Masterclass at Merkel’s Bundestag

(From SEPTEMBER 10 to 18, 2008)


1. Angela Merkel: Bundeskanzlerin, the head of German government
2. Horst Koehler: President of Germany or Germany’s head of state.
3. Norbert Lammert (CDU): President of 16th Bundestag, which is the lower house of German parliament.
4. Herr November(?): President of the Bundesrat, which is the upper house of German parliament.
5. Klaus Wowereit (SPD): Berlin Mayor
6. Thomas Flierl: Culture minister in the Berlin city-state government
7. Alice Ströver (Gruene): die Vorsitzende des Kulturausschusses
8. Michael Braun: Der kulturpolitische Sprecher der CDU-Fraktion.
9. Oliver Schruoffeneger (Gruene) prophezeite gestern schon mal “eine teure Bauchlandung fuer das Land Berlin”.

I just can’t understand this German system. Hence, I will call Merkel’s Bundestag.

It’s not my first time to ‘spam’ the members. They simply ignored it. Years later now, I am just amazed at the fact that all the German politicians are eager to join my mailing business and ride high. That’s good. Why don’t they take advantage of this in the most effective way? What do I get in return? This is my only concern.

Let’s call it “MASTERCLASS at MERKEL’s BUNDESTAG.” Among 614 members, how many will be able to stay awake throughout the class?

You are called German politicians. I am called Hum…. Below are the similarities or dissimilarities between you and me.
1. You don’t go to the concert of classical music. Neither do I.
2. There is no purer German blood than you. No matter what, you will never understand the value of German classical culture. Throughout my life, the only valuable thing I learned was the value of German classical culture. No matter what, I will never become a pure German blood.
3. You are weary of Berlin musicians asking money-and-money for nothing. You never know why you have to pour money into something useless. I bet more than half of those beggars are foreigners. I am also sick of those Berlin pigs stealing all my hard working, which means money.
4. When was my first mailing to the members? Since then, you’ve only chosen something that titillates your ears, whereas I was forced and forced to listen to all the dirty music and analyze it.

The most significant similarity between US is this:
Both you and I hardly know what really means Wagner. You know nothing because you don’t go to the concert. I know nothing because I hate to go to the concert. Unlike you, however, I happen to run across a legendary musician and his terrific music. Then, why don’t we study together? Let’s just call it “Masterclass at Merkel’s Bundestag.”


I wrote and wrote. That I was not the best ear wherever I went. Please check My Requests to Barenboim. As usual, I learned a lot from those terrific comments. What about YOU? The sound quality of ‘Mon coeur s’ouvre’ in Youtube is worse than my computer-recording of internet-radio. Then what about her real voice?

I hope you to follow listeners’ comments with the keywords in your mind:
1. Her warm and vibrant voice, A complete singing actress, Her body language.
2. Rapturously beautiful, The golden age of the bel canto.
3. Her fine & intelligent musicianship, Magnetic personal beauty, Mania laugh, Re-studying her vocal technique, Remarkable instrument, Various transformations in her voice over the decades.
4. Fantastic diction, Expression and word, Totally gifted interpretations with intelligence & musicality, Vocal abilities & understanding & interpretation of character, Someone with both the vocal skill & the great presence/great interpretation.
5. Great costume, Nice close camera work.
6. Speaking voice, Singing voice.
7. Donna Anna, Leonore in Travatore/Fidelio, Fricka, Sieglinde.
8. Loenie Rysanek

Time for QUIZ:
What is the similarity or dissimilarity between Regina Resnik and Birgit Nilsson? Both are equally great Wagnerian Divas, all with impeccable technique and wonderful human characteristic. But only Regina Resnik lost her high range.

♥ TIME for BAYREUTH 2008 ♥

One commenter wrote. Isn’t it a perfect description of Wagner’s Kundry?
“Resnik’s was the first reading of “Mon coeur s’ouvre” I’ve heard. Till now I think she’s one of the interpreters who got the most to convey that mixed sense of seduction, magic and danger this aria expresses. Resnik’s voice has lots of rich colours, a deep low register, vibrant higher notes, all the qualities that makes for an irresistible Dalila.”

Below is from Regina Resnik. Whose “sexy acting” do you think this legendary Kundry is mentioning?
“Regina Resnik – Most singers take Carmen too seriously in the first two acts. They think they have to act sexy. They don’t – they have to BE sexy.”

Then what about innocent public’s opinion about Meier’s Kundry?
“All Kundrys don’t have to be the bitter angry spinster :-). That said I’ve already got tickets for Parsifal in Berlin in March, never seen die Meier as Kundry.”

Please compare this comment with the original German description of Meier in Wagnerforum; Ein fauler Sopran or Hysterical Sieglinde. Has there been any change in Meier’s Wagner since then? Her only contribution has been to destroy ALL the good talents around Barenboim. I’m curious if this guy put his comment after reading My Requests to Barenboim.

They are also talking about Bayreuth’s Kundry 2008:
“I saw her Kundry in Vienna too and have seen her several times as Brangäne and Waltraute as well. I just don’t think she has the voice for this, although it is very beautiful. She does not cut through the orchestra at all.”

This Japanese Kundry is in fact Meier’s copycat. Years ago when this bimbo-battle started, she was the poorest girl, whose talent Meier’s shimmering eyes were destroying. Years later now, she seems to master it, except high notes. Then, why public only appreciate her high notes, which means open-voice? Basically, I am not interested in her at all. Part of reason why I had to give up my years-long computer work was due to Meier’s incredible fame in Japan. The NHK tried to help me for a while, but in vain. They actually had a stage experience of how and why Meier’s favorite clarinet sound doesn’t work in their orchestra, but it was also useless. Meier was able to win, because this female was more sincere at greeting Japanese concert-goers to write her signature after the concert than following her fellow musicians on the stage. Now, I never want to contact Japanese Music Society again on this subject. They have to solve their problem by themselves. I just worry that Meier’s German diction is hurting the vocal chord of this Japanese diva. She is not Meier. If she keeps trying to ‘cut through the orchestra,’ she will soon not be able to sing anything. Then, why this Kundry 2008 is still academically valuable enough to be treated as another Meier even if her Meier-like voice is too soft to ‘cut through the orchestra at all’?

🙂 Time to check my previous writing, which is about the reason WHY the singers could NEVER ignore Meier’s VOICE while performing together on stage, and about the reason WHY only Meier has been ignoring ALL her partners and enjoying her egocentric performance:
🙂 Recording-Technique, Playing w/Meier, Kundry (Nov 6, 2006)

I wanted to check my ears, but somehow, search-button in Google-Group doesn’t work. No posting appears in New York Times Forum. So, I am just writing my personal opinion. I will quickly(!) change it when I find better comments. I trust my eyes, but I never trust my ears.

Parsifal should sound beautiful. So beautiful as Brahms should be… and I don’t know why. I just hope forumites to answer my curiosity. At the same time, I suddenly realize why German Hans Hotter should be considered as a great Wagnerian Gurnemanz.

Hans Hotter, a German Operatic Bass-Baritone:
(…) admired for the power, beauty, and intelligence of his singing, especially in Wagner operas. He worked as an organist and choirmaster before making his operatic debut. Probably his best known vocal achievement was his Wotan in Der Ring des Nibelungen. Just in time to capture him in something like his prime vocal powers, his interpretation of this character in the operas Die Walkure and Siegfried was documented as part of the first commercial recording of the cycle in the early 1960s, with conductor Georg Solti and record producer John Culshaw. His magnificent portrayal of Gurnemanz in Parsifal was preserved on record in Hans Knappertsbusch’s second live recording at Bayreuth; in his old age he switched to the same opera’s briefer, and less demanding, part of Titurel (also captured on record). A much-admired Hans Sachs in Die Meistersinger von Nürnberg, he nevertheless preferred to sing the smaller role of Pogner, because its range was better suited to his voice. He was also celebrated for his Pizarro in Beethoven’s Fidelio, of which a live 1960s recording from Covent Garden was issued for the first time in 2005. As a Lieder singer he had few peers (…)

Again, I hardly know what means Hans Sotin or Kurt Moll. I DID listen to them, but remember nothing. Too tired to start my research about them. Hence, my analysis is purely based on Hans Hotter and his LIEDER, which doesn’t have to be ‘performed’ in Wagnerian interpretation. I’ve never considered his VOICE as Wagnerian Dramatic German Diction.

It’s been years since I thought of this German music. Why in the world all the legendary Wagnerian High Voices are from foreign countries? As time passed, I started to hear German Low Voices. Something was there, and then there was no time to think of Foreign Heldentenor or his Female Partners. Unlike Wagnerian High Voices, those Low Voices were usually pure German blood. It led me to analyze more. This is how I started to write the difference between ‘speaking voice’ and ‘singing voice.’ (Please check the FrontPage of my Music-blog.)

Did I call a legendary Wagnerian High Voice a Vocal Technique? I would call a legendary Wagnerian Low Voice a German Mentality.

Hans Hotter… This is not an one-way voice. There is an imaginative quality in his multidimensional voice. Listen to his coloration, in which no hint of dirty characteristic is shining. Listening to his German mentality is like an additional bonus. However, it is the very basic of his interpretation of Wagner Musicdrama.

1. Korean Gurnemanz: Is there more diligent human being than this singer? Improvement since his farewell to Meier’s Lindenoper. I saw his mini-recital (TV). His breathing was unbelievable. He was required to follow Meier but wanted air. His singing looked like an alien. Then, I heard his interview, in which he explained which Wagner he studied in German music school, particularly about diction. It was a good information. However, I must say… I heard… His German diction has always been changing; starting from Der Nachtwa”chter(?) during the 90’s to Gurnemanz 2008. Different color, different air, different physical muscles… how come his German diction can be same? Even now, his diction is changing. Listen to his ‘Rrrrrrr…’ or ‘Ha’ and so on… So, which German diction was he talking about when he mentioned Wagner schooling? Which German diction public appreciate the most? I am dying of curiosity.

If I praise this guy, people will think that I am biased. In fact, the more I write for this singer, the more I am worrying about his Korean career. Whom is the Korean Wagner society now working for? (Please check their lecture on Barenboim’s sex-life years ago.) I am the one, who armed myself with Korean patriotism to survive in America. What happened to me? If those folks really felt pity for my life, they must have tried to help me when I totally gave up this computer work and fell into hopeless situation. Whoever he is, I detest those who take advantage of my miserable life, starting from Solti’s X. (Sir Solti was the next one after Barenboim, who wanted to show me that his CSO was following my analysis. I never answered him, of course. I was just sick of all the happenings, which never planned to save my student life. Then, I had to watch Mehta or even Abbado for years and years. Now, I regret.) How many Koreans proved my theory? What has happened to my family while those were blessed by my Korean identity? My last time was days ago. How many more times will I be called a human trash? Anyway, I’ve hardly seen more diligent musician than this guy, and Meier used to take advantage of his Korean nationality to fool me. This is my only reason of writing for him.

2. This Korean Gurnemanz is not the only one. All the Male Singers, especially German blood in Parsifal, should study everything about Hans Hotter. They should do it, because I hear they already know what means stage-mentality of this great German Wagnerian. German Klingsor? He has a diction problem, because he doesn’t want to join Meier-Schule… Therefore, he sounds dumb.

While listening to Bayreuth 2008, I realized that Rene Pape is just one typical German. I hear the same talent from the young Bayreuth. What’s more, it was my pleasure to hear Hotter-like German mentality from their young singing, which still needs more training, starting from the basic postures, working larger size of their lung, and so on. Especially German bloods, whether low or high, should not play with Meier’s favorite low voice, as long as they share the same coloration and its pure timbre with Siegfried Jerusalem. (Ask Meier who they are. Meier used to use their fame as her weapon… so that I should analyze the poor conductor, Barenboim included, instead of singers. One dimensional male ‘singing’ voice, which minor role can contribute to luxurious casting, but destroys the entire ensemble when it appears as a leading voice.) Now I know Siegfried Jerusalem was also one typic German voice.

3. Blumenma”dchen: I never understand why people complain about this female high voices’ grouping. Listen to each voice. This is just a natural outcome of Meier’s vocal techniques. If you go to du Pre’s country, you can ‘enjoy’ it. I heard this female SOLO voice not long ago. It perfectly worked with the British orchestra.

4. Swedish Isolde: Basically, there should be a Nilsson school in Sweden. This vocal technique is the best example of human power; vocal talent, stage experience, diligent personality, and strong mentality. Nilsson’s interview tells me how much this woman thought about her problems and developed her vocal techniques. All the information about this Wagnerian Diva, including her underwear size or favorite pillow, should be recorded, collected, and preserved. If one compares Nilsson’s standing/sitting posture and all her junior Isolde, it is easy to figure out their basic difference. So, I say that everything is up to her. She will pick it up what she should pick it up when she wants to pick it up.

5. Dutch Marke: This guy should return to Meier’s German diction. He really sounds dumb, doesn’t he? Again, he is going to insist that he made a perfect ensemble with pianist Barenboim in Jerusalem Festival, isn’t he? Why worry? I will analyze everything in public. No hint of Hans Hotter Schule; no Hotter-like voice, no Hotter-like diction, no Hotter-like German-Mentality.

6. The Rest of the Singers: Only when they want my open analysis, I will start. Besides, I already wrote how to pick up their native talent.


Hum… I was not the only one, whose years of years of life this German whore has totally destroyed. This German guy was also the one. I didn’t know that.

I used to think that this guy was Matthias Glander’s best friend in Meier’s Lindenoper when he gave up his performer’s life to start a conducting career. I also thought that he was Waltraud Meier’s cheapest toy. He was not. Is this perhaps why he was kicked out of Barenboim’s Berlin circle in recent years?

Very interesting comments from the Google-Group:
1. Weigle’s Bayreuth 2007: This man obviously knows _Meistersinger_ inside-out. There was much clarity and beauty in the playing of the Festival orchestra, and the pacing was splendid.
2. Answer to No. 1.: I must say I didn’t like Weigle’s conducting at all – loud, blary and downright ugly over and over. No sense of line. I don’t mind the brass being emphasized at some points in the score but the brass playing was so emphatic and even raucous – at no point in the score should the music sound ugly but it happened over and over during the performance. I understand from friends who were there that Weigle was booed, among others.

Which one do you prefer when both sound reasonably right?

1. Weigle is a German blood, and therefore, there are pros and cons in his conducting. (I have to write this… just in case this guy joins Bashkirova and suddenly changes his music. There was no exception.)

2. His real love is voice. This maestro is conducting for the voice. Doesn’t he like Meier’s comical Wagner? I promise… he detests this disgusting voice. Whenever there is a hint of Meier in his singers’ performance, there is a sudden gap between his orchestra and voice, because he never wants to follow it. This is why he has never received good reviews here and there and everywhere. I didn’t know that.

3. I wonder how serious his problems with his back was when he had to use useless body language on the podium. I know his doctor did a terrific job, but there is something more; his body is changing… losing performer’s body. What does it mean? His orchestra will soon respond to his new physical ability.

4. In sum, this German blood should join Furtwangler-Schule, really. This is the only way he can enjoy his professional life. He should stick to his favorite and butcher reactionary groups. He wouldn’t agree with me, and I also know what he means. Everything is case by case, and sometimes, a certain professional orchestra only allows a dictator. Furtwangler called his BPO a “Little Republic.” But there was only one LAW in his BPO. It was Furtwangler and his members never dared to stand against their maestro. At the same time, this dictator was the best example of self-criticism.

I am sure that he used to join Diehard-Dove group. So did I. Unlike Israeli 12th prime minister Ehud Olmert, whose extreme-right-wing opinion wasn’t afraid of being isolated even in his own family, I was always scared of being isolated and saying ‘YES’ was my only favorite. Did it help my professionalism? Finally, after a lot of suffering and misgivings, I came to the conclusion that we need to butcher all those pigs… if we don’t want to see our professional ensemble collapse. We should not delude ourselves. ‘Greater Orchestra’ concept is still alive. That’s the difference between Politics and Music:
PM Olmert: ‘Greater Israel’ concept over. (“But finally, after a lot of suffering and misgivings, I came to the conclusion that we need to share the land… if we don’t want a bi-national state. We should not delude ourselves.”) (September 14, 2008)

5. This is a pure German musician. I am pretty sure that he was a sensitive, very lyrical solo horn in Barenboim’s Staatskapelle. I promise that he doesn’t want to return to this job, especially in order to play in Glander’s woodwind section. Then, he suffers from the new problem. His orchestra members, especially wind and brass, hardly play like Barenboim’s Solo Horn. Story continued for years… He has been losing his typical lyrical quality. What a poor guy! Then, not Furtwangler but Boulez’ conducting technique will function as a better survival method for him. Or Kna’s beat-beat-beat baton technique, perhaps. Kna’s beat is very accurate but really different from the metronome. There are lots of air between the beats. An awesome technique/music.

6. If you go to the Google-Group, you can read his poor life in Spain, where “the orchestra sounded like the provincial theaters’ vulgar band racket, and the great majority of the audience still confounds quantity with quality, and the conductor was the only one really believing in what he was doing.”

Please go to and compare this comment with Bashkirova’s WEDO 2008. Is there any difference? Listen to vulgar wind, brass, and then the cheapest male high voice followed by Meier’s healthy voice and dreamy facial expression. Has this male voice an ability to improve without Meier? Look at his dramatic facial expression, which looks like a **y and sounds like a **y. That’s where his talent lies. Then, what about Rene Pape? Again, he is standing like Meier and there is something wrong in his basic singing. I promise. He is now toward fifty and won’t improve. Please ask Daniel Barenboim. If this Wagnerian Maestro answers that there is no problem with this music, there is nothing I can do:

This sound… appears again in another ensemble, as a matter of fact. These comments are talking about ONE orchestra:

1. Parsifal at Bayreuth 2008: But the orchestra itself was less than perfect on many occasions. Woodwinds in particular were not at their best yesterday, often even poor or non-existant in their expression (but maybe it’s the recording). That said, it seems to me incredible that the Bayreuth orchestra is now not better than any other big opera house orchestra. The legend is fading maybe. It is changing into a brand. Bayreuth plays in the Emirates. People applaud after 1st act. Times change. For the good? I don’t think so.
2. Meistersinger at Bayreuth 2007: Loud, blary and downright ugly over and over. No sense of line. I don’t mind the brass being emphasized at some points in the score but the brass playing was so emphatic and even raucous – at no point in the score should the music sound ugly but it happened over and over during the performance. (This is from 2007 review. But is there any difference in 2008? The basic is same.)
3. Ring at Bayreuth 2007: And again – I can say nothing on conducting, that I have not already said – his reading of the score combined with the unique acoustics of the Festspielhaus makes this one of the most memorable orchestral performances I have ever witnessed. In an entirely other league than the singers.
4. Ring at Bayreuth 2008: Indeed, the maestro is an alert and sensitive accompanist to the singers throughout, never allowing the orchestra to drown them out, and even Wotan’s long monologue in the first part of Act II , which can drag in some conductors’ hands, is gripping.
5. Ring at Bayreuth 2008: I have to tell you that I really enjoyed it. Especially the orchestra; I have not been a big fan in the past, but his conducting really set the mood for this performance and the playing of the orchestra was fantastic.

Simply, I never understand why they are complaining about the poor singers. No matter how they heard from this day and that day, there is no difference in this orchestra’s wind and brass sound. The singers are just working very hard to match the conductor’s fantastic orchestra sound. It never means that Wagner wrote heavy orchestration in his Ring. Listen to the individual instruments. How many instruments are in ONE orchestra? Those commenters remember all the singers’ names and their lyrics, while I don’t. They can master it within a month.

Weirdly enough, everybody is talking about Wagner’s Fantastic Orchestra. I came from the world of instrumentalists and never heard of opera until I was forced to study it to survive my student life in American. I still prefer pop music to opera. I am now listening to Wagner, and I just can’t take this instrumentalists’ Wagner as my favorite when there is no VOICE or orchestral accompaniment doesn’t support its singers. Then, I realize why people call Knappertsbusch a great Wagnerian maestro. Who has more sensitive ears when he conducts the VOICE? Furtwangler or Knappertsbusch?

Is Bayreuth Festival Orchestra a Symphony Orchestra or an Opera Orchestra?

Time to think of Milan-Scandal again:
Recriminations fly as crisis engulfs La Scala (Mar 3, 2005): La Scala has edged towards offering a higher symphonic content in the programme – but X said this decision was jeopardising the uniqueness of the orchestra. “It is born to play opera. It is the best opera orchestra in the world,” he said. (Please check the FrontPage of this blog, The Art of Criticism, and My Requests to Barenboim, too.)

Then, what is the similarity or dissimilarity between the Italian opera orchestra and the German opera orchestra?

Curiously, it is from German performer/conductor Sebastian Weigle’s interview:
“In Italian opera, after every stress there is a relaxation in the music. In German opera, maintaining the sound dominates, always maintaining the same level of the note, and the sound is also more obscure. The style of conducting consists in taking this continued level of sound and this type of sound into account.”

Below is Barenboim’s Meistersinger(?) at Meier’s Lindenoper. The individual sound of wind section is in fact the same as the troublesome winds at Bayreuth 2008. But then, Barenboim is a workaholic conductor and this is what public heard instead. To be sure, this is Furtwangler’s least favorite interpretation:
“JIWON: Oooops! I can’t find it now. What if I introduce this private blogger? His comment was like this… balance is not quite good, but woodwind itself sounded like a chamber music”

Then, is Barenboim lying in his German interview?
“[German Journalism – Wie ist es möglich, dass ausgerechnet das WEDO sogenannten DEUTSCHEN KLANG hat?] Barenboim – Ich glaube, daran können Sie sehen, dass dieses ganze Thema vom deutschen Klang meist zu oberflächlich diskutiert wird. Ich kann Ihnen genau erklären, was man tun muss, damit ein Orchester diesen deutschen Klang hat. Es hängt davon ab, wie man einen Ton anfängt. Nicht immer mit Akzent und nicht hart. Dass man den Ton bis zum Ende hält. Dass man während einer rhythmischen Figur den Charakter nicht ändert und so weiter. Und wenn Sechzehntel oder schnelle Achtel kommen, dass man nicht automatisch mit Akzent spielt. Ich sage immer: “Lasst Eure Achtelmaschine zuhause.” Nicht: Takatakatakataka… Solche Klangsachen sind wie Sprachen. Die kann man lernen.”

I am curious. Where did Barenboim get this information? In Barenboim, I always find a collection of good words, then I always hear a collection of trashes, thanks to all the pigs around this musician. The funniest thing in this story is that Barenboim is a theory fanatic. So do I.

Below was from Dear Berlin Mayor / Israel / Palestine, FINALLY… (Aug 29 – Oct 6, 2008):
1. Das Geheimnis um den sogenannten deutschen Klangs: Can anyone prove that Furtwangler’s favorite instruction was ‘Nicht: Takatakatakataka…’? I don’t mean to hurt Barenboim’s every word. Nor do I think this is Barenboim’s Big-Mouth. I just realized WHY Meier’s Lindenoper perfectly proved the most dirty/dull German sound while pretending to follow Barenboim’s instruction. There are more than one way to start sound of ‘Nicht immer mit Akzent und nicht hart.’ Waltraud Meier excels any other Wagnerian VOICE when she uses her neck-muscle. Meier’s instruments can also make it easy when they use their favorite equipment. They can make it in the poorest situation, while talented musicians can’t. Talented musicians can make it only when the situation allows them. Hence, whenever those pigs make their comfortable sound ‘without accent or hard,’ real orchestra members has no way but to start their sound as ‘Takatakatakataka…’ As far as I know, there was a certain word Furtwangler favored especially during his rehearsing Bruckner. It was never ‘Nicht: Takatakatakataka…’ I don’t mean to criticize Barenboim. I know what he means. But in his case, the result always have been opposite. It rather destroyed German sound, its pure timbre with attractive color.

Please check Barenboim’s German Sound from Nilsson’s Isolde under/over/with Maestro Knappertsbusch. I don’t think this is among her legendary performances, but it is a very valuable academic material. Please look at her using Air-Pressure with her lung, from pianissimo to forte. Please imagine her heydays and this incredible moment. You are sitting at the Festspielhaus. This voice will ring the entire hall. Have you experienced this moment throughout your life?

THIS IS ALL ABOUT TECHNIQUES… VOCAL TECHNIQUES… Wagnerian VOICE, which should be followed by Acting, Costume, Recording-Technique, Camera-Work, Photo-Shop, and so on… Compare this German Sound with Meier’s comical Wagner. How come this can be called a Swedish Sound when a DIVA is singing German MUSIC?

Look at the pop music world. This is a very competitive society, and there is always a strict physical rule for the singers to survive. They need to look attractive. Their unique body should sound good, too. They receive a real hard training while young, but most of them, especially females, retire when they are over a certain age. No one complains. Only classical ‘CATS’ never give up their professional dream even after they lose sexy, fresh looks, and then they suddenly start to insist that their pro-career past their prime is based on something academic, authentic, or tradition. Barenboim’s international fame always appears in their big-mouth.

According to the Rule of this Bimbo-Battle,
1. Will this German musician, Sebastian Weigle, suddenly appear as Bashkirova’s maestro? I’m not sure.
2. Will his members follow their maestro after reading my analysis? According to this rule, they will answer him/me with more aggressive sound. First of all, this is a festival orchestra. If no one shows up, conductor can’t make music. “Thanks” is the only choice for the conductor. I don’t want to destroy his summer job.
3. This is what I am sure of. Elena Bashkirova and Gidon Kremer will be in a hurry to invite this whole group, which will rush to Jerusalem for NOTHING, and Barenboim would have to accompany/conduct their music, because President of Israeli Supreme Court needs to enjoy this happening to clear her husband’s criminal record. Maestro Mehta knew how to support this yearly event by clearing the IPO’s September schedule.


I have to mention this name, because I know this German guy is German politicians’ HOPE, their FUTURE.

This has been a story between Jewish Barenboim and German Thielemann.

First of all, I am very sorry about what happened years ago. I never meant to criticize anyone. Still, my least favorite is to criticize others’ achievement without proving my own. But it was Berlin folks, who started to attack Barenboim, and I had no choice but to criticize their hero, young Karajan.

Please ask Maestro Thielemann. The situation rather helped his life. After abandoning his hopeless Berlin ensemble, he was able to build a better career. In these days, he never introduces himself as Barenboim’s assistant or protégé.

This has been my private feeling. Thielemann’s favorite diva was/is Waltraud Meier, especially since his joining Wagner family. If the rumor is right, (who is his partner?), his love of Meier is purely based on musical reason. (There is a typical characteristic in Thielemann’s conducting. He is a sensitive guy. He is not Mehta. But he is also not Furtwangler’ interpretation, nor Karajan’s taste, nor Kna’s technique.) But for Meier, Thielemann’s heroine means giving up her power at Barenboim’s Lindenoper. So, it was all after she devoured Barenboim’s everything that she appeared as Thielemann’s Kundry. It was a win-win business.

Basically, this female is the first one, who will turn her back on Barenboim whenever he loses all his power to run symphony/opera orchestras, whenever she finds better opportunity toward her professional dream. If not, Barenboim must have been the happiest guy when their love affair started years and years ago. Basically, this WEDO schedule is not Barenboim’s only charity(?) concerts. Barenboim used to bring his orchestra to play for the poor and needy. Meier has never appeared in these events, or in Israel, where Barenboim’s Jewish orchestras desperately need money to invite good soloists. If my memory is right, this female only appeared in one German city to help another famed conductor, because she needed to advance her professional career with its orchestra. (Was it after the flood? I clearly remember this. By then, I was following Meier’s daily life to analyze ALL her ensemble partners. Where is her favorite maestro now and destroying which orchestra?)

When I read (in New York Times Forum and Meier-Fan-Club) that new foreign divas were more applauded than Meier in Berlin and Meier canceled her concert when her foreign rival diva sang better in other cities, Meier started to stick around Barenboim and suck all his bloods, as a mentor of WEDO members. This German soul had to travel to Africa, indeed. Basically, it had nothing to do with my computer work. Has this top-fame ever cared about it? Since those Berlin pigs closed all the doors for the musicians to enter the world of Barenboim, this poor conductor has no choice but to say “Thanks” with all his hearts.

Meanwhile, Thielemann was diligently following my analysis, and it seemed that he felt relieved when I never gave up insulting Meier while his favorite diva never gave him a chance to play for her.

When this Bayreuth-battle started years ago, Barenboim clearly expressed that he had no personal desire to own Wagner’s Green Hill. He just didn’t want to play music of Wagner in a place, where an aging dictator was losing his inspirational directorship. It was rather Pigs around Barenboim when they openly expressed their desire to make Barenboim as their leader. Meier was one of them. What’s the difference between Gudrun Wagner and Waltraud Meier? Gudrun was better, because she doesn’t perform and therefore doesn’t destroy her whole ensemble. Now, Thielemann got what he wanted, and Meier is losing her Bayreuth dream.

Meanwhile, Mehta or Sir Rattle firmly believed in Thielemann’s victory, because they ever made no question of German pigs, who would never give up supporting their young Karajan. (Please check the Guardian.)

And then, this victorious Thielemann was preparing everything for his favorite diva, Waltraud Meier. All those wind and brass, which sounded off-balance or out-of-tuned, sounded fantastic in Thieleman’s Ring. In their debate of Parsifal, they missed one important subject. This fatal problem also worked terrific in the orchestra of Ring. They rang out. People called it memorable, alert and sensitive, and fantastic. Meier, whose only supporter is audience’s reaction, is watching Thielemann’s Bayreuth with her green eyes.

No matter what, audience still yearn for Meier’s return to Thielemann’s Green Hill. Starting from Kundry to her new role in Ring production. Below are comments from Meier’s Fan-Club, who attended Bayreuth 2008:
1. I have to tell you that I really enjoyed it. Especially the orchestra; I have not been a big fan of Thielemann in the past, but his conducting really set the mood for this performance and the playing of the orchestra was fantastic.
2. What really needs to change is the quality of the singers. Admittedly, this is not easy to change, but if Bayreuth does not manage to hire at least some of the top Wagnerian singers of today, the appeal of the place will slowly disappear except for the most hard-core Wagnerians. I almost cried in disappointment…

How many times should I write that I am not interested in others’ business? I just hate this situation. Maestro Thielemann’s future career is still none of my business. Even if he becomes another Furtwangler, that’s his business. If I wish good luck in his future, that’s because there was a story in my past and I still feel sorry about this.

Hence, this is my message not to Maestro Thielemann but to German folks, who used to insult Barenboim as a Jewish dwarf while praising Thielemann as an arising German hero and worshiping German Diva Meier.


Creating my Knesset-blog, writing Dear-Arab-Readers was much better. It was much easier than protecting Barenboim from the attack of all the German Pigs. Then, Elena Bashkirova has stolen all my hard working. I can, I will NEVER forget this.

Please remember Milan scandal again. Let’s assume that IT happened in Germany. Can you attack your opponent with this statement? “It’s the best opera orchestra in the world.” Shame on you… Meier herself confessed, after destroying everything about Berliner Staatskapelle and its German colleagues, that she has ears to admire La Scala orchestra. Yet, La Scala orchestra still has an ability to improve.

Then again, can you boast that you have the best symphony orchestra in the world? It was long ago when the VPO lost its golden tradition, but still, real listeners consider it as the best symphony orchestra in the world. Then, what about your precious BPO and its present rank?


In those days, there was a tradition in the Vienna Philharmonic Orchestra. When Maestro X received a standing ovation, the members clearly expressed their opinion that they wanted to strangle the conductor to death. (It was in the newspaper. I read it years and years ago.) When Maestro Y was dancing on the podium, there was “Sheisse!” in the string section. I think it was from the Cello principal.

Whoever says whatever, it was a golden tradition of the VPO. How hard they worked to create and keep this golden tradition? How much they received in return? A certain amount of monthly salary, perhaps. What a fame and money those conductors could earn as VPO’s maestros? Still, audience can listen to their recordings. No one calls its music VPO’s X or VPO’s Y. They worship Maestro X’s VPO or Maestro Y’s VPO. No names of VPO members, who actually created this wonderful music, are printed on the album jacket.

In these days, this X-or-Y-like conductor is rather respected by the members.

To be honest, these VPO concerts, during which the members wanted to strangle their conductor to death and during which the members spat out curses at their conductor, sound much better than ‘Fantastic Orchestra at Bayreuth 2008.’ I am not writing my opinion. I am only writing the simple fact.

What I feel funny is that all those pigs, who could prove their terrific professionalism under Maestro Thielemann’s baton, used to gather around Barenboim and destroy all the good voices of Barenboim. At the same time, the VOICEs, who should be blessed with Barenboim’s sensitive directorship don’t know where to go.

What’s more, Meier’s vocal technique basically plays a cancerous role in pure German tradition. This voice works better while paring with aggressive, dull foreign blood. Then, it was German folks who protected their sex-symbol. Time has passed. In these days, all those poor German youngsters never know how to blossom their native talent. Meier is waiting for them elsewhere they go. Waltraud Meier loves young talents, because she knows who made this entire situation.

First of all, they praise their German Thielemann like a GOD, and they worship their German Diva Meier. Then, why those two REAL GERMAN JEWELS NEVER play together? What’s their reason? Isn’t it a golden opportunity for those pure German bloods to prove ultimate form of German Music at the Bayreuth? I am a theory fanatic. Prove your theory, then I will give you all my heart. BTW, Meier doesn’t have to show up in her nude in Thielemann’s Wagner. She can decorate herself with all the colorful sexy dresses. Which Meier is better?


I clearly wrote in my previous message. If your Berlin Folks want to keep Maestro Barenboim, you should offer him the BEST opera hall and give me a LEGAL right to fire all the Berlin Pigs. Instead of planning all the dirty plans behind the scene.


The more I learn about legendary Wagnerian Voices, especially legendary Kundry, the more I suspect if Herr Wolfgang Wagner or the entire Wagner family were deaf. I can’t help suspecting because Meier was so sure of her Kundry at WoWa’s Bayreuth, in which inferior Kundry desperately needs legendary orchestra and maestro in order to be remembered as a good one. PHOTO: Katharina Wagner PHOTO: Birgit Nilsson in “Tristan und Isolde.”
JIWON: Sorry for saying this. Ms. Wagner doesn’t seem to provide her singers with singer’s costume. Nor do I think Katharina Wagner knows what means singers’ costume. Which means, this young Wagner doesn’t understand Kozima Liszt-Wagner’s request to singers’ body language. In these days, only Waltraud Meier wants to wear singer’s costume, and it looks comical because neither it looks sexy nor it explains her using RELAXED-AIR in her new style. Unlike Nilsson’s or other legendary Wagnerian Divas’ case, there is no AIR between the cloth and her skin. Please check Nilsson’s. I tried to find her uncomfortable dress, but it still looks better.

Katharina Wagners Dress Code

Katharina Wagner's Dress Code

Birgit Nilsson in Uncomfortable Dress

Birgit Nilsson in Uncomfortable Dress

3. WHAT is SIMILARITY or DISSIMILARITY between the best OPERA ORCHESTRA in the world and the best ACCOMPANIST (PIANIST) in the world?
4. WHAT is SIMILARITY or DISSIMILARITY between the second-rate OPERA ORCHESTRA and the second-rate ACCOMPANIST (PIANIST)?
(Clue: NONE of FOLKs, who joined this Bimbo-Battle, made a commercial recording with Kremer’s second-ex, Elena Bashkirova.)


To cut the long story short,
Starting from Hansjoerg Schellenberger’s BPO 2002 to Matthias Glander’s Staatskapelle and Waltraud Meier’s Lindenoper, including Dale Clevenger’s CSO, what do you think is the real reason of all these happenings? (Bashkirova’s WEDO 2008 doesn’t belong to this case. They are just a group of human trashes to follow the exact footsteps of Kremer’s second-ex.)

Maestro Barenboim knows how to draw a string section sound from the orchestra. Furthermore, no conductor is more sensitive than Barenboim. This is a heaven for solo winds or singers. No matter how inferior/superior they are, the soloist wants to be supported by good orchestra sound and its sensitive conductor. Then, music director Barenboim hates anything but music-making. Is there a better opportunity for a certain musician, a mere orchestra member, indeed, to overpower his whole orchestra than employing Maestro Barenboim as his leader?

Basically, German Youth Orchestra is where Maestro Barenboim is desperately needed. If you go to major orchestras and check all those cancerous roles, they are usually alumni of European youth ensembles, in which they learned how to manage brilliant solo job in dying orchestras, where a dancing conductor has no idea how to draw a string section sound. However, if you carefully listen to individual sounds, it is easy to figure out what an attractive sound the young string members produce.

They learn this life, because they have to survive. Then my problem with them starts when they happen to play for the real conductor. Why don’t they follow this real music? (The best/worst example was when Maestro Barenboim conducts Bashkirova’s WEDO members. Absolutely NO solo wind, even NO leader of each string section, follows Barenboim’s music, and then their strings sound far inferior to their European counterparts. It rather sounds like dying professionals.) I thought it was hopeless until I heard couple of European pro members suddenly change their sound to follow music during live performance. IMHO, youth orchestra should be where those members are trained in order to prepare their professionalism. This is one of reasons why I am willing to contact all the European Governmental Officials.

Then why German youth orchestra? I just can’t understand the happenings in German professional orchestras. The members can boast the purest timbre in their string sound, but never know how to survive whenever foreign power swarms around their weak purity. When the conductor, whose deafness is famously well-known, encourage the members to ‘sing,’ the entire ensemble collapses.

In sum, it was in quite recent days that I started to think of this project. I want to start Barenboim’s Divan-project as a youth ensemble for a mixture of German and Palestinian youngsters, for various reasons. Both for German and Palestinian reasons. (No Jewish pigs will be included, sic. First of all, those Jewish members are always far superior to any of human species. They don’t need further training outside Israel. They only need a job and Mehta knows where they should go.) I want to see the Mideastern music society watch this happening with their green eyes until they welcome Barenboim’s invitation with their full hearts.

But then, everything is up to Barenboim, again. Is his WEDO a youth orchestra or a professional ensemble consisting of multi nationalities? There should be a clear distinction.

🙂 From Dear Berlin Mayor / Israel / Palestine, FINALLY… (Aug 29 – Oct 6, 2008)
🙂 Dear Palestinians, (Concerning Barenboim’s Divan-Project, Sep 25 – Nov 17, 2008)


I was/am not interested in Thielemann’s Bayreuth. Then what is the reason of this writing?

The story is happening again:
1. Berlin/Morgenpost: Wowereit drückt bei der Staatsoper aufs Tempo (September 2, 2008) – (This is in fact a typical German answer to my mailing. Please check ADDITIONAL MESSAGE 3 in Dear Berlin Mayor / Israel / Palestine, FINALLY…)
2. Buzzle/CA: Barenboim Saves Berlin Opera at Cost of 300 Jobs (August 11, 2008)

What is German’s reason NOT to report this MONEY article while I was chasing their Berlin Queen, Bashkirova, and German Diva, Meier, to retrieve ALL my lost fortune?

I still remember what a humiliation I was subjected to when I desperately begged Staatskapelle members to send me something to show my family so that I could prove my computer work, which is to save their dying orchestra. Morgenpost sent me something. What kind of smile was on the wind members’ faces?

Basically, the idea of Berliner Kultur Senator Thomas Flierl, who took over this hopeless job after Goehler (Buendnis 90/Die Gruenen), who was after Stoezl (CDU), who was after Thoben (CDU), who was after Radunski (CDU)… NOW I REMEMBER ALL THE NAMES!!! (sic…)

Basically, the idea of Berliner Kultur Senator Thomas Flierl was terrific, and therefore, I had to do EXTRA works to protect Barenboim’s small (sic!) opera house. When you know that your enemy is just right, all you have to do is endlessly criticizing everybody around him. Whenever I recall my hopeless life in those days, I am sick of Unter den Linden. Is there better idea for ONE bankrupt city, which can’t have 3 opera houses and 7-or-8-or-9 symphony orchestras? Just like Barenboim, who failed to count the exact numbers and was denounced by Bashkirova’s original friend, I am still confused at counting the numbers, mainly because nowadays, Staatskapelle rather wants to be categorized as a symphony orchestra.

I simply don’t understand what means Culture Minister in the Berlin city-state government in this Buzzle/CA article. What is Flierl’s present position? Impossible to understand this German article. The present Berliner Senator fuer Wissenschaft / Forschung / Kultur should be Juergen Zoellner (SPD). But there is NO Senator fuer Kultur in In fact, Zoellner is Berliner Senator fuer Bildung. Nor is there Bundesminister fuer Kultur/Musik in Bundeskabinett. More weirdly, Herr Flierl is still proud of his work as Berliner Kultur Senator. So… has he solved this problem since my farewell?

(I will sleep… according to the rule of this bimbo-battle, Barenboim should boast his biggest mouth and ask Wowereit/Merkel unbelievable amount of MONEY for his Lindenoper, so that I am required to read more and more articles.)

(on SEPTEMBER 18, 2008)

I am still curious. The MAESTROs (plural) rushed to Barenboim’s Staatskapelle whenever I insulted their protecting Bashkirova and analyzed their music. Thanks to their enormous fame, none of Berlin ensembles, including 7-or-8-or-9 symphony orchestras except Rattle’s BPO, could beat their rival, Bashkirova’s Staatskapelle, and its commercial success. Did they work for nothing? How much Meier’s Lindenoper was able to save? What if ALL of Bashkirova’s conductors appear in Berlin to work like a slave?

Ask Barenboim. Whose idea is it? Perhaps, Anja Silja’s ex-husband, who appeared in Mehta’s IPO as the last(?) guardian of Kremer’s ex, can answer it. Whether Michael Gielen or Zubin Mehta or Matthias Glander is behind to support his Berlin concert, Meier’s Lindenoper wanted to prove that the history of Bayreuth is a history of Hooker-Actress and public only care for Meier’s sexism. Therefore, I had to analyze why Wieland’s girl and her voice doesn’t function as WoWa’s Kundry. Unlike Anja Silja, who wanted to return to her lover, whether Wagner or Cluytens, all by herself, von Dohnanyi’s supporting Kremer’s ex was not to send Bashkirova back to her only love, Gidon Kremer:
Beinisch/Bashkirova’s Jerusalem Festival: Anschließend geht man für etwa 40 Konzerte auf Tournee – erstmals auch nach Südamerika. (Sep 25, 2008)

Meanwhile, Bashkirova’s another Jewish pig was waiting for the golden opportunity to take over Meier’s Lindenoper in case Barenboim announces his departure. (Am I writing a novel? Why do you think Meier was able to provide Barenboim with a sudden contract to perform in Italian Wagner Festival, even after questionable cancellation of Johan Botha? Please check the major/original participants. Then, please check again my LEGAL request to Dorit Beinisch about how to handle Mussbach-scandal in Berlin. It is in Dear Berlin Mayor and President of Supreme Court of Israel (Apr 22 – May 15, 2008). Here, you can also check Bashkirova’s interview in Canadian Jewish Society, in which she expressed her desire to run theater. Not surprisingly, Mrs. Rattle can be found in their performance schedule 2009.)

All their concern was to aggravate my anger and made me write my open analysis of Barenboim, who will play FOR them in all the planned events. This is why I had to request Barenboim to fill his Staatskapelle with the members of Bashkirova’s WEDO before his departure, or to FIRE ALL BASHKIROVA’s MEMBERS.

Below is AFTER Italian Governmental Officials and Ravello Festival received my mail to report Meier’s Italian Wagner Festival, Dear Italian Government, (WEDO in Italian Wagner Festival) (Aug 7, 2008). Did Meier care anything? She only cares about Barenboim’s smile and his performance schedule. Please imagine this German Soul’s Noisy Seduction at WoWa’s Bayreuth years and years ago. AFTER insulting Italian public in her Spanish interview, this FAME didn’t have to wear singer’s costume. Is this Wagnerian Diva’s singing? This is a Kitchenmaid’s favorite sitting posture. Is this a legendary Kundry? This is a top-rate porn star or a third-rate film star, who can go to any hotel-room whenever she receives a secret call.

Please check
🙂 From Meier’s Interview
🙂 Waltraud Meier kritisiert den Erhalt des Paulick-Saals der Staatsoper Aug 14, 2008 / By BZ

AFTER this Italian happening, yellow-Meier had to be RED again at Barenboim Press Conference in Berlin, but this time to show Barenboim her German fame among the BMW members. So I had to SPAM (Please check Dear Berlin Mayor / Israel / Palestine, FINALLY… (Aug 29 – Oct 6, 2008)) I’m not sure if I finished this work with the BMW. Funnily enough, Meier’s RED photo disappeared from her homepage.

I am curious. What happened to Waltraud Meier in Munchen? When this bimbo-battle started, Meier insisted that she now lives in Munchen, and that not Berlin but Munchen is her headquarters. Which exact Munchen scandal caused this German fame to insult German opera house in her Spanish interview and to stick to the WEDO members? When is she going to return to her Munchen?

This has been Waltraud Meier’s claim, just as Elena Bashkirova used to insist in her interview that her professional career has nothing to do with Barenboim and her Jerusalem Festival differs from Barenboim’s Divan-project:
Private Blogger: Paraphrasing Waltraud Meier
I watched on ARTS a short selection from an interview of Waltraud Meier talking about her career as the perpetual Kundry at Bayreuth. (…) It is vitally important to note that she got this gig by simply calling them, (Levine/Muti/Barenboim), up herself and auditioning.


Still, there is no change in my opinion. Just don’t forget to give me my money. Below is part of my previous writing on Nov. 28, 2007, toward Barenboim’s historical Tristan at La Scala.
Canadian ‘Ring,’ Divans, Something American (Nov. 28, 2007): JIWON: Is the conductor Barenboim aware of that 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, 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. 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.

Meier in Italian Wagner Festival

Meier in Italian Wagner Festival

Meier and Barenboim honeymoon in Italy

Meier and Barenboim honeymoon in Italy

Meier and Kundry

Meier and Kundry

Dorit Beinisch and Daniel Friedmann

Dorit Beinisch and Daniel Friedmann

I promise. This Bimbo-Battle is only starting. In Israel, the worst story still didn’t happen. Please check how President of Israeli Supreme Court, who claims to be a Guardian Angel of Human Rights handled MY LIFE for the past ten years and then Jerusalem Festival 2008 after my LEGAL involvement. Then, it’s easy to figure out how she behaved toward and after Jerusalem 2006, which was to celebrate her appointment to Israeli Queen. Whoever she is, no matter how high her IQ is, bimbo was a bimbo:

🙂 From Dear-Arab-Readers
🙂 Talkbacks: Beinisch, Friedmann, Sex-Scandal, Corruption (Kangaroo Court from Sep 12, 2003)
🙂 Supreme Court Inside/Outside Israel
🙂 Supreme Court after Olmert (Beinisch should get rid of Friedmann as quickly as possible)
🙂 Story keeps going and I keep collecting articles.
(Please check Banana-Republic in my Knesset-blog)

Who will become Dorit Beinisch’s successor? In a story like ‘When Bimbo Got Power,’ bimbo’s male followers usually stink more. Now that my work in FACEBOOK started, everybody can count how many Jewish members join the club. Whatever their decision is, it is basically none of my business. This is their homeland:
🙂 From When is the best time to join FACEBOOK? (Regarding my Legal Business with Yeheskell Beinisch, From Aug 6, 2008 to Present)
🙂 In sum, I will travel ALL over the world and plead Palestinian Right to Targeted Killing of DORIT BEINISCH (Oct 2 – Nov 24, 2008)

Perhaps, I should post this photo, too. This is a real disgusting one, in which One Black B*tch was officially introduced as Barenboim’s Mistress on May 30, 1984. This is however before my computer work, and I used to feel pity on mental degeneration of du Pre’s ‘dying’ husband:
Israelite: (…) Unlike certain Famous Conductors who were too busy with their mistresses to spend any time by their wives’ deathbed.
Not-Jew: Such as a certain wife who played the cello really, really, really well?
Israelite: If you mean the certain wife who played the cello really, really, really well *before* she was on her deathbed, yes, that’s one famous example. I guess it says something about me that such behavior bothers me a lot more than something like playing Wagner in Israel.
Not-Jew: I find that pretty mean, too, but what business is it of ours? It’s their private life.
Israelite: I made no particular effort to find out the information, but once I had the information, I cannot deny that it colored my attitude toward the individual under discussion (far more than his naive political views ever did).

(From Google-Group, and therefore, part of DB Has Friends… (really?), Boulez & DB, Parsifal (Feb 20, 2007))

Then, this same Bashkirova, who used to be introduced as Kremer’s former ensemble partner in Germany during the 90’s, appears again in Barenboim’s CNN, and this time, as a Jewish Muse and Berlin Queen after stealing all my hard working. Please check the end of this show; not Bashkirova’s interview but Barenboim’s ‘flirting’ with this b*tch. It was all planned moments by camera man. By then, I almost gave up AGAIN, but then it made me work, work, and work: (Can anyone please update Youtube with this one?)

🙂 Daniel Barenboim gets protection after threats in Jerusalem (Sep 10, 2008).
🙂 Professor Sternhell: Bomb at my home shows settler violence spilling over Green Line (Sep 25, 2008)
🙂 Beinisch/Bashkirova’s Jerusalem Festival at Berlin’s 22nd Jewish Cultural Festival 2008 at Synagogue Rykestrasse
🙂 Settlers are above LAW (From Jul 25, 2008 to Present)
🙂 Supreme Court Inside/Outside Israel (From Jul 25, 2008 to Present)

Weirdly enough, happenings in Israel never betray nature’s order. This is why Dorit Beinisch desperately needed Barenboim’s international fame inside and outside Israel. Only Labor’s Barak and Dorit Beinisch were able to avoid death threat from Jewish terrorists while Barenboim and Folks suffered. Now, this Russian whore introduces herself AGAIN as Kremer’s PRESENT(?) ensemble partner in German Jewish Society. So, I am going to SPAM the ENTIRE GERMANY. I promise. This Bimbo-Battle is only starting. And then, this word ‘WHORE’ to define Kremer’s second ex was originally not from me but from the Russian Jew, perhaps, according to the poster’s name:

(July 12, 1999) Daniel Barenboim, Chicago Symphony Orchestra Director, married Russian musician, Galina Bashkirova. But of course, she isn’t really musician, but a whore…. (From Google-Group, and therefore, part of DB Has Friends… (really?), Boulez & DB, Parsifal (Feb 20, 2007))

1. As I wrote in Dear Berlin Mayor / Israel / Palestine, FINALLY… (Aug 29 – Oct 6, 2008), if Barenboim shows a hint of betraying Meier’s VOICE, just a little bit, even with one instrument, Meier’s whole income, 2007-2008, is mine. After that, Not only both Meier and Barenboim’s whole income, but the entire members’ income increases at Staatskapelle/Lindenoper since my involvement is mine. They should manage their practical life with their old income. How many more members were able to find their job in this opera house since my involvement? They should share old members’ old money, which they made BEFORE my work. Maestro Barenboim should prove it in ALL his MUSIC, from opera to symphony, including Pianist Barenboim’s Staatskapelle. No need to listen to string section. Listening to bassoon, clarinet, oboe, and flute will still be enough. Bashkirova’s WEDO 2008 is still NOT enough. They need to prove more and more. If they follow a hint of my analysis about how to join Furtwangler’s Utopia, MONEY will be MINE.

2. Of course, Waltraud Meier should appear in her NUDE. There has been NO change in this plan. Either with Bashkirova or with Barenboim.

3. Years ago, I said that Matthias Glander could still work as a not-performer and receive his monthly salary. I promise now. All those pigs will be fired, step by step.

4. Of course, if Barenboim proves a perfect Meier/Bashkirova version of interpretation in ALL his repertoire, EVERYBODY is free. I will leave quietly. Only Barenboim’s Old Money will be mine.

5. Beinisch/Bashkirova’s Jerusalem Festival 1997-2007: (STILL WRITING…)

6. Is there something wrong with my English writing? If so, please let me know before Berlin Pigs insist that my writing is NO-English. American professor used to do.



Why don’t you contact the La Scala to figure out who made this entire situation? General Manager and Artistic Director Stéphane Lissner could be the one, because he was sure of the best way to fool Italian politicians by announcing ‘Muti dragged the theatre down, here’s how I’ll fix things.’ He knew Barenboim would accept his invitation if he could bring Boulez’ Chereau. Stage director Patrice Chereau could be the one, because he knew how to make his favorite Isolde the most attractive heroine in front of color-blind conductor, even transforming Meier’s female partner into the ugliest monster so that he could participate in all the important productions at Barenboim’s La Scala. Who knows? Daniel Barenboim could be the one.

PLEASE, DIRECTLY ASK THOSE MALE ARTISTS about who’s who. ISN’T THERE MORE PERFECT TIME TO FIRE THE REAL ONE, who plans to drag the theatre down more and more?


Toward/since Dorit Beinisch’s appointment as President of Israeli Supreme Court, Bashkirova and Meier have literally been ruling Barenboim’s Staatskapelle/Lindenoper. Even in this situation, however, there were members who didn’t join the circle. They had to learn how to survive without supporting them. What they received in return was NO Barenboim and therefore NO fame. Outside Lindenoper, there were Wagner-lovers, who didn’t listen to Barenboim because they thought voice meant everything. Most of Barenboim’s fans went to Barenboim because they gave up golden era of Wagner Musicdrama.

Everything is case by case. It’s just personal taste and talent. First of all, Barenboim usually does nothing, knows nothing. This guy only knows when to stand on the stage to ask his members to play, and how to answer the journalists. In any case, Barenboim can never become a sole reason. In most cases, those pigs blocked all the ways to Barenboim, so that only selected people have access to this famed maestro.

🙂 Answer from Mrs. Said and WEDO

1. When was my report about happenings in FACEBOOK? Time passed and there are now many Mariam Said in this place, so you have to go to Meier’s Fan Club to figure out who is a real widow of Prof. Said. Mrs. Said will send me a direct message, in which she will explain how her husband worked in his office, how Prof. Said taught his students in his classrooms, how he debated with his students in his lectures, how he graded students’ academic achievement, and how Mr. and Mrs. Said raised their own kids. Why Edward’s Only-Son never looks like Mariam’s WEDO members? Who is a Professor After-Said at Columbia University? Was he among Prof. Said’s ‘Secret Society’? Has he behaved like Mariam’s WEDO members before his appointment? How come Mrs. Said never knew terrific happenings at Edward Said National Music School? First of all, I want to know if ALL these disgusting happenings were directly planned by Barenboim. The widow of Prof. Edward Said will answer me. FACEBOOK is a good place…

2. Maestro Barenboim still wants to believe that his past years of Divan-project was not meaningless. He was trying to teach what means ‘Against Ignorance,’ ‘School of the Ear,’ ‘Sound and Thought,’ ‘Listening and Hearing,’ and his mentor Pierre Boulez’s ‘Sound and Structure’ in particular. I want to help this poorest guy on this issue, as well. There are still WEDO members, who don’t plan to give up their big mouth. They will directly send me their answer. I will post everything, from Mrs. Said’s answer to Divans’ academic achievement. I promise. If I find ONE real divan, I will invite all his WEDO friends into Barenboim’s future Divan-project. Surely, technical perfection is not what I used to pick up. And then, I always check their big mouth through their MUSIC. I’ve NEVER heard more disgusting ensemble business than Bashkirova’s WEDO 2008. Ensemble Against Ignorance? F*CK-U:

3. I feel no need to send my mail to the WEDO’s Principals and their core section members. They are hopeless. Even now, they are playing the most cancerous role in their working place. What I feel funny is that the members of ‘Secret Society’ has been more busy behind the scene… I only send it to the mere members. Perhaps, among the brilliant Solo Winds of Bashkirova’s WEDO, one Jewish (?) should receive my mail. The most superficial (?) sound I’ve ever heard. (Deleted… I don’t want this pig to receive unnecessary public attention.)

4. This interview was directly from Barenboim. Whether or not it was Barenboim’s answer to my Request to his son, I don’t care. If Barenboim’s son answers my direct message, I will delete his section in My Requests to Barenboim. I am still not happy with this part. Or, I may have to post all the detailed story about this boy: “[German Journalism to answer my plead not to destroy Barenboim’s privacy] Ihr Sohn spielt im Divan-Orchestra. Hat das Ihr Verhältnis zueinander verändert? [Barenboim’s answer] Eigentlich nicht. Er muss nicht in höherem Maße auf mich hören als alle anderen. Heute aber war ich sehr glücklich, denn er hat auf der Probe eine Stelle allein auseinander genommen und analysiert.”


I think…

I think I DO love MUSIC of Wagner. But I still prefer MONEY. What about YOU?
I am now thinking to bother Jewish politicians, especially Mr. Netanyahu, everyday about Wagner performance in Israel. What about starting my favorite Sex-Clinic right next to Festspielhaus?
🙂 From Dear-Arab-Readers
🙂 Collection: May I watch Bibi’s Porn-Video? Please… (Sex, Lies, Videotape, & BIBIGATE)

To be honest, I lost my interest in Wagner performance in Israel since Simon Wiesenthal Center never plans to answer my idea. (Please check Dear Israeli Government & Simon Wiesenthal Center (Feb 17, 2008).)

I am just going to focus on my Wagner project in Palestine, with the Palestinian Orchestra.

I want to bother Israeli Knesset MKs everyday on another issue.

THE REST OF THIS WRITING, Wilhelm Furtwaengler & Yad Vashem / Righteous Among the Nations, WILL BE FINISHED IN
🙂 Dear Berlin Mayor / Israel / Palestine, FINALLY…

Sincerely yours,

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