Waltraud Meier: Bundeskanzlerin Angela Merkel’s Mann Liebt Mich!

🙂 Germany-Heldentenor > Garbage & Sh*ts in Berlin (sic!) >
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(Updated on JULY 30, 2009)

JIWON:
I am presently busy at posting my Barenboim-message in FACEBOOK. Please check Facebook-Blog.

🙂 DEAR BARENBOIM’S FANS (Jul 28, 2009)
🙂 Barenboim, Flagstad, Beethoven, Wagner, WEDO, Imitation, and Interpretation (Jul 27-28, 2009)

WHY these links don’t appear on Google-Blog: Barenboim or Google-Blog: Waltraud+Meier?

Please check
🙂 From Spain-SIC >
🙂 El alma de Granada… recuperar al Barenboim pianista… (Jul 7-25, 2009)
JIWON: I promise. NONE of Palestinians will blame Prof. Edward Said’s family members. They will blame Barenboim only. They will insult Barenboim more and more.
If the professional musicians and workers of The Edward Said National Conservatory of Music have been so sick of Daniel Barenboim, they will NEVER join Barenboim’s WEDO 2009 even if ZAPATERO’S SPANISH GOVERNMENT officially asks them. They will pray that this disgusting human trash, Daniel Barenboim, die as soon as possible.
So does Egyptian Music Society.
IF THEIR WISH IS LIKE THIS,
I WILL APPRECIATE THEIR DECISION.
I AM THE FIRST ONE, WHO IS SICK OF EVERYTHING-BARENBOIM.
I PROMISE.
I WILL MAKE DANIEL BARENBOIM REALIZE THE EXACT MEANING OF ‘HUMILIATION’ BY THE TIME HIS LA SCALA CONTRACT ENDS.

Basically, Members of Bashkirova-Gang already knew what will happen to Barenboim’s La Scala. Not only Waltraud Meier was praised (by her fan) as more attractive dress-code during-or-after her last announce of WEDO schedule on JUNE 22, (… I need to find this photo if you want… I just felt funny because this female looked more aggressive and more greedy…)
It was on JULY 1 when one Italian maestro joined them. Perhaps La Scala’s Lissner made a deal with this future Music-Director after La Scala’s Lissner failed in Salzburg on May 19, 2009 (… after failing in Berlin…).

At the same time, I can’t find this photo now. It was part of posting, ‘I-Love-Meier’s-Performance-in-German-Somewhere’. I tried all the private bloggers’ Meier-postings since June. So, was it Waltraud Meier herself to post this?

What’s more, not only someone sent me a computer virus and destroyed the entire hardware of my kid’s lap-top on JULY 25, but also another computer’s speaker doesn’t work since JULY 29. Is it merely coincidental happening?

SO,
Was the GERMAN BUNDESKANZLERIN ANGELA MERKEL behind all these dirty Politics around Barenboim in this Bankrupt City of Berlin? Was it to protect her husband and his favorite girl, WALTRAUD MEIER?

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http://en.wikipedia.org/wiki/Joachim_Sauer
Public visibility as husband of Angela Merkel
Due to the political career of his wife Sauer has gained far more public visibility than usual for a research scientist. On several occasions he said he is not fond of this publicity.
During the 2005 election campaign Joachim Sauer kept a very low profile, declining to give any interviews not related to his scientific work. After attending the Bayreuth Festival (an opera festival and a highly visible social event in Germany) with his wife, he was nicknamed “the Phantom of the Opera” by the German press.[1] Prof. Sauer is known as a great lover of Wagner’s music.
Even during his wife’s election in the Bundestag, her inauguration, and later her taking the oath of office, Sauer was not present but reportedly sitting at home watching the event on TV.[2] This caused something of an uproar among the German press. The next day Germany’s premier tabloid “Bild-Zeitung” displayed the headline “Merkel – wo war ihr Mann?” (“Merkel – where was her husband?”)

http://fr.wikipedia.org/wiki/Joachim_Sauer
Vie privée
Le 30 décembre 1998, il a épousé Angela Merkel avec laquelle il vivait déjà depuis plusieurs années et dont il avait fait la connaissance en 1984 à l’Académie des Sciences de Berlin-Adlershorst. Bien que sa femme soit actuellement présidente de la CDU et chancelière fédérale, exposée donc à tous les yeux, jusqu’à maintenant on a rarement eu l’occasion de les voir ensemble en public. Ils ont fait une exception lors de leurs visites des Festivals de Bayreuth et Salzbourg, car ils ont tous deux la réputation d’être de grands amateurs d’opéra, s’intéressant surtout à Wagner. Ces visites régulières lui ont donné le surnom de « fantôme de l’Opéra », puisqu’il n’y a guère qu’à Bayreuth et à Salzbourg qu’on le voit ainsi. Au début de janvier 2006, pour la première fois, il a accompagné sa femme qui se rendait à Vienne en tant que chancelière. Il a également accueilli les épouses des autres chefs d’État ou de gouvernement du G8 présentes lors du sommet d’Heiligendamm en juin 2007. En 2008, lors de la remise d’une récompense à son épouse à Aix la Chapelle, il fut également présent. Au cours de cette cérémonie, on a surtout retenu le lapsus de Nicolas Sarkozy ventant les mérites de sa compagne en le nommant « Monsieur Merkel »1
Autrement, Sauer protège strictement sa vie privée de l’assaut des médias et refuse sans exception les interviews qui ne se rapportent pas à son activité scientifique.

http://de.wikipedia.org/wiki/Joachim_Sauer
NO INFORMATION EXCEPT…
Ausnahmen bilden die Besuche der Festspiele in Bayreuth und Salzburg.

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Impossible to find original site of this interview from OPERAGLAS

http://www.google.com/search?hl=en&q=Waltraud+Meier

Saturday, July 25, 2009
Bayreuth Interview

[Dr. B This interview is from Das Operglas for July. I’ve done the best I can with the translation. These two women are now the head of the Festspielhaus in Bayreuth. I have left the title Frau since it does not really mean Mrs. A Frau is a grown up woman, a Fraeulein a young one.]

IN FOCUS
EVA WAGNER-PASQUIER &
KATHARINA WAGNER

How does the new double head on the green hill function? Ralf Tiedemann visited the festival chiefs Eva Wagner-Pasquier and Katharina Wagner immediately after the signing of the agreement in May 2009 in their new offices. Selected bits from the discussion.

RT: To you both first of all congratulations on the assumption of the leadership of the Bayreuth festivals. The contracts were signed at the beginning of May, approximately eight months after you were officially designated as successors of your father. What was the reason in the end that it took so long?

KW: The large time interval is relatively easy to explain. Contract stories of this kind last always somewhat longer. In our specific case one must also consider that we have instead of as before one, now we have four partners. That is a new legal construction, with which all must be in agreement.

RT: Frau Wagner Pasquier, since October 2007 you have radically opposed a double head with your half sister. In April 2008 it looked completely different. What has moved you to this to some extent spectacular 180-degree turn around?

EWP: The fact that I did not want to co-operate with Katharina appeared in the press. However, I cannot remember that I ever said that publicly in such a way. Through various circumstances, which developed in the past years, we were given the first chance to become acquainted with each other, leading to the development of this new constellation. That has to do with a great many private things, which do not turn on public events. There one quickly interprets somewhat wrong. We stated in the first months of our co-operation that we both are on a very good common path. That is the most important thing, and what one also expects from us.

RT: You have formulated a high requirement in your common concept: Until 2013 Bayreuth should be again the center of the Wagner attention. That will succeed only with a purposeful strategy in the quality assurance and – improvement of the two artistic main components – music and scene -. We begin with the musical one: Where do you see, Frau Wagner, specific needs for action within this area?

KW: As in every other opera house, as with us, many artists are already committed for the coming years. However, we see a need for improvement. Everything was not wrong that was made here, but there was certainly also some unfavorable things. We discuss at present, whom we want to engage in the future. Also with the conductors we want to achieve larger variety, so that we can experience a broad pallet interpretative meaning. But that is not under any circumstances a negative valuation of the conductors who have worked here!

I think, in musical regard one will notice the improvements relatively soon. Of the already contracted stage directors, there is no one that one would have to be ashamed of. Right now, while we speak, Hans Neuenfels is rehearsing below, and I can promise you that ”Lohengrin“ will be very exciting. Also Sebastian Baumgarten, who stages “Tannhäuser” in the following year, I am very excited about, because his work is always very much differentiated.

RT: You, Frau Wagner Pasquier, are considered a proven judge of voices [Stimmenkennerin]. How do you estimate the current situation in the Wagner singing?

EWP: I must say completely honestly that I do not see so much difference between today and the time, when Wolfgang Windgassen or Astrid Varnay sang. Nowadays there are just as few Siegfrieds or Brünnhildes, as there were always few. On the other side today far more young singers have the chance to develop better – supports by many world-wide advancement programs. And we as organizers will find it far simpler to be attentive to talent, than thirty, forty years ago was the case. From here it I do not see larger doubts for the next years.

RT: Does Bayreuth need stars?

EWP: Who in former times was a star? Wagner careers run usually differently. Forest stage appearances [Waldbühnen-Auftritte] and promotional tours do not usually go together. One does not go to a ”Ring“ because a certain star sings.

RT: Suppose the Siegmund is called Plácido Domingo…

EWP: Right. But that is an exception. Also a WALTRAUD MEIER has surely her own fan club, which travels particularly for her appearances – including THE HUSBAND OF OUR CHANCELLOR. But in Bayreuth no more tickets were asked for when Domingo sang Parsifal here. On the other hand naturally also the Wagnerian looks up the stagings world-wide and notices if good, interesting singers are engaged.

RT: What does a production have to achieve in order to bring progress to Bayreuth?

KW: A production must be reference the piece and may not be popular. Otherwise in Bayreuth in principle the artistic freedom must also be protected. With the “Ring” the production question in the meantime has become very difficult, because interpretively already so insanely much has been made. The challenge does not become smaller for us by “the Wagner year” 2013. We are clear about the fact that Bayreuth must set an indication there and contribute something historical [?]. We have this requirement. We are in our considerations in addition, already a step further, and I hope that we will in the positive sense come to a surprising solution.

EWP: After world-wide everywhere so many good stagings have been produced, we have a rather far way in Bayreuth perhaps in some things. I won’t name any names. On the other side in the past productions here were criticized in a way which was not at all justified. Look at the excitement around the “Ring” in 1976. At that time also nobody knew Patrice Chéreau.EWP: After world-wide everywhere so many good stagings have been produced, we have a rather far way in Bayreuth perhaps in some things. I won’t name any names. On the other side in the past productions here were criticized in a way which was not at all justified. Look at the excitement around the “Ring” in 1976. At that time also nobody knew Patrice Chéreau.

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