Journalists should go to Dear Journalists first. Thanks.

To those who happened to visit this place, Please click Dear-Forumites.

Want to read my previous messages or postings after 20071207? Please click My-Previous-Messages.

Want to read the content of my mailing to each institution, including Barenboim’s Israeli Government, where all the politicians are suffering from senile dementia? Please click Mail-Recipients.

(Started writing from December 4, 2007… Revised on February 18, 2008)

Dear Folks,

JIWON: Funny… I can’t help writing. (27 de Enero de 2008) ENTREVISTA: WALTRAUD MEIER Soprano dramática: La cantante alemana de ópera, máxima especialista en la obra de Wagner, llega al Teatro Real de Madrid para representar el papel de Isolda, con el que triunfó recientemente en la apertura de temporada de la Scala de Milán. (…) “Tristán e Isolda no es antigua ni moderna, es eterna”, asegura esta cantante, para muchos, la más grande intérprete wagneriana que puede verse hoy encima de un escenario. (…) Creo que hay que luchar día a día por mantenerlo. O mejor que luchar, que es un poco fuerte, esforzarse para que no muera. Trabajar por ello. Los italianos, por ejemplo, confunden el amor con la pasión, yo no creo que sea lo mismo. Tampoco Wagner lo veía así. Para él existía un estadio del amor que producía un auténtico placer en la compenetración de formas de pensamiento, en la manera de ver la vida. [P. ¿El orgasmo intelectual?] – R. Eso es. Así es. (…) [P. En Alemania, ¿conserva Wagner el peso que ha tenido históricamente?] – R. En mi país, Wagner se está desdibujando. No se le entiende con profundidad en muchos casos. Me encontré una señora en el metro en Múnich que me reconoció y me dijo que ya no se le entendía bien. Le propuse que escribiera una carta al director de la ópera y me contestó que ya lo había hecho y que le habían contestado lo siguiente: “Señora, estamos muy satisfechos de que no le guste a todo el mundo”. ¡Hay que ser arrogante y engreído!

JIWON: This interview by Waltraud Meier is in fact at the end of this message. You can start from the bottom of this thread, if you want. By the way, on November 27, 2008, there are four comments, three of which are said to be written by my Music-blog. Since this website is moderated and ends with the comment of anonymous Meier-fan on Oct 19, 2008, who planned this entire situation? My real posting still didn’t appear. Please check Meier’s Interview!!! (December 4, 2007) Barenboim also knows La Scala’s audiences can be savage in their search for purity – particularly those who frequent the upper tiers of La Scala’s balconies known as the “loggionisti.” This year, British tenor Ian Storey as “Tristan” and German mezzo-soprano Waltraud Meier as “Isolde” will be put to the test. “Audiences of La Scala react differently to ‘Aida’ than an audience in the Staatsoper in Berlin. No question about it,” Barenboim said. “I think in Germany they would be much more tolerant of a slight vocal deficiency if the expression was there. And in Italy they would be a lot more tolerant for lack of expression if the beauty of the tone was there.” (December 8, 2007) “Storey doesn’t speak German but I’ve seldom heard a better diction in the role of Tristan than him. He is a real, real discovery I (Barenboim) think his life will change.”

JIWON: Now, this is what Barenboim’s audience saw and heard. (December 21, 2007) Beginning with my barely adequate seat in the second row in a box being transformed into a first-rate seat, when the people seated at the first row left after the first act… As it seemed, quite a few people don’t seem to go to La Scala to actually see the opera, in which case it is perfectly understandable that 5 hours and 30 minutes of Wagner may seem a bit excessive for showing off your clothes in the two 40-minute breaks… Just before the third act, I counted 11 completely empty boxes in the opposite half of the auditorium – slightly annoying, considering this entire Tristan run was sold out in less than 2 minutes… (December 08, 2007) Sadly last night, X was in the minority for her choice of outerwear, as there were more old women in fur than you could shake Toscanin’s baton at: fur wraps, fur collars, and miles of fur jackets. It honestly made X a little queasy, all that old, natty, syrupy fur wrapped around black dresses. And yes, as always, black was the color to be seen in, a safe and predictable wardrobe standby @ the Piermarini. And all VIPs — doctors, lawyers, former heads of media houses, architects — all the old European money marking that glistens as bright as the ancestral jewels and that scary plastic surgery on the blondest of former brunettes. (…) I had thought that Act I was barely visible, but this was ridiculous yay. After 45 minutes of intermission, I was expecting um, something more. This act was really terribly boring and lame. Everyone around me seemed to be snoozing, and I can’t honestly deny that I didn’t drift off a few times. Brangäne was in the same costume as Act I, and Meier again in a red robe… (08 December 2007) Barenboim sings again : The Milanese theatre hadn’t presented Wagner’s masterpiece since 1978, (……) Barenboim has made everything he could to help the singers, literally breathing with them, reducing the orchestral volume when they needed it, pumping it up when they could not finish a phrase. (……) Waltraud Meier is a brilliant actress, ravishing and sexy. However, her voice is faded in the lower octave (that’s quite strange, since she began as a mezzo) and in the upper range she shrieks more than she sings. Often out-of-tune, she was able to sing the role to the end thanks to her experience and to Barenboim, who aided her in every possible way, underlining some beautiful intentions in her interpretation and drawing a veil over some glaring flaws in her singing (especially in the Liebestod). (……) Brangäne, the Wagner “specialist” Michelle De Young, offered the worst vocal performance of the night, (……) To make a long story short, La Scala has presented a Tristan und Isolde for orchestra and conductor. We may be too “addicted to voices”, but without Barenboim and his experience in minimizing the singers’ problems, this opening night would have been nothing special.

JIWON: Funny. It was Barenboim the conductor who emerged from nowhere only to wreck EVERYTHING about du Pre, musically I mean…, and is still famous for outpowering diva’s voice, including the Voice of Russian Beauty, which still has an absolute possibility to improve. How on earth can the Opera-Conductor breathe with an Actor, who has a notorious fame of NO-Voice, saving all the detailed moment of her hystericalism? Here, Meier doesn’t look like a whore, as she did in Kupfer’s Ring or Muller’s Tristan. She looks like a master of her own art; a heroine of Pop-Wagner. However… I still believe… a Popular Wagner should sound heavenly good and intuitive, though may be less intelligent, just as all kinds of pop-culture do. Should it be called Cheap-Chip-Wagner? It’s just funny. Meanwhile, Meier’s red dress tells me that something is going on between Prima Donna and Maestro again; that Meier feels she is in danger and that color-blind Barenboim emergently puts Meier’s next concert in his performance schedule after ejaculating his sperm. Funny… (December 08, 2007 answered by Comment, a pro opera singer, on December 17, 2007) I managed to catch the second performance. As I had thought Barenboim and Meier were exceptional. The reviews of the loggionisti and bagherini gave glowing praise proclaiming it the best opening production since 2000 and one even the best thing at Scala in the last twenty years!

JIWON: Since some time ago, I’ve discovered interesting news of Barenboim from the bloggers and have followed them. The reviews of the loggionisti? So, I started my searching. I dropped my jaw… and then something was happening to me. There was no clue about bagherini, though. (07 dicembre 2007) Tristan und Meier

Comment #1 – Comment #346: (JIWON: When can I read them all? Sigh…)


The Loggioni do look like sending glowing praise to their Isolde. But please read them carefully. During my first reading, I was so happy to find my favorite opinions but I soon got confused. So I made a list and organized their comments and then counted the heads. What amazed me here is that this place was so well organized that anyone interested in their Scala concert could send their comments, yet it was different from chatting room. They wanted to be educated. Whenever they find look-like-intelligent articles, there was always someone making their quick response. They wanted to learn more.

It seems that they always check the pro critics, compare their works and learn from them, and then writing their own. There are about 7 articles, (#97, #100, #101, #111, #119, #229, #258), which literally created a certain atmosphere in this public place. Since they were written by workaholic pros, they sound workaholic-and-therefore-drunken, of course. Also, there is Meier’s fervent fan, aka “daland,” who is considered by his friends as a Perfect-Wagnerite, who sends his comments very frequently, and who defends his favorite whenever something appears in this blog. So, I rather count comments without those. Then, these are what appears as interesting reviewers; #12, #31, #32, #33, #34, #37, #40, #41, #43, #44, #45, #50, #54, #91, #92, #94, #99, #103, #110, #130, #222, #228, #237, #260, #267, and so on…

I couldn’t read all the comments. So, I may have missed something another. Moreover, I’m not sure if I understood them correctly, since everything was via language tool. However, I am somewhat sure that the Loggioni DIDN’T give glowing praise as outsiders said. It was rather the pro critics, whose articles were quoted. I am surer that the majority of audience wanted better production with proper singers; more from Maestro Barenboim, who happened to prove more of his ability. I can show some of them…

Want to read? Please click La Voce del Loggione.” – Tristan und Meier

JIWON: Despite diligent working by Meier Fan, their VOICE-comments ended with Comment #237. But then, he finished their reviews by posting Pro’s article from . Whether it was his intention or not, it looked very funny. What would happen to this public place, if anyone could express their Italian opinion without being brainwashed by Professional-Critics or Perfect-Wagnerite or Information-from-Germany? It will be very interesting to read ALL of THEM… It’s also fun to read when they change their subject.

Comment #268: finalmente un tema interessante. allora…. il soprano piu bello secondo me è anna netrebko, anche se elina garanca non scherza….non so bene se sia un soprano o un mezzo soprano ma conta poco. xè la piu bella, anna netrebko, alla Scala non si vede mai?

Comment #273: Io se fossi Barenboim mi rifiuterei di tornare a Milano a dirigere !! Che se lo dirigano loro il Tristano, con i loro scioperi e con le loro assurde rivendicazioni !

Comment #324: Lasciamo perdere la Verdi e i Pomeriggi musicali che hanno già le loro rogne. Capisco la rabbia, ma la proposta mi fa venire in mente il Buce (definizione non mia, ma dell’immenso Carlo Emilio Gadda), che stroncò uno sciopero dei treni con il Genio Ferroviario. Detto questo, gli orchestrali della FIALS hanno TORTO MARCIO. (…) Mi dispiace di essere così duro, ma i veri amici devono parlare agli amici fuori dai denti in casi come questi. Pensateci bene a quali “magnifiche sorti e progressive” avete aperto con lo sciopero di domenica e cercate di aiutarci ad aiutarvi.

Comment #306: Caro Daniel, pensa a noi, ai nostri bambini, ai nostri anziani che ci dobbiamo vivere tutti i giorni n questa camera a gas !! Ma chi te lo fa fare di venire a dirigere a Milano, questa orchestra di buffoni ???!!

Comment #306-Barenboim: “A Milano c’è una bellssima atmosfera, molto meglio del clima” dice Barenboim Forse è questa l’unica critica alla città da parte di Barenboim, che trascorre la maggior parte del tempo a Berlino (a Milano tornerà solo per le repliche), dove è direttore musicale del teatro Unter den Linden dal 1992. «A Berlino – ha spiegato -, con i 24 laghi della zona circostante c’è un’aria meravigliosa. Qui invece fisicamente non posso respirare. Spiritualmente sì, ma fisicamente no».

JIWON: Then, is this the only place where you can find Italian comments? I don’t know why, but somehow Italian comments differ from Spanish ones, which are found in the same place. Wherever you go, you will find similar ears. Until now, I thought that the Italian and the Spanish share similar characteristics; aggressive string section sound with different coloration. Now, I really don’t think they are sisters… (December 27, 2007) Tristan und Isolde, il trionfo del sublime

Comment #3 (= Poster): Un amico dalla communiti di Exibart mi scrive le sue impressioni dopo aver letto l’articolo. Condivido il post perch?mi sembra carino: <Ho letto la tua recensione sul tristano. Ho un amico, un basso, che canta nel coro della scala e mi ha raccontato particolari su Baremboim direttore. Visto dagli addetti ai lavoridietro le quinte ha dell’incredibile la sua capacita’ mnemonica…conosce tutte le parti di tutti gli strumenti… A volte pareva stesse dormendo e improvvisamente dava attacchi a diverse sezioni di strumenti. Un vero genio musicale e un grandissimo pianista..>!7B0CA61868B280B4!732.entry La realizzazione di un sogno:

I sogni a volte si avverano.
Basta volerlo davvero e impegnarsi a fondo.
E così oggi anche il mio sogno si è realizzato.
Oggi sono salita sul palco della Scala di Milano.
Il grande pianista Daniel Barenboim ci ha permesso di farlo.
O meglio, ha voluto che lo facessimo.
Cinque studenti per istituto hanno avuto l’occasione di stare accanto a lui mentre faceva scorrere le note di Beethoven sulla tastiera.
E io ero tra i cinque del Bertacchi.
E, scusate, ma penso di essermelo meritato.
Ho provato un’emozione indescrivibile nel passare dalla porta che mi ha fatto trovare nel mezzo del palco!!
Bellissimo, spettacolare..
Dentro di me, la grande sonate pathetique e un turbine di emozioni, dalla meraviglia all’angoscia di dover tossire nel mezzo del concerto..
Minuti e minuti di applausi per il grande Barenboim, e tanta felicità negli occhi di tutti quegli studenti che, come me, hanno avuto la possibilità di ascoltare quelle quattro sonate così da vicino, e su quel palco, sogno e speranza di ogni musicista.
Per ora è tutto, e direi che non è poco..
Ciao a tutti!!

JIWON: I wanted to start my writing with the interview with Barenboim, but I could do nothing until finishing reading this huge place. The blog called “La Voce del Loggione” started two years ago. I think it’s better to introduce these Italian reviewers after showing another group of comments. (08 December 2007) Barenboim sings again :

Comment 1: This insightful critique confirms the notion that nowadays, unfortunately, for certain operas there’re not strong singers around to do justice to the vocal score. I’m not a Wagnerian per se, but in my mind I have conceptualized Wagner’s operas as classical heavy metal symphonic music written for orchestra and voices which add to the orchestral drama. And Barenboim, more than anybody else, can extract drama from any orchestra. I hope, vocally, Met’s T & I does better. I’ll see T & I, live at the movies, hoping for a miracle.

Comment 2: I found the review very interesting and I think it describes truly what the production was. (……) I hope he will find the right singers for these operas if they exist today. Very awful was the Brangaene of Michelle De Young, I just couldn’t stand her ugly voice and her horrible technique.

Comment 3: I am just shocked that an Italian opera house would even attempt a sophisticated work such as Tristan. I think Italian houses should stay within their limitations and mount those shlocky post-Puccini operas that don’t demand intellectual rigor from the musicians or the audiences. Afterwards they should all drink chianti together and break the bottles over TKLogan’s head.

Comment 4: this is a shame about the scala prima…especially since it is going to be broadcast in theaters. It just seems so unwise to open a season with a way-past-her-prime isolde and inaudible tristan. What exactly were they thinking? and is meier really going to sing sieglinde next year at the MET?

Comment 5: The marvelous Operachic’s review has much in common with this one. I can’t imagine the difficulties casting this work. In my lifetime I hope to hear a good production.

Comment 6: I am listening to a taped radio broadcast of 19 Nov 1998 from Bern, Switzerland (…) Sadly, mezzo-turned-soprano W Meier didn’t rise to the challenge two nights ago in Milan.

Comment 7: in Milan 1978 the cast was not well received by the critics who admired Kleiber but not the singers. Ligendza, who sang Arabella before Tristan, never appeared again at La Scala after her Isolde.

Comment 8: Meier’s voice has always seemed unappealing to me – somehow both matronly and shallow. I saw her do Leonore in Valencia last year and it was on the level of a superannuated house soprano (and she was never a soprano to start with). Her acting on that occasion was cliche-ridden too, although she has a reputation for charisma and commitment. Still, apparently she gives a great blowjob.

Comment 9: If you want a reliable critique of Meier’s blowjob ability, ask JV – lord knows her received enough of them from her. As for Tristan, so we had a performance notable for the orchestral playing, with the retched singing being negligable – how is this different from most Wagner we hear today, and for that matter, why is Wagner considered opera at all anymore, when it’s just one big symphonic concert at this point?


One forumite mentioned the limitation of Italian opera house, its musicians and its audience. Curiously, my opinion had been no different from his until I found “La Voce del Loggione.” I was shocked, so shocked that I had to search all the comments on Barenboim’s Milan concerts. Using Google’s Language Tool, it was such a headache job…

Want to read? Please click La Voce del Loggione.” – Daniel Barenboim from 20051227-20071105


I wish… I could read them in their original language. BY THE WAY, all the Loggioni, including Barenboim supporters, seemed to be disappointed at Barenboim’s “Toscanini Concert.” May I add more to their contribution? The fact that I consider myself as a Toscanini-disciple is well-known. I had to study Furtwangler only because of Barenboim, who seemed to be the only one left with a willingness to save my hopeless student life when my American boss, Dale Clevenger, decided to kick me out of his territory after his more powerful position was secured in the Chicago Symphony Orchestra, where all the members of Solti’s band were knocked out by my writings. Now, I am studying Furtwangler all by myself and my sole reason is that unlike other pros who admire bla-bla-bla of Furtwangler, from tempo fluctuation (sic!) to whatsoever depth (sic!) of dark sound, the only thing I hear from his interpretation is that there exists a precision in his music, and that his precision always wants to go somewhere, to unknown but better place. Then I want to study more, because I know, unlike other precise, strict music, what a difficult job it is to achieve this kind of music making.

While following the “La Voce del Loggione,” I realized that Muti scandal was such a big issue, but most information was kicked out of their blog. I couldn’t’ understand the basic reason why even the orchestra members joined the mutiny. So, I went to the Google Group. Unfortunately, Muti’s letter to Corriere della Sera was the only valuable source I could pick up, so I had to go further.

Want to read? Please click Mutiny at La Scala


Everybody is reading the same article together. So, please let me know if I look like quoting “specific sentences only” for my very personal, political reason. I tried, tried to be neutral while reading the sources from elsewhere and wanted to pick the facts only. But still, I don’t understand. I now know what had caused Maestro Muti’s rocky relationship with his General Manager. But why should it be an issue? A first-class opera house, which has no rule of maintaining the proper balance between the old and new, or the traditional and the modern repertoire? Everybody has a taste, but in this case, both sides seemed to go to extremes.

By the way, whose favorite musician is Zubin Mehta after all? Muti’s or Zeffirelli’s? Some ago, I happened to find out information about Muti’s relationship with Scala and wanted to know more, then Zubin Mehta suddenly summoned Muti to his IPO to encourage sometimes-Israeli-sometimes-Palestinian pianist, who is called Barenboim’s protégé but in fact Elena Bashkirova Jr., who sounded like inferior pianist, who behaved worse than that, and who was sharply criticized by my insulting. I am still not sure what that meant, for this kind of social gathering, (Muti-Mehta), usually made fun of me behind the scene and destroyed Barenboim’s music business after all.

While reading all the information about Muti Scandal, I couldn’t understand why my 10-something yearlong story should always remain as a Secret-Behind-Scenes, while all the major journals esthetically reported its full, detailed story. The Guardian even made a soap-opera with this story. (A fight at the opera )

Unlike Muti’s scandal, which hardly left its home ground, my story started from the Chicago Symphony Orchestra, one of America’s major orchestras, then spread across all the important parts of America and Europe, wherever/whenever Barenboim was/is bragging his generous/naïve/drunken, OPEN-MINDED manners allowing his snobbish disciples to boast their big-mouth and thick-skin, and allowing those pigs to destroy Barenboim’s everything, including the talented youngsters around him and even Barenboim himself. First of all, after the members of the Berlin Philharmonic Orchestra voted against Barenboim after receiving my Furtwangler writing, I literally trained the members of Vienna Philharmonic Orchestra, which had been lost their way during 1990s under Mehta’s hilarious baton-techniques. Yet the VPO members, who really need a MAESTRO, still don’t prove enough improvement, because they accidentally joined this game merely due to their jealousy toward their rival, the BPO, rather than their pure willingness to realize their Furtwangler-Dream. How many faces are still smiling whenever their boss, Mehta the conductor, is dancing on the podium? Even now, this never-ending story is supposed to travel all over the world…

Dear journalists, including the Pro-Critics, who were hunger for waiting next e-mailing from someone called JIWON,

Which one was more fun to read? Muti Scandal or Mine? Though I am not sure if they were ever finished understanding my previous message…

Curiously, “La Voce del Loggione” commenced on November 15, 2005, and what day is That Day? I’m suspecting if they wanted to play games with me, but who cares? Reading all their comments will tell me what had been really in their brain+heart. They are talking about German sound. But what really means German sound? (December 4, 2007) Audiences of La Scala react differently to ‘Aida’ than an audience in the Staatsoper in Berlin. No question about it,” Barenboim said. “I think in Germany they would be much more tolerant of a slight vocal deficiency if the expression was there. And in Italy they would be a lot more tolerant for lack of expression if the beauty of the tone was there.”


This is Barenboim again, who is talking about German characteristic. I wanted to start my writing with this subject, but couldn’t do anything until I read all the valuable comments from Barenboim’s Loggioni. 

I’m wondering. Is Barenboim talking about German characteristic? Or is German nationalism what he is talking about? Or German sound?

Whether it is German characteristic or German nationalism or German sound, is there something existing inside Germany? Barenboim says YES and it is a very tolerance to a slight vocal deficiency for the sake of expression.

If one asks me the same question, I would say YES but from the different point of view.

Want to read? Please click German Sound


(I am losing my way again… If the British+Berlin Folks ever report the false information about me, we’ll see. I will handle everything in a legal way.)

Am I writing about sex, which is Meier-Fan’s foremost subject? It’s music, of which I am making an issue.

I have written this again and again for more than ten years. Who listened to me?

Perhaps, those pros never wanted to accept the very fact that they don’t hear what I can hear and that they don’t watch what I can watch.

This is a shit to watch Waltraud Meier:
The basic posture of Meier’s standing is wrong.
The basic posture of Meier’s sitting is wrong.
The basic posture of Meier’s walking is wrong.
The basic posture of Meier’s running is wrong.
The basic posture of Meier’s hugging a man is wrong.
The basic posture of Meier’s bending over a man is wrong.
The basic posture of Meier’s DOING with her female partner is more wrong, because this aggressive female wants to draw more attention from audience than her partner.
Then it’s never possible for Meier’s singing partners to ignore Meier’s voice, which is sharply projecting and clearly, loudly heard on the same stage as theirs.

Wagner wrote music drama. Why do you think so?

Acting Wagner is important, and it should be based on the Wagnerian SINGING-VOICE, I believe. Still, listening to Wagner can be boring to me, and then I have to watch MUSIC of Wagner. I have to watch sound of Wagner. I have to watch all the detailed body languages in Wagner’s Music Drama, for it is a triumph of human ability. At least for me… Am I the only one?

Long ago, I read one forumite, who mentioned that Cosima Wagner hated excessive movements of the singers’ acting so much that she sewed the singers’ costume. It was not written in English. If it’s true, she is also the one, who used to watch sound of Wagner. I tried to find all the possible information using different keywords, but there was no clue in the world of Internet. Was I reading the false information? Birgit Nilsson in rehearsal at Bayreuth with W. Windgassen

JIWON: Speaking voice of a true Wagnerian diva. Compare is with Meier’s crystal clear but dirty oily speaking German diction. You call it crystal clear and sexy. I call it bony and hysterical. And then, time to compare the accompanists. Compare this pianism with Elena Bashkirova’s, who was born to accompany Meier’s German diction. How old is Ms. Nilsson in this film, by the way? Her singing posture looks like that she is past her prime. I don’t think it is due to the size of rehearsal room. Still magnificent, though. Birgit Nilsson: Her voice was noted for its overwhelming force, great reserves of power and a gleaming brilliance in the upper register. (…) but it was the music of Wagner that made her career. At her peak, Nilsson astounded audiences in live performance with the unforced power of her voice, which cut through dense orchestration, and with her remarkable breath control, which allowed her to hold high notes for a remarkably long time. Her interpretive powers grew as her career developed, and she became a moving artist as well as a vocal phenomenon. Among colleagues, she also became renowned for her playful sense of humor. (…) Nilsson was also famous for her ability to make money. She became one of the highest-paid singers in the field, in part because of the rarity of her skills. (…) Nilsson was known for standing up to conductors. (…) Despite her worldwide recognition, Nilsson said she was nervous before every major performance. Customer Reviews – Excellent introduction to Strauss, Nov 18 2003 : The fabulous trio from “Der Rosenkavalier” is sung ravishingly by Régine Crespin, Hilde Güden, and Elisabeth Söderström. Notice the clear German diction of these three singers. The music for this trio contains some ravishing string writing. Elektra’s Monologue is sung magnificently by Birgit Nilsson. Her high notes, especially the high C at the end, are incredibly powerful and rock-steady. She inflects the aria superbly. You can really hear her longing for her dead father in her repeated cries of “Agamemnon”. Leonie Rysanek is incredible in the Empress’ Dream Sequence from “Die Frau ohne Schatten”. The high tessitura poses no problem for her and she sings with smoldering involvement.

JIWON: What to know more about this reviewer?

American from San Diego, CA : Hello, people! I am a college student at San Diego State University. I got interested in opera in 2002 and have been a major fan since. I love sopranos, Italian opera, some French opera, and most of all, Beverly Sills. I also hugely admire Caball and Nilsson. My two favorite composers would have to be Verdi and Puccini. I hope you have enjoyed reading my reviews:) Opera is, in my opinion, the greatest form of music in existence. Opera has enriched my life in so many ways and I am very grateful be able to enjoy this incredible artform. Thank you to Bizet’s ‘Carmen’ for hooking me onto opera and Beverly Sills’ recording of ‘Lucia di Lammermoor’ for making me realize the great heights that opera can achieve. Thanks!


Not everybody is born a composer. Not everybody is born a performer, too. Heaven knows that I always write something from the performer’s viewpoint, and I am now writing about Wagner’s music drama.

Once he/she is born a performer, the more time they spend on the stage, the more there are things they want to achieve. They want to achieve, because it’s impossible for the performers to deny their instinct to follow the better sound as long as the composer wrote the right note at the right moment; from the right beautiful sound to the right ugliness of the singing voice.

Part of audience, including Meier-Fans, shouts that Wager wrote an inferior Isolde for his Tristan.

If Wagner’s real choice was an inferior Isolde for some reason, what about a great DIVA who wants to sing a reasonable Isolde? Does inferior music, however, exist for the inferior performers? For the performer, music is in fact a collection of notes. Wunderlich’s great achievement is found not only in playing Bach-or-Beethoven-or-Schumann, but also in singing his favorite Pop-Music. Heaven knows how beyond-description it sounds. Whether it was old-fashioned or not, the modern audience was crazy about his Pop-songs, when the radio first introduced this weirdo. To approach Wagner Fundamentalism, should a great DIVA deny her instinct and master an inferior Isolde?

Then what about audience, who can tell the difference between the inferior Isolde and the great one, and who want more and more after they hear the real one?

Then what about me, to whom listening to Wagner is still boring, and who has to watch Wagner? There are human beings who don’t listen to the sound of the performers. There are human beings who watch the sound when they go to concert. I am one of them. Watching Waltraud Meier is a shit. I even feel bored with the females’ ensemble, in which most members torture their priceless instruments in their tight underwear, and in which the rest, usually talented ones, seem to give up taking care of their lesser beauty. Either side is boring. Particularly, watching their string section sound is horrible. Curiously, female members who work for “Glander & Co.” in Barenboim’s Staatskapelle, look like some sexy Asian fiddlers, who are born with tensed upper-body, less lung capacity and play in their tighter underwear. (I saw their photo of chamber ensemble. This is why I believe they prefer “Mudblood,” which sounds rich to their tensed ears.) But then, finding female musicians from the old Bayreuth-photo makes such an impact on me: None of them look ugly. But then, they are all relaxed, and so on… (24. Juni 2007) Enttäuschende Quereinsteiger : Das Stichwort Heiner Müller etwa nutzt Meier zur Abrechnung mit den “Quereinsteigern” unter den Regisseuren. Die Zusammenarbeit mit Künstlern, die – wie der Autor Heiner Müller – aus anderen Genres kommen und “von denen man sich einen frischen Blick erwartete”, sei für sie “immer enttäuschend gewesen”, sagt die Sängerin. Ihr Fazit: “Die haben schon mal eine witzige Idee. Aber die trägt doch keine ganze Produktion.” (…)

JIWON: I remember that there was something very special in Heiner Mueller’s production, which Barenboim wanted to share with him and realize through his music, and that Waltraud Meier didn’t quite match Mueller’s ideas. This is not my opinion. I read it from forumites somewhere. I remember… though not sure of my correct memory, because, by then, I knew nothing about Wagner, being just busy at studying the voices and reading forumites’ opinion about “Why Wagner wrote inferior Isolde for his Tristan?” Then I watched Barenboim’s Meier only to know that Meier looks like a whore, who makes Barenboim blind and destroys Barenboim’s everything. Curiously, there was one reviewer, who mentioned that he still preferred Muller’s Bayreuth production. It was in the, where I found it while clicking couple of “Michelle+DeYoung.” Even if you beg me to find the exact address, I won’t click it again.

JIWON: Now, Waltraud Meier doesn’t look like a whore. Her German diction doesn’t sound comical. She looks like an absolute artist in Vulgar-Wagner. She’d never listened to anybody around her, and mastered her own kind of vocal techniques. The best example of Euro Trash… It now seems that ruling Barenboim’s Staatsoper is not enough for her, that she is hunger for more power, and that she wants to own Gudrun Wagner’s Green Hill. (24. Juni 2007) “Bayreuth? Warum eigentlich nicht?” : Auch in Bayreuth waren häufig “Quereinsteiger” am Werk. Aber eben auch “kluge Leute mit einer umfassenden Kenntnis der Dinge wie Götz Friedrich” oder ein “ausgesprochenes Bühnentier” wie Jürgen Flimm, sagt Meier. Aus Bayreuth kennt Meier auch Daniel Barenboim. „Er ist für mich im Moment der vollkommenste Dirigent”, sagt Waltraud Meier. „Seine Proben zum Beispiel sind Proben, die ich wirklich als solche bezeichne. Nicht nur ein einmaliges Durchspielen, wie das heute oft passiert. Proben heißt für mich, sich über Stellen klar zu werden, um sie zu verbessern. Sich nicht nur über Tempi klar zu werden, sondern auch über Dynamik, Phrasierungen und so weiter. Diese Arbeit bis in die kleinsten musikalischen Details ist mit Barenboim unglaublich intensiv. Und man sieht und hört es am Ergebnis.” (…) (Waltraud Meier) The tremendously fruitful collaboration with Patrice Chéreau in Alban Berg’s Wozzeck brought about the desire for further joint productions. At the opening of the 2007/2008 season Waltraud Meier will sing Isolde in the new Tristan production of Chéreau at La Scala in Milan under the musical direction of Daniel Barenboim. For years Waltraud Meier had close links with the concerns and aims of the West Eastern Divan Youth Orchestra with whom she worked on many tours. In the 2008 season she will give, amongst others, an open air concert with this orchestra in the Berlin Waldbühne.

JIWON: What is funny about this interview is that Meier expresses her yearning for Barenboim while playing under Nagano, the poorest opera-conductor, who can’t finish his job without putting German heroine in his program. Even if Meier’s private relationship with Barenboim is well-known, it is a proper manner that she should express her respect toward the maestro in her hometown. Am I wrong? Meier just picked up Barenboim and mentioned her favorite director, whom she wants to work with, then boasted her bigmouth AGAIN; „Und man sieht und hört es am Ergebnis.” Perhaps, she forgot to read comments from Barenboim-lovers, or only remembers what she wanted to read. However this time, Meier didn’t boast that her Isolde was above Flagstad. Instead, she bragged about her contribution to Barenboim’s Divan-Ensemble. WHY? Curiously, it was also right after one of my previous e-mails, which main subject was about Zubin Meha; Mr. & Mrs. Mehta, LA Phil. on June 15, 2007 . So, I wanted to know the full story. WHY?,jq733537ps0ahm3i~cm.asp (October 28, 2007) Der ewige Wolfgang! Wie die Bayreuther Festspiele ihren Ruf verspielen : “bla-bla-bla,” sagt Jürgen Flimm.

Want to read? Please click Bayreuth


I want to go to Bayreuth.

I want to join the history of Bayreuth as much as I want to be present at La Scala while they achieve what they can achieve. Frankly, however, I am not interested in Wagner as a composer and an owner of the Green Hill, or his family business. Rather, I am very interested in the history of Wagnerian performers; singers, orchestra members, and the conductors.

Reading old articles about great Wagnerian SINGERs gave me one question: Why is it impossible to find Wagner Voice Coach in these days? Everybody is just busy at supporting or blaming Meier’s singing and acting. But has there been any kind of academic debate whenever the subject of their debate is Waltraud Meier? In those days, the singers had to be trained first by their voice coach before being judged by their fan-club or so-called music critics. In these days, there is nothing. What’s more, some are sincerely imitating Waltraud Meier and killing their career rather than earning Meier-like fame. The more talented they are, the more miserable they sound and look. The rest of them are struggling while DOING Wagner with Meier or employees of Meier’s Staatsoper. (December 8, 2007) “Storey doesn’t speak German but I’ve seldom heard a better diction in the role of Tristan than him. He is a real, real discovery I (Barenboim) think his life will change.” Lauritz Melchior (1890-1973) Danish tenor, active in the pre-war years. Not a great actor or a subtle musician, but his tireless throat, crystalline diction and warmth of personality made him a vocally unsurpassed Tristan and Siegfried. A terrific wag, he was notorious for making his sopranos laugh on stage. Astrid Varnay, Great Wagnerian Soprano, Dies at 88 : When Varnay was 19, Flagstad advised her to begin studying with Hermann Weigert, a coach at the Metropolitan Opera whom Varnay subsequently married.

JIWON: It’s been ten years that my problem with Barenboim’s Meier started with her comical diction, which is never similar to all the legendary singers, whose Wagner I can still taste whenever I go to the library. I couldn’t understand not only why Waltraud Meier was involved in all Barenboim’s important project and destroyed them, but also why this German whore try to coach all Barenboim’s singers when her Wagner never sounds like her seniors. Then, it was in articles about Astrid Varnay, in which I learned that there EXISTED a Wagner Coach in opera house. Who were or is a Wagner diction coach at the Green Hill? I’ve never heard of it. Hence, I started my research. (2 November 2007) Bayreuth Singers – 2 : Luise Reuss-Belce (1862-1945) was a principal singer in Bayreuth until 1912. She eventually became the dramatic coach at Bayreuth. (Spring, 2005) Luise Belce was born in Vienna (…) After her singing career she directed opera and was a formidable singing coach at Bayreuth until 1933. JSTOR: The Wagner Compendium: A Guide to Wagner’s Life and Music : Wagner’s plans for a singing school in Mu- nich and the published views of Julius Hey, Wagner’s vocal coach at the 1876 Bayreuth Festival, lead Jens Malte

JIWON: This site didn’t work, so I had to use another search engine; Julius Hey, Wagner, Diction, Coach, and so on. There was nothing except… Wagner and Bel Canto : Wagner wrote to the vocal pedagogue Julius Hey, in 1875, during preparations. for the first Bayreuth Festival. 1. Wagner’s cri de coeur about his inability … (This item requires a subscription* to The Opera Quarterly Online)


Training on the stage is not same as taking studio-lessons at school. Pavarotti’s famous high Cs was possible when he took an advice from Sutherland’s husband and saved his voice during the rehearsal (in a small room). Who is Wagner Diction Coach in these days at the Green Hill, where the voice of Heldentenor cannot be heard for the very special reason?

I am still not interested in Wagner as a composer, because no matter how I study his life or philosophy, I am not talented enough to blow up all the notes in his score. It took years for me to finally realize why I always became physically ill after performance, during which I was happy to make my favorite sound. I thought it was my mental problem due to the stage fright until I studied about myself; the relationship between my favorite sound and my physical ability.

Besides, I was born a kind of musician, who felt no need to study opera to survive my student/professional life. It was in America, where I had to learn how to listen to the voices. Years later now, I still don’t quite like watching/listening to the popular operas. Listening to the singers is OK, but watching them? It is, after all, the similar story about perhaps-love. It’s just a matter of time before I feel bored with familiar faces wearing the similar costume. I even hate watching TV-drama, in which female actors appear in old-fashioned costume. I prefer to watch porno, in which I could study all those real muscle movements of the actors, though those cheap priced ones look ugly. Most of all, I prefer to enjoy various kinds of pop music.

Time has passed. Something was happening to me. The more I learned how to enjoy pop music following the latest fads, the more fun it became to watch Wagnerian Singers from old good days. Unlike legendary Old-Names in opera world, where their uniquely proportioned body shape was famous for the beauty of their voice, which makes me somewhat disappointed while watching their performance in old docu-films, Wagnerian Singers in old days were very handsome with gorgeous body. They are even more handsome than the Bayreuth-dwellers in these days, during which Wagner-Fans have been crazy about their sexy Isolde, Waltraud Meier. First of all, it is amazing to watch the size of their lungs. Their breathing capacity is literally unbelievable. Listening to Wagner is not enough. It still can be boring to me. But watching the Wagnerian Singers? It is amazing, way beyond description.

My opinion may be different, very different, even from the scholars. Then, I have to tell this. Performers are not like composers. Each performer needs a proper instrument, and the singers are equipped with their body only. Some of them are born a musician, who has no choice but allowing his instrument make better sound. Few of them are born a real musician, which is called a Talent by God. How can they deny their instinct? It is like, a human being is born and wants sex without orgasm from his lover.

Mozart wrote some notes. Wagner also wrote a sequence of notes, but he wrote so many huge notes that the performers have no choice but utilizing 101% of their physical ability. (Why 101%?) Unlike other low voices, there is only one way for the high voices to master all the notes Wagner wrote. They are even different from some instrumentalists, who, regardless of their talent, could manage all his notes with his favorite instruments.

I know I am not in a position to lecture on the proper Wagner German Diction. But then, why I’ve never heard Wagner specialists debating on this issue? Also, I’ve never heard of their curiosity about it. In fact, they are just busy at discussing about stage, philosophy, or Furtwangler. So, I am only writing about what I hear whenever they praise Meier and insult her rivals, who were born a musician trying to sing.

I am not interested in which Wagner member rules the Green Hill. I believe that all the family members should accept and follow the vote of 24-member board. I am just interested in who (will) be the Wagner Coach there, and want to organize all the valuable sources I could find in their library. My issue will be Performance Practice. I can hear all the talents. I can watch all their body languages. I can have a curiosity about their hard working. I can read all the comments by their fans elsewhere, and organize them. Finally, I can advise the singers how to improve.

It means that I invite all the lovers of Wagner Diction to participate in the history of Bayreuth.

Want to read more? Please click Wagner Diction (24. Juni 2007) “Bayreuth? Warum eigentlich nicht?” : Meier gilt als Diva und ist manchmal ein wenig rigoros: Popmusik zum Beispiel ist Waltraud Meier ein Gräuel. (…) Es sei denn, er ist hoffnungslos altmodisch. Oder ein – ebenso hoffnungsloser – Romantiker. Romantisch klingt jedenfalls die Antwort der Sängerin auf die Frage, wie sie 1976, mit 20 Jahren, überhaupt zu Wagner kam: „Nicht ich bin zu Wagner gekommen. Er ist zu mir gekommen”, sagt die Münchner Künstlerin. (…) “Anfangs war es das Emotionale, das mich berührte. Heute beschäftige ich mich mehr mit der intellektuellen Seite des wagnerschen Kosmos. Er zwingt einen ja dauernd, die Dinge zu hinterfragen. Seine Themen – Wahrhaftigkeit, Betrug – sind Themen, denen man sich stellen muss.” (…) Paraderolle Isolde. (…) Aber ist eine Wagner-Sängerin ohne Bayreuth wirklich komplett? Bayreuth, die Festspiele, waren offenbar eine Art Stahlbad für die Sängerin, ein künstlerisches Abenteuer mit Höhen und Tiefen.

JIWON: Hopelessly old-fashioned? Wagner came to Meier? Intellectual side? Well… How old is this writer? (24. Juni 2007) Dem eigenen Rollenklischee entkommen : „Es ist immer wieder schwer, den Fans und auch den Veranstaltern klarzumachen, dass ich nicht nur Wagner singe”, sagte Waltraud Meier. „Ich schöpfe meine Inspiration auch aus dem Lied. Ich schöpfe sie aus Schubert, Schumann, Brahms, und die Beschäftigung damit fließt in mein Singen mit Wagner ein.” (…) Sie halte nichts davon, wenn sich Stars der klassischen Musik wie Popstars inszenieren, sagt Meier: „Das bleibt nicht lang. Das sind sehr kurze Phänomene. Dagegen denke ich, dass Sie von mir immer wieder neue Interpretationen zu hören bekommen werden. Noch mal vertieft etwas nachgeschaut. Noch mal anders dargestellt. Wie auch immer. Das ist mein Interesse.”


“Lieder, ” “sehr kurze Phänomene,” “vertieft,” and so on… Who should speak these words when they mention Waltraud Meier? Meier-Hater or Meier-Fan or Meier herself?

IMHO, Wagnerian singers don’t have to perform other repertoire, because Wagner itself is such a hard job. From an audience’s point of view, however, I want to listen to Lieder Recital or Mozart Opera or Pop-music or EVERYTHING performed by Wagnerian Voice. If those X-specialists are famous for the beauty of their voice, what about Wagnerian singers, who are famous for their body shape; their physical ability and their body language? For me, this is a real interpretation; from the beauty to the right ugliness of singing voice; from a full, powerful, dramatic voice; from a fully-talented, multi-dimensional, and imaginative voice. It is still weird, because imaginative voice doesn’t exist in pop music world. Of course, each Wagnerian Voice will perform with each different interpretation. Once I hear their recital, I will be hunger for more… BTW, is there anyone, even among Meier-Fans, who wants to listen to Meier just standing and bla-bla-bla-ing with unique distortness on her face? According to her performance schedule, there is… and Meier is complaining. She started to schedule those things after my insulting the Isolde-Above-Flagstad, though.

I started my writing with this: “Meanwhile, Meier’s red dress tells me that something is going on between Prima Donna and Maestro again; that Meier feels she is in danger and that color-blind Barenboim emergently puts Meier’s next concert in his performance schedule after ejaculating his sperm. Funny…” (November, 2007) Tristan & Isolde in Munich : Additionally attractive was the allure of Waltraud Meier revisiting her supreme mezzo-Isolde – sharing the role with Linda Watson. (…) As it turned out, Watson was who [most] people heard, anyway – as she jumped in for Mme. Meier (who only managed one act before pulling out) mid-performance the first night and for the entire on [the latter’s] second night. If Waltraud Meier had not just put in a extremely well received Isolde for the season opening night at La Scala (under Daniel Barenboim), one might have seen her attempt and failure to tackle Isolde again as a moment heralding her withdrawal from that role. Instead the Munich attempts – struggling against alleged sickness – now look more like a test-run for the performance in Milan. (December 10, 2007) La Scala

Comment 1: Someone who was there told me that he said explicitly that he has no problems with Lissner or Barenboim but only with the artistic management of the Scala.

Comment 2: It doesn’t sound right — Lissner IS the Artistic Director, too. He has a guy coordinate it, but he is General Manager AND Artistic Director. Careful about the spin here. Lissner runs la Scala, period. You don’t cancel your engagement there because you had an argument with an underling. Not if you’re smart.

Comment 3: I just wonder if this cancellation has anything to do with his Requiems at Scala…he never actually did a public (he did do the dress) performance due to the strikes but he sounded like he was in a LOT of trouble during rehearsals…???!

Comment 4: Opera houses like Scala etc. have little to do with music as much as politics and which ditzy soprano rules and which half assed tenor brays the loudest. (17 December 2007) Brunnhilde at La Scala 2010 :

Comment 1, aka “Beth”: She said in a New York interview in 2002 that the Walkure Brunnhilde is really the only one she can sing, and then she lamented that the Ring is never cast that way, with a different Brunnhilde for Walkure. Apparently somebody was listening!
Comment 2: The “someone” who listened was Daniel Barenboim – he is both casting and conducting this Ring… (Beth from Jun 30 2001 to Jun 11 2004) This person has not created a profile.


Finally, a forumite called himself “BETH” appears again and works for Waltraud Meier. This person is not a forum-character, yet stalked me elsewhere even to the German forum to insult me. I’ve been wondering if Henry Fogel’s CSO or Matthias Glander’s Lindenoper hired a part-timer or Meier herself posted it. He disappeared from the scene when I lost my health and had to quit this computer work. Now, I resumed it and he reappeared, but this time, he doesn’t use his ID. Still, I want to appeal to the law to investigate the real identity of this forumite. Whoever he is, he was/is working where the string section of his orchestra consist of Mehta’s protégés; the ugly-spread or Mudblood. There is another case in the Google Group, which lunatic mystery I want to deal with according to the law.

Thanks to the resurrection of BETH, it’s time for Henry Fogel, the president of Meier-Fan Club.

Want to read? Please Click Henry Fogel


While I was busy at reporting Meier’s sickish Wagner, something was going very busy behind scenes, and then Meier grabbed the Grammy award. Since Barenboim used not to be Grammy’s favorite musician, it was Meier alone who attended the party. This time, is Zubin Mehta the one, who is grabbing this award? Mehta has been damn busy since… (sic!); the establishment of Mehta Music School in Barenboim’s Israel, Mehta’s New Year Concert in Vienna, and then finally Grammy Award… without ever proving his ability or at-least-willingness to train HIS orchestras elsewhere; hastily returning to his favorite Meier whenever I disappear and then making a quick movement to pass his Meier to Barenboim when I reappear. When is he going to die?

Basically, I hardly listen to the Grammy award recordings, but then who are the decision-makers? Naïve audience is still crazy about Grammy-awarded classical music. Curious… I hope my precarious assumption to turn out to be right.

In those days, there was a time, during which I wanted to join public places after collecting my favorite comments. Someone encouraged my involvement because of Gudrun Wagner in my writing while someone was waiting for the good opportunity to make me a perfectly insane nut. While the former looked totally emotional, the latter looked real brainy, already laying the cornerstone of their success where I was supposed to join. I had to give up, because public opinion was the only thing to save my dying life and they never know what a live elephant looks like while examining its eyebrows only. I still want to know who is who, although I know how to smell who was who.

Still, I want to start a court battle to figure out who was behind to control/interfere/destroy my American+Extra life, in which all my behaviors were stalked, part of my phone-conversation was wiretapped, or even my private e-mails had detected security breaches, and then whatever plans I made, even the promised future, were destined to fail.

I even want to bring Henry Fogel’s comment on me into the legal case. By then, quite figures in the CSO, including the members, knew about my work and me. How can they smell nothing when their Music-Director was heavenly happy to prove “music in my writing” with the members, who had no choice but reading and following it? Part of my writing was to analyze how heavenly talents could produce hellish noise. The box-office used to give me the best-ticket and said that they were ordered.

Until the age of 30, my least favorite was writing. I hardly remember that I wrote something called journal, and it still takes very long to finish one article. I had to directly send my messages to the READERs, only because I was sick of all the spies, who just took advantage of my poor situation after offering the filthy information about my student life to Someone-in-Chicago, who always changed as time went by.

How can they smell nothing when Clevenger’s companions took the responsibility for my troublesome student life and resigned from their lifelong job, which horn section was already notorious for the sex-scandal? Fogel’s office was even enjoying my writing, whenever I insulted trashy behaviors of Alice Clevenger. (I regret to throw away all my Chicago belongings, including their brochures, most of which carried a hilarious photo about “Dale & Alice.” When they figured out that I was attending most of their concerts and reading their brochure very hard, they started to publish this comical photo of sitting postures of their Boss, Dale Clevenger, and his bimbo, Alice, who was the worst, noisiest, laziest, stupidest, and the most arrogant female horn player I’ve ever seen. Thanks to her notorious fame, my Chicago life had to be pretty tricky, for the entire faculty believed that sooner or later I would behave just like Alice Clevenger. Then the American said that Alice used to sit next to Dale until her pregnancy.) When I left America but still was trapped and had no choice but sending my messages to the READERs, some members inside the CSO, who didn’t want to see me in their working place for some reasons, even advised my family members that Barenboim is NOW happy with Kremer’s ex and Dale Clevenger will soon retire, so I should give up.

With his kind of comments on Waltraud Meier and ME, the President of the Chicago Symphony Orchestra flew to Berlin and took care of Meier’s Wagner-Festival. What would have happened to me, if I didn’t find Henry Fogel’s comment on Daniel Barenboim in another forum? To my surprise, Henry Fogel resigned from his Chicago job. Believe or not, his reason was something economic that the American CSO cannot suffer and it was beyond his ability because he was now too old. I wonder if I could find THAT Spanish Forumite again, who was too gentle to attack the President of the CSO despite of all his intelligent comments on Wagner and Waltraud Meier. He left the forum after saying “Thanks” to Henry Fogel, who also left this public place when I resumed my computer work.

Heaven knows how easy it is to drive a naïve audience into their favorite way when their subjects are top-rate fames, and especially when the concert hall is sold-out. This was what Henry Fogel was doing in his Google Group, while he was driving away all the valuable comments on Meier’s sickish Wagner. In this public place, none of discerning comments could survive because a top-rated fame was crazy about Waltraud’s Bayreuth.

In those days, there were so many valuable comments on MUSIC in this public place called Google-Group, and it was already too late for me to find and collect them to show the READERs in order to lead Barenboim the musician in a right way. Even after I showed it, however, Barenboim only took what was good for his dying career. He even used it to protect his mistress, Meier, and big-brother, Mehta, more and more, because Barenboim knew that I couldn’t give up as long as there exist the READERs.

Basically, I want to take everything into the legal case. All I wanted from my American life was neither the comical story between Dale Clevenger and the CSO members nor the ridiculous story between Daniel Barenboim and the CSO/BPO/VPO members, but my sincere student life.

I still want to know. How come all the classes were trying to catch my attention, and therefore, I couldn’t study what I wanted to study? Why on earth was all my private, daily life stalked and reported to Someone-(plural…)-in-Chicago? Only those who can answer these can insult me in front of my eyes. I didn’t start this game. They started it and now I just can’t die without throwing up this fucking X-mile relay, where countless members of American and Eurotrash have participated and will participate to support Barenboim’s Angels for their very special reasons. I never planned to study so hard like this when I wanted to go abroad. I never planned to cry so many nights as I did and am still doing when I decided to give up my finally-secured-job for my further study…

Even now, I don’t need other opinions from the Pros, because I know what I like from what they disdain. Still now, if I really want to study, I can learn something from anyone, including two-week-old babies, who know how to distinguish good sound from the music they’re listening to. Their eyes twinkle. (I regret that I didn’t try one-week-old baby…)

I am dreaming of nothing. When did I trust German folks? I am not sure of Italian folks, too. Curiously, it was Barenboim’s birthday, on which Loggioni started their blog. Perhaps, they thought that it would work as the best bait, at which I would make my jump with green eyes. Then, they could behave just like Henry Fogel of the Chicago Symphony Orchestra, Matthias Glander of Barenboim’s Lindenoper, and Zubin Mehta of Barenboim’s Israel…

By the way, do Loggioni know it was in fact Canadian Forumites, who wanted to see Barenboim directing La Scala, because Berliner Staatsoper is not qualified enough for his hard working talent and his fame? I happened to find it while searching for more information about Mr. and Mrs. Zukerman’s trashy behaviors and big mouth in Canada, which Barenboim-Gang considered as an inferior country. (Please click Mr. & Mrs. Zukerman, Canada on May 1, 2006) No sooner had I found this Canadian comment than Barenboim announced his La Scala contract. Then Barenboim brought his Meier+Mehta into this new working place. “Bashkirova & Co.” will soon follow them and all the inferior members of Filarmonica Della Scala will join them. Surely, La Scala will make another sound, but then what kind of reaction La Voce del Loggione” will make? Will they still voice the same as I do now, or will they join “Barenboim & Co.” for their better famed life?

I just want to be at La Scala when Barenboim becomes the lovely Maestro+Servant of La Voce del Loggione,” and Filarmonica Della Scala. Still, my only concern is orchestra members. In case of Barenboim and the members of Filarmonica Della Scala, there are moments when the members should follow their maestro, when Barenboim should follow his members, and when both Barenboim and the members should shut up only to follow something another.

If the life falls into the emergent situation, I can make the orchestra members shut up. I can… because I know how to listen to their intuitive sound. I can even make La Voce del Loggione” close its door, because I know how to read their sophisticated voice. (December 7, 2007) Barenboim + Scala + Prelude


Good thing that this Italian ensemble is escaping from its typical X-ness. Is it, however, a purely dark orchestra-sound when Barenboim spins his Milan-web? It rather shows a hint of Mudblood, especially when they “squeeze” their instruments. Out-of-tuned ensemble or their willingness to play together is the second issue in this place. One of Mehta’s American instruments jeered at Italian sound that there is absolutely no depth, while cheering for “the profound (sic!) quality” of Mudblood. In Milan, where everybody is hunger for their NEW Italian sound, the history of “Mudblood” is already starting. When Barenboim wanted to sacrifice his own career to save his dying opera-orchestra in Berlin, I warned, warned, and warned him not to join their MUSIC but only to lead them. Instead, Barenboim was brainwashed by trashy musicians, aka “Divans’ Mentors,” and how is he going to lead this new ensemble? Perhaps, this is what Zeffirelli concerned when he interviewed, “La Scala is born to play opera. It is the best opera orchestra in the world.”

This is why Berliner Staatsoper could never beat La Scala, because this Mudblood characteristic is poisonous when it plays FOR any music, from the singers to the instrumentalist. I believe that the Without-Mudblood is not something superficial, which can function as a second-rate accompanist, but never as a legendary one. Furtwangler was a legendary accompanist, and his relationship with soloist’s sound was famously sensitive. Since this message is going to spread all over the world, Henry Fogel, who is a famous record collator and article-writer on Furtwangler, shall answer me which voice was Furtwangler’s most favorite.

I believe. The legendary sound of Opera-Orchestra is in fact the very basic of Symphony-Orchestra. One of reasons why no orchestra can still beat the VPO is, unlike the BPO, whose starting point is brilliant technique of the soloists, from Mudblood to Simply-Great, their starting point is from Opera-Orchestra, and the so-called tradition is still alive, though very weak.

But then, one of worst sounds in Rattle’s BPO came from the Berliner Opera-Orchestra. The only possible theory is that he was able to make the audition after mastering all the techniques Wagner wrote. Am I interested in Rattle’s ensemble, in which I could smell even the NEW politics among the members whenever their ensemble-sound tells me something? I am talking about the Divans’ future home, where the naïve music director firmly believes in Barenboim’s huge fame as a Wagner-Specialist, which could fill the members’ small resume and their big mouth. How can I prove that this is the worst sound? Look at his embouchure. But then, who taught me that the worst embouchure meant anything but a Thankless Role? I don’t want to be involved in the history of another orchestra, which is none of my business, especially when its failing story is not quite pleasant to read.

Besides… I am pretty sure that Toscanini would surely have had something to advise if he heard this performance. This orchestra has the same problem as the one Toscanini was supposed to direct in America. When the American folks contacted the maestro to report this problem, he gave them a terrific advice, and his American ensemble made a dramatic improvement together. Though I am not sure of its source, the article didn’t explain the details of his advice and it was l-o-n-g time ago when I found it, but I know what it is…

This is in fact what I wanted to see from Barenboim and the Chicago Symphony Orchestra. No one had listened to me. What’s more, no one seems to regret about the result of their ignoring my warnings. They just seem to be happy not to see Barenboim again at their lovely lakeside.

What if Barenboim could have just concentrated on music and kept going with his Chicago members, and then developing his friendship with Edward Said? One medical student(?) in Mahler-Forum heard that there was a LIFE in Barenboim’s music, while all the forumites were sick of Barenboim’s incapability in those days. It was right before I left America, and I found this comment years later when it was already too late. The very first person that smelled LIFE in Barenboim’s music was not Elena Bashkirova but Waltraud Meier, who had a hard time with Barenboim’s Wagner in Japan. And the story went on…

The title, “The Art of Criticism” is not a creature of my imagination. It was in fact the idea of Music Critic and his friends of the Chicago Tribune when they wanted to join my battle with the American Music School. As time passed, my rumors were spread to other cities, and I finally accepted their invitation after reading one of NYT-articles, in which Tommasini questioned but couldn’t answer the reason of Boulez/VPO concert. Was it this one? I am not sure, for there was something another issue during sending-mail-answering-article period.

It took years for me to find out why the Chicago Tribune couldn’t write what they wanted to write, because Henry Fogel was their president. But then, its Music Critic had to be the poorest guy, who had been constantly murdered by the Google-Group whenever he wrote his Barenboim-articles for ME.

Years ago when Barenboim wanted to go to Europe as a foremost maestro of the BPO, which Barenboim believed was Furtwangler’s home, I didn’t want to go even if all my readers in Chicago wanted me to go. In my view, Furtwangler never considered Berlin as his home. But I followed Barenboim, because he wanted to go. All I received from German folks was a shit. Now I myself want to go to Europe and want Barenboim to follow me.

Unlike years ago when I wanted to see Barenboim’s Wagner-Festival in Berlin a real happening, I’m not sure of this work. I just want to finish this. I will finish this part and contact all the possible brains and hearts.

I had to be Mrs. Barenboim, because, to my surprise, all the members of the International Horn Society, who never gave up stalking and bothering me, suddenly stopped their trashy behaviors when I wanted to use this name. It was so good and I could study what I wanted to study. So, I decided to stay there. By then, Elena Bashkirova was merely treated as Kremer’s former partner, even in Berlin, perhaps thanks to Meier’s brilliant prostitution, so I just wanted to ignore this name. But then, I’ve never seen the dirtiest B*tch like Kremer’s second ex, who still sound dirty and stupid despite of all the supporters, who consist of Kremer and his friends, trashy Berlin musicians and their friends, Barenboim’s rivals and their friends, Barenboim-Gang and their friends, and Mehta’s protégés and their friends.

I drop my jaw when I observe this legendary female pianist trying to use Barenboim Jr. to take care of her professional career. Now, I can never ignore this trashy name, and want to show this disgusting musician that I am not NOTHING.

Surely, Jacqueline du Pre in her last years was quite a headache; perhaps, more troublemaker than a dear wife. So does Barenboim. However, I still promise. Even if someone was born a plain female musician, if she has a tiny heart to feel her lover’s dying heart and a small heart to pick up something from her lover’s dying wife’s music, if she really loved her lover, though a married guy whose wife was tragically dying, she just cannot behave like this B*tch.

As a matter of fact, I have a photo of this B*tch in those days. Someone gave it to me. It’s a real disgust. And then, I find the same Barenboim from Bashkirova’s Divan-Party; the same mentally-insecure bloke, who this time looks real old. I promise that there are female divans, who feel just like me. When I was a student, we used to insult those old pro-jerks. We just couldn’t express our feeling in front of those fucking famed Pros. Even in America, female students used to half-insult-half-joke about their teacher. “Clevenger? (…frowning…) He is too old!”

Free sex never means dirty sex. It takes love and then responsibility. For me, free sex means a real sex; a privilege to be born a human being. I realized it in America while watching all kinds of male chauvinists, whose only concern was fucking all his female classmates in the name of something-free; at the Northwestern, where all the students wanted to become another “Dale & Alice.”

Did Henry Fogel say, “Mr. Barenboim would appear to be the object of a rather involved fantasy life of hers?” Whenever I wanted to give up, this fucking sentence was ringing in my ears. My only concern was, is, and will be those B*tches. The BPO members can prove it if they still have my very first mailing of B*tch-writing on that day; that I don’t think those who supported Kremer’s second ex is not inferior musicians, but I am sure that they are all male chauvinists in their heart. What do you think was their answer? I literally dropped my jaw…

This Shit enjoyed my miserable life to accomplish her professional dream. I was born nothing. I was nothing. I am nothing and will die as nothing. But at least to Elena Bashkirova-Kremer-Barenboim, I will remain as something until her heath and even after that. If I fail in this life, I will finish it in my next life. I promise.

If… if Daniel Barenboim really missed his Edward and Jackie, he’d better follow them as soon as possible, instead of living a longer life with those B*tches and destroying all the young spirits, who want to know the meaning of music. Zubin Mehta will be the happiest man with this news. Does he care Barenboim as his younger brother? I promise. He even never cares for his own brother, Zarin Mehta, whose ability I really appreciate. Mr. Zubin should stand in the center of the whole world. Only then, he can show his generosity to the beggars.

Thanks to my headache life, which is much thicker than any kind of fiction, no novel has ever hooked me. I had to read Harry Potter only to study with my kids. (I literally fast-forwarded five movies to check the caption, and then read two books with impossible headaches… But then, I had to cry while reading Snape’s patronus; such an imaginative writing, such a detailed psychological description of all kinds of human species…

Really… I want to steal her English to write everything about one human being, who happened to be born a female musician, who happened to be called Jacqueline du Pre. So that all her next generation could learn the best way for a female musician to grow into a mature human being, the best way to meet the only lover in her life, and the best way to deal with possible disaster, mostly a vocational disease. I am really not happy whenever her sex-scandal is misinterpreted. I can’t control my temper whenever the British dickheads demote this miserable happening into the level of Bashkirova’s dirty sex. It should be analyzed in a musical and medical way. Really… When I insulted their comical writing, the utmost British pride preferred to join Barenboim’s B*tches.

Time to start my mailing business.

I promise. The Canadian Opera Company will be the very first to realize why they had such a hard time to prove Wagner with the musicians from Germany and achieved so little. They will realize the reason of its audience’s cold reaction despite the utmost fame from Germany. (There was a Canadian-forum for that Wagner performance, but I am now too tired to find it again.) (27 de Enero de 2008) ENTREVISTA: WALTRAUD MEIER Soprano dramática: La cantante alemana de ópera, máxima especialista en la obra de Wagner, llega al Teatro Real de Madrid para representar el papel de Isolda, con el que triunfó recientemente en la apertura de temporada de la Scala de Milán. (…) “Tristán e Isolda no es antigua ni moderna, es eterna”, asegura esta cantante, para muchos, la más grande intérprete wagneriana que puede verse hoy encima de un escenario. (…) Creo que hay que luchar día a día por mantenerlo. O mejor que luchar, que es un poco fuerte, esforzarse para que no muera. Trabajar por ello. Los italianos, por ejemplo, confunden el amor con la pasión, yo no creo que sea lo mismo. Tampoco Wagner lo veía así. Para él existía un estadio del amor que producía un auténtico placer en la compenetración de formas de pensamiento, en la manera de ver la vida. [P. ¿El orgasmo intelectual?] – R. Eso es. Así es. (…) [P. En Alemania, ¿conserva Wagner el peso que ha tenido históricamente?] – R. En mi país, Wagner se está desdibujando. No se le entiende con profundidad en muchos casos. Me encontré una señora en el metro en Múnich que me reconoció y me dijo que ya no se le entendía bien. Le propuse que escribiera una carta al director de la ópera y me contestó que ya lo había hecho y que le habían contestado lo siguiente: “Señora, estamos muy satisfechos de que no le guste a todo el mundo”. ¡Hay que ser arrogante y engreído!

JIWON: Sigh… Is this a psycho? I will have to start this message with this one. Now, I can understand why this shit constantly gabbles “intellectual side” or “psychology”… in her interviews. This Prima Donna/B*tch did read my writing, Boulez & DB, Parsifal on Feb. 20, 2007and picked up her red dress, then planned Meier’s Divan concert in Oslo, Norway, where this time this VOICE feels no need to boast her big mouth about Meier-Above-Flagstad. Bashkirova succeeded in her DUO-concert with Barenboim in her Memorial-Concert-For-Said-In-Chicago after reading my warning, and this time, Meier will make me fun of me. Barenboim proved the worst concert among the CSO-history after his DUO-concert with Bashkirova, but this time, everybody except me will believe that this Wagner-Concert is for Barenboim’s Nobel Prize… I know I will fail again. But at least, I will make all her female juniors able to spit at her face elsewhere she goes as a leader of Wagner-Festival, whenever she brags about her oral-sex technique with its unique German diction.

Thanks for reading my life.

Sincerely Yours,


P.S.: (giovedì, 24 gennaio 2008) Barenboim’s Beethoven Cycle:

JIWON: Folks preferred to be called “utente anonimo.” What the heck!

P.P.S: If anyone knows how to answer the questions in the Quiz, please don’t hesitate to leave your message. (Just-In-Case, each winner will be rewarded… just-in-case… and I will block the comments if I fail in my present work.)



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