Venezuela has the world’s largest oil reserves and NATO and its North London fellow travelers have inflicted untold sufferings on all Venezuelans because it wants to rob Venezuela’s oil.
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Although Russian soprano Anna Netrebko now heads Myrotvorets’ list of assassination targets, before making any informed comment on her case or that of a gaggle of Venezuelans and Belarusians who have also found themselves in NATO’s cross hairs, we must first acquaint ourselves with the 101s of Venezuelan, Russian and Belarusian society as well, of course, as to how the opera and related worlds work.
Netrebko is a Kuban Cossack, who worked her way up from being a lowly janitor to being an international operatic superstar, and good on her for that and for, in her role as a global superstar, meeting Russian President Putin on several occasions. For any NATO shill, who thinks any such meeting is suspicious, all they need to do is look at the Paris Olympics, where politicians of all stripes are brown nosing their athletes in the hope that some of their sheen might rub off on their brown noses.
Although Netrebko has stated that she would have preferred that the Ukrainian war had not occurred, she is also on record as stating that it is what it is and that forces, other than her, must conclude it. Although elements of the Russian Duma, as well as the Nazi nutcases, who sit in the Ukrainian Parliament, have both denounced her, and though NATO’s fascistic European Parliament has sanctioned her, Netrebko has quite rightly described those NATO shills forcing her to express her political position as “human shits.”
She’ll get no argument from me on that or, I imagine, from Ivan Litvinovich and Viyaleta Bardzilouskaya, the two Belarusian athletes, who respectively won gold and silver medals at the Olympics and who thereby put to shame the “human shits” of under-performing Ukraine, who tried to dehumanise them and their Belarusian compatriots.
Although Netrebko likewise just wants to do her operatic thing, because Netrebko won’t call for the murder of Russian civilians NATO, as the mafia would say, wants her gone.
Norman Lebrecht, NATO’s go-to idiot on such matters, has called our attention to the fact that Netrebko has been booked to star in a new Tosca production in January of next year in Rome’s eternal city and, to add insult to NATO’s injury, that “the half-banned Russian soprano” is also due to perform in Florida in February 2025.
Although the Ukrainian Nazis are having a canary about all this, the fact of the matter is Netrebko has Puccini‘s Tosca gig well and truly sewn up. Because the Rome gig is to celebrate the 125th anniversary of the first performance of Tosca, it would be unthinkable for anyone, except for the Nazis of Ukraine and their North London fellow travelers, to even entertain the idea that the performance would go ahead without Netrebko being centre stage.
Opera, even more so than all similar arts, works on their tried and trusted maxim that the likes of Callas, Cabellé, Caruso, Corelli, Netrebko and Pavarotti get the limelight and the rest get the leftover peanuts. Without Netrebko, you cannot have Puccini. Simple as!
If all of that is too highbrow for you, just think how the Chinese recently rioted because Messi did not play in a friendly against them. But Messi is a footballer, not a circus performing bear, there to do tricks and handstands, even if the Chinese, who paid fortunes to see him, thought otherwise. Just as the Chinese went to see Messi, so also do the Italians, the Vatican’s big wigs and Rome’s diplomatic corps go to see the Kuban Cossack, Anna Netrebko. It is as simple as that.
And, as with the Kuban Cossacks, so also with the Venezuelans, who are not performing monkeys either, contrary to what these same NATO charlatans might wish.
A case in point is 43 year old Venezuelan conductor and violinist Gustavo Adolfo Dudamel Ramírez, who is currently the music director of the Simón Bolívar Symphony Orchestra and the Los Angeles Philharmonic, and who is scheduled to become the Music and Artistic Director of the New York Philharmonic in 2026. To see how steeped Dudamel is in the music of Venezuela and beyond, recall that his father is a trombonist and a voice teacher of some note, and that Dudamel himself began his ongoing involvement with El Sistema, the famous Venezuelan social action music programme, at the age of five.
Given that Venezuela is a fractured society firmly in NATO’s cross hairs and that Dudamel has lived, talked and breathed music all his life, his ongoing involvement with El Sistema, which is also firmly in NATO’s cross hairs, though relevant to this article, is not in the least surprising. And nor is the fact that Dudamel has expressed outrage when fellow musicians have been caught up in Venezuela’s violence. Dudamel is firmly on record time and again as wishing the violence to end and the music El Sistema encourages to grow and good on him for that.
A quick search of NATO’s slipped disc outlet shows that NATO ain’t buying any of that. One recent article complains that the Glenn Gould Foundation awarded him their annual prize, even though these NATO apologists wrongly argue that Dudamel is “the envoy of a notorious militarist regime that has just stolen an election” and are too stupid to understand the Foundation’s press release, which clearly stated that ‘the presentation coincides with Carnegie Hall’s World Orchestra Week (WOW!), a celebration of extraordinary youth ensembles from around the globe. On this day, Dudamel will conduct the National Children’s Symphony of Venezuela”, with which Dudamel has had decades of involvement, just as he has with El Sistema.
As has Gabriela Montero, who seems to have slithered over to Venezuela’s dark side. Here is the equally slithery Norman Lebrecht praising the Minnesota Orchestra for uploading [Venezuelan] “Gabriela Montero’s decidedly political concerto, which supposedly denounces those who ‘hold our continent hostage to tyranny’”. Although Montero and her Irish-born husband have been instrumental in holding Ireland hostage by foisting unwanted Venezuelan NATO apologists onto the Emerald Isle, such systematic treachery does nothing to help the law-abiding people of Venezuela, not all of whom cannot slither away, like snakes in the night, to Ireland.
But, though we could talk about Venezuela’s music with more authority in an hour than those NATO shills could in a decade, the simple truth of the matter is Venezuela has the world’s largest oil reserves and NATO and its North London fellow travelers have inflicted untold sufferings on all Venezuelans because it wants to rob Venezuela’s oil. Belarus’ athletes are now forced to show the same courage under adversity their forefathers showed when Hitler made their homeland the centre of what Belarusians call The Great Patriotic War and all because NATO, like the Nazis before them, want to use Belarus as a gateway to strip Russia bare. And, as for Anna Netrebko, here she is in (the acoustically divine) La Scala belting out Puccini’s Tosca, as only a Kuban Cossack blessed, as she is, can. Not for everybody, it is true but then, neither are the vast riches of Venezuela and Russia which in Russia’s case, are defended by over three million active and reserve troops, none of whom can hit the high notes as Netrebko can, but all of whom, like their millions of allies in the armed forces of Venezuela, Iran and China, can shoot a hell of a lot straighter than either she or Gabriela Montero can.
