How come I can’t send my Barenboim-message to the READERS?

NO TIME TO POST EVERYTHING… OR… I STILL DON’T WANT TO POST THEM. THIS ONE MIGHT BE DELETED AS WELL.

May 19, 2009

http://www.nytimes.com/2009/05/19/arts/music/19bare.html
I just feel funny… (Please, this is not criticism. It’s just my sudden thought-or-feeling-or-notion-or-what…) You guys live in New York and listen to all kinds of major orchestras and compare all their performances; who is better or which is worse or whatsoever. Yet, I’ve never heard of anyone comparing specific orchestra members, who ‘actually’ make THE MUSIC. Please look. Every orchestra consists of the exactly same instrumentation, from Concertmaster fiddler to Clevenger’s rival. They are the one who shows you all the different interpretations written by the exactly same composer.

My sudden thought started with your couple of sentences, such as
1. Yet in the performances of his that I heard during the series, he drew inconsistent playing from the orchestra.
2. as in his remarkable performance of Wagner’s “Tristan und Isolde” last fall in his debut at the Metropolitan Opera.

Basically, I didn’t plan to listen to this one, ‘T&I’ at Met. I knew some members there and ‘did’ check their performance months before when they were on the radio. (I was surprised at the VOICES there. This is why I firmly believe that ALL those sh*ts should be fired in order for the younger talents to be given more opportunity to grow up. PERIOD.) And… I still suspect. Are those really ill? How come they are ill ONLY when they play with Barenboim either in Berlin or in New York? Yet Waltraud Meier is NEVER ill in Barenboim’s Opera Company while this whore is frequently ill when she performs with her rivals elsewhere she goes. (Does she have a rival in Berlin, anyway? No Beauty, or no Lolita, or no Fat-cutie or No voice in Berlin…)

NOR did I want to listen to Levine’s Meier. I was curious… about those Met orchestra members, who will accompany Johan Botha, but I could pick up nothing. (I mean… I’m following specific instruments. Not maestro Levine’s conducting. They didn’t appear in that clip.) Just figured out how this marvelous Sieglinde is killing her male partner’s everything. Hence, I had to go to Barenboim’s Met. Oh, my… I could hear something more… much more…

How many guys are talking about Barenboim’s Mahler? How many comments have I read for ‘years’? I still remember ONE. It was from Chicago forum. (I don’t remember exactly where… perhaps Mahler forum?) I think the commenter was a female professional something. This is how she was descried… It was the most comical, but the most exact review about Barenboim’s Mahler. I’m still laughing whenever I recall the atmosphere in that forumites’ place. Some were furious(?) at Barenboim’s Mahler while some were hopelessly(?) defending Barenboim. She wrote anyway that listening to Barenboim’s Mahler is like she is having a sex without foreplay, nor with love, and that Barenboim had never enjoyed sex but just busy at pumping… (I don’t remember the exact sentence. It was like this…) With this comment, there was a sudden approval from both sides. I’m still laughing. What an American forum…

In sum, nowadays, I feel no need to check Barenboim’s journals in Divan’s homepage, http://www.danielbarenboim.com/, (Simply, this is not Barenboim’s writing style. Who is writing this? It’s a real headache to follow it, anyway. If this is written by paid-professional, how come there is no hint of lyricism or poetic elements or respecting Barenboim’s own writing style or personality?), and then I have to be very careful while reading Barenboim’s interviews, and then… tired… but then I know how to re-interpret so-called music critics’ Art-of-Language. And then… whenever I read normal concertgoers’ comments, I can’t help suspecting if Barenboim is now too old to listen to certain decibels or if he is going deaf… especially when I check Barenboim’s performance schedule. But whenever I actually hear this performance, Barenboim’s imagination is suddenly there and this hopeless guy keeps asking things to those hopeless members, who will anyway never make it. If I simply call it ‘imagination’, you described it as ‘architectonic structure of a score while allowing the music to emerge with seeming naturalness’. Since my English is still not that high, I still want to call it ‘imagination.’ It explains everything… at least to me.

P.S.:
http://www.nytimes.com/2009/05/17/arts/music/17gure.html?_r=1&ref=music
http://mostlyopera.blogspot.com/2009/05/jonas-kaufmann-liederabend.html
This voice has pros and cons. Please check his posture or upper body. This is prominent in “Mein lieber Schwan”. Right? What will happen to this body-shape after performance of Meier’s German diction? Nowadays, I rather want to call it Meier’s voice. This f*cking voice is so prominently projecting and boasting a certain kind of imitation of Barenboim-like melody, and killing everything on the stage. This is basically what Boulez-lovers appreciated the most from impotent Barenboim’s Mahler. Right? And those ‘Garbage & Sh*ts’ keep encouraging prostitution of Barenboim’s Angels. Anyway, I don’t plan to keep this computer work once I finish this chapter. With this performance schedule, Barenboim will anyway become deaf… sooner or later…

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