Answer from Mrs. Said and WEDO

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Please check
🙂 Bashkirova’s Performance Schedule after Jerusalem Festival 2008
🙂 Bashkirova’s Interview
🙂 Meier’s Interview
🙂 Other Interviews

This section will be updated whenever I find something better. Of course, the answers from the real Divans will be found in
🙂 This is real Barenboim’s Divan!. Still, NO answer from Mrs. Said.

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Thanks to Spanish Government’s manipulating Barenboim’s private and professional life, more assignments are added. Good Luck!

1. Google: Spain & Elena Bashkirova on Dec 20, 2008 (I don’t post its website nor allow Bashkirova’s conductor to catch public attention. This has been their main reason to support this whore, especially after receveing my Barenboim-message.): Bashkirova, que no pudo asistir a la rueda de prensa, recuperándose de un neoyorquino jet lag.
2. Facebook: West Eastern Divan highlights: My dear friends, It is hard to send greetings and wish well in a time of war. It is hard to think of good when there is so much hate and blood shade around. But despite that I will take the opportunity and do so just for us to know that friendships should not and would not end because of a war! I wish us a new year that will be better than the last bringing new ideas and goals in life, bringing positive new thoughts. I am wishing for better political and economical situation all around and in our small region in particular. Maybe I can not wish for peace but a bit more of understanding from all sides. I wish us happiness, health and wealth, Great music and a lot of love. We are going on tour next week and I hope that despite this week events we can play again together not as enemies but as friends! (NOTICE: This Jewish member deleted my posting after sending me this message…)
3. Divan’s schedule: Jan 10 – 18, 2009: Doha, Cairo -> Berlin (12) + Moscow (15) + Vienna (17) + Milan (18).
4. Bashkirova’s Schedule: Jan 26 – Feb 1, 2009: Genova (26) + Torino (27) + Bologna (31) + Salzburg (1)

Below is what’s been happening in real Palestine and its neighbor countries. Please check
🙂 JIWON: Dear Arab Countries (From Jan 3, 2009 to Present)
🙂 JIWON: Dear Arab Countries (Short Web-Mail)
🙂 Music in Middle East
🙂 Daniel Barenboim, Tania Nasir and The Edward Said National Conservatory of Music (also in Gaza…)

Great to hear that those pigs’ behaviors have been busier after reading My-Request-to-Barenboim… under the auspices of Spanish Government. You say that 34 Arabs joined you. How many Turkish members are among them? Why is this called Israeli-Palestinian orchestra? German media is doing its job, as usual, and I must finish this trashy business.

1. Guy Braunstein in My-Request-to-Barenboim: No need to write more about this Jewish fiddler. Go to settlement area as a Banana-Republic Messenger of Peace. Go to southern Israel to prove power of Beinisch and Bashkirova’s MUSIC. After paving the dirtiest way for massacre of Gazan Children, what is this Jewish pig saying? I feel very weird whenever Braunstein complains-or-insists that the BPO’s Jewish concertmaster deserves more respect from his fellow Israelis. It’s OK that Israeli musicians/public consider this European title as a male version of promotion canapé, then what about inside the BPO, where part of forty/fifty-something year old members have what their thirty-something year old leader doesn’t have? Is this why this guy never gives up sticking around Barenboim’s international fame?

2. Israeli Arabs: Twelve violin/viola and five celli students are in this private music school in Israel, where there are 41 music conservatories and even Mehta’s IPO is suffering financial problem. Among them, how many joined and will be able to join Israeli pro circle? Only their leader will enjoy this privilege as long as Barenboim is alive, won’t he? Again, what is he? Israeli or Palestinian? If he is among 32 Israelis, why he wants to sell his Palestinian fame whenever he faces international media? If he is among 34 Arabs, what is the reason of his enjoying all the benefits he received from Israeli cultural institution while Palestinian musicians can’t? Ashkar family’s private music business was, is and will be none of my business. However… if his members want to join Barenboim’s future divan-project, (1.) they must share all the same responsibility, including military service, which their Jewish counterparts do to receive Israeli citizenship. (2.) they must prove a certain quality in terms of music. They should compete with Jewish participants, not with Palestinian members.

3. Egyptian Flute: I’ve been wondering if her Berlin teacher is waiting for my open analysis, because he now needs new foreign students in his Berlin studio. Why not? Somehow, it is hard to understand how this prima-donna-personality was able to endure six years of second position under the Jewish pig. It’s been a real fun to watch this female character suddenly quit her Facebook friendship after realizing something but being much busier behind the scenes. None of my business, anyway. I must say… is she now Berliner or Egyptian? What does her Berlin teacher say about her professional career in Europe? Is he boasting that it will be a piece of cake in Egypt? Sorry about saying this, but it took just a little bit to figure out this. Who is a present director of the Cairo Symphony Orchestra? Who is a dean of the Cairo Conservatoire? It is easy to imagine what a foreign life she experienced in those days and what kind of flute sound has been her ideal; warm and full… So, what is this divan flute going to do if she wants to return to her homeland with Barenboim’s fame but has no lung to prove this music? So far, this divan is not the only Egyptian who will soon disappear… (should I write more?) By the way, does she have a western boy friend? (Concerning the first Jewish flute’s private life…) I assume that moral beliefs in Middle-East have been a real headache in these days. Quite things had happened to Asian girls too, who spent their student life in Europe in those days. Just… don’t pretend to be a virgin if so… Always, everybody knows everything, except her family members. Honesty is the best policy.

This writing No. 3 will apply to Arab members too, who were able to enjoy all the privileges for more than three years. I know some pro members from Lebanon and Jordan have precipitated for years and it was already years ago that Jordanian members’ trashy behavior was reported in this open place. If I hear a hint of their big mouth again, we’ll see.


I grew up under military government and my student life was impossible without daily tear bombs. Participating in student strikes was always a hot potato because we had to decide something whether to cancel the class, in order to watch student leaders’ planned death. Some actually died and there were rumors that the real spies or demagogues from North Korea never appeared in the front line. Finally one day, one male professor almost cried in his speech that unlike other student participants, whose majors ranged over law, economics or science, and who will be blessed with a promised future after experiencing these political events, music students will receive nothing unless they prove a certain level of musical techniques. During this bloody period, music students always suffered all kinds of insulting from outsiders, because classical music was considered a product of bourgeois culture. Curiously, there were several music students who joined strike culture, and none of them was able to return to music. There might be some in composition department, but I remember no name.

We are brainwashed to ignore politics and advised that a music student should become a qualified professional if he wants to speak out. The first advice when I entered the professional orchestra was that I’d better vote a certain politician because there are eyes and ears inside a voting booth, or I will lose my job. It was a kind of joke but my seniors were serious because they had actually lived this life. As coupe of decades passed, people have experienced various kinds of leaders. They start to mention those military days and view the same past from different angles. Most agree that a hard working politician who used his power to enhance his people’s welfare is the best leader, whoever he is; whether from militant junta or democratic party. How old am I? I am still NOT in a social position to openly express a specific political opinion, and I feel perfectly fine. I now know the simple fact. Musician should remain as a musician. If he is not content with the political system of his country, he should practice real hard enough to earn international fame and just leave the hellish place in search of freedom of expression.

Palestinian society is most densely populated area. It is also a society, which is famous for corruption. This is why the hottest issue among the Palestinian public when they chose Hamas as their leader was clean society rather than Intifada or independent Palestinian state free from Jewish pigs and apes. It now seems that they want suicide bombing again after being fed up with militancy and then Jewish massacre of Gazan children.

What about me?

It was already years ago that I am fed up with countless private music businesses, which can’t survive without inviting foreign pigs and apes, whose only concern is to collect Asian students to make a living either in their hometown or in foreign colony in this student country. When I was a high school student, there was none. Several years later, their numbers were countless. Basically, those countless numbers are not problem. The real problem is that the starter, who was able to gain more power by rebelling the existing system, never wanted to see their juniors follow their footsteps, then I’ve hardly seen more dirtier business than those musicians’. Of course, there are some excellent cases, which developed their favorite free style without violating any of social morals. Therefore, I must know first why I can’t find any connection between this Palestinian private music school in Ramallah and Tania Nasir and The Edward Said National Conservatory of Music. Then I will decide which Palestinians can join Barenboim’s future divan-workshop, since there are limited fund and facilities and the center of Barenboim’s future Palestinian activity should be and will be Tania Nasir and The Edward Said National Conservatory of Music.

Israeli-Palestinian orchestra speak on music and peace Jan 20, 2009

As usual, this is a wonderful outcome of joint-project by Spanish Government, Glander’s Staatskapelle members, BPO’s concertmaster and his Jewish followers, and International media. Everybody was sure that there would be no choice for Daniel Barenboim but to fulfill his responsibility by travelling all over the world as Divan’s conductor.

So, Arab participants should answer me. Who wants to speak out?

If you really want, please do so… but only after achieving Barenboim-like international fame. If you still want to speak out but you are not sure of your social status, please do so with your buddies in your hometown instead of trying to catch Barenboim’s attention.

Please return to your country with something better. If your music sounds improved, more pure and more peaceful, all your pals will start their curiosity toward Barenboim’s Mideast vision. Next year, you shall have to compete with them in order to join Barenboim’s divan workshop again. If your music sounds aggressive or oily or dirtily emotional just as you do now, your ensemble partners will believe that you are one of traitors, who joined Jewish pigs and apes and massacred their Muslim brothers in Gaza.

Please check
🙂 VPO, Daniel Barenboim, Pierre Boulez, Jacqueline du Pre, Wilhelm Furtwangler, Arnold Jacobs, Ahron Barak and B*TCHes
🙂 JIWON: Dear Arab Countries (From Jan 3, 2009 to Present)
🙂 JIWON: Dear Arab Countries (Short Web-Mail)

I am now thinking to ask Arab sponsors to fund my Palestinian project to build the most beautiful gas chamber for Ahron Barak’s disciples. If I could, the BPO’s Concertmaster Guy Braunstein and his Jewish friends, Jerusalem Quartet in particular, will have to make their Voodoo doll to be burned in this chamber. Arab traitors are also welcome to join them. Who wants to join?

Whenever Barenboim’s VPO sounds a hint of Divan, this top-rate major orchestra suddenly sounds like a third-rate minor ensemble. Just sick of it.

Metropolitan Opera Faces Cuts, Its Leader Says Jan 15, 2009 / By New York Times

Among this year’s participants, how many musicians do you think could find a stable job after graduation? Met is not a mere musical organization. This is called cultural icon in America. Do you think other professional ensembles in Europe or Middle East have a space for your music? Minority group can survive when they prove superior ability to that of competitors, but it always resulted in their stronger mentality. Look at the female musicians in those days, especially mere members in French professional orchestras. They all sound terrific. Do they look ugly? Do they look aggressive? Nowadays, Asian female musicians are common and most of them look very commercial, but it is very hard to find good ones whereas I always find something great from most seniors, who survived their pro life in male chauvinist society. So do Arab Diaspora musicians, who were able to find a job in professional music society, where no one heard of Barenboim’s international fame. Should I write more?

How many performances have you experienced during this international tour? All are sold-out and you received a standing ovation, which literally made you believe that you played like the VPO or the BPO. Regarding German journalism, you certainly sounded superior to Glander’s Staatskapelle. Perhaps, this is the right time for the same members to establish another professional orchestra in Berlin/Europe and starts regular performance schedule. Please do so without Daniel Barenboim. Had you chosen your repertoire more qualified one enough to fit your present level, I would have felt less disgusting.

1. Beethoven Sym. No. 9 with Waltraud Meier
2. Plus others including Brahms, Wagner or Boulez…

You say that you are professional ensemble. Please compare your own performance with others as many as possible. How come you could play just as Elena Bashkirova wanted to prove during the early days of Beinisch’s Jerusalem Festival? While following this kind of physical rule, everybody failed, including new members of Ensemble-Wien-Berlin.

Don’t you think you should just shut up and return to the music school to start your practice of very basic in front of mirror? What about starting from the basic posture? Instead of pretending to be something, pretending to do something, pretending to say something right in front of Daniel Barenboim and trying to catch his attention… Barenboim is STILL hopelessly failing whenever he connects something Mideastern with late Edward Said.

Or… keep boasting your impeccable technique, please. I can never understand how you were able to manage this repertoire with your kind of technical perfection in this hopeless situation. Should I envy your heavenly talent? Is it called talent or what… since I’ve never seen this from young members of any major orchestra, except Guy Braunstein’s BPO. The BPO was already headache in those days, but there was a specific rule to receive a permanent membership. Had this rule contained one more characteristic, Abbado’s BPO could have proved a real legendary level. The very fact that this rule lacked one simple thing led the entire ensemble into a state of chaos. As time passed, only negative side of this rule is gaining more power, and nowadays, technical perfection seems to be the only criterion to enter this financial utopia. So your present performance can receive high score enough to be invited into this top-famed ensemble if you prove just a bit more of soloist brilliance.

Or… you can find a job in Berlin too, where there are seven-or-eight-or-nine professional orchestras. After my open insulting, Glander’s Staatskapelle musicians appeared in the front line to train you. It’s now an open talk that either one should leave; Glander and Bashkirova’s musicians will leave, or Music director Barenboim should leave Berlin. If you join Bashkirova’s Berlin friends and insult Barenboim again, you can make the situation much easier. Unfortunately, Glander or Bashkirova failed some months ago when they started their job in private bloggers to insult Barenboim. If you join them, they will never fail again.

What I feel funny is that the more information I search for about the real Palestine and Middle East, the more I find that this is exactly what Daniel Barenboim wanted to realize through his Divan-workshop. And this has nothing to do with your international tour and fame sponsored by Spanish Government.

Then, I know… you will never give up. So do I.

So, it will be interesting which side Daniel Barenboim will choose. Everybody will know everything in just a few days. Therefore… could you just shut up and contact Michael Barenboim after finishing all the assignments? In case Elena Bashkirova appears in her nude during Barenboim’s Italian tour, I will make this the most luxurious commercial film and Michael Barenboim will have to appear at the end of it to read your analysis. If everybody gives up, Michael Barenboim himself will have to read his own analysis. You say that… you smile that I will fail to catch this historical moment? Don’t worry. This tour performance will be re-scheduled, and this time, it will be scheduled all over world.

Of course, all this writing is for Wanna-Be-Pros, who want to print Daniel Barenboim in their professional resume. If not, I hope to see every each divan member grow into a wonderful human being, rich businessman or powerful politician in particular, who can contribute something great to Barenboim’s future Divan-project. By then, it will be my great honor to say HELLO to you.

THIS IS FOR THE SPECIFIC DIVANS ONLY, Who joined this tour schedule to celebrate Elena Bashkirova’s Nude Show with Daniel Barenboim

(Still writing…)

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Undated on DECEMBER 23, 2008

Due to Google: Barenboim, Flimm, Berlin, Opera on Dec 22, 2008, one more assignment will be added. Good Luck!

Twentieth of all,

Please contact Waltraud Meier and ask her which exact stage story made her mention Jurgen Flimm in her interview while insulting Heiner Müller. Meier will explain all about Flimm’s INTERPRETATION along with his ‘possibly(?) romantically linked relationship’ with Meier’s Wagner. Write down everything. Then ask her to introduce her Flimm. When you go to Jurgen Flimm, ask him; 1. Who was his ideal Sieglinde while dreaming of his staging ‘Millennium Ring’ at the Bayreuth Festival? 2. Who became his ideal Sieglinde after receiving controversial reviews? German listener called it ‘Hysterical Sieglinde.’ 3. Ask him to compare his ‘hysterical Sieglinde’ with other heroines in his ‘Fidelio’ or ‘Salome’, both of which were ‘hits with the news media and public alike’ compared to his troublesome ‘Ring’. Of course, those are the repertoire, which a Wagnerian DIVA can proudly boast with her (dramatic) VOICE.

Meier says, “Auch in Bayreuth (…) oder ein ausgesprochenes Bühnentier wie Jürgen Flimm.”

Flimm says, “I am a stage director, like Max Reinhardt, with whom it all began. (…) I love to live without a plan. (…) For a while I thought of becoming a pastor. The church and the theater have a lot in common, you know. But I chose theater because I was too lazy to study Hebrew and Greek. The only thing I ever finished was acting school.” (JIWON: LINK will be provided. I am still collecting more of his interviews, in which his exact description about Meier’s hysterical-or-heavenly Wagner will appear.)

Undated on DECEMBER 15, 2008

Thanks to Peter Gelb and his Met’s holy plan on Dec 12, 2008 to sell more tickets by inviting his opera company into Meier-Scandal and therefore to destroy his members’ music business, there are more assignments to be added. Who knows? General Manager of the Metropolitan Opera wants to know who have been Meier’s favorite instruments after reading my short report, which I feel no need to post. Or he could have been Meier’s devoted Fan or simply one of Pigs, who wanted to see Barenboim fail in his Furtwangler dream. Of course, this section will be updated whenever I find something better.

This is for ALL of Barenboim’s DIVANs, whether old or new, who want to print ‘Daniel Barenboim’ in their professional resume.

Please check
🙂 Meier’s performance schedule (Why should I provide this link?)
🙂 Meier’s Discography

Please check all Meier’s Barenboim-discography and analyze all the performances, during which Meier’s hard-working arrogance never followed either Barenboim’s baron or her ensemble partners. Concentrating on Meier’s VOICE will be enough. It will be better if you could analyze how this voice got strong, stronger, and strongest by devouring all the talents around her.

Please follow Meier’s future performance schedule. In Meier’s case, most are broadcasted to honor Meier’s haughty fame. If you can’t, ask Meier how to get there. Meier herself has been and will be damn busy at posting complimentary comments in every forum, all the private bloggers elsewhere, including Youtube – Waltraud Meier, so it won’t be difficult to analyze them.

This time, concentrating on Meier’s voice won’t be enough, so you don’t have to go to Meier’s Recital. Go to Meier with opera/symphony orchestras and analyze everything, including the relationship between Meier’s voice & each instrument, including the relationship between Meier’s voice/acting & her ensemble partners’. Your analysis, however, should be as simple as possible. Just write these things; 1. who follows Meier’s VOICE/ACTING and how they change their voice or interpretation and 2. which instrument makes a quick response to Meier’s VOICE and how each member changes his sound and how his members answer the different music.

When you finish your analysis, make two copies. You can send one copy to me, and you should send another to the opera/symphony orchestra, which members were forced to accompany their least-or-most favorite soloist. The Artistic Director, Music Critics, and Fund-Raisers will use it whenever they need to re-evaluate the members’ quality. Since I will post valuable ones in this place, people will know what kind of music director wants to sell more tickets by destroying their musicians’ desire to play MUSIC. Unlike in the previous Bimbo-Battle, not Barenboim but Barenboim’s (junior) rivals will suffer from Meier’s worldwide fame. Those Pigs and their music will die, because they have enjoyed watching Barenboim’s struggling in this Meier-Scandal and jumped to join the new chapter of Bimbo-Battle to receive a public attention.

Especially… Meier’s Berlin performance is important. Never miss analyzing this performance because unlike other places, Meier’s conductor in Berlin will be fired if he doesn’t prove a perfectly Meier-version of orchestra accompaniment.

Bashkirova’s future performance schedule with her ensemble members? Not only this will be a waste of time but also ‘watching’ those pigs will only hurt listeners’ eyes. So, never mind. IF… if the European music society wants to treat Elena Bashkirova as a VIP for a special reason, I will let you know. It will be a right time for you to start this job to follow this wh*re’s performance schedule.

Sixteenth of all,
This is for Divans, who are enjoying their student life in American Music Schools. Please contact the wife of Henry Fogel, the former president of Chicago Symphony Orchestra and American Symphony League, and ask her if she knew her husband’s ultimate love of Waltraud Meier. Then, ask her again why her husband failed to ‘change’ all his American Orchestras in his favorite way by inviting all the members to play for his ideal VOICE. Is it simply because his Meier kept refusing to play ‘under’ his favorite conducting style of Zubin Mehta but he couldn’t find Barenboim-like workaholic conductor, despite his real evaluation of Barenboim, who can’t be called a Maestro but a mere conductor?

Seventeenth of all,
Please contact Meier and ask her to give you a complete list of her guys-or-customers. Check if they’d been married or how many kids they had been raising during their sex-scandal with Meier. Then please ask Meier again how old Barenboim’s kids were when this hooker seduced du Pre’s dying maestro. Please ask her what means ‘romantically linked’; preparing condoms or oral contraceptive pills? Then please contact the wives involved in Meier’s romances and ask them how they raised their kids during this period and even after that. Write down everything and compare it with YOUR mothers’ opinion.

Meier says, “Currently I have ‘a very good thing’ with someone, but decline to tell you anything about him. This is ‘My business.’ I just had been ‘romantically linked’ with several well-known names in the business and this is why I’ve never married.”

Still… whether or not this old witch is romantically linked with the entire British/American/German/Spanish/French guys is none of my business. However, this German hooker dares to touch Barenboim’s Mideatersn Kids? We’ll see. No matter what, the whore never marries. When she retires, she just runs Prostitute-Quarters, and I even respect some of them, because they know how to put their private life into pure professionalism by respecting ‘their’ female victims’ family life. It’s a common sense that the whore never wants to keep this life the moment she learns a true meaning of love. I know that quite numbers of female Wanna-Be-Divans already joined this German whore. I just want to wish them good luck!

Eighteenth of all,
Please find all the possible Meier’s interviews and check the names of her favorite Stage Directors. Make a direct contact with them, all of whom will welcome your Meier-interview if their real love has been Meier’s VOICE, and ask exactly what kind of acting skills made Waltraud Meier a Heroine in their Dramatic Opera production. Or Waltraud Meier lied in ALL her interviews. This is a female, anyway, who has been notorious for her thickest skin.

Meier says, “Directors like Ponnelle, Friedrich, Bondy or Chéreau are the true masters as I see it.”

Of course, you should ask Meier what kind of Photographers and Recording Engineers have been Meier’s favorite. Write down all the names.

In case you need more information about Waltraud Meier, please click this link. There are more, of course, if you roam about the world of internet;
Meier’s Fan, who also wants to join Barenboim Fan-Club. So far, it was OK for her to follow BOTH and I was afraid of losing her. But her future postings will suffer from my legal business if she keeps praising Meier in her Barenboim-posting. She has to choose ONLY ONE because I can’t NEVER accept any LIBEL action against Barenboim because…; 1. Barenboim’s rivals, especially his juniors, have been enjoying this Meier-scandal and 2. losing one Meier-fan means inviting hundreds of thousands of real Music-Lovers into Barenboim Fan-Club. They will invite ALL their friends, who are famous for their keen ears and sensitive eyes, which will lead THEIR maestro Barenboim into Furtwangler’s Little Republic. Thanks. (At the same time, real music-lovers need to CRITICIZE Barenboim without mentioning Waltraud Meier… for whatsoever reasons. Just sick of finding endless list of ‘political’ Meier-postings, which Waltraud Meier will anyway use to keep her professional career. SIC.)

Nineteenth of all,
Please contact Bashkirova and ask her exactly what is the difference between Daniel Barenboim and Sviatoslav Richter’s Pianism. Bashkirova’s foremost concern during this Bimbo-Battle was to invite all the Pigs around Barenboim so that I couldn’t do anything but analyzing all the minor things about Daniel Barenboim in front of everybody. Then, this B*tch dares to appear in CNN to praise whom and what? Now, this is her turn. Bashkirova should answer all Barenboim’s Divans so that Barenboim’s son can grow into a real musician after studying WHAT is what and WHO is who and WHY.

Bashkriova says, “Berlin bla-bla-bla… Russian bla-bla-bla… Sviatoslav Richter bla-bla-bla…”

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NOVEMBER 28, 2008

Please check
🙂 Masterclass at Merkel’s Bundestag

This is for the specific Divans only, who were happy with Elena Bashkirova and Waltraud Meier during their WEDO’s past years but still plan to pursue their professional career under the wing of Daniel Barenboim, who always forget his social status whenever he is with Mideastern youngsters. If you are not, please enjoy your friendship with Daniel Barenboim as long as possible and always remember his vision of Mideast Peace and your divan friends wherever you go, whatever you become. Among the top-rate celebrities, have you seen more generous Jewish/Palestinian Oldie-but-Goodie than Barenboim, who was a music director of the CSO and now a mentor of the BPO’s X, the VPO’s Y, and so on?

After finishing all the assignments below, please contact Michael Barenboim. He will decide whose work I should read and listen to. If this Mama’s boy prefers to be done with the Barenboim-school and stay with Bashkirova, then you’re welcome to directly contact me… through FACEBOOK, Daniel Barenboim, Israel, Palestine, Mideast, and MUSIC/WAGNER.

As I promised in Masterclass at Merkel’s Bundestag. If I find ONE real Divan, I will invite ALL his WEDO friends into Barenboim’s future Divan-project. Promise.

Of course, the answers from the real Divans will be found in This is real Barenboim’s Divan!. Still, NO answer from Mrs. Said.

Dear Wannabe-Professional Divans,
Please contact Elena Bashkirova and Waltraud Meier and ask them what, when, or why. You should use quotation marks whenever they mention Maestro Barenboim.

🙂 From Bashkirova’s Interview
🙂 From Meier’s Interview
🙂 From Other Interviews

First of all,
Please ask Meier and Bashkirova. When was it? Please write the exact (date), month and year. I need to finish my money-business with Barenboim.

Meier says, “Barenboim hat mal etwas Schönes zu mir gesagt: ‘Mit dir ist das wie mit Hand und Handschuh…’…”
Bashkirova says, “Hemos logrado armar un hogar sumamente feliz.”

Second of all,
Please contact any vocal teachers around you and ask them what means Bel-Canto in Meier’s voice and compare it with Meier Dogma. Then ask Meier again why listening to Meier’s Lieder is sheer torture from start to finish. Ask Meier why Bel-Canto in Meier’s Wagner only contributed to the present situation, in which one can never expect Lauritz Melchior like Heldentenor, whose very starting point was Bel-Canto. Meier’s fan mocked, “This voice is not a legend but a mere lyrical one. Nothing special.”

Meier says, “C’est la même chose que le bel canto.”

Third of all,
Please contact Bashkirova and ask her about the exact names of the great artists, who didn’t mind making music with her and supporting her professional career. Then, ask her again exactly what she learned form each of them in which music. Use quotation marks. Then, analyze Bashkirova’s music using their teaching.

Bashkirova says, “Pero debo decir que he sido afortunada porque tuve oportunidades extraordinarias de hacer música con grandes artistas. Me he enriquecido de cada uno de ellos. El aprendizaje es un proceso de por vida, uno siempre debe pensar que todo puede hacerse mejor.”

Fourth of all,
Please contact Bashkirova and ask her exactly what was Barenboim’s advice. Then ask her again what was Barenboim’s reaction while being the first one to listen to her music. Ask her to analyze why Bashkirova sounds like Bashkirova even after Barenboim’s advice. Use quotation marks; Barenboim said, “Bla-bla-bla…”

Bashkirova said, “Pero cuando preparo algo, se acerca y me da consejos. (…) Tengo muchos más consejos para pedirle que al revés y, cuando tengo una obra lista, Daniel es el primero en escucharla.”

Fifth of all,
Please contact Thomas Quasthoff and ask him what’s the difference between Bashkirova and Barenboim’s pianism. If he truly appreciated this big-mouth, his next commercial recording will be accompanied by Elena Bashkirova. (Of course, you might have to contact the wife of Dietrich Fischer-Dieskau in order to ask her permission to analyze her poor, poorer, poorest diction encouraged by Bashkirova.)

Bashkirova said, “Tel est le sens du travail que nous faisons en plein accord de recherche, Thomas Quasthoff et moi.”

Sixth of all,
Please contact Bashkirova and ask her to introduce her French Clarinet. Ask him about the exact date of Barenboim’s complimentary words. Check if it was during the 80s. Ask him again exactly what happened during Barenboim’s Paris scandal; not the happenings between Barenboim and the politicians, but the happenings between Barenboim and his orchestra members. In case of Barenboim-scandal, one needs to listen to both sides very carefully, because mixture of right words and comical criticism make Barenboim’s detractors while his supporters also consist of right members and cancerous roles, and then part of right group prefers to keep silent because they never want to join Barenboim’s trashy followers.

Pascal Moraguès says, “Barenboim said ‘L’un des meilleures clarinettistes, non seulement en France, mais au plan mondial.’…”

Seventh of all,
Please contact Bashkirova and ask her to introduce the heroine of Barenboim’s bath-scene in Paris. Contact her and ask her. (Ask her how she got involved in this story.) She says that she didn’t learn Mozart in Italy, where her Mozart was not appreciated. Ask her exactly what she learned from Barenboim. Ask her what kind of Barenboim’s teaching made her destroy all her ensemble partners while doing Mozart in Berlin. She is perfectly welcome to call herself a star. But heir to the Belcanto tradition? You don’t have to ask her about this. Go to the library or Youtube – Belcanto. Maria Callas is not the only teacher. Whether it is after Puccini or after Mozart, it should not lack a beautiful timbre, which all the Mozart specialists have in their voice, except this classical Madonna. Not only none of those great voices destroyed their ensemble partners during the Opera, Mozart, but they rather helped their partners to concentrate on their voice. For the past years, she survived without Barenboim’s fame, and she doesn’t have to sell it to advance her future professional career. Hope her to keep pleasing her special audience with her special repertoire, which doesn’t mind her special voice, which is getting more dangerous for the ensemble Opera, Mozart in particular. Finally, please ask her. When is she going to play for her great mentor, Elena Bashkirova, and make a commercial recording together?

Eighth of all,
There are others, too. I am just sick of those trashy arrogant big-mouths. However, I don’t want to make those inferior musicians receive more public attention, which is what they wanted while behaving as Barenboim’s protégés. If those pigs keep ignoring my warning, I will start. We’ll see. If you already know them, please write their names and analyze their music.

Ninth of all,
Please contact Bashkirova and ask her to introduce her musicians. Mehta is boasting his German ensemble. It means that the music in this area has been dying since Mehta’s directorship. While Mehta is a king, his orchestra usually sounds the most mediocre, then the entire town collapses after his departure. That’s the power of Maestro Zubin Mehta, who excels in Beinisch’s Jewish system; ‘haver mevi haver,’ or ‘a friend brings a friend,’ or ‘energetic members, who have no ear, bring sincere friends, who bring diligent friends, who have no-ear, and they bring… friends into Mehta’s big party.’ All are born to play contemporary music boasting impeccable techniques. Bashkirova or Meier’s oboe used to get a job in this town. Please go to the library and listen to their old recordings and compare them with their today’s performance. Listen to the string sound carefully and oboe in particular. How do they sound different? Different instrument has nothing to do with the same result, whether French or Spanish or German. You are welcome to ask Bashkirova’s musicians about the details, since none of them sounds like the one in old-good-days. (P.S.: I may have to post ‘My hearty congratulation on Maestro Jansons…)

Mehta says, “At the Berlin Opera not everything is full, but in Munich it is. There they fill the halls even for 20th-century operas by Henze, and Handel’s operas from the Baroque period.”

Tenth of all,
Please contact Meier and ask her exactly what happened between Bavarian State Opera and Waltraud Meier. Ask her when she is going to return to her headquarters, Munchen.

Meier says, “[Q: En Alemania, ¿conserva Wagner el peso que ha tenido históricamente?] – 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!”

Eleventh of all,
Please contact Bashkirova and ask her when she is going to move into Jerusalem and make her permanent home. Bashkirova kept insisting. Whether she introduces herself as Kremer’s passionate partner or Barenboim’s whore, this is perhaps the only thing this garrulous big-mouth hasn’t changed during this ten-year-long bimbo-battle. So… please ask her. When is she going to become a real Jewish Muse?

Bashkirova says, “[Q: Una vez usted dijo que Jerusalén tiene el mejor público del mundo…] – Absolutamente! Viajo por todo el mundo y puedo hacer comparaciones. Es un público con un apetito que nunca se termina de saciar.”

Bashkirova says, “[Q: Vous habitez à Berlin, ce doit être une chance de côtoyer un public allemand exigeant et curieux…] – N’allez pas croire ça! Les Berlinois, malgré leur Philharmonique – ou à cause, allez savoir! – sont les plus timides du monde dans leur goût, les plus incurieux…”

Twelfth of all,
Most of Bashkirova’s WEDO 2008 were recorded. As time passes, it will gain more and more fame. Analyze ALL of them. That’s the best example of Self-Criticism, as a matter of fact. A starting point of being a legendary performer was this, and there was no exception wherever I went. A bottomless jealousy or egocentric performance has nothing to do with this word, Self-Criticism. If those so-called Divans want to join the real professional world of music, they should start IT now. Weirdly enough, Daniel Barenboim was the only Jew, who boasted that this was in fact the most Jewish characteristics.

Thirteenth of all,
This is for the Jewish Divans only.
Please read Mehta’s interview and compare it with Bashkirova’s. (What day is today? There are numbers of Mehta’s interviews, in which he said the same thing again and again about the reason of his IPO.) Please contact both of Mehta and Bashkirova, and ask them why the two have never sounded same. Maestro Mehta used to say that it was hard to invite foreign soloists to Israel and impossible to introduce contemporary repertoire to the Israeli audience. His reason was very clear. Please ask both of them why Bashkirova’s foreign performers, all of whom are internationally top-ranked but never mind coming to Israel for nothing, don’t play for Mehta’s IPO for a certain fees. Please ask Maestro Mehta who have actually been ‘filling’ Bashkirova’s concert hall, if not Israeli audience, who ‘never’ wants to enjoy contemporary repertoire for a specific reason. In any case, one of them has been lying. Please figure out who lied in their interview while traveling all over the world as Jewish Muses.

Bashkirova says, “Confían en nosotros y eso que nunca preparo programas demagógicos: hay mucha música contemporánea e inusual.”

Fourteenth of all,
This is also for the Jewish Divans only.
Please contact Bashkirova and ask her to introduce you to ALL the recorded performances of Bashkirova’s Jerusalem Festival. Analyze ALL of them.

Fifteenth of all,
This is for the female Divans only.
What did you learn from Bashkirova and Meier’s prostitution? (Not to mention Alice Clevenger of the Chicago Symphony Orchestra.)

Last of all,
There will be more for those who win the first round of this battle. Part of next round will be about Barenboim’s mentors, from Furtwangler to Boulez, and more about German sound. In these days, all Barenboim’s Pigs seem to insist that Boulez is their mentor. Yet, I hear-or-find real Boulez’ students or real musicians, who should study Boulez, from somewhere, mostly from anti-Barenboim group. Whenever I hear their music, I can’t help thinking that Pierre Boulez is a great musician. The numbers are still… less than five, all of whom sound ‘very’ academic but still lack something or keep questioning about their own performances. But whenever I hear all Barenboim’s Pigs, I have to ‘hysterically’ yell that there is nothing the musicians can learn from Boulez. To be honest, I still don’t know why I have to read Boulez’ book. Perhaps, I would have to study more about Boulez, together with Barenboim’s Divans, who are lucky enough to go through this first round. I just want to wish you good luck.

Sincerely yours,

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