American officials considered it a hopeless case and wanted to report it to Toscanini before his first rehearsal with this American ensemble, he answered that there was nothing to worry about. Of course, Maestro Toscanini did a terrific job.” (I read it many years ago, and don’t remember where I got this article. In fact, I am looking for the exact source. I hope to find it soon…) I wrote this, because in these days, no one knows how to pick up and how to answer the same problem. And then, I am sick of being treated as a wacko, so I am not going to answer it. So… What is it?

This is for the intelligent German politicians. If YOU enter my blog, there is a search button. Your favorite keyword will let you find whatever you want. For example, if you type “Klaus Wowereit,” you will find one of writings about Berlin: My Opinion: DB’s Wagner in Israel, Berlin.

Just In Case,

I want a legal right to fire all the Bashkirova-musicians from MY ORCHESTRA and OPERA-HOUSE, and my reason is purely musical. I have been warning them, and I have to keep my promise. Am I cruel? Why don’t they play for late Edward Said? Mrs. Mariam Said will find them a permanent job in New York or at least Said’s Columbia University. While watching all those comical happenings in Said’s ensemble, I became curious. Prof. Said was not a normal brain, a normal heart. How did he grade his students’ academic achievement? Had he given all-A-plus to his students whenever they worked for his Middle-East? In my view, all he wanted to see from his Divans were Amateurism.

If I fail to get what I want from YOU, German Bayreuther Festspiele and Italian La Scala, I will contact Mr. Ambassador of Israel to Korea after finishing this work. I still need to ask my money, which “Barenboim & Co.” owes me. Whether Elena Kremer or Waltraud Meier, whoever is now fucking Daniel Barenboim, I don’t care.

Whatever happened between Barenboim and ME, whether my miserable life and its aftermath happened to save Barenboim’s dying career or not, I still don’t think it is a good idea for this top-famed celebrity to steal specific words from my writings whenever he wants to boast his bigmouth to explain what means music, and to do his very-best to follow my analysis in order to get a better reaction from the audience, while escorting the B*tches all the behind scenes elsewhere he goes.

Please give me what Barenboim owes me. Then, I will leave and Barenboim is free; free to make his favorite music, free to support his favorite shits. As long as his name is paired with Middle-East-Peace, he will lose his fame only after his death.

After finishing this mailing business, I will be able to close my eyes when I die. Then in my next life, I will chase those B*tches until I slay those pigs.

Sincerely yours,
JIWON

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