Dear Daniel Barenboim’s Richard-Wagner-Stiftung Bayreuth

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. Surprise to know that there is NO Federal Minister for Culture in Germany! So, I had to study more to go to German Parliament and include Committee of Cultural and Media Affairs. What a headache!)

February 17, 2008

Dear Sirs,

This is a message to Richard-Wagner-Stiftung Bayreuth. The mail sender is JIWON. Since I am not Elena-Bashkirova-Kremer-Barenboim, please contact the chief Music Critic of Berliner Morgenpost or Die Welt to ask who I am. (Honestly speaking, I don’t know who they are, but there are those who consider themselves as the most important music critic in Germany.)

I don’t know what is going on in your place, German Parliament. You have Eglish website as well as the German, but the members are not same. Die Mitglieder of Ausschuss für Kultur und Medien are the same Membres of La commission de la culture et des médias. But they differ from the Members of Committee on Cultural and Media Affairs. What is happening here? I realized all this mess after clicking ALL the Members of Committee on Cultural and Media Affairs. And then, I had to click ALL the Mitglieder of Ausschuss für Kultur und Medien again, because they look like the real ones. Sigh…

Anyway, I am now sending my message to BOTH Mitglieder and Members. Could you please forward my message to those who are involved in Bayreuth-Festival-After-WoWa?

In case your e-mail account don’t provide all the links I added, I also wrote the same message in My Blog: The Art of Criticism, so that anyone who is interested in my mailing to Richard Wagner Foundation could read it. It will be found, if you directly click Mail-Recipients:

My Blog: The Art of Criticism : https://theartofcriticism.wordpress.com/
My-Previous-Messages : https://theartofcriticism.wordpress.com/previous-messages/
Mail-Recipients : https://theartofcriticism.wordpress.com/mail-recipients/

Basically, there was no need for me to click all the members’ homepage, because I know how to make members’ e-address; vorname.nachname@bundestag.de, or vorname.nachname@wk.bundestag.de.

I wanted to visit YOUR homepages, because I don’t know why, but somehow, I was enjoying clicking German faces, in which I found German public. I am not photogenic, and suffer from cameraphobia. I was always told that politicians are not pure enough; their favorite is to earn public fame by using tricks, insulting their enemies, and always forgetting their previous promise once being elected. However, weirdly enough, I am now searching for what I call German characteristics from those true-or-false images. From this German public image, I imagine German sound. Weird…

Then, I had to change the entire text in my message. The original one is found in Dear Barenboim’s Italian Government & Richard Wagner Foundation,  which is found in Mail-Recipients in My Blog: The Art of Criticism.

Meanwhile,

1. I am surprised at the beauty of German politician: Dorothee Baer (CDU).

2. Soon, I was wondering how many of German politicians actually enjoy going to classical music concerts. Only a few faces looked old enough to remember legendary Wagnerian voices in those days. (For example, Renate Blank from CDU, and Renate Schmidt from SPD, and Dr. Lukrezia Jochimsen from Die Linke. But they are still not that old.) With those young faces, I had to think. “Sooner or later, more orchestras and opera houses would have to close their doors. We must be aware of it.”

3. In those days, I had to remember all the names of German parties in order to protect Barenboim from all kinds of comical attacks. Now, I hardly remember any name. What a headache… Soon I became curious who is present Kultur Senator Berlin, the poorest guy who happened to hate music during his hopeless job. Is there NO Kultur Senator in Berlin in these days??? Did You Give Up?

In sum, I still think Herr Klaus Wowereit (SPD) is very handsome. (Girls cry… They mourn when he can’t answer the questions in my QUIZ…)

Dear Sir,

Let’s face the fact. Whether or not you care for too-many ensembles in Berlin is none of my business. Your troublesome Unter den Linden, which is too expensive to save, too small for Wagner Performance, is only worth a Museum for legendary Zombies. My Barenboim-message is supposed to travel all over the world. So… If you allow me a proper concert hall and a Legal-Right to fire ALL Bashkirova-Musicians, I will work for you. Basically your Berlin ensembles really need a Re-Audition. I’ve never seen such a headache situation like Berlin music scene. Tradition and quality…, I mean.

I know no one will listen to me. Hence, this is the real reason of my message today.

Waltraud Meier wants to rule the Bayreuth, and I am sure some of you already know this.

This is part of my message in My Blog: The Art of Criticism:

(…)

They, La Voce del Loggione,” are talking about German sound. But what really means German sound?

http://www.iht.com/articles/ap/2007/12/04/arts/EU-A-E-MUS-Italy-Barenboim-at-La-Scala.php (December 4, 2007) Audiences of La Scala react differently to ‘Aida’ than an audience in the Staatsoper in Berlin. No question about it,” Barenboim said. “I think in Germany they would be much more tolerant of a slight vocal deficiency if the expression was there. And in Italy they would be a lot more tolerant for lack of expression if the beauty of the tone was there.”

JIWON:

This is Barenboim again, who is talking about German characteristic. I wanted to start my writing with this subject, but couldn’t do anything until I read all the valuable comments from Barenboim’s Loggioni. I’m wondering. Is Barenboim talking about German characteristic? Or is German nationalism what he is talking about? Or German sound? Whether it is German characteristic or German nationalism or German sound, is there something existing inside Germany? Barenboim says YES and it is a very tolerance to a slight vocal deficiency for the sake of expression. If one asks me the same question, I would say YES but from the different point of view.

Want to read? Please click German Sound

(…)

Wagner wrote music drama. Why do you think so? Acting Wagner is important, and it should be based on the Wagnerian SINGING-VOICE, I believe. Still, listening to Wagner can be boring to me, and then I have to watch MUSIC of Wagner. I have to watch sound of Wagner. I have to watch all the detailed body languages in Wagner’s Music Drama, for it is a triumph of human ability. At least for me… Am I the only one? Long ago, I read one forumite, who mentioned that Cosima Wagner hated excessive movements of the singers’ acting so much that she sewed the singers’ costume. It was not written in English. If it’s true, she is also the one, who used to watch sound of Wagner. I tried to find all the possible information using different keywords, but there was no clue in the world of Internet. Was I reading the false information?

(…)

I do understand a dispute inside Wagner family; a typical royal family. But what’s the reason of one conductor or director ruling the National Treasure of Germany? Autocracy is dangerous in any place. Especially in the world of music, where there is no perfect human being, no perfect instrument, and therefore, no perfect sound, it would only ruin what they inherited from their predecessors. Whatever his private life was, Germany was where Wagner wrote his music drama because it was where he inherited all his musical talents from his predecessors. What he needs now is his juniors, who are qualified enough to preserve the gifts from THEIR GOD, who are open-minded enough to accept new ideas to create MORE of Wagner. The present situation of Bayreuth looks nothing but a party strife.

(…)

I want to go to Bayreuth. I want to join the history of Bayreuth as much as I want to be present at La Scala while they achieve what they can achieve. Frankly, however, I am not interested in Wagner as a composer and an owner of the Green Hill, or his family business. Rather, I am very interested in the history of Wagnerian performers; singers, orchestra members, and the conductors. Reading old articles about great Wagnerian SINGERs gave me one question: Why is it impossible to find Wagner Voice Coach in these days? (…) Then, it was in articles about Astrid Varnay, in which I learned that there EXISTED a Wagner Coach in opera house. Who were or is a Wagner diction coach at the Green Hill? I’ve never heard of it. Hence, I started my research.

http://www.historicopera.com/jbayreuth_page2.htm (2 November 2007) Bayreuth Singers – 2 : Luise Reuss-Belce (1862-1945) was a principal singer in Bayreuth until 1912. She eventually became the dramatic coach at Bayreuth.

http://oq.oxfordjournals.org/cgi/content/abstract/11/4/53 Wagner and Bel Canto : Wagner wrote to the vocal pedagogue Julius Hey, in 1875, during preparations. for the first Bayreuth Festival. 1. Wagner’s cri de coeur about his inability … (This item requires a subscription* to The Opera Quarterly Online)

JIWON:

Training on the stage is not same as taking studio-lessons at school. Who is Wagner Diction Coach in these days at the Green Hill, where the voice of Heldentenor cannot be heard for the very special reason? (…) Time has passed. Something was happening to me. The more I learned how to enjoy pop music following the latest fads, the more fun it became to watch Wagnerian Singers from old good days. Unlike legendary Old-Names in opera world, where their uniquely proportioned body shape was famous for the beauty of their voice, which makes me somewhat disappointed while watching their performance in old docu-films, Wagnerian Singers in old days were very handsome with gorgeous body. They are even more handsome than the Bayreuth-dwellers in these days, during which Wagner-Fans have been crazy about their sexy Isolde, Waltraud Meier. First of all, it is amazing to watch the size of their lungs. Their breathing capacity is literally unbelievable. Listening to Wagner is not enough. It still can be boring to me. But watching the Wagnerian Singers? It is amazing, way beyond description. My opinion may be different, very different, even from the scholars. Then, I have to tell this. Performers are not like composers. Each performer needs a proper instrument, and the singers are equipped with their body only. Some of them are born a musician, who has no choice but allowing his instrument make better sound. Few of them are born a real musician, which is called a Talent by God. How can they deny their instinct? It is like, a human being is born and wants sex without orgasm from his lover. Mozart wrote some notes. Wagner also wrote a sequence of notes, but he wrote so many huge notes that the performers have no choice but utilizing 101% of their physical ability. (Why 101%?) Unlike other low voices, there is only one way for the high voices to master all the notes Wagner wrote. They are even different from some instrumentalists, who, regardless of their talent, could manage all his notes with his favorite instruments. I know I am not in a position to lecture on the proper Wagner German Diction. But then, why I’ve never heard Wagner specialists debating on this issue? Also, I’ve never heard of their curiosity about it. In fact, they are just busy at discussing about stage, philosophy, or Furtwangler. So, I am only writing about what I hear whenever they praise Meier and insult her rivals, who were born a musician trying to sing. I am not interested in which Wagner member rules the Green Hill. I believe that all the family members should accept and follow the vote of 24-member board. I am just interested in who (will) be the Wagner Coach there, and want to organize all the valuable sources I could find in their library. My issue will be Performance Practice. I can hear all the talents. I can watch all their body languages. I can have a curiosity about their hard working. I can read all the comments by their fans elsewhere, and organize them. Finally, I can advise the singers how to improve.

It means that I invite all the lovers of Wagner Diction to participate in the history of Bayreuth. Want to read more? Please click Wagner Diction

(…)

Time to start my mailing business. I promise. The Canadian Opera Company will be the very first to realize why they had such a hard time to prove Wagner with the musicians from Germany and achieved so little. They will realize the reason of its audience’s cold reaction despite the utmost fame from Germany.

JIWON:

It is just a tiny part of my Barenboim-message. Please compare my writing with Waltraud Meier’s interview.

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:

Your German soul made this interview after reading My-Previous-Messages, especially Boulez & DB, Parsifal on Feb. 20, 2007. Don’t you think it sounds a bit…? Is this what you call German intelligence, a symbol of Wagner? Shame on you.

One week later, My Blog: The Art of Criticism will open to public, and then I will start my mailing business; from Orchestras, Opera Houses, Music Schools, Journalists, Professional Singers, and Wagner Societies all over the world, and all the possible Wagner-Lovers in the world of Internet.

I will ask ALL Wagner lovers if there is something wrong with my Wagner-writing. I will ask ALL of them to join me and to participate in the history of Bayreuth.

Basically, in case of institutions, I want to beg your reasonable mind to permit this mailing business. Once again, I start to hear trashy music wherever Barenboim’s protégés brag about their relationship with Daniel Barenboim:

I will say. “If you meet anyone who likes to lecture on Barenboim’s Furtwangler Dream and brag about their relationship with Barenboim, don’t ever trust Barenboim’s fame in their resume. Please trust your ears and eyes, your heart and brain. If they sound trashy, they are the trashes, anything but musician. It only has been favorite music of Barenboim’s Shits; “Meier & Co.,” “Mehta & Gang,” “Bashkirova & Co.,” and so on… A real Furtwangler-disciple, a real German sound never sounds like this.”

I want the official institutions to receive this sentence under your auspices. Would you allow me to use YOUR fame? If not, please leave your message in Mail-Recipients.

I don’t mind even if Waltraud Meier is your choice as a sole successor to Gudrun Wagner. Daniel Barenboim is a fame-seeker, and it will be honor for him to follow his mistress. Then, money will be the only thing I will get from Barenboim. It’s OK.

Heaven knows that I will start my mailing business no matter what, whether YOU support my mailing business or not. Wherever I go, I will prove what the real German music sounds like, and I will insult the present German situation. I don’t travel, though, for my favorite German sound is already dwelling in my heart.

If… if YOU enter My Blog: The Art of Criticism, 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 .

If you also want to read my mailing to Barenboim’s Israeli Government, You can find it in Mail-Recipients. There is a possibility of your Federal Chancellor’s attending Wagner-Concert in Israel for his humble apology to Holocaust Survivors… Just in case…

No matter what,

God Bless Your REAL German Sound.

Sincerely yours,

JIWON

P.S.: I borrowed information from the Guardian for my mailing to German Media. Sooner or later, I will find all the possible journalists to send my Barenboim-message.

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